The midsummer of Italian art . le thatthe original of this tender mother afterwards de-veloped into the Madonna of the Goldfinch. In thatcase the picture must have been designed in 1501 or1502. It is impossible to conceive a simpler treatment ofthe subject. The young mother stands before usholding her child on her left hand, with the rightunder his left shoulder. The drawing is slightlyPeruginesque, but with more grace and humility is its prevailing characteristic, butthe eyes of the infant Christ are keen and feet also are skilfully drawn and so lifelike thatthe
The midsummer of Italian art . le thatthe original of this tender mother afterwards de-veloped into the Madonna of the Goldfinch. In thatcase the picture must have been designed in 1501 or1502. It is impossible to conceive a simpler treatment ofthe subject. The young mother stands before usholding her child on her left hand, with the rightunder his left shoulder. The drawing is slightlyPeruginesque, but with more grace and humility is its prevailing characteristic, butthe eyes of the infant Christ are keen and feet also are skilfully drawn and so lifelike thatthe toes almost appear to be in motion. Thedrapery is simple, graceful, and disposed in broadfolds; the background a very dark green. TheMadonna del Gran Duca charms us from its perfectharmony, its plainness, and from the ideality whichseems to be nascent in it, like the budding of afliower. What a wide range of artistic sympathies isalready indicated by this painting and the Marsyas. The small Garvagh Madonna in the National Gal-. ST. GEORGE AND THE DRAGON BY RAPHAEL Gallery of the Louvre The Evolution of Raphael. 183 lery is somewhat faded, but forms an important linkin this series. It is painted in quite a differentmanner from the Gran Diica; with less softnessand delicacy, but greater solidity. It has Raphaelstranquillity, however, and the pained expression ofthe Madonna, as she looks at the cross which offers to the infant Christ, marks a striving fordramatic effect. The Saviour is a more idealizedtype than that in the Gran Duca, and St. John iseasily recognized as the same child that figures inthe Madonna of the Goldfinch. The background isarchitectural.* La Belle Jardiniire, so called, in the Louvre,must have been designed from the same models asthe Madonna of the Goldfinch, and probably alsofrom the same as the preceding. The Madonna isseated in a garden or meadow, and the Christ-child,a perfect type of infant beauty, standing at herknee looks into her face with an
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
