1 00:00:00,300 --> 00:00:08,880 Good afternoon, ladies and gentlemen. Thank you. Thank you so much for braving the weather. 2 00:00:08,880 --> 00:00:19,760 And I will get started. So I'll start with that. 3 00:00:19,760 --> 00:00:29,510 It's never easy to judge such things, but I suspect Frederique Baraat, she is the most unfamiliar of all the heroes of this lecture series. 4 00:00:29,510 --> 00:00:38,060 He was unquestionably the last with whom I got to grips, thus missing the vast and extraordinary exhibition devoted to him, 5 00:00:38,060 --> 00:00:46,700 which Andrei Emiliana organised in Bologna in 1975 when I was an undergraduate and could have gone. 6 00:00:46,700 --> 00:00:54,680 And yet he is quite possibly the one who now gives me the most sheer pleasure. 7 00:00:54,680 --> 00:01:05,270 He lived a long and patiently industrious life. He was born around fifteen, 33 or 35 and died in sixteen twelve. 8 00:01:05,270 --> 00:01:09,640 And he executed a considerable number of substantial paintings, 9 00:01:09,640 --> 00:01:16,640 all of or almost all of which are religious and subject matter, even more crucially in the present context. 10 00:01:16,640 --> 00:01:22,790 He was also, without question, the most prolific draughtsman of the entire Italian renaissance, 11 00:01:22,790 --> 00:01:32,960 and a vast number of his drawings have survived, above all, in two huge concentrations, respectively, in Berlin and the Ft. 12 00:01:32,960 --> 00:01:41,990 In fact, a major consequence of the sheer scale of his drawn IRV is that the does not yet exist a complete catalogue of his drawings. 13 00:01:41,990 --> 00:01:52,070 Although many are published and illustrated in the two editions of André Emiliana, is fundamental monograph on his work in consequence. 14 00:01:52,070 --> 00:01:58,280 And number of the sheets I will be showing this afternoon are virtually unknown, 15 00:01:58,280 --> 00:02:07,340 and I therefore crave your forgiveness, as if a few of the images of them are a Bishoff broadsheet. 16 00:02:07,340 --> 00:02:10,730 Virtually never stirred from his native Urbino. 17 00:02:10,730 --> 00:02:22,520 After a brief youthful Sadan in Rome, which he fled, convinced that jealous rivals had invited him to a meal and poisoned his salad. 18 00:02:22,520 --> 00:02:31,820 It is tempting to assume that he was in fact suffering from some sort of digestive disorder, such as an ulcer or irritable bowel syndrome. 19 00:02:31,820 --> 00:02:39,770 But in any event, the consequence was that he refused to travel and that work had to come to him. 20 00:02:39,770 --> 00:02:48,500 His success at home and the wide diffusion of his paintings are both reflections of the extraordinary esteem in which he was held. 21 00:02:48,500 --> 00:02:53,690 Baraat cheese Garbo like reclusiveness proves to have been a godsend when it comes 22 00:02:53,690 --> 00:02:58,730 to reconstructing the evolution of the commission for the Madonna del Popolo, 23 00:02:58,730 --> 00:03:00,830 the Madonna of the People, 24 00:03:00,830 --> 00:03:11,810 which is signed and dated fifteen seventy nine because every stage of the process was perforce chronicled in written form and by good fortune. 25 00:03:11,810 --> 00:03:20,210 These records have been preserved. The epistolary pingpong amounts to almost 30 letters. 26 00:03:20,210 --> 00:03:25,150 The work in question was executed for the altar of the chapel of the fraternity that they lay. 27 00:03:25,150 --> 00:03:31,310 She also called the fraternity Della Misericordia in the mediaeval church of Santa Maria. 28 00:03:31,310 --> 00:03:41,270 They'll appear there at Arezzo. This altar had been constructed for the Brotherhood in 15 72 by no lesser figure than Giorgio. 29 00:03:41,270 --> 00:03:49,790 Vasari, who had been born in Arezzo, lived there during his last years and was a member of the confraternity to boot. 30 00:03:49,790 --> 00:04:01,400 And that same year, they had entrusted him with the task of executing their altarpiece to fill the altar frame and Adelfa and him 200 scooty to do so. 31 00:04:01,400 --> 00:04:08,630 But his death on the two incidents of June 15 74 meant they had to look further afield. 32 00:04:08,630 --> 00:04:18,620 Less than a month after the Sari's demise, they wrote to Knoff for a year or so, only the community of Aretz as ambassador at the court of Kosmo. 33 00:04:18,620 --> 00:04:27,250 The first day made history in Florence to ask his advice about a possible replacement by the 30th of October. 34 00:04:27,250 --> 00:04:32,790 Fifteen seventy, the rectors of the Pier comfort families that had addressed their first letter to 35 00:04:32,790 --> 00:04:40,580 Rosalie's recommendation Baraki concerning the possibility of executing their altarpiece. 36 00:04:40,580 --> 00:04:45,810 The intriguing fact that reassembly chose Baraki as opposed to a Florentine painter in FACA. 37 00:04:45,810 --> 00:04:55,190 His image has not generally been commented upon. But there is some evidence of context between Biraj in Florence and moreover, 38 00:04:55,190 --> 00:05:05,810 he had clearly already acquired a certain reputation by this date in 15 68 for Saari himself and described him as a Jovanna. 39 00:05:05,810 --> 00:05:16,070 The ground there as that Your Honour, which in Dickensian mode may be translated as a youth with great expectations. 40 00:05:16,070 --> 00:05:24,770 In that initial communication from the confrontation with the subject of the altarpiece pieces already specified, 41 00:05:24,770 --> 00:05:29,900 they refer to even Mysteria della Misericordia at the Miss. 42 00:05:29,900 --> 00:05:40,100 The Mystery of Misericordia, the subject now known as the Madonna della Misericordia, in which, 43 00:05:40,100 --> 00:05:44,840 as most memorably in the example you're seeing by Piero della Francesca, 44 00:05:44,840 --> 00:05:51,210 the Virgin is represented sheltering the faithful under her outstretched mantle. 45 00:05:51,210 --> 00:06:00,170 Baraat she was clearly impressed by the desirability of winning the contract and in effect replied by return on the 5th of November. 46 00:06:00,170 --> 00:06:07,520 His letter is amusingly torn between his desire to accommodate his potential patrons and his determination 47 00:06:07,520 --> 00:06:15,260 to make it abundantly plain from the outset that he does not want to paint the Madonna della Misericordia. 48 00:06:15,260 --> 00:06:18,470 He suggests that whereas the Madonna dilemma is very guarded, 49 00:06:18,470 --> 00:06:31,130 there is not a subject or pop up proposal or puffery when Abela Favella not a subject that's appropriate to make a beautiful painting. 50 00:06:31,130 --> 00:06:35,690 There are numerous other mysteries or histories. 51 00:06:35,690 --> 00:06:40,850 The term seemed to be being employed interchangeably here of the Virgin, 52 00:06:40,850 --> 00:06:47,420 which would fit the bill and specifies the annunciation, the visitation and the assumption. 53 00:06:47,420 --> 00:06:52,940 There remains the question of why baraat she was so averse. 