Good afternoon, ladies and gentlemen. Thank you. Thank you so much for braving the weather.
And I will get started. So I'll start with that.
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.
He was unquestionably the last with whom I got to grips, thus missing the vast and extraordinary exhibition devoted to him,
which Andrei Emiliana organised in Bologna in 1975 when I was an undergraduate and could have gone.
And yet he is quite possibly the one who now gives me the most sheer pleasure.
He lived a long and patiently industrious life. He was born around fifteen, 33 or 35 and died in sixteen twelve.
And he executed a considerable number of substantial paintings,
all of or almost all of which are religious and subject matter, even more crucially in the present context.
He was also, without question, the most prolific draughtsman of the entire Italian renaissance,
and a vast number of his drawings have survived, above all, in two huge concentrations, respectively, in Berlin and the Ft.
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.
Although many are published and illustrated in the two editions of André Emiliana, is fundamental monograph on his work in consequence.
And number of the sheets I will be showing this afternoon are virtually unknown,
and I therefore crave your forgiveness, as if a few of the images of them are a Bishoff broadsheet.
Virtually never stirred from his native Urbino.
After a brief youthful Sadan in Rome, which he fled, convinced that jealous rivals had invited him to a meal and poisoned his salad.
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.
But in any event, the consequence was that he refused to travel and that work had to come to him.
His success at home and the wide diffusion of his paintings are both reflections of the extraordinary esteem in which he was held.
Baraat cheese Garbo like reclusiveness proves to have been a godsend when it comes
to reconstructing the evolution of the commission for the Madonna del Popolo,
the Madonna of the People,
which is signed and dated fifteen seventy nine because every stage of the process was perforce chronicled in written form and by good fortune.
These records have been preserved. The epistolary pingpong amounts to almost 30 letters.
The work in question was executed for the altar of the chapel of the fraternity that they lay.
She also called the fraternity Della Misericordia in the mediaeval church of Santa Maria.
They'll appear there at Arezzo. This altar had been constructed for the Brotherhood in 15 72 by no lesser figure than Giorgio.
Vasari, who had been born in Arezzo, lived there during his last years and was a member of the confraternity to boot.
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.
But his death on the two incidents of June 15 74 meant they had to look further afield.
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.
The first day made history in Florence to ask his advice about a possible replacement by the 30th of October.
Fifteen seventy, the rectors of the Pier comfort families that had addressed their first letter to
Rosalie's recommendation Baraki concerning the possibility of executing their altarpiece.
The intriguing fact that reassembly chose Baraki as opposed to a Florentine painter in FACA.
His image has not generally been commented upon. But there is some evidence of context between Biraj in Florence and moreover,
he had clearly already acquired a certain reputation by this date in 15 68 for Saari himself and described him as a Jovanna.
The ground there as that Your Honour, which in Dickensian mode may be translated as a youth with great expectations.
In that initial communication from the confrontation with the subject of the altarpiece pieces already specified,
they refer to even Mysteria della Misericordia at the Miss.
The Mystery of Misericordia, the subject now known as the Madonna della Misericordia, in which,
as most memorably in the example you're seeing by Piero della Francesca,
the Virgin is represented sheltering the faithful under her outstretched mantle.
Baraat she was clearly impressed by the desirability of winning the contract and in effect replied by return on the 5th of November.
His letter is amusingly torn between his desire to accommodate his potential patrons and his determination
to make it abundantly plain from the outset that he does not want to paint the Madonna della Misericordia.
He suggests that whereas the Madonna dilemma is very guarded,
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.
There are numerous other mysteries or histories.
The term seemed to be being employed interchangeably here of the Virgin,
which would fit the bill and specifies the annunciation, the visitation and the assumption.
There remains the question of why baraat she was so averse.
The prospect of painting a representation of the Madonna della Misericordia,
which would have been the natural preference of a confraternity dedicated to that devotion.
The most plausible reason is that he had just executed an old piece on a closely related theme,
or was even still in the process of so doing in this immaculate conception, which you see on the right now in the gallery.
And that's a nice, immaculate B.M. Baraat.
She depicts the virgin standing on a crescent moon with her arms outstretched and her mantle billowing out to her left,
flanked in the manner of a Madonna della Misericordia by the faithful to either side below.
