According to Vasari, it was at this time that Michael Angelo carved two
tondi: one for Bartolommeo Pitti, now in the Bargello at Florence, and the
other for Taddeo Taddei, now at Burlington House, in the Diploma Gallery
of the Royal Academy, London. It was acquired by Sir George Beaumont, and
is the most valuable work the Academy possesses. If it were in an
out-of-the-way palace in Florence many of us would see it more frequently
than we do now, although we have only to climb a few steps to visit this
glorious work any day we are in Piccadilly. Both of these reliefs
represent the Madonna and Child, with the child St. John. The one in the
Bargello appears to be the earlier; the composition is very beautiful and
simple, and fills the circular space admirably. The Madonna is seated
facing the spectator, and looks out full towards him with an enigmatical
expression on her proud features; the Child stands beside her, His elbow
on her knee, as in the Bruges Madonna. The St. John is only roughly cut,
but the movement and forms are so well realised under the marble that one
does not wish for any further finish. In the Royal Academy tondo the
Madonna is seated more to the side of the circle, and is in profile; the
Child reclines upon her knee, clinging to her arm, startled but interested
by the little bird St. John has brought to show Him (a favourite motive
with Italian artists). The head and shoulders of the Madonna and the torso
of the Child Jesus are the only parts that are near completion, yet the
whole group is so much there that we do not ask for another touch; in
fact, the works of Michael Angelo were finished from the very first
strokes.
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