Читать книгу A Popular Handbook to the National Gallery, Volume I, Foreign Schools - National Gallery (Great Britain) - Страница 134

Raphael (Urbino: 1483-1520). See 1171.

This is a picture of Raphael's second period – "painted about the year 1507, to judge from its close resemblance in style to the celebrated picture of the Entombment in the Borghese (Rome), which is known to have been executed at that time." There are several studies for the picture in the University Galleries at Oxford, and another in the Chatsworth collection. The finished cartoon in black and white chalk, pricked for transfer to the panel, is exhibited in the Louvre.

A perfect picture of saintly resignation. St. Catherine (for whose story see 693) leans on the wheel, the instrument of her martyrdom, and "looks up to heaven in the dawn of the eternal day, with her lips parted in the resting from her pain." Her right hand is pressed on her bosom, as if she replied to the call from above, "I am here, O Lord! ready to do Thy will." From above, a bright ray is seen streaming down upon her, emblematic of the divine inspiration which enabled her to confound her heathen adversaries. The studies existing show the pains Raphael took with the exquisite expression; but the result defies analysis. "It is impossible to explain in language the exact qualities of the lines on which depend the whole truth and beauty of expression about the half-opened lips of Raphael's St. Catherine." But these lines should be noticed as exemplifying the principle of "vital beauty" – of beauty, that is to say, as consisting in the appearance in living things of felicitous fulfilment of function. Thus eyes and mouths become more beautiful precisely as they become more perfect means of moral expression. The mouth of a negro is ugly because it is only a means of eating; the mouth of St. Catherine is beautiful for the feeling it expresses (Modern Painters, vol. i. pt. ii. sec. i. ch. vii. § 47; vol. ii. pt. iii. sec. i. ch. xii. § 10, sec. ii. ch. v. § 21). It may be noticed, lastly, how much the pathetic feeling of the picture is heightened by the herbage in the foreground, and especially perhaps by the carefully-painted dandelion "clock": "so soon passeth it away, and we are gone."