Studies in pictures; an introduction to the famous galleries . mony, decorative circct. Whenhe left the hottega to work for himself he was askilled workman with a knowledge of materials andmethods—a man who could do almost anything inhis department. Perhaps the first order that came to him was fromsome church that asked him to paint a picture ina lunette or half-arch over a door. The church peo-ple wanted the empty space filled with somethingornamental. As for tlic subject an Annunciation would probably be called for on account of its popu-larity. With the Annunciation for a theme it might bet
Studies in pictures; an introduction to the famous galleries . mony, decorative circct. Whenhe left the hottega to work for himself he was askilled workman with a knowledge of materials andmethods—a man who could do almost anything inhis department. Perhaps the first order that came to him was fromsome church that asked him to paint a picture ina lunette or half-arch over a door. The church peo-ple wanted the empty space filled with somethingornamental. As for tlic subject an Annunciation would probably be called for on account of its popu-larity. With the Annunciation for a theme it might bethought that the painter would read up on his sub-ject to get all the details correct, then seek out somesweet-faced girl for a Madonna, and her brown-eyedlittle brother for an angel, and finally, after castinghimself into a religious ecstasy, paint the picture inan inspirational trance. Such is sometimes fanciedto be the manner of painting great pictures; butnothing could be furtlier removed from the actualtruth. The painter would never forget for a moment. XVII.—BENOZZO GOZZOLI, Head of Lorenzo de Medici (detail).Riccardi Palace, Florence. WORKMANSHIP OF THE OLD MASTERS 57 that there was a space to be filled with somethingbeautiful to look at—something decorative and ap-propriate to a half-arch over a door. There wouldbe forms as forms and colors as colors to be would demand pictorial arrangement, and whatnames the priests and brothers chose to give themafterward would be of no great moment to thepainter. Perhaps the disposition of the figures wouldplace the Madonna kneeling at the right, the outlineof her curved back and bowed head following theupward sweep of the half-arch. The angel with themessage would be opposite the Madonna, kneeling;and with lilies in hand and bent figure comple-menting the opposite curve of the arch. In betweenthe figures might be the desk at which the Virginwas praying, the white dove, a door opening at theback upon a landscape, an
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