The Madonna in art . self. Critics tell usthat the Madonna pictures in which hecame nearest to his model are the Ma-donna in the Meadow and the Holy IOO THE MADONNA IN ART. Family of the Lamb. (Madrid.) Thesewe may place beside the Madonna of theRocks, which is the only entirely authen-tic Da Vinci Madonna which we have. It is only the skilled connoisseur who, intravelling from Paris to Vienna, and fromVienna to Madrid, can hold in memorythe qualities of technique which link to-gether the three pictures; but for gen-eral characteristics of composition, theblack and white reproductions may suff
The Madonna in art . self. Critics tell usthat the Madonna pictures in which hecame nearest to his model are the Ma-donna in the Meadow and the Holy IOO THE MADONNA IN ART. Family of the Lamb. (Madrid.) Thesewe may place beside the Madonna of theRocks, which is the only entirely authen-tic Da Vinci Madonna which we have. It is only the skilled connoisseur who, intravelling from Paris to Vienna, and fromVienna to Madrid, can hold in memorythe qualities of technique which link to-gether the three pictures; but for gen-eral characteristics of composition, theblack and white reproductions may availed himself of his intimateknowledge of Nature to choose from herstorehouse something which is uniquerather than typical. The rock grottodoubtless has a real counterpart, but wemust go far to find it. In the river,gleaming beyond, we see the painterscharacteristic treatment of water, whichRaphael was glad to adopt. The tri-angular arrangement of the figures, therelation of the Virgin to the Leonardo da Vinci.— Madonna of the Rocks. THE PASTORAL MADONNA. IO3 the simple, childish beauty of the latter,and their attitude towards each other —all these points suggest the source ofRaphaels similar conceptions. The Vir-gins hair falls over her shoulders entirelyunbound, in gentle, waving ripples. We do not need to be told, though thehistorian has taken pains to record it,that a feature of personal beauty by whichLeonardo was always greatly pleased wascurled and waving hair. We see it inthe first touch of his hand when, as a boyin the workshop of Verrochio, he paintedthe wavy-haired angel in his MastersBaptism; and here, again, in the Virgin,we find it the crowning element of hermysterious loveliness. We try in vain topenetrate the secret of her smile, — itis as evasive as it is enchanting. Andherein lies the distinguishing differencebetween Leonardo and Raphael. Theformer is always mysterious and subtle; 104 THE MADONNA IN ART. the latter is always fra
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
