I wonder if Raphael’s Madonnas may bring about a therapeutic effect. I am not talking about religious sympathy that some will undoubtedly experience; it’s the pure psychological influence of calm and nervous relaxation that comes to mind. As mentioned in this Wikipedia article, art is known to provoke extremely powerful emotional responses. Could it be [...]
Injustice is the only clearly identifiable male figure among the allegories: he wears a distinct facial hair, and sits in a masculine posture. His eyes are covered — the man is blind — a feature that becomes characteristic of all Giotto’s vices to one degree or another: Despair appears dead altogether (her eyes are closed [...]
The visual thrust of the Justice allegory ensues mostly from the various attributes and ornamental additions: they may appear to “steal the show” from the sitting crowned figure — in fact, of course, complementing her and expounding her purpose. This rivalry occurs on some level in other allegories as well, but in this one it [...]
The episcopal garment and the reflective facial expression immediately immerse the viewer into a serious, perhaps somewhat grave context. The facial expression adheres to medieval iconic standards more than any other in the entire group of fourteen allegories, and purposefully so: Giotto amplifies the theme of faith via an association with a long standing pictorial [...]
Wearing a garment identical to that of Hope, Charity also reveals a resembling face: the same model probably served Giotto in painting both virtues. The woman humbly smiles and bends slightly backwards, producing a set of graceful and plastic movements, and a subtle contrapposto. She balances easily standing on a few sacks of grain or [...]
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