These donors are shown busked lengths in order to achieve a suitable effect of subordination,
while at the same time issuing the archaic convention of representing such supporting players on a diminutive scale in the way parodied.
Unsurprisingly, this novel conception was not arrived at immediately.
A pen and wash drawing over black chalk on grey blue paper heightened with white by baraki in the move,
which I am showing you represents a somewhat different first idea for the altarpiece.
I should add that the framing elements you see,
which are not reproduced in any of the broadsheet literature are original and were drawn by him in spite of the fact
that it conspicuously lacks a single attribute or symbol customarily connected with the Immaculate Conception,
which was the confraternity as diverse as sheet in the FT.
He has routinely been linked with the albino altarpiece.
This is the sheet I am showing you on the right.
However, recently Stuart Lingo has made the brilliant suggestion that this fits.
He drawing may instead be a first idea for the aretz or altarpiece for the Madonna del Popl.
This seems all but proven by a crucial difference between the two commissions he overlooked,
whereas the Immaculate Conception studies for if allit from the left, the Madonna del Popolo and the Fitzroy drawing are lit from the right.
In any event,
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.
Although the feats of drawing appears to demonstrate that he was briefly willing to explore that possibility after the initial contact,
there follows an exchange of letters from the 12th of November fifteen seventy four to the 19th of May,
fifteen seventy five in which directors of the confraternity tried to cajole Baraki into coming to a rate.
So to view the old piece's destination,
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.
He cannot ride a horse for even two miles, he explained.
Proposes that they should send him a rough ground plan of the chapel, principally indicating where the light comes from.
Whether it comes from the left or the right, something he evidently knew when he executed get back.
We executed that graffiti drawing, even sending Maestro Bastiano Scarpelli now,
who is referred to in other documents, including the contract as Sebastiano de Giovannelli school tour.
Our team now and our time Sculptor two or BNA was an emissary fails to dislodge their quarry.
Finally, on the 18th of June, fifteen seventy five and in the presence of the artists, the contracts for the altarpiece is drawn up.
It outlines the broad requirements concerning subject matter, specifying that the historia the history, which is arguably hardly the most used,
should represent the most glorious Virgin Mary interceding and praying to her son, Jesus Christ for the people popolo and further.
That said, people should be portrayed in their various appropriate characters.
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.
The baraat, she had already provided the confraternity with some sort of relatively finished drawing of the overall composition,
which would have made plain the Aykan graphical originality of his scheme, which will be addressed at the end of this lecture.
When I will also explain both its hitherto unrecognised true subject matter and its precedents to return to the contract there then follows.
Not quite as an afterthought, a stipulation that baraat she must, in addition,
paint a small tondo corresponding to a similar Randol carved in stone in the pediment of the Chappells pre-existing alter,
whose figure or figures shall be at his discretion. The vagueness of this final requirement is surprising, since, as will eventually become apparent.
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.
The Tondo in question, which is far from perfectly preserved, remained in a red.
So when the main panel made its way to Florence and it's hidden away in the ownership of the confraternity,
and you're seeing it here in a very murky photo. The remaining clauses of the contract concerned with various practical matters.
Predictably enough, since Biraj, she was a card carrying perfectionist.
The altarpiece was not completed on time.
And over the next four years, there were a number of letters which chronicle the artist's threadbare excuses and his patrons mounting frustration.
A note of the thirty first marked 50 and 79 and the Constance's papers alludes to
the idea of sending Baraki a letter of congratulation on his having completed
the altarpiece and is followed on the 1st of May by the decision to send one
Michaelangelo's by Banny to or B now to organise the work safe transportation to A.
This was no easy matter, but it would appear that beruff she took exaggerated precautions and the confraternity is final.
Communication with the artist, which date from the 30th of June of that year, includes complaints not only about the expenses incurred,
but also about the absurdity of the old pieces having been Azmath that coming on Makima Deguara armour plated like a war machine.
At this point, the picture had been installed and the longsuffering our times evidently felt able to let off steam.
Indeed, they can drive to direct their bile boast that the fact that paint began to lift
after a mere ten days and of what they deemed the artistic weakness of the work.
The painting here doesn't attain that good quality, which we were expecting is what they say.