54 00:06:52,940 --> 00:06:57,290 The prospect of painting a representation of the Madonna della Misericordia, 55 00:06:57,290 --> 00:07:02,870 which would have been the natural preference of a confraternity dedicated to that devotion. 56 00:07:02,870 --> 00:07:09,560 The most plausible reason is that he had just executed an old piece on a closely related theme, 57 00:07:09,560 --> 00:07:19,730 or was even still in the process of so doing in this immaculate conception, which you see on the right now in the gallery. 58 00:07:19,730 --> 00:07:22,970 And that's a nice, immaculate B.M. Baraat. 59 00:07:22,970 --> 00:07:31,010 She depicts the virgin standing on a crescent moon with her arms outstretched and her mantle billowing out to her left, 60 00:07:31,010 --> 00:07:38,270 flanked in the manner of a Madonna della Misericordia by the faithful to either side below. 61 00:07:38,270 --> 00:07:44,540 These donors are shown busked lengths in order to achieve a suitable effect of subordination, 62 00:07:44,540 --> 00:07:54,290 while at the same time issuing the archaic convention of representing such supporting players on a diminutive scale in the way parodied. 63 00:07:54,290 --> 00:07:59,570 Unsurprisingly, this novel conception was not arrived at immediately. 64 00:07:59,570 --> 00:08:07,610 A pen and wash drawing over black chalk on grey blue paper heightened with white by baraki in the move, 65 00:08:07,610 --> 00:08:13,790 which I am showing you represents a somewhat different first idea for the altarpiece. 66 00:08:13,790 --> 00:08:17,330 I should add that the framing elements you see, 67 00:08:17,330 --> 00:08:25,970 which are not reproduced in any of the broadsheet literature are original and were drawn by him in spite of the fact 68 00:08:25,970 --> 00:08:35,360 that it conspicuously lacks a single attribute or symbol customarily connected with the Immaculate Conception, 69 00:08:35,360 --> 00:08:43,460 which was the confraternity as diverse as sheet in the FT. 70 00:08:43,460 --> 00:08:47,680 He has routinely been linked with the albino altarpiece. 71 00:08:47,680 --> 00:08:52,250 This is the sheet I am showing you on the right. 72 00:08:52,250 --> 00:08:57,290 However, recently Stuart Lingo has made the brilliant suggestion that this fits. 73 00:08:57,290 --> 00:09:05,540 He drawing may instead be a first idea for the aretz or altarpiece for the Madonna del Popl. 74 00:09:05,540 --> 00:09:12,020 This seems all but proven by a crucial difference between the two commissions he overlooked, 75 00:09:12,020 --> 00:09:23,720 whereas the Immaculate Conception studies for if allit from the left, the Madonna del Popolo and the Fitzroy drawing are lit from the right. 76 00:09:23,720 --> 00:09:26,510 In any event, 77 00:09:26,510 --> 00:09:36,870 it is hardly surprising if baraat she was loath to repeat much the same compositional idea in what was all but his next major commission. 78 00:09:36,870 --> 00:09:46,220 Although the feats of drawing appears to demonstrate that he was briefly willing to explore that possibility after the initial contact, 79 00:09:46,220 --> 00:09:50,900 there follows an exchange of letters from the 12th of November fifteen seventy four to the 19th of May, 80 00:09:50,900 --> 00:09:58,130 fifteen seventy five in which directors of the confraternity tried to cajole Baraki into coming to a rate. 81 00:09:58,130 --> 00:10:01,610 So to view the old piece's destination, 82 00:10:01,610 --> 00:10:11,390 both to see the lighting of the space firsthand and to discuss the details of the work subject matter and baraat, she pleads ill health. 83 00:10:11,390 --> 00:10:15,770 He cannot ride a horse for even two miles, he explained. 84 00:10:15,770 --> 00:10:24,650 Proposes that they should send him a rough ground plan of the chapel, principally indicating where the light comes from. 85 00:10:24,650 --> 00:10:32,020 Whether it comes from the left or the right, something he evidently knew when he executed get back. 86 00:10:32,020 --> 00:10:40,640 We executed that graffiti drawing, even sending Maestro Bastiano Scarpelli now, 87 00:10:40,640 --> 00:10:48,850 who is referred to in other documents, including the contract as Sebastiano de Giovannelli school tour. 88 00:10:48,850 --> 00:10:56,330 Our team now and our time Sculptor two or BNA was an emissary fails to dislodge their quarry. 89 00:10:56,330 --> 00:11:06,380 Finally, on the 18th of June, fifteen seventy five and in the presence of the artists, the contracts for the altarpiece is drawn up. 90 00:11:06,380 --> 00:11:17,360 It outlines the broad requirements concerning subject matter, specifying that the historia the history, which is arguably hardly the most used, 91 00:11:17,360 --> 00:11:28,280 should represent the most glorious Virgin Mary interceding and praying to her son, Jesus Christ for the people popolo and further. 92 00:11:28,280 --> 00:11:34,070 That said, people should be portrayed in their various appropriate characters. 93 00:11:34,070 --> 00:11:43,760 No details are given concerning the representation of the people, but it seems reasonable to suppose, as will be discussed more fully in due course. 94 00:11:43,760 --> 00:11:52,100 The baraat, she had already provided the confraternity with some sort of relatively finished drawing of the overall composition, 95 00:11:52,100 --> 00:12:00,530 which would have made plain the Aykan graphical originality of his scheme, which will be addressed at the end of this lecture. 96 00:12:00,530 --> 00:12:09,860 When I will also explain both its hitherto unrecognised true subject matter and its precedents to return to the contract there then follows. 97 00:12:09,860 --> 00:12:15,920 Not quite as an afterthought, a stipulation that baraat she must, in addition, 98 00:12:15,920 --> 00:12:25,880 paint a small tondo corresponding to a similar Randol carved in stone in the pediment of the Chappells pre-existing alter, 99 00:12:25,880 --> 00:12:35,720 whose figure or figures shall be at his discretion. The vagueness of this final requirement is surprising, since, as will eventually become apparent. 100 00:12:35,720 --> 00:12:46,590 The inclusion of God the father, which is what was actually painted somewhere within the composition, was all but obligatory in a Madonna del Popolo. 101 00:12:46,590 --> 00:12:52,980 The Tondo in question, which is far from perfectly preserved, remained in a red. 102 00:12:52,980 --> 00:13:00,560 So when the main panel made its way to Florence and it's hidden away in the ownership of the confraternity, 103 00:13:00,560 --> 00:13:11,840 and you're seeing it here in a very murky photo. The remaining clauses of the contract concerned with various practical matters. 104 00:13:11,840 --> 00:13:16,040 Predictably enough, since Biraj, she was a card carrying perfectionist. 105 00:13:16,040 --> 00:13:18,740 The altarpiece was not completed on time. 106 00:13:18,740 --> 00:13:26,650 And over the next four years, there were a number of letters which chronicle the artist's threadbare excuses and his patrons mounting frustration. 