. The art of the Italian renaissance; a handbook for students and travellers. t, the picture is not deficient in animation. Here Leonardopassed forthe first time from the bust with its scanty segmentof the body-,to the three-quarters lent^^th. He now makes the model sit in profile, givino-a half-turn to the head and shoulders and bringing the face full to the action of the arms is also expressive. The one rests on the arm ofthe chair, the other comes foreshortened from the background, and onehand is laid o\er the other. Leonardo does not add the hands as a meresuperficial enrichment
. The art of the Italian renaissance; a handbook for students and travellers. t, the picture is not deficient in animation. Here Leonardopassed forthe first time from the bust with its scanty segmentof the body-,to the three-quarters lent^^th. He now makes the model sit in profile, givino-a half-turn to the head and shoulders and bringing the face full to the action of the arms is also expressive. The one rests on the arm ofthe chair, the other comes foreshortened from the background, and onehand is laid o\er the other. Leonardo does not add the hands as a meresuperficial enrichment to the portrait. Their easy indolence of pose a^l^sinnnensely to the imlividiiality of the sitt^i. We can trace the delicacyof the sense of touch in these truly soulful fingers. Verrocchio anticipatedLeonardo hcre^ in intrnilucinu; tluiJiands even in hjsjiusts; The costume is fastidiously simple, almost prim. The line of thebodice must have seumc 1 hard to a ripar Cinquecentist. The pleated o-ownis green, of that green « hich Luini retains ; the sleeves, a yellow-brown ;. Portrait of Monna Lisa, LeouarJo da Ainci. LEONARDO 39 nut, as fonnerly, short and narrow, hut reaching to thu wrists, andcrumpkd into many transverse folds, thev form an effective accompani-ment to the rounded compact surfaces of the liands. The shapelvfingers are not burdened l)v any rings. The neck too is without anyornament. ^^^ llie JmcktfyowHt-^^»4>t~all-a-iaudatapsL. as in the \\_orka. of ^ Hut it ij^^Bg^-a^ ft)rnuirly^,^inniiejliciteLy^c\)niiected_^^^ljh tliefigure ;jthen^js^_iL_bivIualrade_het\veeu, and the view is enframed by twopillars^ It requires minute inspection to detect this motive, \\hich is notunimportant in its conse([uences, for the pillars have the a])pearance of merenarrow stripes, save at the bases. The later stvle was not long content withsuch suggestixe dra\\ The landscape itself, \Nhich stretches away to\\ardsthe top of the picture above the level of the
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