The extraordinary quality of the all copies will be discussed briefly later on.
And what makes the pension plans and engraft? Choose the rector's heart to forgive.
And it makes them that big, hard to forgive.
But what even they could not have denied is the borough.
She took an arguably unprecedented amount of trouble over the design and preparation of their painting.
According to his own estimation, twice what he agreed to. It's not hard to demonstrate that a very considerable number.
Drawings for the work must have perished over time.
But even so, some counting rectors and verses separately.
There are nearly 100 sheets which survive more than for any other commission undertaken by the artist.
However, before examining at least a selection of these drawings, it seems important to illustrate two distinct categories of preparatory studies.
Baraki routinely executed major paintings and may well have made for the Madonna del Popolo.
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.
The ravishing example for Baroque is altarpiece for Senate Galilea of fifteen eighty nine to ninety three,
representing the Madonna of the Rosary, which is just down the road in the moment.
The second category involves detailed head studies such as this one for the figure of
Mary Magdalene in his entombment 15 79 to 82 for Santa Croce again in semi Gallia.
And this is in oil on paper, laid down on canvas and it's now in by on.
It used to be believed that Baraki also made coloured oil, but Setti or Sketchers for help compositions.
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,
are actually later copies by other hands or just conceivably autograph repetitions, but that they played no part in the process of preparation.
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.
Formerly at Chatsworth and now in the collection, a van bent in Chicago.
The work you see on the left whose departure from these shores I am inclined
to regard is just about the biggest national heritage disaster in the field,
though most drawing since the Second World War. In spite of the fact that their general appearance is broadly similar,
it differs significantly from the finished altarpiece in a number of ways starting at the top.
It is notable that while the central group The Blessing Christ, flanked by an adolescent angel,
admittedly without the pipe and with two additional companions in the painting and the Supplicate three,
Virgin is essentially unchanged to flying Puti holding sprays of roses have been added
to the upper corners in the painting as have to further Putih below the Virgin.
And there are additional angelic presences just discernible in the golden radiance backing Christ.
Moreover, in the altarpiece, the dive of the Holy Spirit is rigidly frontal as opposed to diagonally disposed.
Conversely, the four diminutive Sarah or cherub heads of Christ feet have been reduced to three, most significantly of all,
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,
proceeding to the terrestrial sphere and moving from left to right.
It is apparent that the left half the composition is all but unchanged.
Apart from the replacement of the figure kissing the ground by two prominent donors in the middle
ground and some alterations to children around the kneeling mother in the bottom left hand corner,
in the drawing there is a child at the left edge of the composition seen from behind who disappears the foreground by his naked,
not clothed and his older sister beyond his shadow kneeling.
But her hands are not yet joined in prayer.
In contrast, the action in the right foreground has been radically modified.
In the drawing, a bearded man, evidently a member of the confraternity,
is shown bending forward and giving arms to a half naked beggar scene from the rear,
whose uncomfortable pose must be intended to indicate the fact that he is crippled further over a hurdy
gurdy player accompanied by a yapping dog looks heaven words and whines his instrument in the painting.
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.
And it is she who is being tipped to coin by a child.
While a member of the confraternity at the extreme margin of the image looks down and contemplates this act of conceivably in his eyes,
misplaced kindness, the hurdy gurdy player's head is lowered and his blindness is made explicit.
His dog now, clearly a spaniel has come down.
And last but not least, the beggar who has survived relatively unmodified in the altarpiece still stretch.
It stretches out his hand for a coin. But it is not clear whether he, too, will be rewarded.
Study of the remaining preparatory drawing from another del Popolo reveals that Baraki executed considerable number of more
detailed studies of individual figures in groups that relate to the Chicago sheet as opposed to the finished altarpiece.
There are two possible explanations for this.
One is that he decided to work out the precise appearance of all the elements of the compositional study before actually executing it,
while the other is that he made these drawings after the compositional study on the assumption that the altarpiece would,
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.
It is virtually impossible to prove which of these scenarios reflects what actually happened.
But as we have already seen in previous weeks,
there are certainly instances of other artists changing their minds after seemingly having worked out exactly what they wanted to represent.
Indeed, Baraat chief himself is an artist who may be added to that number.
