. Leonardo da Vinci, artist, thinker and man of science;. omfortably uponher lap, reclining ratherthan sitting, his right handgracefully raised, whilewith his left he touches the vase the donor offers him. The latter, who was naked in the Galichon drawing, is now draped in an ample cloak ; instead of holding out the vase to the Child with both hands, he offers it with one, resting the other upon the ground. In short, there is not a figure in the group which does not testify to the enormous amount of work bestowed on the composition. The spectators on either side call for our special attention.


. Leonardo da Vinci, artist, thinker and man of science;. omfortably uponher lap, reclining ratherthan sitting, his right handgracefully raised, whilewith his left he touches the vase the donor offers him. The latter, who was naked in the Galichon drawing, is now draped in an ample cloak ; instead of holding out the vase to the Child with both hands, he offers it with one, resting the other upon the ground. In short, there is not a figure in the group which does not testify to the enormous amount of work bestowed on the composition. The spectators on either side call for our special attention. Some are full of majesty, others of eager animation. They are grouped with inimitable ease and liberty. By an artifice, the secrets of which have been known only to the greatest dramatists, Leonardo opposes the calm of the persons standing at the , and enframing the composition, so to speak, to the emotional and passionate gestures of those who press towards the Virgin, or kneel before her. Here, again, Raphael was inspired by Leonardo ; he. STIFDV Fui: I HI-: ADORATIUN ot-(The Louvre ) ^THE ADORATION OF THE MACxI 73 borrowed several of the worshippers placed to the left in his Dispute ofthe Sacrament, one of the most animated and eloquent of his groups.


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