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If, on the other hand, he is playing for social success and to get a reputation for being clever, then no matter how dexterous his work may be, it is but another mode of the speaking with the tongues of men and angels without charity; it is as sounding brass or a tinkling cymbal, full of sound and fury signifying nothing. The Ansidei Raffaelle
I remember the time when I used to think I saw religious feeling in these last two pictures, but each time I see them I wonder more and more how I can have been taken in by them. I hear people admire the head of S. Nicholas in the Ansidei picture.
I can see no ineffable expression in the Ansidei Madonna's head, nor yet in that of the Garvagh Madonna in our gallery, nor in the S. Catharine. He has the saint-touch, as some painters have the tree-touch and others the water-touch.
The beauty of his Madonnas was being discussed in every studio, and when the "Ansidei" was exhibited in the Church of Santa Croce, such a crowd flocked to see the picture that services had to be dismissed.
Compare with Raphael's Ansidei Madonna, and note how energy and movement take the place of static calm in the balance of this composition. A pleasing proportion that often occurs in nature and art is one that may be roughly stated in figures as that between 5 and 8. In such a proportion the eye sees no mathematical relationship.
There were roller maps upon the walls, and two or three engravings, Bougereau's "Virgin of Consolation," the "Madonna dei Ansidei" of Raffaelle, and a "Crucifixion" over the chimneypiece, which had three little statuettes in tinted alabaster a St. Ignatius at one end, a St. Anthony of Padua at the other; in the middle, the Virgin bearing the Child.
No one will doubt its genuineness who compares the drawing, painting and feeling of S. Catharine's eyes and nose with those of the S. John in the Ansidei picture. The doubts have only been raised owing to the fact that the picture, being hung on a level with the eye, is so easily seen to be bad that people think Raffaelle cannot have painted it.
An altar-piece, executed for the church of the Serviti at Perugia, inscribed with the date 1506, is the famous Madonna dei Ansidei, purchased for the National Gallery from the Duke of Marlborough. Besides the dreamy religious feeling of the School of Perugia, we perceive here the aim at a greater freedom, founded on deeper study. Raphael was soon back in Florence, where he remained until 1508.
I believe, however, that at least half of those who sit gazing before this Ansidei Raffaelle by the half-hour at a time do so rather that they may be seen than see; half, again, of the remaining half come because they are made to do so, the rest see rather what they bring with them and put into the picture than what the picture puts into them. And then there is the charm of mere age.
It is written that he was "the only very distinguished man of whom we read, who lived and died without an enemy or detractor!" No better can ever be said of any one. While he dwelt in Perugia and Urbino he had painted the "Ansidei Madonna," so called because that was the name of the family for which it was painted.
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