. The art of the Italian renaissance; a handbook for students and travellers. l sides andis also full of expression in everyline. The contraction of theshoulders and the backward droopof the head give an accent of agonyof incomparable force to the deadfigure. The Virgins attitude is stillmore surprising. The tearful count-enance, the distortion of sorrow, thefainting form, had been portrayedbv others. Vlichelangelo savs : theMother of God shall not weep likean eartlih woman. She bends h«- head cabnly; the features betrayno emotion and onlv the drooping left hand is eloquent : half-opened,it ac
. The art of the Italian renaissance; a handbook for students and travellers. l sides andis also full of expression in everyline. The contraction of theshoulders and the backward droopof the head give an accent of agonyof incomparable force to the deadfigure. The Virgins attitude is stillmore surprising. The tearful count-enance, the distortion of sorrow, thefainting form, had been portrayedbv others. Vlichelangelo savs : theMother of God shall not weep likean eartlih woman. She bends h«- head cabnly; the features betrayno emotion and onlv the drooping left hand is eloquent : half-opened,it accentuates the nnite monologue of ])ain. This is the sentiment of the Cin(|neccnto. Even the Christ shovts,none of tlie disligurement of suffering. On tlie formal side the traces ofFlorence and tlie st\le of tlie fifteenth century are more obvious. Tl]£head of ^Nlary is, indeedj like no otlicr, _but it is of the delicate narrowtv]ic, jireferred h\ tlie older Florentines. The bodies are in a similarst\le. Miclielaiiirelo soon afterwards iKcomes bioader and fuller, and even. Madonna A JJniycs, hj- MICHELANGELO 49 the actual i;rour)inir of these tiiiures,would have afterwards seemed tohim too slight, too transpareut, tooloose. The corpse, more heavilymodelled, \\ould ha\e been a greaterburden, the lines would not havediverged so widelv, and tiie twofigures would ha^•e been coiTdjinedinto a more compact mass. A somewhat L-hnes prevails in the draperies. Thereare bright ridges of folds, and deepshadowy hollows, wliich the sculp-tors of the Cincjuecento gladly tookas models. The marble, as lateralso, is highly polished, producingintensely brilliant lights. There is,on the other hand, no longer anytrace of gilding. Closely connectedjdih_the-£^ a work which went outof the country immediately after itscompletion, and therefore left nomarked traces in Italy, although theconrpletehuT problem treated in- it - would have made the greatestimpression. T
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