107 00:13:26,650 --> 00:13:32,030 A note of the thirty first marked 50 and 79 and the Constance's papers alludes to 108 00:13:32,030 --> 00:13:35,720 the idea of sending Baraki a letter of congratulation on his having completed 109 00:13:35,720 --> 00:13:40,130 the altarpiece and is followed on the 1st of May by the decision to send one 110 00:13:40,130 --> 00:13:47,840 Michaelangelo's by Banny to or B now to organise the work safe transportation to A. 111 00:13:47,840 --> 00:13:55,010 This was no easy matter, but it would appear that beruff she took exaggerated precautions and the confraternity is final. 112 00:13:55,010 --> 00:14:04,430 Communication with the artist, which date from the 30th of June of that year, includes complaints not only about the expenses incurred, 113 00:14:04,430 --> 00:14:16,220 but also about the absurdity of the old pieces having been Azmath that coming on Makima Deguara armour plated like a war machine. 114 00:14:16,220 --> 00:14:23,900 At this point, the picture had been installed and the longsuffering our times evidently felt able to let off steam. 115 00:14:23,900 --> 00:14:29,400 Indeed, they can drive to direct their bile boast that the fact that paint began to lift 116 00:14:29,400 --> 00:14:35,740 after a mere ten days and of what they deemed the artistic weakness of the work. 117 00:14:35,740 --> 00:14:45,200 The painting here doesn't attain that good quality, which we were expecting is what they say. 118 00:14:45,200 --> 00:14:49,950 The extraordinary quality of the all copies will be discussed briefly later on. 119 00:14:49,950 --> 00:14:54,430 And what makes the pension plans and engraft? Choose the rector's heart to forgive. 120 00:14:54,430 --> 00:14:59,000 And it makes them that big, hard to forgive. 121 00:14:59,000 --> 00:15:02,420 But what even they could not have denied is the borough. 122 00:15:02,420 --> 00:15:08,450 She took an arguably unprecedented amount of trouble over the design and preparation of their painting. 123 00:15:08,450 --> 00:15:15,640 According to his own estimation, twice what he agreed to. It's not hard to demonstrate that a very considerable number. 124 00:15:15,640 --> 00:15:19,810 Drawings for the work must have perished over time. 125 00:15:19,810 --> 00:15:24,640 But even so, some counting rectors and verses separately. 126 00:15:24,640 --> 00:15:31,510 There are nearly 100 sheets which survive more than for any other commission undertaken by the artist. 127 00:15:31,510 --> 00:15:42,170 However, before examining at least a selection of these drawings, it seems important to illustrate two distinct categories of preparatory studies. 128 00:15:42,170 --> 00:15:48,970 Baraki routinely executed major paintings and may well have made for the Madonna del Popolo. 129 00:15:48,970 --> 00:16:00,040 For all that Nahm survives, the first category are resi oil sketches on paper and in this case, inevitably, I am showing you on the left. 130 00:16:00,040 --> 00:16:07,600 The ravishing example for Baroque is altarpiece for Senate Galilea of fifteen eighty nine to ninety three, 131 00:16:07,600 --> 00:16:13,090 representing the Madonna of the Rosary, which is just down the road in the moment. 132 00:16:13,090 --> 00:16:23,650 The second category involves detailed head studies such as this one for the figure of 133 00:16:23,650 --> 00:16:30,920 Mary Magdalene in his entombment 15 79 to 82 for Santa Croce again in semi Gallia. 134 00:16:30,920 --> 00:16:37,540 And this is in oil on paper, laid down on canvas and it's now in by on. 135 00:16:37,540 --> 00:16:46,600 It used to be believed that Baraki also made coloured oil, but Setti or Sketchers for help compositions. 136 00:16:46,600 --> 00:16:56,740 But it is now generally agreed that all such pieces, including this one which is connected with the Senate Gallier and to mend it again, 137 00:16:56,740 --> 00:17:09,460 are actually later copies by other hands or just conceivably autograph repetitions, but that they played no part in the process of preparation. 138 00:17:09,460 --> 00:17:19,100 Turning to the drawings, the most important of these by far is the large scale and richly laden Modelo for the composition as a whole. 139 00:17:19,100 --> 00:17:25,300 Formerly at Chatsworth and now in the collection, a van bent in Chicago. 140 00:17:25,300 --> 00:17:30,070 The work you see on the left whose departure from these shores I am inclined 141 00:17:30,070 --> 00:17:34,250 to regard is just about the biggest national heritage disaster in the field, 142 00:17:34,250 --> 00:17:41,680 though most drawing since the Second World War. In spite of the fact that their general appearance is broadly similar, 143 00:17:41,680 --> 00:17:48,250 it differs significantly from the finished altarpiece in a number of ways starting at the top. 144 00:17:48,250 --> 00:17:54,610 It is notable that while the central group The Blessing Christ, flanked by an adolescent angel, 145 00:17:54,610 --> 00:18:01,870 admittedly without the pipe and with two additional companions in the painting and the Supplicate three, 146 00:18:01,870 --> 00:18:08,380 Virgin is essentially unchanged to flying Puti holding sprays of roses have been added 147 00:18:08,380 --> 00:18:13,900 to the upper corners in the painting as have to further Putih below the Virgin. 148 00:18:13,900 --> 00:18:20,500 And there are additional angelic presences just discernible in the golden radiance backing Christ. 149 00:18:20,500 --> 00:18:28,570 Moreover, in the altarpiece, the dive of the Holy Spirit is rigidly frontal as opposed to diagonally disposed. 150 00:18:28,570 --> 00:18:38,140 Conversely, the four diminutive Sarah or cherub heads of Christ feet have been reduced to three, most significantly of all, 151 00:18:38,140 --> 00:18:49,720 child angel below the verge in apparently holding a ring in his right hand and an inscribed sheet of paper in his left is excised from the altarpiece, 152 00:18:49,720 --> 00:18:54,190 proceeding to the terrestrial sphere and moving from left to right. 153 00:18:54,190 --> 00:18:58,930 It is apparent that the left half the composition is all but unchanged. 154 00:18:58,930 --> 00:19:05,200 Apart from the replacement of the figure kissing the ground by two prominent donors in the middle 155 00:19:05,200 --> 00:19:13,210 ground and some alterations to children around the kneeling mother in the bottom left hand corner, 156 00:19:13,210 --> 00:19:21,730 in the drawing there is a child at the left edge of the composition seen from behind who disappears the foreground by his naked, 157 00:19:21,730 --> 00:19:26,020 not clothed and his older sister beyond his shadow kneeling. 158 00:19:26,020 --> 00:19:30,580 But her hands are not yet joined in prayer. 159 00:19:30,580 --> 00:19:35,650 In contrast, the action in the right foreground has been radically modified. 160 00:19:35,650 --> 00:19:39,910 In the drawing, a bearded man, evidently a member of the confraternity, 161 00:19:39,910 --> 00:19:45,000 is shown bending forward and giving arms to a half naked beggar scene from the rear, 162 00:19:45,000 --> 00:19:51,400 whose uncomfortable pose must be intended to indicate the fact that he is crippled further over a hurdy 163 00:19:51,400 --> 00:19:59,110 gurdy player accompanied by a yapping dog looks heaven words and whines his instrument in the painting. 