The most frequently used form of support for figures in suspension are irregular masses of clouds, upon which the figures sit or stand, and occasionally are partly enfolded therein. Sometimes the cloud bank is more or less shaped for the purpose of relief, or for variety in design. Thus, Raphael makes part of the cloud a perfect footrest for the Virgin,[w] and Palma Giovane does a similar thing for a figure of Christ,[x] but in this case the illusion is hazarded as the seat is not directly indicated. Ingres produces an excellent illusion by making the footrest a small separate cloud,[y] which is a variation from the practice of many painters of the Renaissance, who used a separate cloud for each personage in the composition, or even with each foot as with Carlo Crivelli.[z] In a fresco of the Evangelists at Florence, each of them sits with his insignia on a foliated bank of clouds.[aa] Perugino in using a similar plan sometimes places the clouds at the bottom of the picture, no part of the earth being seen, so that the illusion is considerably enhanced.[ab] At other times he shows Angels apparently running through the air, with each front foot resting on a tiny cloud, giving the impression that it is fastened there.[ac] Durer extended this plan by directly attaching a small cloud to each foot, the effect being somewhat whimsical.[ad] Titian was unsuccessful in the use of an isolated cloud.[ae] In a Resurrection scene Christ stands on a small thin cloud, and holds a flag-pole, the lower end of which rests upon the cloud. Obviously with such a design no suggestion of ascent can enter the mind.
Patricia, by Lydia Emmet
(Private owner, N. Y.)
(See [page 247])
Some artists, as Luca Signorelli,[af] hide the lower part of the figure behind clouds, but this method, while indicating suspension, cannot provide an illusion of movement without an assisting device. Thus Schonherr shows an Angel so concealed in a nearly horizontal position with wings fully expanded, the effect being good.[ag] When a figure is suspended on clouds, very rarely indeed is repose emphasized by placing it in a horizontal position, but Poussin once adopts the plan,[ah] and Guercino goes so far as to represent a reclining Angel resting her head on her hand as if suffering from fatigue.[ai] Perfect repose of the Deity in an upright position on clouds is produced by Gustave Doré, who reduces the size of the earth, above which He stands, to an insignificant proportion, so that the imagination sends it moving round below Him.[aj]
Quite a number of artists represent the suspended figures standing on the backs of cherubs or cupids, which in their turn are supported by clouds, as for instance, R. Ghirlandaio,[ak] Liberale di Verona,[al] and Francesco da Cotignola.[am] Fra Bartolommeo places a single foot of the Deity on a cherub who holds a banderole, the illusion being excellent.[an] Domenichino adopts a most ingenious device in St. Paul's Vision. He shows the Apostle being carried to Heaven by winged cherubs, who appear to find the weight considerable, and to struggle under it. There is little else to induce the illusion, which is complete.[ao] A similar scheme is successfully managed in Prud'hon's Abduction of Psyche. Tassaert uses a like device, but in addition has a cherub supporting each arm of the Virgin. Palma Vecchio makes the Virgin stand on the outstretched wings of a cherub, but her robe blows upwards, giving her the appearance of descending instead of ascending.[ap] Rubens has three alternatives in the use of cherubs. The figure sits on clouds with feet resting on small globes sustained by cherubs[aq]; or the cherubs hold the dress and mantle of the Virgin; or they help to control the clouds upon which she sits.[ar] In some of his pictures of the Immaculate Conception, Murillo also uses globes, but places the cherubs on them instead of under. Francia has a picture in which cherubs hold up clouds bearing the Virgin,[as] a device once used by Rembrandt.[at] Genga shows the Deity kneeling upon the heads of cherubs, a scheme not satisfactory.[au] Cherubs were used by Titian to hold up the Virgin and clouds,[av] while Velasquez rested the robes on clouds, but used cherubs to sustain the Holy Mother.[aw]
The illusion is usually more complete when Angels are used instead of cherubs for support, apparently because they may be presumed to have greater strength, and the plan was adopted by some of the earlier masters of the Renaissance. The simple design of Rubens in resting the foot of Christ on the arm of a flying Angel is quite successful.[ax] Fontana places the Deity on clouds supported by Angels,[ay] a method adopted by Granacci, who however assists the illusion by adding two Angels who are directly supporting the figure.[az] Peter Cornelius has the Deity with His foot on a small globe which is held in position by Angels.[ba] A fine example of their use is shown by Gutherz. Two Angels with large outstretched wings are bearing the body of a woman to Heaven. She lies recumbent upon a lengthy hammock formed by the robes of the Angels, the ends of the drapery being gathered up by the flying cherubs.[bb] The illusion is perfect. Rembrandt also has a beautiful design in a Resurrection scene, for he shows the figure of Christ as a shade whose hands are held by a flying Angel lifting Him to Heaven.[bc] A few artists, as Poussin[bd] and Bouguereau,[be] use Angels to carry the figure with no other assisting device, but if the body is recumbent it is necessary that the Angels should be in a nearly upright position, otherwise they will appear to be moving horizontally.[bf] Rubens in an Ascension uses the strange method of placing an Angel beneath Christ, but without touching Him.[bg] The drapery flies out at the back, so that without some assistance he would appear to be descending; but the Angel below, with her hands held up, seems to correct the position. Guido Reni carries the Virgin up with Angels who support her beneath, and she seems in fact to be standing on their shoulders.[bh] In one instance Correggio substitutes a smiling boy for an Angel, and he holds up a cloud on which the Virgin sits.[bi] There are many works where winged figures hold a body in suspension, most of them providing excellent illusions. Among the best is Lux's Sarpedon, where the body of the Trojan is held up for Jupiter to kiss.[bj]
Even a simple banderole or scarf suffices to indicate movement in the air if well arranged. Usually a flying cherub holds an end of the banderole, and Ferri shows a wingless putto even, flying with no other assistance.[bk] Boucher creates an illusion by the bold device of connecting two cupids with a narrow scarf blown out into a semicircle[bl]; and in another instance very narrow tape streamers suffice.[bm]
The use of thick smoke for suspension purposes is nearly always successful, because volumes of smoke in nature necessarily tend to move upwards; but obviously this scheme can only be arranged when an altar is possible. The plan is not uncommon in pictures relating to Cain and Abel, and the Translation of Enoch. In one of the latter subject, Hoet makes part of the smoke from an altar envelop the surrounding ground so as to widen the volume, while Schnorr achieves the same end by curling round the smoke as it ascends into the form of a large saucer upon which the Deity sits,[bn] a method slightly varied by Amiconi.[bo]