DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45257#0212
I4o ART TREASURES OF THE MUSEE CONDE
added—a supposition which has, however, since
been refuted. The youthful Madonna is seated
on a cushioned bench in a small homely room ;
and behind her hangs a light curtain of reddish
grey. She bends tenderly over the Infant Christ,
who gazes intently at the spectator with an ex-
pression full of feeling and inspiration. This is
perhaps the most divine-looking of all Raphael’s
Infants. The Bridgewater Madonna, seated on a
similar seat in a homely habitation, is closely
analogous to the Virgin in this work, but instead
of the shelf there is an arched window to the right.
The lights in both pictures are subtle and extremely
delicate, whilst the shadows are in strongly marked
contrast.
In the eighteenth century the Orleans Madonna
subsequently returned to France to the house of the
well-known collector Crozat, from whence it passed
into the Orleans Gallery and obtained thus its
distinctive appellation. During the Revolution this
entire collection was transported to Brussels, and
the Madonna changed hands several times before
it finally entered the haven of the Musee Conde.
• • • • •
When the Due d’Aumale returned to Chantilly
after an absence of twenty years, he at once formed
as we have seen a plan for erecting a museum upon
the ruins of the old Chateau, with the further intention
of presenting the mansion with all its contents to
the French nation. Many years, however, elapsed
before the building was complete and ready to
added—a supposition which has, however, since
been refuted. The youthful Madonna is seated
on a cushioned bench in a small homely room ;
and behind her hangs a light curtain of reddish
grey. She bends tenderly over the Infant Christ,
who gazes intently at the spectator with an ex-
pression full of feeling and inspiration. This is
perhaps the most divine-looking of all Raphael’s
Infants. The Bridgewater Madonna, seated on a
similar seat in a homely habitation, is closely
analogous to the Virgin in this work, but instead
of the shelf there is an arched window to the right.
The lights in both pictures are subtle and extremely
delicate, whilst the shadows are in strongly marked
contrast.
In the eighteenth century the Orleans Madonna
subsequently returned to France to the house of the
well-known collector Crozat, from whence it passed
into the Orleans Gallery and obtained thus its
distinctive appellation. During the Revolution this
entire collection was transported to Brussels, and
the Madonna changed hands several times before
it finally entered the haven of the Musee Conde.
• • • • •
When the Due d’Aumale returned to Chantilly
after an absence of twenty years, he at once formed
as we have seen a plan for erecting a museum upon
the ruins of the old Chateau, with the further intention
of presenting the mansion with all its contents to
the French nation. Many years, however, elapsed
before the building was complete and ready to