164 00:19:59,110 --> 00:20:11,170 However, the bearded benefactor is replaced by a woman whose costume suggests she is meant to be a gypsy, holding her baby and a wicker wicker basket. 165 00:20:11,170 --> 00:20:15,540 And it is she who is being tipped to coin by a child. 166 00:20:15,540 --> 00:20:24,900 While a member of the confraternity at the extreme margin of the image looks down and contemplates this act of conceivably in his eyes, 167 00:20:24,900 --> 00:20:33,720 misplaced kindness, the hurdy gurdy player's head is lowered and his blindness is made explicit. 168 00:20:33,720 --> 00:20:37,590 His dog now, clearly a spaniel has come down. 169 00:20:37,590 --> 00:20:45,240 And last but not least, the beggar who has survived relatively unmodified in the altarpiece still stretch. 170 00:20:45,240 --> 00:20:53,040 It stretches out his hand for a coin. But it is not clear whether he, too, will be rewarded. 171 00:20:53,040 --> 00:21:01,740 Study of the remaining preparatory drawing from another del Popolo reveals that Baraki executed considerable number of more 172 00:21:01,740 --> 00:21:10,980 detailed studies of individual figures in groups that relate to the Chicago sheet as opposed to the finished altarpiece. 173 00:21:10,980 --> 00:21:13,500 There are two possible explanations for this. 174 00:21:13,500 --> 00:21:22,920 One is that he decided to work out the precise appearance of all the elements of the compositional study before actually executing it, 175 00:21:22,920 --> 00:21:29,910 while the other is that he made these drawings after the compositional study on the assumption that the altarpiece would, 176 00:21:29,910 --> 00:21:40,110 in essence correspond to it and only subsequently felt the need to improve on what he had hoped was going to be his final solution. 177 00:21:40,110 --> 00:21:45,840 It is virtually impossible to prove which of these scenarios reflects what actually happened. 178 00:21:45,840 --> 00:21:49,560 But as we have already seen in previous weeks, 179 00:21:49,560 --> 00:21:58,830 there are certainly instances of other artists changing their minds after seemingly having worked out exactly what they wanted to represent. 180 00:21:58,830 --> 00:22:04,890 Indeed, Baraat chief himself is an artist who may be added to that number. 181 00:22:04,890 --> 00:22:12,060 In this instance, the changes were so numerous that it seems only reasonable to presume that baraat she must have needed 182 00:22:12,060 --> 00:22:20,910 to create a second Modelo through all that it has never been reproduced in the Baraki literature. 183 00:22:20,910 --> 00:22:29,610 What appears to be a substantial fragment of a detailed study for precisely such a model has survived in Berlin. 184 00:22:29,610 --> 00:22:37,350 And it's what you're seeing clearly a part of a once larger hole, which must have been about half the size of the bend. 185 00:22:37,350 --> 00:22:48,480 Drawing it is executing a brown pen and wash with white heightening on squared Bhave paper and includes much of the bottom right corner of the design. 186 00:22:48,480 --> 00:22:58,290 The head of the begger just squeezes into its bottom left corner and then the hurdy gurdy player, the woman with a child by giving her arms. 187 00:22:58,290 --> 00:23:06,930 The few of confraternity members and a decapitated flying puto are all present when the attitudes 188 00:23:06,930 --> 00:23:12,210 of these various actors are compared with those of their counterparts in the finished work. 189 00:23:12,210 --> 00:23:16,080 The differences are minor, but more than sufficient to lay to rest. 190 00:23:16,080 --> 00:23:21,000 Any doubts about the preliminary nature of this sheet? 191 00:23:21,000 --> 00:23:26,820 The most notable modifications concern the angle of the musician's head and his instrument, 192 00:23:26,820 --> 00:23:31,980 and the fact that the puto is seen from the front rather than the rear. 193 00:23:31,980 --> 00:23:40,860 It nevertheless remains the case that it is far less finished than the Chicago sheet, as well as being on a smaller scale. 194 00:23:40,860 --> 00:23:45,900 In looking at the remaining drawings, I will start at the top and move down. 195 00:23:45,900 --> 00:23:58,530 There are about 20 drawings for this celestial zone, of which the most significant by far is the only substantial fragment of the original cartoon, 196 00:23:58,530 --> 00:24:04,690 which is in the middle here, which was first published as long ago as 1981, 197 00:24:04,690 --> 00:24:10,200 but had tended to be overlooked in the scholarly literature on barratry until it was the 198 00:24:10,200 --> 00:24:15,780 subject of a recent article by Come and Bam back in the Burlington magazine in 2015, 199 00:24:15,780 --> 00:24:19,740 squared for transfer and executed in the medium of black chalk. 200 00:24:19,740 --> 00:24:30,660 As was traditional for cartoons, it comprises the upper left corner of the composition down to the tips of the adolescent angel's toes, 201 00:24:30,660 --> 00:24:35,550 including most but not quite all of the figure of Christ. 202 00:24:35,550 --> 00:24:44,490 In originally publishing it pure, Haselberger contended that it was closer's of the Chicago sheet than to the finished altarpiece while come, 203 00:24:44,490 --> 00:24:49,200 and Baumbach thought it preceded that Chicago sheet. 204 00:24:49,200 --> 00:24:59,760 But in truth, it seemed to chronicle an intriguing and somewhat unexpected transitional phase between the two. 205 00:24:59,760 --> 00:25:04,830 Thus, the angel still retains his plight, as in the drawing. 206 00:25:04,830 --> 00:25:11,340 But the more frontal angle of his head and the definition of his right wing look forward to the painting. 207 00:25:11,340 --> 00:25:15,250 In the same vein, the top corner is now filled by a puto bearing. 208 00:25:15,250 --> 00:25:24,430 Rose branches. But he is accompanied by at least one subsidiary companion who was excised before the altarpiece was actually painted. 209 00:25:24,430 --> 00:25:29,950 Turning to Christ with rather unexpectedly represented without beard, 210 00:25:29,950 --> 00:25:36,130 both the disposition of his drapery and the way the fourth and little fingers of his 211 00:25:36,130 --> 00:25:44,950 right hand are folded down correspond to the drawing as opposed to the painting. 212 00:25:44,950 --> 00:25:53,470 In fact, both options for the hand are studied simultaneously in a sheet in Berlin, which you're seeing here. 213 00:25:53,470 --> 00:26:00,280 A red and black chalk drawing on blue paper heightened with white and as might be expected. 214 00:26:00,280 --> 00:26:05,260 The one found in the painting is a second thought. 215 00:26:05,260 --> 00:26:12,880 No less intriguing is the fact that the precise location of the putto in the corner has been adjusted, 216 00:26:12,880 --> 00:26:16,840 which is surprising in the context of what might be assumed to be the artist's final 217 00:26:16,840 --> 00:26:26,080 thoughts before actually starting to paint the explanation of all these oddities. 