between the spaces on either
side of her. But having got the repose this centralisation gives,
everything is done to conceal this equality, and variety in the contours
on either side, and in any figures there may be, is carefully sought.
Raphael's "Ansidei Madonna," in the National Gallery, is an instance of
this (p. 230). You have first the centralisation of the figure of the
Madonna with the throne on which she sits, exactly in the middle of the
picture. Not only is the throne in the centre of the picture, but its
width is exactly that of the spaces on either side of it, giving us
three equal proportions across the picture. Then you have the circular
lines of the arches behind, curves possessed of the least possible
amount of variety and therefore the calmest and most reposeful; while
the horizontal lines of the steps and the vertical lines of the throne
and architecture, and also the rows of hanging beads give further
emphasis to this infinity of calm. But when we come to the figures this
symmetry has been varied everywhere. All the heads swing towards the
right, while the lines of the draperies swing freely in many directions.
The swing of the heads towards the right is balanced and the eye brought
back to equilibrium by the strongly-insisted-upon staff of St. Nicholas
on the right. The staff of St. John necessary to balance this line
somewhat, is very slightly insisted on, being represented transparent
as if made of glass, so as not to increase the swing to the right
occasioned by the heads. It is interesting to note the fruit introduced
at the last moment in the right-hand lower corner, dragged in, as it
were, to restore the balance occasioned by the figure of the Christ
being on the left. In the writer's humble opinion the extremely obvious
artifice with which the lines have been balanced, and the severity of
the convention of this composition generally, are out of harmony with
the amount of naturalistic detail and particularly of solidity allowed
in the treatment of the figures and accessories. The small amount of
truth to visual nature in the work of earlier men went better with the
formality of such compositions. With so little of the variety of life in
their treatment of natural appearances, one was not led to demand so
much of the variety of life in the arrangement. It is the simplicity and
remoteness from the full effect of natural appearances in the work of
the early Italian schools that made their painting