Art Principles

The Madonna-The M

ian sculptors closely followed him. The Zeus of Homer as improved by Phidias has been the model of this deity in respect of form for nearly every succeeding sculptor to this day, while it was also the model which suggested the Christian Father as represented by the first artists of the Renaissance, though, as already indicated, the majestic dignity of the Phidian Zeus was partly sacrificed by the Christian artists. Phidias in fact created a type which, so far as human foresight can judge, mu

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Face of "Profane Love" in Titian's Pic

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hort beard and flowing hair. During the long centuries of the Dark Age, when religious art was practically confined to the Byzantine Greeks, Christ was almost invariably portrayed with a long face and emaciated features and limbs, as the epitome of sadness and sorrow. This expression was modified as the arts travelled to the north and west o

n early picture shows Him beardless, but gives Him an age of about thirty.[b] Some early Flemish artists also rendered Him beardless at times, notably the Maitre de Flémalle, Van der Weyden, and Quentin Matsys. Michelangelo in his Last Judgment represents the Saviour sitting in judgment as a robust, stern, commanding figure, beardless, and with an expression and bearing apparently serving the idea of Justice.[c] Strange to say the artist gives a very similar face to St. Stephen in the same series of frescoes. A still more unusual representation is that of Francisco di Giorgio, who gives Christ the appearance of an Apollo,[d] while Bramantino depicts His face

d by this type is negative, the only marked quality being a suggestion of sadness which, in painting, is necessarily present in all expression where an unconcern with human instincts and passions is depicted. The Italians in their representation of Christ were thus unable to reach the height of the Greek divine portrayals. They were confined to earth, while the Greek figures were symbols of spiritual forms which were pure products of the imagination. Giotto and his successors sought a physically perfect man with all purely human features in expression eliminated. The Greeks, even when representing divinities below Ze

ssed in the representation of the Holy Mother for more than a century. But the ideal was yet purely formal and continued so till past the middle of the fifteenth century, both in Italy and Flanders. Giotto was then excelled by many artists, but the Madonnas they produced, though often very beautiful, are not humanly attractive. They are on the side of the Angels; have never been women evidently, and are far, far away from the human type with tingling veins and heaving breath. Filippo Lippi marked the border line between this type of Madonna, and the advanced pattern p

d experience of joys and trials: she must have all these, and as well have become a mother; and yet with human beauty, her countenance must be such that by no stretch of the imagination can the possibility of desire be suggested. This was the problem, and certainly only a genius of the highest order could arrive at a so

e object contentment is a quality in expression which is indispensable, and this Raphael was careful to give, sometimes emphasizing it with a suggestion of happiness. It is not possible to go further with an expression which is to generalize the highest human physical and abstract qualities, while ke

t of her presumed age. In pictures dealing with her life soon after marriage, as for instance, the Nativity and the Flight into Egypt, the Madonna is invariably represented as many years older than she appears in Annunciation subjects, though only a year or so actually passed between the respective events. The reason for this is obvious. She must be shown with the bloom of a matured woman. The highest form of nobility cannot be disassociated from wisdom and experience, which

invariably introduced, artists of all periods, with few exceptions, have been careful to avoid suggesting the full presumed age. Commonly the age indicated is between twenty-five and thirty years, but as the face is always pale, and often somewhat drawn, her comparatively youthful appearance is not conspicuous. Obviously under no circumstances should lines be present in the features, for this would suggest a physical decay not in conformity with Christian ideas.40 Even in pictures relating to her death, which is presumed to have occurred a

l and possible privation, and we naturally expect that the effect of these will be indicated in her expression and general bearing. If away from her home her costume would usually declare her position, while habits of mind connected with her daily occupation commonly engender mannerisms in air and gait which support the inference drawn from the character of her attire. It would appear anomalous to paint a woman so situated with such beauty of form and expression that she appears

,[j] and Cimabue in painting,[k] maintained the tradition in Italy, and in the century following, Giotto,[l] Duccio,[m] Lorenzetto,[n] and others, often adopted the plan. Towards the middle of the fifteenth century, the relative importance attached to the Child in the group generally increased, and by the end of it, the old practice had been almost entirely abandoned. Meanwhile the artists had some hard problems to meet. The first was as to the size of the Child. It appeared to be generally agreed that an older Child should be represented than had been the custom, though a few artists held back, notably Fra Angelico, while in sculpture, Donatello maintained his habit of moulding the Ch

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with the Face of Luini's Salome

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hael only varied twice from these plans,[r] and in both the exceptions the Child reclines across the lap of the Virgin, so that very little of her figure is hidden. Titian has the Child standing by her side,[s] or held away from her, and in one example the Virgin is placing Him in the hands of St. Joseph.[t] Correggio, when away from the influence of Mantegna, usually showed the Child held apart from the Mother, or placed on the floor, or on a bench. It is a common device to show the Ch

act of reaching out his hand for flowers, without choosing for the moment of portrayal, an instant of transition from one part of the action to another,[aa] a point rarely overlooked by the first masters.[ab] Occasionally variety is given in the introduction of nursery duties, as for instance, washing the Child,[ac] but these are inappropriate for reasons already indicated, apart from the over strong action necessarily exhibited in such designs. Nor should the Child have an unusual expression, as this will immediately catch the eye of the observer. In one work Del Sarto actually makes Him laugh,[

may dictate, subject only to the limitations of the accepted Christian doctrines. There are certain conventions in respect of Angels and Saints, but they are by no means strict; and f

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Sistine Cha

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Calling of the Children o

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Praxiteles, and Irene and Pluto

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d Child, Arena

e Florence Acade

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Francisc

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group at Munich, and B

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s Holy Family, Bologna; and Bo

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Three Magi, Ma

throned, Sutton