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    immortal . A Contadina with a child sleeping in her arms , faifclad , beautiful as a white lily with its folded bud ; near to her a venerable old man , with bended head and folded arms ,, the whole figure in repose . Behind , and in fine contrast with the Contadina , is the rich brown hardjr face of a mountaineer , with his round straw hat bent over his earnest brows , his scarlet vest and

    loose white collar leaving exposed a sunburnt throat ; his face bent in wild , mute admiration at the almost godlike presence of the young Raphael . Opposite to this group , on the right , is the figure of a girl ; the face is not seen , but there are long , jetty braids of glossy hair enclosed in scarlet bands , and there are lovely shoulders telling of Italian sunshine , and there are loose

    draped sleeves of white , and there is a rich , soft , gracefully falling robe of purple , and there is a foot peeping from beneath it , free from slipper or sandal , almost out of the picture , to prove the artist ' s skill in the management of foreground . And near her is an old , very old woman , with her eyes fixed on the mother and child , till the tears have come into them . Is she thinking of the

    days that are passed away , and of children she has nourished and loved , and they are gone ? Or it may be that the heaven of calm beauty in those two creatures has wrought upon her soul , and she continues to gaze and weep , she knows not why . Elevated above all those we have named , stands Raphael : ne would be superhuman were it not for the disdain that curls his lip as he prepares the taunt to avenge his offended pride . He has

    been stayed in the act of painting . His eyes are turned towards Michael Angelo , his head , scarcely , as if ne scorned to be moved from his position . In his right hand he holds a pencil , just lifted from his work , which rests on a living easel , ( one of his pupils , with head slightly bent , and shoulders sloping in graceful devotedness , to show that the service is one or love , ) nis left restrains the swelling fulness of his rich dark drapery , and is decked with rings , and of aristocratic form and whiteness . This is

    encouraging a superstition . We have seen plebeians who would have had no quarter from those of many quarterings , with hands whose exquisite organization gave proof , that nature chooses her lords and ladies from all ranks and degrees , ( of the world ' s making , ) the highest and the lowest : but Raphael , he is a noble , and we render willing homage . Albeit , there is ' contempt' and almost' anger in his lip ; ' the * scorn' does indeed * look beautiful . '

    There is no approach to envy or hatred . We feel , that when the first flush of youthful pride is over , he will smile at the folly to which it tempted him , remembering the retort of the Vatican , prizing the simplicity he then derided , and alike worshipping the genius and revering the memory of his elder brother in Art . There are other figures introduced , all serving to complete the picture ' s perfection , but we cannot get beyond tne master-piece . All who see the ' Separation of Orpheus and Eurydice / must

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    66 The Luxembourg .

• Citation
  • Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Jan. 2, 1834, page 58, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2629/page/60/