Raphael's Holy Family (Madrid), with the Face of Luini's Salome Substituted for that of the Virgin
(See [page 139])
The plans usually adopted by the greatest masters, were, to present the maximum repose with the Child sitting in the lap of the Virgin; or to place Him apart from her, and engaged in some slight action; or to show Him in the arms of the Virgin, either held at the side, or in front, with the Virgin more or less in profile. In all of these schemes the serene contemplation of the Holy Mother is practically undisturbed. In his many groups of the Virgin and Child, and of the Holy Family, Raphael 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,[] 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 Child on the lap of the Virgin, but leaning over to take a flower or other object offered Him,[] and numerous artists allow Him to play around separately.[v] In Holbein's fine group at Augsburg, the Child stands between the Virgin and St. Anne, and another German painter shows Him held up by the same personages, but clear from both of them.[w] Murillo commonly stands the Child at the side of the Virgin, but in one picture adopts the novel method of placing Him in the arms of St. Joseph.[x]
When the Child is shown distinctly apart from the Virgin, or leaning away from her lap, great care is necessary in avoiding strength in the action, otherwise it will draw attention away from the Virgin. A notable example of this defect is in a picture by Parmigiano, where the Child leans over and has his head brought close to that of a kneeling Saint who is caressing Him, the effect being most disturbing.[y] Bramantino shows the Child in an extraordinary attitude, for He holds His head above His arms without any apparent reason, the action confusing the design.[z] Many artists represent Him in the 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,[ad] and a modern artist gives Him an expression of fear.[ae] It is questionable whether Masaccio[af] and others (including A. della Robbia and Rossellino in sculpture) did not go too far in portraying the Child with a finger in its mouth, for although such an incident is common with children, in this case it seems opposed to propriety. Generally the first artists have striven to free the figure of the Virgin as far as possible, and this is in conformity with first principles, for it simplifies the view of the chief figure in the composition. In all cases repose should be the keynote of the design.
There are no general ideals in Christian art other than those mentioned. The presumed occupants of the Celestial regions beyond these Personages, are painted as the fancy of the artist 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 for the Old Testament prophets, Michelangelo's work in the Sistine Chapel is commonly taken as a guide. It is scarcely likely that his examples will ever be exceeded in majestic beauty.
FOOTNOTES:
[a] And in the drawing for the picture at the Brera.
[] Christ Blessing at the Brescia Gallery.