features of Mary in the picture of St. Anne of the Louvre.”
But the case could have been different. The need for a deeper reason for the fascination which the smile of Gioconda exerted on the artist from which he could not rid himself has been felt by more than one of his biographers. W. Pater, who sees in the picture of Monna Lisa the embodiment of the entire erotic experience of modern man, and discourses so excellently on “that unfathomable smile always with a touch of something sinister in it, which plays over all Leonardo's work,” leads us to another track when he says:[1]
“Besides, the picture is a portrait. From childhood we see this image defining itself on the fabric of his dream; and but for express historical testimony, we might fancy that this was but his ideal lady, embodied and beheld at last.”
Herzfeld surely must have had something similar in mind when stating that in Monna Lisa Leonardo encountered himself and there-
- ↑ W. Pater: The Renaissance, p. 124, The Macmillan Co., 1910.
