[58] And, indeed, it is hard to conceive
wherein any objection could possibly lie, for it is a typical creation
of the master, _usque ad unguem_. Not only in types, colour, light and
shade, and particularly in feeling, is the picture characteristic, but
it again shows the artist leaving work unfinished, and again reveals the
fact that the work grew in conception as it was actually being painted.
I mean that the whole figure of S. Roch has been painted in over the
rest, and that the S. Francis has also probably been introduced
afterwards. I have little doubt that originally Giorgione intended to
paint a simple Madonna and Child, and afterwards extended the scheme.
The composition of three figures, practically in a row, is moreover most
unusual, and contrary to that triangular scheme particularly favoured by
the master, whereas the lovely sweep of Madonna's dress by itself
creates a perfect design on a triangular basis. A great artist is here
revealed, one whose feeling for line is so intense that he wilfully
casts the drapery in unnatural folds in order to secure an artistic
triumph. The working out of the dress within this line has yet to be
done, the folds being merely suggested, and this task has been left
whilst forwarding other parts. The freedom of touch and thinness of
paint indicates how rapidly the artist worked. There is little
deliberation apparent: indeed, the effect is that of hasty
improvisation.
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