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Updated: June 2, 2025
I quote the following from Pater's description of "La Gioconda": The presence that thus rose so strangely beside the waters, is expressive of what in the ways of a thousand years men had come to desire. Hers is the head upon which all "the ends of the world are come," and the eyelids are a little weary.
The first two acquired as great a fame in architecture and in sculpture as in painting; the last two were primarily painters. His great paintings the Holy Supper and Madonna Lisa, usually called La Gioconda carried to a high degree the art of composition and the science of light and shade and color.
For expression is but too often the ruin of a face; and, since we cannot, as yet, so order the circumstances of life that women shall never be betrayed into 'an unbecoming emotion, when the brunette shall never have cause to blush nor La Gioconda to frown, the safest way by far is to create, by brush and pigments, artificial expression for every face. And this say you? will make monotony?
His immobility, his admiration, can only be understood by other souls open to ideal beauty, to the ineffable joy of beholding art made perfect; such as these can stand for whole hours before the Antiope Correggio's masterpiece before Leonardo's Gioconda, Titian's Mistress, Andrea del Sarto's Holy Family, Domenichino's Children Among the Flowers, Raphael's little cameo, or his Portrait of an Old Man Art's greatest masterpieces.
Professor Legros with impartial judgment assures us that both are copies of a lost original; 1597, a doubtful attribution, is a rather effeminate John the Baptist, by some critics believed to be a second Gioconda portrait; 1600, the supposed portrait of Lucrezia Crivelli, mistress of Ludovico il Moro, is also ascribed by the official catalogue to Da Vinci.
And so the picture becomes more wonderful to us than it really is, and reveals to us a secret of which, in truth, it knows nothing, and the music of the mystical prose is as sweet in our ears as was that flute- player's music that lent to the lips of La Gioconda those subtle and poisonous curves.
Which sent Aunt Charlotte bustling away in a huff to look after her household duties. "It's all very sad and very ugly, isn't it, Gioconda?" sighed Austin, as he lifted the large, white, fluffy animal upon his lap. "You're a great philosopher, my dear; I wish I were as wise as you. You're so scornful, so dignified, so divinely egoistic. But you don't mind being worshipped, do you, Gioconda?
I shouldn't think it would suit your voice. Oh, I can make a pretty good guess at what will suit you! This from 'Gioconda' is more in your line. What's this Grieg? It looks interesting. TAK FOR DITT ROD. What does that mean?" "'Thanks for your Advice. Don't you know it?" "No; not at all. Let's try it." He rose, pushed open the door into the music-room, and motioned Thea to enter before him.
You can come and look at them by yourself with your Baedeker." When they arrived at the Louvre Philip led his friend down the Long Gallery. "I should like to see The Gioconda," said Hayward. "Oh, my dear fellow, it's only literature," answered Philip. At last, in a small room, Philip stopped before The Lacemaker of Vermeer van Delft. "There, that's the best picture in the Louvre.
A characteristic ceiling decoration, Rebellion and Treason, from the Hall of the Council of the Ten at Venice; and 1190, N. wall, Holy Family, are by the same artist. The Portrait, 1601, N. wall, by Da Vinci of his friend Monna Lisa, wife of Fr. del Giocondo, known as La Gioconda, is the most fascinating picture in Europe.
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