being his main aim, too delicately for time to spare; happily the deep-cut brow is left, and the exquisitely refined line above, of the veil and hair. The rest of the work is uninjured, and the sharpest edges of light are still secure. You may note how the passionate action of the servant is given by the deep shadows under and above her arm, relieving its curves in all their length, and by the recess of shade under the cheek and chin, which lifts the face.
Now take your modern student's copy, and look how he has placed his lights and shades. You see, they go as nearly as possible exactly where Giovanni's don't. First, pure white under his Gothic arch, where Giovanni has put his fullest dark. Secondly, just where Giovanni has used his whole art of chiselling, to soften his stone away, and show the wreaths of the Madonna's hair lifting her veil behind, the accursed modern blockhead carves his shadow straight down, because he thinks that will be more in the style of Michael Angelo. Then he takes the shadows away from behind the profile, and from under the chin, and from under the arm, and puts in two grand square
