my paper
Formal Analysis of the Virgin and Child in Majesty
Maria Teresa Chong
HA112 sec.313
Professor David J. Drogin
February 26, 2014
This sculpture is thirty-one inches tall that has an octagonal shaped base. The Virgin is seated on a stool. It has five columns and bases with very short pedestals. There are shafts with eight corners, which have four congruent longer sides and shorter sides. The bases of the columns are like the Ionian, but the capital is very similar to Corinthian style column because it has decorative leaves that look like they are pealing of its bell. There are four longer pedestals that separate the columns and knobs with slightly visible pegs. On the left hand side of the Virgin Mary, a peg is coming off a pedestal, which makes it more visible than the rest. Its friezes has a Romanesque style arches that are characterized with its semi-circular arches connects the columns. The friezes of the arches seem decorated with bas-reliefs (low-reliefs) or moldings weathered but still have left visible marks. The five corners of the cornice were topped of a two pairs connecting cyma moldings, having an upper convex curve and a lower concave curve giving a view of two overlapping flat ovals, then capped with slightly bigger oval shaped head with its longer radius lies down horizontally. The Virgin is seated on a blue-green pad. The pad gives the viewer an illusion of a soft texture pad, other than of its convex shape but has a deeper concave surface where Mary’s behind falls. The pad has decorative features: twelve circles and inside these circles are Alhambra patterns both circular and Alhambra patterns are drawn with pattern parallel from each other. The artist took much into consideration as the very fine details proves as it came to how the clothing flowed over the figures. It must have taken very much time as well as patience to engrave. From what is seen, the sculptor painstakingly carved out every single line and
Maria Teresa Chong
HA112 sec.313
Professor David J. Drogin
February 26, 2014
This sculpture is thirty-one inches tall that has an octagonal shaped base. The Virgin is seated on a stool. It has five columns and bases with very short pedestals. There are shafts with eight corners, which have four congruent longer sides and shorter sides. The bases of the columns are like the Ionian, but the capital is very similar to Corinthian style column because it has decorative leaves that look like they are pealing of its bell. There are four longer pedestals that separate the columns and knobs with slightly visible pegs. On the left hand side of the Virgin Mary, a peg is coming off a pedestal, which makes it more visible than the rest. Its friezes has a Romanesque style arches that are characterized with its semi-circular arches connects the columns. The friezes of the arches seem decorated with bas-reliefs (low-reliefs) or moldings weathered but still have left visible marks. The five corners of the cornice were topped of a two pairs connecting cyma moldings, having an upper convex curve and a lower concave curve giving a view of two overlapping flat ovals, then capped with slightly bigger oval shaped head with its longer radius lies down horizontally. The Virgin is seated on a blue-green pad. The pad gives the viewer an illusion of a soft texture pad, other than of its convex shape but has a deeper concave surface where Mary’s behind falls. The pad has decorative features: twelve circles and inside these circles are Alhambra patterns both circular and Alhambra patterns are drawn with pattern parallel from each other. The artist took much into consideration as the very fine details proves as it came to how the clothing flowed over the figures. It must have taken very much time as well as patience to engrave. From what is seen, the sculptor painstakingly carved out every single line and