Page:Monograph on Leonardo da Vinci's Mona Lisa (1915).pdf/38

 But this drawing by Raphael distinctly shows two columns, one on each side of the figure, and there are no such columns in the composition of the Louvre Mona Lisa, which only contains very dauby indications of the bases of columns. Hence it may rightly be assumed that it was not from the Mona Lisa now in the Louvre that Raphael took his study for his Doni portrait. Müntz tries to account for this in his 'Life of Leonardo' by an entirely false hypothesis, saying:—


 * 'One detail which has been overlooked is that the portrait (Mona Lisa) is enframed by two beautifully-painted columns; these are hidden by the frame.'

Dr. Gronau calmly asserts in his short life of Leonardo, that 'Mona Lisa is sitting in a loggia, the pillars of which can be seen on the left and right of the canvas' (p. 168).

That this is not so I can state on authority, having in my possession a document from the Louvre to that effect. But it may be argued that since the bases of columns are shown by brown daubs of paint, the columns may have been there and cut away for the purpose of framing. This scarcely can be the case without casting a stigma upon Leonardo's work, for the balustrade on which the base rests on the left-hand side of the Louvre picture (otherwise so pronounced for its shadows), gives absolutely not the faintest indication of a shadow of the supposed column, which it should do if the column had ever been there, and Leonardo never would have painted it without showing the shadow, since he laid such stress upon the absolute necessity of always giving full effect to shades and shadows. Did he not write: 'Shadows appear to me to be of supreme importance in perspective.' And again he declared: 'Shadow partakes of the nature of universal matter. . . . Therefore, O Painter, make your shadow darkest close to the object that casts it.' In his 'Trattato della Pittura' he devotes several chapters to light and shadow, and, amongst other things, says: 'If the painter then avoids shadows, he may be said to avoid the glory of the Art, and to render his work despicable to real connoisseurs.'