Image from page 115 of "Leonardo da Vinci, artist, thinker and man of science" (1898)
Authors: Müntz, Eugène, 1845-1902
Subjects: Leonardo, da Vinci, 1452-1519
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
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pre-occupation with astonishino-problems of chiaroscuro, of greater subtlety than those of Correggio,The sketch, in fact, is a grandiose creation, containing passages in aheroic style peculiar to Leonardo ; the heroism here is more human,more picturesque, less abstract than that of Michelangelo. The principal scene takes place in the open air, in a wide landscape,with lofty trees in the centre, and rocks in the background. The oxand the ass have disappeared. In the foreground, about the middle ofthe composition, the Virgin is seated ; smiling, yet deeply moved, shepresents her Son to the adoring kings. Her attitude has been slightlymodified in the interval between the execution of the Galichon drawingand that of the Uffizi cartoon. In the former, she was seen almost inprofile, bending forward; she is now erect, and has more dignity inher bearing, greater liberty in her gaze. She is charming both inexpression and attitude, her left foot drawn back over her right, a 72 LEONARDO DA VINCI
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STUDY FOR THE OF THE MAGI. (Malcolm Collection, British Museum.) motive which seems to have inspired Raphael in the Madonna diFoligno, where the same pose of foot and head is adopted. The Child has undergone modifica-tions no less important.In the drawing, he wasseated on his mothersknee, and turning his backto her, he bent forward tothe king kneeling beforehim ; in the cartoon, herests comfortably uponher lap, reclining ratherthan sitting, his right handgracefully raised, whilewith his left he touches the vase the donor offers him. The latter, who was naked in the Galichon drawing, is now draped in an ample cloak ; instead of holding out the vase to the Child with both hands, he offers it with one, resting the other upon the ground. In short, there is not a figure in the group which does not testify to the enormous amount of work bestowed on the composition. The spectators on either side call for our special attention. Some are full of majesty, others of eager animation. They are gro
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