the Raphael Loggias
http://www.christusrex.net/www1/stanzas/L1-Loggia.html
Raphael Tapestry Cartoons:
Raffaello: La Pesca Miracolosa (奇迹之渔,1515)
http://www.vam.ac.uk/collections/paintings/raphael/cartoons/index.html
In Seven Lamps of Architecture (1849), 'The Lamp of Beauty', Ruskin
attacks the use of scrolls and ribands, derived from the Arabesques of
Raffaelle in the Loggias of the Vatican, and one source of what became
known in England as the Adam style:
I know what authority there is against me. I remember the scrolls of
Perugino's angels, and the ribands of Raphael's arabesques and of
Ghiberti's glorious bronze flowers: no matter; they are every one of
them vices and uglinesses. ( Works, 8.149)
In writing about the ranks and kinds of the grotesque in Volume Three
of Stones of Venice (1853), Ruskin observes:
Its highest condition is that which first developed itself among the
enervated Romans, and which was brought to the highest perfection of
which it was capable, by Raphael, in the arabesques of the Vatican. It
may be generally described as an elaborate and luscious form of
nonsense. Its lower conditions are to be found in the common
upholstery and decorations which, over the whole of civilized Europe,
have sprung from this poisonous root. ( Works, 11.161).
傅雷在美术讲中说：
我们晓得，历史画是一向被视为正宗的画，在一切画中占有最高的品
格。而所有的历史画中，在欧洲的艺术传统上，又当以拉斐尔底为典
型。例如法国十七十八两世纪王家画院会员底资格，第一应当是历史
画家。伦勃朗，葛莱士都是这样。即德拉克洛瓦画“十字军侵入君士
坦丁堡”，虽然他在其中掺入新的成分，如色彩，情调等等，但其主
要规条，仍不外把全幅画面，组成一片和谐，而特别标明历史画底伟
大性。