218 00:26:26,080 --> 00:26:32,800 Must be that the alterations the artist subsequently made to the cartoon were fundamentally insignificant with the result. 219 00:26:32,800 --> 00:26:38,500 The Baroque, she did not see any necessity to start all over again. 220 00:26:38,500 --> 00:26:50,800 Remaining studies for the upper zone include a number connected with the four flying Puti, who were added to the scheme after the bent drawing, 221 00:26:50,800 --> 00:26:58,090 such as this pair of drawings connected with the top left corner, which were both in their feet to the low. 222 00:26:58,090 --> 00:27:03,670 One is particularly revealing of his reluctance to waste good ideas, 223 00:27:03,670 --> 00:27:16,600 since the puto with his hands joined in prayer does not feature in the Madonna del Popolo takes a bow in the artist's later Virgin and child with St. 224 00:27:16,600 --> 00:27:26,140 Anthony Abbott and Lucy in the loop. Further studies relate the corresponding put on the other side, 225 00:27:26,140 --> 00:27:31,780 and indeed the first conception of the angel who is studied from the life in the nude 226 00:27:31,780 --> 00:27:43,630 and the Virgin when it comes to the Chubbie as the angel in the nude and the Virgin. 227 00:27:43,630 --> 00:27:48,250 When it comes to the Chumby quote below the Virgin scene from behind. 228 00:27:48,250 --> 00:27:58,840 The most important drawing is the cartoon fragment in the Bibliotheque Ambrosi arm in Milan, which faithfully corresponds to the figure as executed. 229 00:27:58,840 --> 00:28:10,300 But omit his wings so to do sheets in the Fitzy and Berlin and the study and the study. 230 00:28:10,300 --> 00:28:19,240 I'm not the one on the left. And the study, which is one of over 30 drawings by Baraki in death Sile in the former East Germany, 231 00:28:19,240 --> 00:28:26,320 which all belong to an 18th century German artist called Friederike Phil Hellam from AB Mams Dolf and were 232 00:28:26,320 --> 00:28:35,650 exhibited as being by him before being correctly identified as the work of Baraki in 1993 by Van Shandar. 233 00:28:35,650 --> 00:28:39,100 They still remain all but unpublished and unknown, 234 00:28:39,100 --> 00:28:48,490 although eight were properly exhibited and reproduced in the catalogue of an exhibition shown in Rome and deaths in twenty, fourteen, fifteen. 235 00:28:48,490 --> 00:28:52,720 But unfortunately, none of the ones that were shown were the ones the Madonna del Popolo, 236 00:28:52,720 --> 00:28:59,530 which is why the reproductions you see, including this one, are so ghastly. 237 00:28:59,530 --> 00:29:04,870 In addition to the studies for the various figures in the upper zone, 238 00:29:04,870 --> 00:29:12,070 there is also a substantial sheet in Urbino to scale in red and black chalk on pale beige paper. 239 00:29:12,070 --> 00:29:19,710 You're seeing it on the right, which corresponds to the dramatically foreshortened dive of the Holy Spirit as it appears in the painting. 240 00:29:19,710 --> 00:29:25,690 So this may be added. What I believe to be another study for the dive on the left, 241 00:29:25,690 --> 00:29:37,900 also to scale in charcoal on grey brown prepared paper in the British Museum hitherto associated with the Karachi and Jacomo covered donee, 242 00:29:37,900 --> 00:29:44,200 but which probably represents a fraction the earlier stage in the artist's thinking. 243 00:29:44,200 --> 00:29:48,670 Moving on to the lower zone of the composition, 244 00:29:48,670 --> 00:29:57,800 it is probably simplest to discuss the various preparatory drawings in groups proceeding from left to right and from the foreground to the background. 245 00:29:57,800 --> 00:30:03,550 Karachi like his great exemplar, Correggio, and for all that he never married, 246 00:30:03,550 --> 00:30:11,920 was fascinated and enchanted by the exuberance and rather leave of children, as is apparent in a considerable number of his works. 247 00:30:11,920 --> 00:30:21,590 Nevertheless, the left foreground, the middle of their Popolo. Particularly fine example of this affectionate concern. 248 00:30:21,590 --> 00:30:29,190 It is dominated by a group consisting of an elegantly dressed young mother with two children. 249 00:30:29,190 --> 00:30:39,420 She has seen the celestial apparition and seeks to point it out to her smiling young son who is kneeling with his hands joined in prayer. 250 00:30:39,420 --> 00:30:44,070 But he is distracted by the activity over on the other side of the space. 251 00:30:44,070 --> 00:30:51,360 And judging by the direction of his gaze being led astray by the music of the hurdy gurdy in the bent drawing, 252 00:30:51,360 --> 00:30:57,570 by contrast, where he is naked, his expression is one of surprise, bordering on apprehension. 253 00:30:57,570 --> 00:31:07,320 Presumably at the barking dog, a considerable number of sheets, including some of the most spectacular associated with the altarpiece, 254 00:31:07,320 --> 00:31:10,010 are devoted to these various figures, 255 00:31:10,010 --> 00:31:19,950 and they almost all appear to be connected with the final evolution of the composition as opposed to the Chicago drawing. 256 00:31:19,950 --> 00:31:27,270 An exception. An exception is a sheet of studies for the kneeling boy, 257 00:31:27,270 --> 00:31:36,110 in which a second child seen from behind to disappears in the old pieces as executed is still included. 258 00:31:36,110 --> 00:31:42,870 Two of the remainder are in the pen and wash one. 259 00:31:42,870 --> 00:31:52,530 This one in Budapest, which also features an unrelated figure of Christ, probably four branches per donor, the Assisi altarpiece, 260 00:31:52,530 --> 00:32:02,070 an albino and the other in Berlin with a compositional study, seemingly for an entombment at right angles. 261 00:32:02,070 --> 00:32:14,470 The main studies, they were followed by a pair of sheets executed in red and black chalk with elements of white lightning on blue paper. 262 00:32:14,470 --> 00:32:26,790 I'm showing you the first one, obviously, in both of which the Poles and the mother had studied initially from a nude male model, as you see. 263 00:32:26,790 --> 00:32:35,850 The second also includes the kneeling woman in profile behind her pointing left arm and hand, 264 00:32:35,850 --> 00:32:41,670 as well as other details studied in a chalk drawing on prepared paper. 265 00:32:41,670 --> 00:32:48,840 And the same medium is implied in the sheet of studies above all of her torso, 266 00:32:48,840 --> 00:32:59,430 so that the pointing arm you can see, and that's the torso to them may be added. 267 00:32:59,430 --> 00:33:13,530 A double study for the arms of the kneeling boy again in their smile and the pair of studies for the woman in profile at the left edge of the picture. 268 00:33:13,530 --> 00:33:23,060 There also exists what appears to be an autograph study for that lady in oil on paper. 269 00:33:23,060 --> 00:33:32,560 The grand motherly figure beyond her looking heaven words does not feature in any of the studies for the altarpiece. 