Tea at Trianon: Virgin with the Laughing Child

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Monday, March 25, 2019

Virgin with the Laughing Child

From The Guardian:

It’s always been part of Leonardo’s legend that he made sculptures, including a giant horse, but not a single extant three-dimensional work by him had been identified. The Virgin with the Laughing Child is the miraculous exception, according to the curators of the exhibition Verrocchio: Master of Leonardo, at Palazzo Strozzi, where it has just gone on display. It has an unambiguous label: Leonardo da Vinci. He is said to have created it around 1472, when he was 19 or 20 and a pupil of the Florentine artist Andrea del Verrocchio.

The UK has a special interest in the find, which has belonged to the V&A since 1858 but had long been credited to another artist, Antonio Rossellino. That is because scholars had been bamboozled by the posthumous authority of the late art historian and British Museum director John Pope-Hennessy, according to Francesco Caglioti, the Italian academic who is leading the new attribution. Caglioti, who teaches at Naples University, is well known among Renaissance experts for his unrivalled knowledge of 15th-century sculpture: an art history prodigy who made a catalogue of the Louvre when he was eight. Victorians had no difficulty seeing the Leonardo-esque look of the V&A treasure, he said. The Virgin Mary looks down at the Christ child on her lap with what may be the prototype of all the enigmatic smiles in Leonardo’s art, the most famous of which is the Mona Lisa’s. (Read more.)

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