File:The art of the Pitti Palace - with a short history of the building of the palace, and its owners, and an appreciation of its treasures (1903) (14595218527).jpg

Identifier: artofpittipalace1903addi (find matches)
Title: The art of the Pitti Palace : with a short history of the building of the palace, and its owners, and an appreciation of its treasures
Year: 1903 (1900s)
Authors: Addison, Julia de Wolf Gibbs, 1866-
Subjects: Palazzo Pitti Painting
Publisher: Boston : L.C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ne foot nineinches. The composition is perfectly satisfactory. Itcombines the spiritual and earthly elements to aremarkable degree. It has much of that sweet pietyof sentiment that one sees in Perugino and theearlier Tuscan painters. The Madonna appears infull face, holding the Child seated on her left hand,while with her right hand she gives him the usualsupport suggested by his position. The infantseyes are directed toward the beholder, though lowerthan the eye level, and the mother is looking inthe same direction. There is a suggestion of ele-,vation in this arrangement, as if the two holy beingswere looking downward upon the world; in thechilds body there is a very human turn towards hismother, as though for protection. As Mr. Still-man says, she has the simplicity of a Greek statueand the sweetness of a Christian saint. One can readily understand how restful it musthave been for Ferdinand, after a tedious journey ofthe eighteenth century, to sit down before this noblework of art.
Text Appearing After Image:
MADONNA DEL GRANDUCABy Raphael; in the Hall of Saturn Ube Dall ot Saturn 171 The robe of the Madonna is a soft red, and themantle blue, verging on green. She has a whiteveil over her light hair, and the eyebrows are veryslightly defined. As the fashion of the day was topluck out the hairs from the eyebrows and forehead,this feature is evidently intended to convey the localidea of beauty. The eyelids are heavy; as Harepoints out, the holy, honest, and sad eyelid . . .which is exaggerated in the works of Francia andPerugino. This is one of the few Madonnas inwhich only the Virgin and Christ appear. Thereare no accessories; the draperies are of the simplest,the child being nude except for a little scarf whichis twisted about him. The mystical element sug-gested by a thread-like halo above each head is theonly bit of deliberate symbolism introduced. This is a picture which illustrated the transitionfrom the first manner of Raphael to his second.Muntz may be quoted: It showed that he hadac

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