270 00:33:32,560 --> 00:33:42,750 But conversely, the left arm of the child in her arms does appear to be explored in yet another sheet in DSR. 271 00:33:42,750 --> 00:33:51,510 Last, but by no means least comes a whole sequence of studies for the head of the mother, 272 00:33:51,510 --> 00:33:57,190 including in the centre here, a stunningly beautiful one executed in branches, 273 00:33:57,190 --> 00:34:04,470 pastel anticipating signature technique of colour chalks, where, however, 274 00:34:04,470 --> 00:34:14,840 her coiffure comes closer to what we see in the Chicago sheet than to the altarpiece. 275 00:34:14,840 --> 00:34:24,380 The centre foregrounds recomposition is filled by the substantial presence of the crippled beggar for whom there are a number of preliminary studies. 276 00:34:24,380 --> 00:34:33,440 As is the case with so many other figures within the composition, his Poes is modified between the bent sheet and the altarpiece, 277 00:34:33,440 --> 00:34:41,030 not least in response to the changes in the narrative which affect the figures with whom he interacts. 278 00:34:41,030 --> 00:34:47,180 The consequence is that it is possible to reconstruct an approximate sequence of execution for these studies, 279 00:34:47,180 --> 00:34:52,370 since some are related to the drawing and others to the painting. Predictably enough, 280 00:34:52,370 --> 00:35:04,880 the thing that almost all of them have in common is the fact that the begger is shown stretched out with his feet to the left and his head the right. 281 00:35:04,880 --> 00:35:14,920 There are only two exceptions here. There are studies. 282 00:35:14,920 --> 00:35:23,740 There are only two exceptions. One is the luminous study in black, red and white chalk some blue paper in the Fitzy, 283 00:35:23,740 --> 00:35:35,290 which also includes studies for the hurdy gurdy player looking up to heaven, as in the Chicago drawing and down to earth. 284 00:35:35,290 --> 00:35:42,910 It explores the idea of showing the beggar from the front with his head alternately to the left or the right. 285 00:35:42,910 --> 00:35:52,720 In one instance, apparently being ministered to by another figure and hope. 286 00:35:52,720 --> 00:36:07,740 He could have pressed one button for. Up from here. 287 00:36:07,740 --> 00:36:18,420 I think the other drawing with him going the wrong way, so to speak, 288 00:36:18,420 --> 00:36:26,680 is the square chief in Berlin executed in black chalk and charcoal and blue paper, which shows the naked figure in the opposite direction. 289 00:36:26,680 --> 00:36:30,070 Yet another drawing, Berlin, 290 00:36:30,070 --> 00:36:44,410 is a close up of the head and upper body of the beggar executed in coloured chalks in which Brauchli is still exploring the man's profile. 291 00:36:44,410 --> 00:36:53,550 As I have said in the bent drawing, the banker is receiving arms from a member of the confraternity. 292 00:36:53,550 --> 00:36:58,330 And this donor is also the subject of a single sheet of studies in the FT. 293 00:36:58,330 --> 00:37:03,030 See executed in a combination of black and white chalks and Chocho. 294 00:37:03,030 --> 00:37:12,010 It is an unusually complex, layered palimpsest of ideas with no fewer than four versions of the upper half of the figure, 295 00:37:12,010 --> 00:37:15,970 one in which he is shown full length but appears to be kneeling, 296 00:37:15,970 --> 00:37:22,630 perhaps to have the beggar to his feet and two more detailed considerations of his right hand. 297 00:37:22,630 --> 00:37:31,150 The scale of the hand in the larger of the two, which is approximately 10 centimetres high, is perhaps unexpected, 298 00:37:31,150 --> 00:37:39,520 given that this whole area and therefore this particular detail was ultimately entirely recast. 299 00:37:39,520 --> 00:37:51,250 As I've explained, this arms giver was eventually supplanted by a gypsy woman with a small child in her arms who are the subjects of various studies, 300 00:37:51,250 --> 00:38:00,790 including a spectacular nude study in red chalk, as well as a close up of her right arm. 301 00:38:00,790 --> 00:38:04,690 No surprise where that is in DSR, 302 00:38:04,690 --> 00:38:16,840 the last of the principal figures who remains to be considered is the blind hurdy gurdy player in a sheet in the Fitzy, which we've already seen. 303 00:38:16,840 --> 00:38:21,100 He is not only shown looking upwards as in the bent sheet, 304 00:38:21,100 --> 00:38:27,670 but also tellingly in an attitude that precisely anticipates the solution found in the altarpiece. 305 00:38:27,670 --> 00:38:31,810 This should serve as an alert where it's still needed. 306 00:38:31,810 --> 00:38:42,270 The baraat, she may on occasion have explored to solutions for the poses of an individual figure or figures simultaneously in this specific instance. 307 00:38:42,270 --> 00:38:47,350 The consequence is that there is no guarantee that all the detailed studies for 308 00:38:47,350 --> 00:38:53,830 the hurdy gurdy player with lowered head were made after the band drawing. 309 00:38:53,830 --> 00:38:55,450 As it happens, 310 00:38:55,450 --> 00:39:10,180 only one other extant drawing for the entire figure is indisputably related to what might be termed the ecstatic attitude of the musician. 311 00:39:10,180 --> 00:39:15,460 This is the street in Berlin, squared in black chalk and executed in charcoal, 312 00:39:15,460 --> 00:39:21,040 heightened with white, which represents the figure in the nude with a hurdy gurdy. 313 00:39:21,040 --> 00:39:27,250 And then restudy is the left arm. Both as an a cliché, as a flayed figure, 314 00:39:27,250 --> 00:39:35,620 and also with an indication of drapery above the elbow and holding the musical instrument in the top left corner. 315 00:39:35,620 --> 00:39:42,650 Finally, there is a study of a head looking down, and although its attitude is rather different, 316 00:39:42,650 --> 00:39:51,660 the closed eyes suggest it must be a first idea for the second redaction of the hurdy gurdy. 317 00:39:51,660 --> 00:39:58,840 A red chalk drawing in the fixie, which is a detailed study of the figures left leg, 318 00:39:58,840 --> 00:40:11,410 must also be connected with the first phase of the design because the raised heel found here is flattened in the final painting. 319 00:40:11,410 --> 00:40:16,060 There are incomparably more drawings for what was to become the definitive solution, 320 00:40:16,060 --> 00:40:22,450 including a number which studied the hurdy gurdy player from a nude life model. 321 00:40:22,450 --> 00:40:34,630 One of these nude studies is combined with a detailed study uncoloured chops for his head in a sheet in the PTC, 322 00:40:34,630 --> 00:40:41,610 which I'll come out right there because there are quite a few. 323 00:40:41,610 --> 00:40:51,970 Just shows them briefly, but. That's the one with the head detailed study and colour jokes for his head in a sheet in the FT. 324 00:40:51,970 --> 00:41:03,900 He might not unreasonably be supposed that such a study would have been executed very late on in the evolution of the design. 