User:Melanie.pal/sandbox

EDITS IN: Analysis[ edit]

- hyphenated "flesh-colored".

- took out "Here" in sentence two, to begin the sentence with "the" to reduce wordiness.

- added "but" and "also" around "they" in sentence two.

- added "the" before "idealized representation" in sentence 1, paragraph 2.

As a portrait painting of the High Renaissance, Raphael's emphasis on erect poise, gesture, texture, decorous ornament, and softened form all represented cultivated Mannerist expression with the attributes of the noble class in a style which spread through southern Italy after Raphael's death. The textural details of a flesh-colored wall, sable fur, and wavy dark hair not only strike a Neo-Classical, sensitive balance between real humanity and nature, but they also extend gestures seen in previous female hand placement to stress man's role as a well-travelled humanist. Raphael humanized male gender so that the sleeve ribbon and hazy edges around hair and landscape reflected the interchangeability of each gender. A left palm placed near the heart emphasized self-identity and a passionate stance. A striking contrast between pure white and sable intensified the doctrinal harmony between Heaven and Earth.

It is probable that Raphael's studious approach to the idealized representation of human proportion was based on his studies of ancient athletic and military heroes in Classical sculpture such as Doryphoros and Augustus of Prima Porta. The painting was brought to Poland, along with Leonardo da Vinci's Lady with an Ermine and many Roman antiquities, by Prince Adam Jerzy Czartoryski, son of Princess Izabela Czartoryska, on his travels to Italy in 1798.