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The creations of the monster then appeared, and the greatest of the humanisers lost some of his soul at sight of them, thenceforward unable to rid himself of their influence. From the stanze Narcisse took Pierre to the loggie, those glazed galleries which are so high and so delicately decorated. But here you only find work which pupils executed after designs left by Raffaelle at his death.
Claude Vignon is imposing, in spite of the precocious deteriorations of a face once magnificent, and now grown haggard. Between the ages of eighteen and twenty-five he strongly resembled the divine Raffaelle.
"Men are what their age calls upon them to be," I replied, after a moment's consideration. "Be that demand what it may, the supply is ever equal to it. Centre of the most pompous and fascinating of religions, Rome demanded Madonnas and Transfigurations, and straightway Raffaelle answered to the call.
"The palm," says Lord Orford, "is not less disputed with Raffaelle for history, than with Van de Velde for sea-pieces." He died in 1707. Like his father, the younger Van de Velde designed everything from nature, and his compositions are distinguished by a more elegant and tasteful arrangement of his objects, than is to be found in the productions of any other painter of marines.
"My child?" said Signor Giovanni. "Oh, he will be here; he will be sure to be here: wherever there is a painted thing to be seen, there always, be sure, is Raffaelle."
In their bold rejection of all principles of perspective, light and shade, and drawing, they are infinitely more ornamental to the page, owing to the vivid opposition of their bright colors and quaint lines, than if they had been drawn by Da Vinci himself: and so the Arena chapel is far more brightly decorated by the archaic frescoes of Giotti, than the Stanze of the Vatican are by those of Raffaelle.
For the student it can be no less useful, for the expert it should be no less easy, to trace through its several stages of expansion and transfiguration the genius of Chaucer or of Shakespeare, of Milton or of Shelley, than the genius of Titian or of Raffaelle, of Turner or of Rossetti.
Her temples became adorably fresh and pure; gleams of the celestial face of a Raffaelle showed themselves now and then in hers, a face hitherto obscured by the malady of grief, as the canvas of the great master is encrusted by time. Her hands seemed whiter; her shoulders took on an exquisite fulness; her graceful, animated movements gave to her supple figure its utmost charm.
At first he copied several of the works of Titian, and improved his style of coloring, but he afterwards contemplated the works of Raffaelle with an enthusiasm bordering on adoration. The admirable expression and purity of the works of Domenichino, rendered them particularly interesting to him, and he used to regard his Communion of St.
His whole frame appeared to himself to be enlarged, and all nature which surrounded him diminished to atoms. If we put those great artists in a light of comparison with each other, Raffaelle had more taste and fancy, Michael Angelo more genius and imagination. The one excelled in beauty, the other in energy.
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