aving has popularized the _Vierge aux Rochers_,[26] that
composition that exhales the strange and mysterious grace of the master.
In a strange spot, a kind of grotto bristling with stalactites and
sharply pointed rocks, the holy Virgin presents the little Saint John to
the Infant Jesus, who blesses him with uplifted finger. An angel with a
proud and charming face,--a celestial hermaphrodite having something of
the young maiden and the youth but superior to either in his ideal
beauty,--accompanies and supports the little Jesus like a page of the
great household who watches over the child of the king with mingled
respect and protection. Hair of a thousand crisp curls frames that face
so aristocratic and distinguished. Certainly this angel occupies a
very high rank in the hierarchy of the sky; he should, at least, possess
a throne, a dominion, or a principality. The Infant Jesus draws himself
up in a pose that shows great knowledge of foreshortening, and is a
marvel of roundness and fine modelling. The Virgin is of that charming
Lombard type in which under chaste innocence appears that malicious
playfulness which da Vinci excels in rendering. The colour of this
majestic picture has blackened, particularly in the shadows, but it has
lost nothing of its harmony, and perhaps it is more ideally poetic than
if it had kept its original freshness and the natural tones of life.
Doubts have been raised regarding this picture. Some critics have wished
to see here merely a composition by Leonardo executed by a strange hand,
or even simply the copy of another canvas painted for the chapel of the
Conception of the church of the Franciscans in Milan. But none other
than Leonardo could have drawn such firm and pure contours or carried
this model through those learned grades that give to the body the
roundness of sculpture with all the softness of skin, or rendered his
favourite types so superbly and delicately....

[Illustration: THE MADONNA OF THE ROCKS.
_L. da Vinci._]

_The Madonna of the Rocks_, the engraving of which is so well known,
belongs to and may be considered the type of Leonardo's second manner.
The modelling is pursued with a care not found in those painters who are
not familiar with the engraving chisel. The roundness of the bodies
obtained by gradation of tints, the exactness of the shadows and the
parsimonious reserve in the light in this unparalleled picture betray
the habits of a sculptor. We know that Leonar