MUCH IN LITTLE

FOUR masterpieces from Washington's National Gallery are reproduced full-size on the following four pages. They have in common what art critics like to call "monumentality": when seen in reproduction, they are imagined to be much bigger than actuality; likewise, when seen in the eye of memory they look larger than their true size. Each merits the overworked word "gem," for each diffuses the sparkle of ages from a surface hardly more than a hand's span.

1) FRANCESCO GONZAGA, FOURTH MARQUIS OF MANTUA, by Ferrara's ERCOLE ROBERTI, imprisons a princely child in a formal 15th century portrait without robbing him of boyishness. (The Samuel H. Kress Collection )

2) THE GIRL WITH A RED HAT, by JAN VERMEER of Delft is the sort of picture that led one critic to exclaim: Of Vermeer we know nothing save that he was a materialistic Dutchman who applied paint to canvas with a dexterity and charm that have never been equaled." (The Mellon Collection.)

3) JUDITH AND HOLOFERNES, by the 15th century Paduan, ANDREA MANTEGNA, treats a bloody drama with chill grace. (The story, told in a book of the Apocrypha: Nebuchadnezzar sent an army against Bethulia under Captain Holofernes, who laid siege to the city. Judith, a lovely, pious and patriotic widow of Bethulia, made her way into Holofernes' camp, tent, and affections. After three days' dalliance she caught him napping, removed his head, and stole back to town with her trophy. Soon afterwards the siege was lifted.) Mantegna's panel was probably one of a series on the theme "The Triumph of Woman." (The Widener Collection.)

4) SAINT GEORGE AND THE DRAGON is among the most perfectly preserved panels by RAPHAEL. It was a gift to Henry VII of England, commissioned by Duke Guidobaldo da Montefeltro, who had received the Order of the Garter from Henry. In the picture, St. George is clearly shown wearing the Garter. (The Mellon Collection.)

This file is automatically generated by a robot program, so reader's discretion is required.