Madonna and Child

One of two works that you can assign with confidence to the solemn sacred beauty, Luca's leading painter, Berlinghiero. It follows the Byzantine type known as Hodegetria ("Show me") familiar with the icon that arrived in Italy after the collapse of Constantinople in 1204. Madonna pointed out that Jesus is the way to save him; he has a scroll like an ancient philosopher. A scholar pointed out that "Berlinghiero's work has subtle differences ... gesture words, its flow, and their subtle meaning at the human and theological level."

Both reflect the Bible theme and the central focus of Madonna and children, but it is an important image that "Madonna is loved." The best thing seen from the central position is "Madonna and children". On the surface of the canvas Madonna and the children did not feel like the audience was forced to take pictures like Gott's work. It is also important to use light and space to prevent "forcing" of Puligo film, where the distance of the organization obviously removes viewers from "Madonna Enthroned" and attracts viewers to the picture of "Madonna and Child". The colors have similar uses, while Giotto's work is black and white, although it is dusk, Puligo's work shows outstanding performance through detail. The emotions of these two pieces of work are very important as the color is not as important as the characters around Madonna and the children's focus.

The picture "Children of Madonna and St. Jerome" by Matteo Giovanni is the most interesting thing for me. In Madonna 's other depictions of the gallery, the depiction of Madonna and the child' s Giovanni is unique in a sense, and he brings an early naturalistic artistic style. In Matteo's paintings, he reinforces the structure by using children as a symbolic point of view. Discreet gestures and character gestures indicate a harmonious solution to the classic Greek and Roman ideals. The position of the hands and a gentle smile of Madonna gives people a sensation of the inner mind that is ready to be accepted. Angels create a strong supernatural visual feeling. Giovanni expressed his Christian theme as being human rather than spiritual. The character image and its internal setting indicate new reliability

Madonna and children may paint for Scuole at the same time, it may be an inspiration for painting later. Indeed, the facial features of Madonna, her veils, clothes, and the existence of Madonna and children's wheat are similar to Madonna, which is depicted in the shepherd's picture on the eastern wall of the chapter (Figure 3). At Scuola San Rocco, and about 8 years after 1578. Scuole also had an important influence on Tintoretto's private life as she married Faustina de Vescovi, a daughter of a Venetian aristocrat who was a guardian of Scuola Grande di San Marco in 1550.