In this instance, the changes were so numerous that it seems only reasonable to presume that baraat she must have needed
to create a second Modelo through all that it has never been reproduced in the Baraki literature.
What appears to be a substantial fragment of a detailed study for precisely such a model has survived in Berlin.
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.
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.
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.
The few of confraternity members and a decapitated flying puto are all present when the attitudes
of these various actors are compared with those of their counterparts in the finished work.
The differences are minor, but more than sufficient to lay to rest.
Any doubts about the preliminary nature of this sheet?
The most notable modifications concern the angle of the musician's head and his instrument,
and the fact that the puto is seen from the front rather than the rear.
It nevertheless remains the case that it is far less finished than the Chicago sheet, as well as being on a smaller scale.
In looking at the remaining drawings, I will start at the top and move down.
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,
which is in the middle here, which was first published as long ago as 1981,
but had tended to be overlooked in the scholarly literature on barratry until it was the
subject of a recent article by Come and Bam back in the Burlington magazine in 2015,
squared for transfer and executed in the medium of black chalk.
As was traditional for cartoons, it comprises the upper left corner of the composition down to the tips of the adolescent angel's toes,
including most but not quite all of the figure of Christ.
In originally publishing it pure, Haselberger contended that it was closer's of the Chicago sheet than to the finished altarpiece while come,
and Baumbach thought it preceded that Chicago sheet.
But in truth, it seemed to chronicle an intriguing and somewhat unexpected transitional phase between the two.
Thus, the angel still retains his plight, as in the drawing.
But the more frontal angle of his head and the definition of his right wing look forward to the painting.
In the same vein, the top corner is now filled by a puto bearing.
Rose branches. But he is accompanied by at least one subsidiary companion who was excised before the altarpiece was actually painted.
Turning to Christ with rather unexpectedly represented without beard,
both the disposition of his drapery and the way the fourth and little fingers of his
right hand are folded down correspond to the drawing as opposed to the painting.
In fact, both options for the hand are studied simultaneously in a sheet in Berlin, which you're seeing here.
A red and black chalk drawing on blue paper heightened with white and as might be expected.
The one found in the painting is a second thought.
No less intriguing is the fact that the precise location of the putto in the corner has been adjusted,
which is surprising in the context of what might be assumed to be the artist's final
thoughts before actually starting to paint the explanation of all these oddities.
Must be that the alterations the artist subsequently made to the cartoon were fundamentally insignificant with the result.
The Baroque, she did not see any necessity to start all over again.
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,
such as this pair of drawings connected with the top left corner, which were both in their feet to the low.
One is particularly revealing of his reluctance to waste good ideas,
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.
Anthony Abbott and Lucy in the loop. Further studies relate the corresponding put on the other side,
and indeed the first conception of the angel who is studied from the life in the nude
and the Virgin when it comes to the Chubbie as the angel in the nude and the Virgin.
When it comes to the Chumby quote below the Virgin scene from behind.
The most important drawing is the cartoon fragment in the Bibliotheque Ambrosi arm in Milan, which faithfully corresponds to the figure as executed.
But omit his wings so to do sheets in the Fitzy and Berlin and the study and the study.
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,
which all belong to an 18th century German artist called Friederike Phil Hellam from AB Mams Dolf and were
exhibited as being by him before being correctly identified as the work of Baraki in 1993 by Van Shandar.
They still remain all but unpublished and unknown,
although eight were properly exhibited and reproduced in the catalogue of an exhibition shown in Rome and deaths in twenty, fourteen, fifteen.
But unfortunately, none of the ones that were shown were the ones the Madonna del Popolo,
which is why the reproductions you see, including this one, are so ghastly.
In addition to the studies for the various figures in the upper zone,
there is also a substantial sheet in Urbino to scale in red and black chalk on pale beige paper.
You're seeing it on the right, which corresponds to the dramatically foreshortened dive of the Holy Spirit as it appears in the painting.
So this may be added. What I believe to be another study for the dive on the left,
also to scale in charcoal on grey brown prepared paper in the British Museum hitherto associated with the Karachi and Jacomo covered donee,
but which probably represents a fraction the earlier stage in the artist's thinking.
Moving on to the lower zone of the composition,
it is probably simplest to discuss the various preparatory drawings in groups proceeding from left to right and from the foreground to the background.
