The original Raphael tapestries, the same as Leo the Tenth set, at Rome / [Anon].

  • Trull, William.
Date:
1838
Catalogue details

Licence: Public Domain Mark

Credit: The original Raphael tapestries, the same as Leo the Tenth set, at Rome / [Anon]. Source: Wellcome Collection.

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    1] REMARKS. The importance of these Tapestries, in extending the Hampton series from seven to nine, is obvious; when more publications of the seven have taken place the last fifteen years than for three centuries!— and still constantly in progress, under various new inventions of graphic art. Indeed, there is no science that has had a more rapid advance than engraving; and the results are of the first conse¬ quence. Lanzi—after speaking of Raphael’s Ta¬ pestries, &c. says— “ But all these works of Raphael would not have contributed to the extension of art at that period beyond the meridian of Rome, if he had not succeeded in extending the fruits of his genius, by means of prints.”—Roscoes Trans, of Lanzi, Vol. II. p. 83. And it was from the studio of Raphael that Marc Antonio’s school of engraving rose to great per¬ fection, which makes it the more extraordinary that the Cartoons, after having served as patterns for the Tapestry, wrere not returned to Rome, but the whole series of twenty-five left at Brussels!— two-thirds were lost and destroyed, and the seven or eight left greatly damaged! This proves, at least, that the Tapestries were the prime object—that the best judges of art were satisfied with them—and that the Cartoons were not
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