Title | Scraps from an artist's sketchbook |
Alternative Title | Scraps from an artist's sketch book, with illustrations from the author's original sketches in Rome, Florence, and Venice , photographed by J. Greer, Pendleton |
Creator (Local) |
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Contributor (Local) |
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Publisher | Daily Chronicle |
Date | 1877 |
Subject.Topical (LCSH) |
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Subject.Geographic (TGN) |
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Genre (AAT) |
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Language | English |
Type (DCMI) |
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Original Item Extent | 118 pages; 12 leaves; 19 cm |
Original Item Location | DG427 .R68 1877 |
Original Item URL | http://library.uh.edu/record=b2395052~S11 |
Digital Collection | Exotic Impressions: Views of Foreign Lands |
Digital Collection URL | http://digital.lib.uh.edu/collection/exotic |
Repository | Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Art Library, University of Houston Libraries |
Repository URL | http://info.lib.uh.edu/about/campus-libraries-collections/william-r-jenkins-architecture-art-library |
Use and Reproduction | No Copyright - United States |
Identifier | exotic_201304_003 |
Title | Page 39 |
Format (IMT) |
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File Name | exotic_201304_003_052.jpg |
Transcript | ROME. 30 ornamental carved frame, which had been sadly worm-eaten, but was now restored and re-gilt, a fit surrounding for so noble a work. Mr. Moore then led us into an inner room, where, placed on an easel, in a good light, was this small work of Raphael's, yet perhaps the greatest ever produced in the world— Apollo and Marsyas. The figure of Apollo standing with his lyre on the right of the picture is of the most perfect Greek type, finer, if possible, in drawing than the celebrated statue in the Vatican. The Sun God looks down with disdain upon his would-be rival, who, seated on a bank to the left, and with pipe in hand (a musical one), has challenged glorious Apollo. The defeated musician was, according to the terms of the agreement, to be flayed alive, and the vultures are seen descending to commence their work upon the unhappy Marsyas. This gem of art is in the most wonderful preservation, and in the early style of the artist. Some few artists have doubted its originality, but there is scarcely a great painter of the Italian, French, German, and English schools, who has not |