the first of four surpassingly
beautiful portraits of women which four great painters gave in
succession to the world. The others, to be spoken of afterwards, are
Raphael's 'Fornarina,' Titian's 'Bella Donna,' and Rubens' 'Straw Hat.'
About the original of 'La Jaconde' there never has been a mystery such
as there has been about the others. At this portrait the unsatisfied
painter worked at intervals for four years, and when he left it he
pronounced it still unfinished. 'La Jaconde' is now in the Louvre in
nearly ruined condition, yet a judge says of it that even now 'there is
something in this wonderful head of the ripest southern beauty, with its
airy background of a rocky landscape, which exercises a peculiar
fascination over the mind.'

There is a painting of the Madonna and Child Christ said to be by
Lionardo, and probably, at least, by one of his school, and which
belongs, I think, to the Duke of Buccleuch, and was exhibited lately
among the works of the old masters. The group has at once something
touching and exalted in its treatment. The Divine Child in the Mother's
arms is strangely attracted by the sight of a cross, and turns towards
it with ineffable longing, while the Virgin Mother, with a pang of
foreboding, clasping the child in her arms, seeks to draw him back.

The fragment of the cartoon in which Lionardo competed with Michael
Angelo, may be held to survive in the fine painting by Rubens called
'the Battle of the Standard.' Of a famous Madonna and St Anne, by
Lionardo, the original cartoon in black chalk is preserved under glass
in our Royal Academy.[6]

Michael Angelo Buonarroti, born at Castel Caprese near Tuscany, 1475, is
the next of these universal geniuses, a term which we are accustomed to
hold in contempt, because we have only seen it exemplified in parody.
After Lionardo, indeed, Michael Angelo, though he was also painter,
sculptor, architect, engineer, poet, musician, might almost be regarded
as restricted in his pursuits, yet still so manifold was he, that men
have loved to make a play upon his name and call him 'Michael the
angel,' and to speak of him as of a king among men.

Michael Angelo was of noble descent, and though his ancient house had
fallen into comparative poverty, his father was mayor or podesta of
Chiusi, and governor of the castle of Chiusi and Caprese. Michael Angelo
was destined for the profession of the law, but so early vindicated his
taste for art, that at the age of