First of all, there is much pathos in
the reappearance in the fuller curves of the face of the child, of the
sharper, more chastened lines of the worn and older face, which leaves
no doubt that the heads are those of a little child and its mother. A
feeling for maternity is indeed always characteristic of Leonardo; and
this feeling is further indicated here by the half-humorous pathos of
the diminutive, rounded shoulders of the child. You may note a like
pathetic power in drawings of a young man seated in a stooping posture,
his face in his hands, as in sorrow; of a slave sitting in an uneasy
inclined posture, in some brief interval of rest; of a small Madonna and
Child, peeping sideways in half-reassured terror, as a mighty griffin
with batlike wings, one of Leonardo's finest inventions, descends
suddenly from the air to snatch up a lion wandering near them. But note
in these, as that which especially belongs to art, the contour of the
young man's hair, the poise of the slave's arm above his head, and the
curves of the head of the child, following the little skull within, thin
and fine as some seashell worn by the wind.
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