325 00:41:03,900 --> 00:41:15,680 Yet immediately below the head is a study of the same figure looking up as in the Chicago drawing and where this connexion could be doubted. 326 00:41:15,680 --> 00:41:25,800 Then the killer detail is the right hand top left where the disposition of every single one of the fingers matches 327 00:41:25,800 --> 00:41:36,840 the winding right hand in the bent sheet to perfection and is not the same as what you see in the altarpiece there. 328 00:41:36,840 --> 00:41:44,820 That hand corresponds with that, not with the altarpiece. 329 00:41:44,820 --> 00:41:53,060 And arguably, the most impressive of all the drawings for the hurdy gurdy player is this substantial study over his head in red, 330 00:41:53,060 --> 00:41:58,280 black and white Trogs. I found it under the name of Chee Gulay. 331 00:41:58,280 --> 00:42:09,110 It is thus inscribed in an old hand, together with a study for the Madonna Del got gatot by by Biraki in the National Gallery in London. 332 00:42:09,110 --> 00:42:13,940 I found them in the old catalogue of the National Museum in Poznan. 333 00:42:13,940 --> 00:42:20,900 But a visit to the institution's website revealed that they had beaten me to it and changed the actual bouchon. 334 00:42:20,900 --> 00:42:24,590 So I can't claim to be the first, but we've worked this out. 335 00:42:24,590 --> 00:42:34,670 Nevertheless, the best of my knowledge, this major addition has included the Skull Electron Baraki, which is a reflection of the way we live today. 336 00:42:34,670 --> 00:42:41,570 So you can find it on Google. But you can't find it in the learnt terms on barraging two. 337 00:42:41,570 --> 00:42:50,160 It should be added a number of studies for the hurdy gurdy players arms and legs. 338 00:42:50,160 --> 00:42:55,340 And this is a very splendid one. Another one. 339 00:42:55,340 --> 00:43:00,010 And then two more of his left arm in DSR. 340 00:43:00,010 --> 00:43:06,710 Can the only group of studies which remains be considered as devoted to various figures of members of 341 00:43:06,710 --> 00:43:15,290 the confraternity who feel the right margin and middle distance of the composition of these sheets? 342 00:43:15,290 --> 00:43:19,280 I should like to single out this one. A drawing in the Ft. 343 00:43:19,280 --> 00:43:23,570 Sea, which includes seven individual studies. 344 00:43:23,570 --> 00:43:31,130 One must relate the begger, but most of the remainder seem to be connected with the praying figures in the middle ground. 345 00:43:31,130 --> 00:43:38,740 And three one is of the kneeling figure facing straight ahead and bearing his head in prayer. 346 00:43:38,740 --> 00:43:48,770 Another is of his companion holding a candle stick, and a third is of that chap's right hand. 347 00:43:48,770 --> 00:44:06,840 They are, to all intents and purposes, identical to their counterparts in the bent drawing and. 348 00:44:06,840 --> 00:44:14,100 Sorry. That's right. 349 00:44:14,100 --> 00:44:24,990 That's the man with a gun. And yes, there are other beautiful drawings which. 350 00:44:24,990 --> 00:44:30,310 I'm not going to dwell on. Plenty. 351 00:44:30,310 --> 00:44:34,390 Finally turning to the Madonna del Popolo itself. 352 00:44:34,390 --> 00:44:43,700 And above all, to its iconography, what is most striking is the way in which baroque she turns out to have chosen to adapt and revitalise. 353 00:44:43,700 --> 00:44:52,930 Norway's always relatively uncommon by this date, all but moribund theme known as the double intersession. 354 00:44:52,930 --> 00:44:59,680 The ultimate Italian precedent for Baroque she's painting is a picture on canvas which used to live 355 00:44:59,680 --> 00:45:05,740 in the cloisters but is now in the main building of the Metropolitan Museum of Art in New York. 356 00:45:05,740 --> 00:45:12,220 It was was evidently painted around fourteen hundred and has recently been attributed. 357 00:45:12,220 --> 00:45:22,450 In my opinion, convincingly to Lorenzo Monaco, whether it was originally intended to be an altar piece remains uncertain, canvases unusual. 358 00:45:22,450 --> 00:45:27,970 But it undoubtedly soon made its way to an altar on the retro facade of Florence 359 00:45:27,970 --> 00:45:37,000 Cathedral and was to prove to be an extremely influential image as stated above. 360 00:45:37,000 --> 00:45:45,340 Its theme is the double intersession, and it represents the Virgin presenting her breast to Christ with one hand and 361 00:45:45,340 --> 00:45:51,310 extending the other towards a group of kneeling figures between them and on Earth. 362 00:45:51,310 --> 00:45:59,800 While Christ in turn points out the Virgin indicates the wound in his side and appeals to the half length figure of God. 363 00:45:59,800 --> 00:46:08,770 The farther up above in the radiance, he looks down at him and directs the dive of the Holy Spirit towards him. 364 00:46:08,770 --> 00:46:11,920 The theological basis for the imagery was, above all, 365 00:46:11,920 --> 00:46:21,280 the speculum who itself that slowness an anonymous text universally believed that the time to have been written by Saint Bernard. 366 00:46:21,280 --> 00:46:29,780 The inclusion of the dive of the Holy Spirit has been interpreted as being related to the dedication of the altar where this picture ended up. 367 00:46:29,780 --> 00:46:35,470 But in fact, the presence of the three persons of the Trinity in subsequent representations of 368 00:46:35,470 --> 00:46:41,380 the subject is all but ubiquitous and is simply one of the elements in this rare, 369 00:46:41,380 --> 00:46:43,840 iconographic scheme. 370 00:46:43,840 --> 00:46:54,970 On the other hand, this should not be taken as implying that the iconography remained ossified in cataloguing the canvas formally in The Cloisters. 371 00:46:54,970 --> 00:47:00,230 Federico Dary and Elizabeth Gardiner were able to build on the initial research as a Millard 372 00:47:00,230 --> 00:47:07,060 Meece and to arrive at a total of no fewer than seven subsequent variations on the theme. 373 00:47:07,060 --> 00:47:13,990 A number of them include modifications, various details, some of which were not subsequently emulated, 374 00:47:13,990 --> 00:47:18,700 while others directly anticipate Baroque Xi's treatment. 375 00:47:18,700 --> 00:47:27,790 Thus, the master of the Sherman Della presents God the father more even handedly adds the instruments, the passions of the scene. 376 00:47:27,790 --> 00:47:36,640 And tellingly, in connexion with the Madonna del Popolo, does not show the Virgin's breast covered. 377 00:47:36,640 --> 00:47:42,730 The same cover up occurs in a painting of uncertain authorship in Potsdam. 378 00:47:42,730 --> 00:47:48,880 I'm showing it to you on the left in black and white. Sorry, guys, I'm cracking up. 379 00:47:48,880 --> 00:47:53,860 I'm not showing you at all of which I do not have an image. Sorry. Sorry. I couldn't. 380 00:47:53,860 --> 00:48:02,380 I couldn't get an image of that one. Sorry. But it's uncovered again in this one in black and white in Montreal, 381 00:48:02,380 --> 00:48:10,280 which is attributed to Ground de Giovannelli and where the Popolo, where the people includes children. 