Karachi like his great exemplar, Correggio, and for all that he never married,
was fascinated and enchanted by the exuberance and rather leave of children, as is apparent in a considerable number of his works.
Nevertheless, the left foreground, the middle of their Popolo. Particularly fine example of this affectionate concern.
It is dominated by a group consisting of an elegantly dressed young mother with two children.
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.
But he is distracted by the activity over on the other side of the space.
And judging by the direction of his gaze being led astray by the music of the hurdy gurdy in the bent drawing,
by contrast, where he is naked, his expression is one of surprise, bordering on apprehension.
Presumably at the barking dog, a considerable number of sheets, including some of the most spectacular associated with the altarpiece,
are devoted to these various figures,
and they almost all appear to be connected with the final evolution of the composition as opposed to the Chicago drawing.
An exception. An exception is a sheet of studies for the kneeling boy,
in which a second child seen from behind to disappears in the old pieces as executed is still included.
Two of the remainder are in the pen and wash one.
This one in Budapest, which also features an unrelated figure of Christ, probably four branches per donor, the Assisi altarpiece,
an albino and the other in Berlin with a compositional study, seemingly for an entombment at right angles.
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.
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.
The second also includes the kneeling woman in profile behind her pointing left arm and hand,
as well as other details studied in a chalk drawing on prepared paper.
And the same medium is implied in the sheet of studies above all of her torso,
so that the pointing arm you can see, and that's the torso to them may be added.
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.
There also exists what appears to be an autograph study for that lady in oil on paper.
The grand motherly figure beyond her looking heaven words does not feature in any of the studies for the altarpiece.
But conversely, the left arm of the child in her arms does appear to be explored in yet another sheet in DSR.
Last, but by no means least comes a whole sequence of studies for the head of the mother,
including in the centre here, a stunningly beautiful one executed in branches,
pastel anticipating signature technique of colour chalks, where, however,
her coiffure comes closer to what we see in the Chicago sheet than to the altarpiece.
The centre foregrounds recomposition is filled by the substantial presence of the crippled beggar for whom there are a number of preliminary studies.
As is the case with so many other figures within the composition, his Poes is modified between the bent sheet and the altarpiece,
not least in response to the changes in the narrative which affect the figures with whom he interacts.
The consequence is that it is possible to reconstruct an approximate sequence of execution for these studies,
since some are related to the drawing and others to the painting. Predictably enough,
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.
There are only two exceptions here. There are studies.
There are only two exceptions. One is the luminous study in black, red and white chalk some blue paper in the Fitzy,
which also includes studies for the hurdy gurdy player looking up to heaven, as in the Chicago drawing and down to earth.
It explores the idea of showing the beggar from the front with his head alternately to the left or the right.
In one instance, apparently being ministered to by another figure and hope.
He could have pressed one button for. Up from here.
I think the other drawing with him going the wrong way, so to speak,
is the square chief in Berlin executed in black chalk and charcoal and blue paper, which shows the naked figure in the opposite direction.
Yet another drawing, Berlin,
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.
As I have said in the bent drawing, the banker is receiving arms from a member of the confraternity.
And this donor is also the subject of a single sheet of studies in the FT.
See executed in a combination of black and white chalks and Chocho.
It is an unusually complex, layered palimpsest of ideas with no fewer than four versions of the upper half of the figure,
one in which he is shown full length but appears to be kneeling,
perhaps to have the beggar to his feet and two more detailed considerations of his right hand.
The scale of the hand in the larger of the two, which is approximately 10 centimetres high, is perhaps unexpected,
given that this whole area and therefore this particular detail was ultimately entirely recast.
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,
including a spectacular nude study in red chalk, as well as a close up of her right arm.
No surprise where that is in DSR,
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.
He is not only shown looking upwards as in the bent sheet,
but also tellingly in an attitude that precisely anticipates the solution found in the altarpiece.
This should serve as an alert where it's still needed.
The baraat, she may on occasion have explored to solutions for the poses of an individual figure or figures simultaneously in this specific instance.
The consequence is that there is no guarantee that all the detailed studies for
the hurdy gurdy player with lowered head were made after the band drawing.
