Art Principles Part 28

[c] Corcoran Gallery, Washington.

[d] National Gallery, London.

[e] Preface to translation of Lessing's _Laoc.o.o.n_.

NOTE 72. PAGE 261

There is an antique sculptured group in the Vatican in which a precisely similar figure of the son of Niobe has his left hand on the shoulder of his sister who has fallen to her knees from the effect of a wound, and it is very reasonably suggested that the Florence figure originally formed part of a like group. But the explanation of the act given by Perry[a] and others, that the drapery was raised by the brother to shield the girl, will scarcely hold good, as the folds are spread out at the back, forming a concavity, whereas they would fall loosely if the youth were resting. Apart from this, his legs are widely separated, and in a running position. It may therefore be surmised that in the Vatican group the artist intended to represent the precise moment when the fleeing youth reached his sister.

[a] _Greek and Roman Sculpture._

NOTE 73. PAGE 270

It is curious that among the countless pictures of the Annunciation, in very few indeed has surprise been expressed in the countenance and att.i.tude of the Virgin, though it is impossible to imagine an incident more properly calling for profound astonishment on the part of the princ.i.p.al personage in a composition, even in the absence of startling miraculous accessories such as that introduced by Rossetti. Probably the reason for this is connected with the difficulty of expressing great surprise unaccompanied with some other feeling, as pleasure, or sorrow, or fear, but there does not seem to be any cause why an exalted joyful excitement should not be exhibited. Mrs. Jameson thinks that the Virgin should not appear startled, as She was "accustomed to the perpetual ministry of Angels who daily and hourly attended on Her,"[a] but it is questionable whether this can be properly a.s.sumed by the artist, and in any case from the point of view of art, the action should correspond with the nature of the event as it is generally understood. Of the few masters who have indicated surprise in an Annunciation picture, Tintoretto has gone the farthest. He shows the Virgin with Her lips parted, and both hands held up, evidently with astonishment,[b] an example followed by Paris Bordone.[c] Raphael in an early picture represents Her holding up one hand, but the att.i.tude might signify the reception of an announcement of importance.[d] Perugino shows Her with both hands raised, but otherwise She appears unconcerned.[e] A few other artists, including Venusti and Foppa, and among modern men, Girodet, adopt Raphael's method of composition. Rubens goes a step farther, and represents the Virgin apparently standing back with surprise, though this is only faintly suggested by the facial expression.[f]

[a] _Legends of the Madonna._

[b] Scuolo di San Rocoo, Venice.

[c] Sienna Gallery.

[d] The Vatican.

[e] Santa Maria Nouvo, Perugia.

[f] Vienna Gallery.