Page:Studies in the history of the renaissance (IA studiesinhistor01pategoog).djvu/138

116 and in the houses of Florence, left perhaps a little subject to light thoughts by the death of Savonarola (the latest gossip is of an undraped Monna Lisa, found in some out-of-the-way corner of the late Orleans collection), he saw Ginevra di Benci, and Lisa, the young third wife of Francesco del Giocondo. As we have seen him using incidents of the sacred legend, not for their own sake, or as mere subjects for pictoral realisation, but as a symbolical language for fancies all his own, so now he found a vent for his thoughts in taking one of these languid women, and raising her as Leda or Pomona, Modesty or Vanity, to the seventh heaven of symbolical expression.

'La Gioconda' is, in the truest sense, Lionardo's masterpiece, the revealing instance of his mode of thought and work. In suggestiveness, only the Melancholia of Dürer is comparable to it; and no crude symbolism disturbs the effect of its subdued and graceful mystery. We all know the face and hands of the figure, set in its marble chair, in that cirque of fantastic rocks, as in some faint light under sea. Perhaps of all ancient pictures time has chilled it least. As often happens with works in which