Agnolo Doni and Maddalena Strozzi. The fact that this work was not created for a church might explain Michelangelo’s apparent freedom to place several young male nudes in the background, behind the little figure of St. John. The young, strong and elegantly poised figure of Mary, holding her infant up on her shoulder, is contrasted with the figure of Joseph, who is depicted – as was also customary during medieval times in order to de-emphasise his importance as a father – subject to the ravages of old age. The child, like the mother, is active and full of life. This is another work in which Mary and Jesus appear to be fully human.
181. Master of the Saint Bartholomew Altar, active c. 1475–1510, Northern Renaissance, German, St. Bartholomew Altarpiece, 1505, Oil on panel, 129 × 161 cm (central panel), 129 × 74 cm (side panels), Alte Pinakothek, Munich
182. Raphael (Raffaello Sanzio), 1483–1520, High Renaissance, Florentine School, Italian, The Madonna of the Goldfinch, 1506, Oil on panel, 107 × 77.2 cm, Galleria degli Uffizi, Florence
The patron who commissioned the Madonna of the Goldfinch – a man called Lorenzo Nasi – was a wealthy merchant, and the painting commemorated his wedding to Sandra Canigiani. Raphael painted the figure of the Madonna in the centre, using the standard pyramidal design for the composition. In her left hand Mary holds a book, while her right arm encloses the child Jesus, whose small hands enfold the goldfinch. The infant St John endeavours to caress the bird. The figures are idealised, and both Mary and Jesus have barely visible haloes over their heads, rendered in perspective, in order not to disturb the realism of the style employed. A panoramic landscape opens up the background to a considerable depth.
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