II
But there is direct evidence that Giocondo's picture did not become the property of Francis I. For there hangs in the Louvre to-day a 'study' by Raphael of that picture, which he must have seen in 1504, shortly after his arrival, in Florence.[1] From that study he modelled his portrait of Maddalena Doni, which he painted before his temporary return to Perugia towards the end of 1505.[2] Müntz, in his 'Life of Raphael,' says:—
- 'The beautiful drawing in the Louvre is an imitation of the Mona Lisa, having the same grave and easy attitude, the same full and simple modelling, and the same expression of voluptuous tenderness. The only thing wanting is the ineffable smile which has for centuries been at once the charm and despair of the admirers of the mysterious " Giocondo."'[3]
Again Müntz writes:—
- 'First of all there is the portrait of Maddelena Doni, which is, so to speak, foreshadowed in the drawing referred to above.
- 'A comparison of the preliminary study with the painted portrait (Doni) cannot fail to be instructive. In the study, Raphael, inspired by the recollection of the Giocondo, puts out of sight the commonplace wife of Angelo Doni and gives us a young woman with large dreamy eyes and a sensuous mouth, fit sister of Mona Lisa Giocondo.'[4]
22
- ↑ 'It is certain that in October, 1504, Raphael arrived in Florence.' 'Raphael, his Life, Work, and Times,' 1888 (p. 95). By Eugene Müntz, translated by Sir Walter Armstrong.
- ↑ 'The first visit to Florence does not seem to have been a prolonged one, for in 1505 Raphael is once more at Perugia, where he undoubtedly spent the best part of the year.' Ibid. (p. 161).
- ↑ Ibid. (p. 1 10).
- ↑ Ibid. (p. 161).