382 00:48:10,280 --> 00:48:15,010 And the only major addition is of an introductory figure of Saint Bernard, 383 00:48:15,010 --> 00:48:23,890 whose presence is obviously explained by this connexion with the text that was believed to have been written by Saint Bernard in both those pictures. 384 00:48:23,890 --> 00:48:30,730 However, God, the father, is represented as an old man and this becomes the norm. 385 00:48:30,730 --> 00:48:40,540 The most artistically distinguished double intersession before Baraki is Filipino Lip is Altarpiece now in Munich, 386 00:48:40,540 --> 00:48:46,210 which you are seeing on the right in which the Annunciation has been added to the mix. 387 00:48:46,210 --> 00:48:54,940 The Popolo has been pushed right back into the middle distance and the dive of the Holy Spirit is omitted. 388 00:48:54,940 --> 00:49:10,180 But for the rest, the iconography is unchanged and there are the popular and they are really very different from most to these registered, said Spig. 389 00:49:10,180 --> 00:49:21,220 Descendants of the original prototype may be added to more whichever differ from all but one of the others, not including the popular. 390 00:49:21,220 --> 00:49:27,770 The first is the central element of an old piece by Genteelly Fabbri Ana in the church. 391 00:49:27,770 --> 00:49:36,170 Some Nikola all drama in Florence, whose dramatic links with the countless formulae in Florence Cathedral have been recognised. 392 00:49:36,170 --> 00:49:41,660 It differs from its model not only in its resolute, frontal and balanced presentation of God, 393 00:49:41,660 --> 00:49:48,620 the father, and in the way the dive is positioned centrally between Christ and the Virgin. 394 00:49:48,620 --> 00:49:55,520 But above all, in locating them in the celestial as opposed to the terrestrial sphere. 395 00:49:55,520 --> 00:50:07,070 The second and I'm sorry, this image too, but I wanted it in colour is an old piece of 15 twenty three by Jack Konare in Central Cheer. 396 00:50:07,070 --> 00:50:17,450 They manually in Florence through subject matter was apparently not grasped by Vasari and has remained pretty much misunderstood ever since. 397 00:50:17,450 --> 00:50:24,530 But which reverts to the original mode of representation. 398 00:50:24,530 --> 00:50:32,210 Turning to the Madonna del Popolo, the first point to make is that it was a minor stroke of genius on bulrushes Paape position, 399 00:50:32,210 --> 00:50:39,980 the figure of God, the father in the tondo in the pediment which he anyway had to fill since it allowed him to present him, 400 00:50:39,980 --> 00:50:46,970 both apart from the main action in a kind of glory and at half length, 401 00:50:46,970 --> 00:50:54,560 thus avoiding anachronistic artifice while at the same time adhering to tradition. 402 00:50:54,560 --> 00:51:04,250 Similarly, both the direction of gods gaze down towards Christ and the blessing gesture of his right hand are canonical, 403 00:51:04,250 --> 00:51:14,540 proceeding further down the presentation of Christ and the Virgin. And indeed, the dive is less rigorously based on earlier treatments of the theme. 404 00:51:14,540 --> 00:51:19,790 Christ is fully clothed and does not really intercede on behalf of the Popolo, 405 00:51:19,790 --> 00:51:31,580 but instead directly blesses them while the Virgin flings both her arms wide in supplication and fails even to gesture towards her breast. 406 00:51:31,580 --> 00:51:37,820 And the dive is between and below them rather than above and closer to Christ. 407 00:51:37,820 --> 00:51:44,750 The major difference, however, concerns the treatment of the popular in previous double intercessions. 408 00:51:44,750 --> 00:51:51,590 As we've seen, they had been shown as a static and largely faceless group, whereas here baraat, 409 00:51:51,590 --> 00:52:01,700 she has both personalised them and brought them to life to such an extent that in his sixteen seventy two V-Tech, 410 00:52:01,700 --> 00:52:14,510 which includes the first major biography Baraki Jan Pietro Bellary could exaggeratedly claim that the seven acts of Mercy were represented. 411 00:52:14,510 --> 00:52:20,350 Such an iconography would have neatly reasserted the theme of Misericordia. 412 00:52:20,350 --> 00:52:28,880 But while it is possible to identify figures in the background feeding prisoners and the more prominent giving of arms, 413 00:52:28,880 --> 00:52:39,380 that is as far as it goes, if in doubt, feel free to follow my example and try and find the burying of the dead. 414 00:52:39,380 --> 00:52:42,260 I look pretty hard and it's not there. 415 00:52:42,260 --> 00:52:54,210 It is important to add that, as has rightly been observed, the Madonna del Popolo was not unprecedented in its ambition to animate God's people. 416 00:52:54,210 --> 00:53:05,210 However, arguably the most successful as well as ambitious such enterprise prior to Bharathi was precisely a Madonna de la Misericordia. 417 00:53:05,210 --> 00:53:13,460 This was for Albert Alamo's altarpiece of Fifteen Fifteen on the theme for the Dominican Church of San Romano at Lukáš. 418 00:53:13,460 --> 00:53:22,130 Now, in the movie Zelda V Leg, we need G. In that time it is immaterial whether baraat she was acquainted with it, 419 00:53:22,130 --> 00:53:29,140 which seems unlikely given his reluctance to travel or not, even if he did know it. 420 00:53:29,140 --> 00:53:37,610 He clearly did not plunder it for ideas, but its cast of around 40 characters in a whole variety of poses and actions showed 421 00:53:37,610 --> 00:53:44,930 how the plenitude monumental mural painting could be adapted in an altarpiece. 422 00:53:44,930 --> 00:53:47,830 Naturally. 423 00:53:47,830 --> 00:53:59,200 Branchy went much further and created one of the most controlled, but at the same time endlessly ritual to pieces of the entire 16th century. 424 00:53:59,200 --> 00:54:06,010 It is tempting to stress the way it seems to anticipate all sorts of aspects of the baroque altarpiece. 425 00:54:06,010 --> 00:54:11,140 But it is arguably better to admire it in its own right. 426 00:54:11,140 --> 00:54:18,220 Above all, for its triumphant holding of the balance between the heavenly and the earthly, 427 00:54:18,220 --> 00:54:25,950 and for its combination of energy and the variety of the local and the universal. 428 00:54:25,950 --> 00:54:30,320 The Madonna del popular is probably Baroque, his masterpiece. 429 00:54:30,320 --> 00:54:41,950 And it was unquestionably destined to remain unsurpassed within deserve the vast and extraordinary corpus of extant drawings connected with it. 430 00:54:41,950 --> 00:54:47,440 And above all, as I'm showing you, the X Chatsworth sheet. 431 00:54:47,440 --> 00:54:56,410 Now, in an Bence collection for all that, that huge body of drawings must represent only the tip of the iceberg. 432 00:54:56,410 --> 00:55:06,880 They bear eloquent witness to how hard he worked to achieve an effect of almost miraculous immediacy. 433 00:55:06,880 --> 00:55:10,602 Thank you very much.