The midsummer of Italian art . ; the aspect of the Madonna is quiet anddignified, but with something of the hauteur alreadynoticed in the Madonna di Foligno ; and St. Jeromeis indeed a grand piece of realism, but one feels thathe is almost too rugged—his beethng brows andshiny forehead—to be in perfect harmony with therest of the group. The folds of the Madonnas dressare peculiar and give it an appearance of heavinesstoo much in keeping with her own , whose chief ornament is his flowing goldenhair, is more in sympathy with the Christ-child, andgives a ground-tone to the colori
The midsummer of Italian art . ; the aspect of the Madonna is quiet anddignified, but with something of the hauteur alreadynoticed in the Madonna di Foligno ; and St. Jeromeis indeed a grand piece of realism, but one feels thathe is almost too rugged—his beethng brows andshiny forehead—to be in perfect harmony with therest of the group. The folds of the Madonnas dressare peculiar and give it an appearance of heavinesstoo much in keeping with her own , whose chief ornament is his flowing goldenhair, is more in sympathy with the Christ-child, andgives a ground-tone to the coloring. The lion isnot faithfully rendered, but has a dangerous gleamin his eye such as only Raphael or Leonardo couldgive. The Christ-child certainly in this picture is a dis-tinct advance from the Jesus in the Madonna of theGoldfinch, with his large, premature head and seriousexpression. The ideal form of the London Christ-child has now been matched by an ideality of nature,or rather of spirit. Those who prefer individuality. LA FORNERIXA, by RAPHAELUffizzi Gallery, Florenc/ The Evolution of Raphael. 207 in art to perfect symmetry of form, would thereforeconsider this superior to the Sistine Christ-child, whoin the opinion of some approaches dangerously nearto the eclectic. As Raphael increased in years andexperience, his representations of Jesus became con-tinually younger. The little Saviour in the Madonna of the Fish illus-trates Homers description of Astyanax, the son ofHector, a beautiful boy that shone like a star. PROPHETS AND SIBYLS. Michel Angelos influence over Raphael culmi-nated about 1514, and from that time gradually di-minished until it quite disappeared,—except so faras freedom of design and breadth of treatment maybe considered in that light. The most palpable in-stance of it is his fresco of Isaiah in the Church ofSan Agostino, in which the imitative quality is sostrongly marked that a fable is related by Vasari,evidently invented to account for it. This o
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
