Still, this rhythm is broken by the unique and illuminating figure of the baby Jesus. Critics have noted that the harsh outline of the baby Jesus may indicate that one of da Vinci’s assistants constructed it ("Madonna litta by," 2009). One considers that the baby Jesus is rhythmically unique and constitutes the largest area of dominance within the paining. Not only does it demonstrate a general harshness in outline that contrasts it from the detailed complexity of the Madonna, but also seems to illuminate the eternal essence that has been associated with the Jesus figure. In this way, da Vinci’s construction of the baby Jesus in this image may constitute the most notable element of the image. Outside of this image, the painting largely implements traditional Renaissance conventions of color, proportion, and general form. Subdued hues of red and turquoise are balanced against the black walls. These low-key features are then juxtaposed with the gold illuminance outlining
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