Though the bishop of Paphos comes to render thanks, his attitude is far from humble. There are no bowed heads in the kneeling company. These proud Pesari all hold themselves erect in conscious self-importance. It is as if they were taking part in some pageant. Only the face of the youth in the corner relaxes from dignified impassivity and looks wistfully out at us.
The Madonna leans graciously from her high throne and looks into the face of the bishop. She, too, has the proud aspect and demeanor which these haughty Venetians would demand of one whom they were to honor. Her splendid vitality is what impresses us most forcibly. The child is a merry little fellow who does not concern himself at all with the ceremony. He has caught up his mother’s veil in the left hand, drawing it over his head as if in a game of hide and seek with St. Francis. The little foot is kicked out playfully as he looks down into the good saint’s face.
Let us consider a moment the skill with which Titian has united the various parts of his picture. The canvas was of an awkward shape, being of so great height. To fill the space proportionately, the Virgin’s throne is placed at a height which divides the picture. The little cloud-borne cherubs break the otherwise undue length of the temple pillars. The composition of the group is outlined in a rather odd-shaped triangle. All its main lines flow diagonally toward a focus in the face of the Virgin, who is of course the dominant figure in the company.
Notice the continuous line extending from the top to the bottom of the group. The folds of the Madonna’s drapery are ingeniously carried on in the rich velvet throne hanging; and St. Peter’s yellow mantle falls well below, where the bishop’s robe takes up the lines and carries them to the pavement. There is a veritable cascade of draperies flowing diagonally through the centre of the picture. The staff of the banner describes a line cutting this main diagonal at exactly the same angle, and thus avoiding any one-sided effect in the picture. In the right of the composition the outline of the Christchild’s figure, the arm of St. Francis, and the stiff robe of Benedetto make a series of lines which enclose the triangle on that side.
The critic Ruskin has enunciated a set of laws of composition nearly all of which find illustration in this painting.[29] Principality is well exemplified in the prominence of the Virgin’s position and the flow of the lines toward her. Repetition, Contrast, and Continuity, are seen in the drawing of the compositional lines, as has been indicated. Finally, the picture is perfect in Unity, which is the result of masterly composition, its many diverse parts being bound closely together to form a harmonious whole.
XV
St. John the Baptist was the cousin of Jesus, and was the elder of the two by about six months. Before his birth the angel Gabriel appeared to his father, Zacharias, and predicted for the coming child a great mission as a prophet. His special work was to prepare the way for the advent of the Messiah.