As it happens,
only one other extant drawing for the entire figure is indisputably related to what might be termed the ecstatic attitude of the musician.
This is the street in Berlin, squared in black chalk and executed in charcoal,
heightened with white, which represents the figure in the nude with a hurdy gurdy.
And then restudy is the left arm. Both as an a cliché, as a flayed figure,
and also with an indication of drapery above the elbow and holding the musical instrument in the top left corner.
Finally, there is a study of a head looking down, and although its attitude is rather different,
the closed eyes suggest it must be a first idea for the second redaction of the hurdy gurdy.
A red chalk drawing in the fixie, which is a detailed study of the figures left leg,
must also be connected with the first phase of the design because the raised heel found here is flattened in the final painting.
There are incomparably more drawings for what was to become the definitive solution,
including a number which studied the hurdy gurdy player from a nude life model.
One of these nude studies is combined with a detailed study uncoloured chops for his head in a sheet in the PTC,
which I'll come out right there because there are quite a few.
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.
He might not unreasonably be supposed that such a study would have been executed very late on in the evolution of the design.
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.
Then the killer detail is the right hand top left where the disposition of every single one of the fingers matches
the winding right hand in the bent sheet to perfection and is not the same as what you see in the altarpiece there.
That hand corresponds with that, not with the altarpiece.
And arguably, the most impressive of all the drawings for the hurdy gurdy player is this substantial study over his head in red,
black and white Trogs. I found it under the name of Chee Gulay.
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.
I found them in the old catalogue of the National Museum in Poznan.
But a visit to the institution's website revealed that they had beaten me to it and changed the actual bouchon.
So I can't claim to be the first, but we've worked this out.
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.
So you can find it on Google. But you can't find it in the learnt terms on barraging two.
It should be added a number of studies for the hurdy gurdy players arms and legs.
And this is a very splendid one. Another one.
And then two more of his left arm in DSR.
Can the only group of studies which remains be considered as devoted to various figures of members of
the confraternity who feel the right margin and middle distance of the composition of these sheets?
I should like to single out this one. A drawing in the Ft.
Sea, which includes seven individual studies.
One must relate the begger, but most of the remainder seem to be connected with the praying figures in the middle ground.
And three one is of the kneeling figure facing straight ahead and bearing his head in prayer.
Another is of his companion holding a candle stick, and a third is of that chap's right hand.
They are, to all intents and purposes, identical to their counterparts in the bent drawing and.
Sorry. That's right.
That's the man with a gun. And yes, there are other beautiful drawings which.
I'm not going to dwell on. Plenty.
Finally turning to the Madonna del Popolo itself.
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.
Norway's always relatively uncommon by this date, all but moribund theme known as the double intersession.
The ultimate Italian precedent for Baroque she's painting is a picture on canvas which used to live
in the cloisters but is now in the main building of the Metropolitan Museum of Art in New York.
It was was evidently painted around fourteen hundred and has recently been attributed.
In my opinion, convincingly to Lorenzo Monaco, whether it was originally intended to be an altar piece remains uncertain, canvases unusual.
But it undoubtedly soon made its way to an altar on the retro facade of Florence
Cathedral and was to prove to be an extremely influential image as stated above.
Its theme is the double intersession, and it represents the Virgin presenting her breast to Christ with one hand and
extending the other towards a group of kneeling figures between them and on Earth.
While Christ in turn points out the Virgin indicates the wound in his side and appeals to the half length figure of God.
The farther up above in the radiance, he looks down at him and directs the dive of the Holy Spirit towards him.
The theological basis for the imagery was, above all,
the speculum who itself that slowness an anonymous text universally believed that the time to have been written by Saint Bernard.
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.
But in fact, the presence of the three persons of the Trinity in subsequent representations of
the subject is all but ubiquitous and is simply one of the elements in this rare,
iconographic scheme.
On the other hand, this should not be taken as implying that the iconography remained ossified in cataloguing the canvas formally in The Cloisters.
Federico Dary and Elizabeth Gardiner were able to build on the initial research as a Millard
Meece and to arrive at a total of no fewer than seven subsequent variations on the theme.
A number of them include modifications, various details, some of which were not subsequently emulated,
while others directly anticipate Baroque Xi's treatment.
