Art and Eye

  Through his choices in composition Simone Martini is draws the viewer's eye to the smaller figure of Christ. Though it is an unusual story, the figures are easy to identify; the Virgin in her ultramarine drapery, the elderly figure of Joseph and Christ himself. There is no sense of a 'temple' here as in other depictions (for instance Giotto's fresco of the same subject in the Scrovegni Chapel, usually titled Christ Among Doctors ), but instead a background of gold mostly likely produced from water gilding. Martini advances his textural choices in the relief arch that frames the family, but also using shell gold for the trimmings of draperies, and sgraffito for halos. Very much in the tradition of the early Renaissance, the halos are solid and two dimensional, recalling Byzantine prototypes. There is a strong propensity for jewel-like, mimetic qualities to Martini's panels. His signature and dating in Latin along the bottom of the frame signals his pride at the fin

  With the bold choice of a wide-brimmed hat to frame the face of the sitter, the viewer's eye meets the fleeting gaze of the Baroness de Crussol Florensac. The artist's recurring interest in lighting that can be traced throughout her portraits (for instance, Self Portrait with a Straw Hat now in London's National Gallery) is illuminated on the face here. The choice of pose is unusual, but allows the face of the Baroness to be bathed in a soft, angelic glow. With her lips slightly parted, and with a fleeting smile, she seems to be briefly acknowledging the viewer but with little interest. Not only is she elegance personified, but her social status as a member of the aristocracy is also emphasised. The composition is balanced and harmonious, as is the colouration of the piece. The dark, wide hat complements the fur tailoring on the dress of the figure, promoting Vigee's virtuosic capabilities in rendering texture. Atop the hat sits a halo of red fabric, almost crowning t