Apposition seems to have arranged the Sacrifice at Lystra.
If Dionysius and Damaris, in the cartoon of the Areopagus, had more forcibly refracted by dark colours or shade, the light against the speaker, effect and subject would have gained.
Considered individually or in masses, the chiaroscuro in the cartoon of Ananias appears to be perfect; but the Donation of the Keys owes what impression it makes on us in a great measure to the skilful distribution of its light and shade.
[90] In the following absurd description of the well-known picture in the palace Pitti: ‘It consists of three half-figures, one of which represents Martin Luther in the habit of an Augustin Monk, who plays on a harpsichord; Calvin stands by him in a chorister’s dress, with a violin in his hand: opposite you see a young lively girl in a bonnet with a plume of white feathers; by her Giorgione meant to represent the noted Catharine, Luther’s mistress and wife,’ &c. Fiorillo, vol. ii. p. 63. To expose the ignorant credulity which dictated this passage, it is sufficient to observe, that Giorgione died 1511, and that Calvin was born 1508.
[91] In every edition of the Vite subsequent to his own of 1550. The following passage deserves to be given in his own words: ‘Giorgione di Castel franco; il quale sfumò le sue pitture e dette una terribil’ movenzia a certe cose come è una storia nella scuola di san Marco a Venezia, dove è un tempo turbido che tuona, et trema il dipinto, et le figure si muovono & si spiccano da la tavola per una certa oscurità di ombre bene intese.’ Proemio della terza Parte delle Vite, p. 558.
[92] A La Scuola di S. Marco La Tempesta Sedata dal Santo, ove fra Le altre cose sono tre remiganti ignudi, pregiatissimi pel disegno, e per le attitudini. Lanzi storia, &c. Tomo II. parte prima. Scuola Veneta.
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