. The art of the Italian renaissance; a handbook for students and travellers. ight inclination of the one head. However perfect the oval of the faceand however marvellouslv conceived the expression, the effect would nothave been attained without this simple svstem of direction, in which thediagonal line of the head which is inclined, but still seen full face, marksthe only deviation. The atmosphere of Perugino still breathes from-tbistranquil_ picture. At Florence something more was demanded, greaterfreedom and more vigorous movement. The rectangular disposition of theseated Child is discarded
. The art of the Italian renaissance; a handbook for students and travellers. ight inclination of the one head. However perfect the oval of the faceand however marvellouslv conceived the expression, the effect would nothave been attained without this simple svstem of direction, in which thediagonal line of the head which is inclined, but still seen full face, marksthe only deviation. The atmosphere of Perugino still breathes from-tbistranquil_ picture. At Florence something more was demanded, greaterfreedom and more vigorous movement. The rectangular disposition of theseated Child is discarded in the Cam Tempi Madonna at ]\Iunich, and isas a rule superseded by a half-recumbent posture ; the Child has turnedround and throws his limbs vigorously about ( and BridgricaterMadonna.^); the ]\Iother is no longer standing but seated, and as she bendsforward and then again turns aside, the picture becomes at once rich inaxes of direction. From the Grauduea. and the Tempi there is a regularprogressive develo]jment to the Sedia (Pitti), in which the The jMadonna del C4randaca ; by Raphael. RAPHAEL 87
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