File:A treatise on painting - In four parts The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools (1837) (14781223951).jpg

Identifier: treatiseonpainti00burn (find matches)
Title: A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools
Year: 1837 (1830s)
Authors: Burnet, John, 1784-1868
Subjects: Painting
Publisher: London : James Carpenter
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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urface or face of the picture. Thus the three possible dimensions are occupied,the art being generally concealed by avoiding too regular a variety, and by doubling the massessomewhere. It only remains to be observed, that of the three applications of varied arrangement,that of the depth is the most strictly picturesque, because it most effectually gets rid of the flatsurface, and suggests foreshortened limbs and figures, which are most to be met with in the latestworks of Titian, Raffaelle, and Michael Angelo; but Corregio, who was from the beginningdevoted to gradation in forms (perspective) as well as chiaroscuro, was also an early lover ofdepth in composition, and often of foreshortening.—C. L. E. Fig. 2 is part of a Roman basso relievo, from which Raffaelle took the ceremony of theSacrifice at Lystra. Fig. 3 shows his adaptation of the ideas of others to his own purpose, being a figure ofMasaccios, which is converted into his St. Paul preaching. Vide Reynoldss Twelfth Discourse.
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EDUCATION OF THE EVE. 47 to diminish as they recede from the eye, we often find in the works ofRaflaelle and others this feature engrafted upon portions of their groups,as in Fig. 2, part of the Cartoon of Ananias. Fig. 2.

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