IMPROPER (adj.)

RIDICULE (fra.)
TERM USED AS TRANSLATIONS IN QUOTATION
CONVENABLE (fra.)
TERM USED IN EARLY TRANSLATIONS
ABSURDE (fra.) · RIDICULE (fra.)

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

1 sources
2 quotations

Quotation

The Robes, and other Habits of the Figures ; their Attendants, and Ensigns of Authority, or Dignity, as Crowns, Maces, &c. help to express their Distinct Characters ; and commonly even their Place in the Composition. The Principal Persons, and Actors must not be put in a Corner, or towards the Extremities of the Picture, unless the Necessity of the Subject requires it. A Christ, or an Apostle must not be dress’d like an Artificer, or a Fisherman ; a Man of Quality must be distinguish’d from one of the Lower Orders of Men, as a Well-bred Man always is in Life from a Peasant. And so of the rest.
Every body knows the common, or ordinary Distinctions by Dress ; but there is one Instance of a particular kind which I will mention, as being likely to give useful Hints to this purpose, and moreover very curious. In the Carton of Giving the Keys to S.
Peter, Our Saviour is wrapt only in on large piece of white Drapery, his Left Arm, and Breast, are part of his Legs naked ; which undoubtedly was done to denote him Now to appear in his Resurrection-Body, and not as before his Crucifixion, when This Dress would have been altogether improper. And this is the more remarkable, as having been done upon second Thoughts, and after the Picture was perhaps finish’d, which I know by having a Drawing of this Carton, very old, and probably made in Rafaëlle’s time, tho’ not of his hand, where the Christ is fully Clad ; he has the very same large Drapery, but one under it that covers his Breast, Arm, and Legs down to the Feet. Every thing else is pretty near the same with the Carton.

term translated by ABSURDE in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 72-73.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → vêtements et plis

Quotation

Every Figure, and Animal must be affected in the Picture as one should suppose they Would, or Ought to be. And all the Expressions of the several Passions, and Sentiments must be made with regard to the Characters of the Persons moved in them. At the Raising of Lazarus, some may be allow’d to be made to hold something before their Noses, and this would be very just, to denote That Circumstance in the Story, the Time he had been dead ; but this is exceedingly improper in the laying our Lord in the Sepulchre, altho’ he had been dead much longer than he was ; however Pordenone has done it.

term translated by ABSURDE in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 74
term translated by RIDICULE in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 74.

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → expression des passions