Thus, the master of the Sherman Della presents God the father more even handedly adds the instruments, the passions of the scene.
And tellingly, in connexion with the Madonna del Popolo, does not show the Virgin's breast covered.
The same cover up occurs in a painting of uncertain authorship in Potsdam.
I'm showing it to you on the left in black and white. Sorry, guys, I'm cracking up.
I'm not showing you at all of which I do not have an image. Sorry. Sorry. I couldn't.
I couldn't get an image of that one. Sorry. But it's uncovered again in this one in black and white in Montreal,
which is attributed to Ground de Giovannelli and where the Popolo, where the people includes children.
And the only major addition is of an introductory figure of Saint Bernard,
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.
However, God, the father, is represented as an old man and this becomes the norm.
The most artistically distinguished double intersession before Baraki is Filipino Lip is Altarpiece now in Munich,
which you are seeing on the right in which the Annunciation has been added to the mix.
The Popolo has been pushed right back into the middle distance and the dive of the Holy Spirit is omitted.
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.
Descendants of the original prototype may be added to more whichever differ from all but one of the others, not including the popular.
The first is the central element of an old piece by Genteelly Fabbri Ana in the church.
Some Nikola all drama in Florence, whose dramatic links with the countless formulae in Florence Cathedral have been recognised.
It differs from its model not only in its resolute, frontal and balanced presentation of God,
the father, and in the way the dive is positioned centrally between Christ and the Virgin.
But above all, in locating them in the celestial as opposed to the terrestrial sphere.
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.
They manually in Florence through subject matter was apparently not grasped by Vasari and has remained pretty much misunderstood ever since.
But which reverts to the original mode of representation.
Turning to the Madonna del Popolo, the first point to make is that it was a minor stroke of genius on bulrushes Paape position,
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,
both apart from the main action in a kind of glory and at half length,
thus avoiding anachronistic artifice while at the same time adhering to tradition.
Similarly, both the direction of gods gaze down towards Christ and the blessing gesture of his right hand are canonical,
proceeding further down the presentation of Christ and the Virgin. And indeed, the dive is less rigorously based on earlier treatments of the theme.
Christ is fully clothed and does not really intercede on behalf of the Popolo,
but instead directly blesses them while the Virgin flings both her arms wide in supplication and fails even to gesture towards her breast.
And the dive is between and below them rather than above and closer to Christ.
The major difference, however, concerns the treatment of the popular in previous double intercessions.
As we've seen, they had been shown as a static and largely faceless group, whereas here baraat,
she has both personalised them and brought them to life to such an extent that in his sixteen seventy two V-Tech,
which includes the first major biography Baraki Jan Pietro Bellary could exaggeratedly claim that the seven acts of Mercy were represented.
Such an iconography would have neatly reasserted the theme of Misericordia.
But while it is possible to identify figures in the background feeding prisoners and the more prominent giving of arms,
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.
I look pretty hard and it's not there.
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.
However, arguably the most successful as well as ambitious such enterprise prior to Bharathi was precisely a Madonna de la Misericordia.
This was for Albert Alamo's altarpiece of Fifteen Fifteen on the theme for the Dominican Church of San Romano at Lukáš.
Now, in the movie Zelda V Leg, we need G. In that time it is immaterial whether baraat she was acquainted with it,
which seems unlikely given his reluctance to travel or not, even if he did know it.
He clearly did not plunder it for ideas, but its cast of around 40 characters in a whole variety of poses and actions showed
how the plenitude monumental mural painting could be adapted in an altarpiece.
Naturally.
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.
It is tempting to stress the way it seems to anticipate all sorts of aspects of the baroque altarpiece.
But it is arguably better to admire it in its own right.
Above all, for its triumphant holding of the balance between the heavenly and the earthly,
and for its combination of energy and the variety of the local and the universal.
The Madonna del popular is probably Baroque, his masterpiece.
And it was unquestionably destined to remain unsurpassed within deserve the vast and extraordinary corpus of extant drawings connected with it.
And above all, as I'm showing you, the X Chatsworth sheet.
Now, in an Bence collection for all that, that huge body of drawings must represent only the tip of the iceberg.
They bear eloquent witness to how hard he worked to achieve an effect of almost miraculous immediacy.
Thank you very much.