They are the first
things I have seen worthy of my ideas of Raphael.
As to the Madonna, I think that, when Wilkie says she is "nearer the
perfection of female elegance and grace than any thing in painting,"
he does not speak with discrimination. Mere physical beauty and grace
are not _the_ characteristics of the figure: many more perfect
forms can be found, both on canvas and in marble. But the merits of
the figure, to my mind, are, first, its historic accuracy in
representing the dark-eyed Jewish maiden; second, the wonderful
fulness and depth of expression thrown into the face; and third, the
mysterious resemblance and sympathy between the face of the mother and
that of the divine child. To my eye, this picture has precisely that
which Murillo's Assumption in the Louvre wants: it has an unfathomable
depth of earnestness. The Murillo is its superior in coloring and
grace of arrangement. At first sight of the Murillo every one exclaims
at once, "Plow beautiful!"--at sight of this they are silent. Many are
at first disappointed; but the picture fastens the attention, and
grows upon the thoughts; while that of Murillo is dismissed with the
words of admiration on the lips.
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