The Holy Family

The outstanding painting of Giulio Romano entitled The Holy Family (c. 1518-1520) is a magnificent oil on panel work that perfectly shows the change of the High Renaissance harmony to the Mannerism theatricality. As the best disciple of Raphael, Giulio Romano created this multifaceted painting in his last years in Rome by applying his master's mature and dark style. The picture deviates from the standard religious idealized portrait of holy people and presents a realistic scene where the holy figures are placed in an informal and narrative domestic environment. The picture presents an excellent depiction of the first meeting of the baby Christ and Saint John the Baptist as a prophet. This highly strategic interaction takes place against the background of the complex iconography, as the painting refers to the Jewish ritual of the purification of the new-born baby forty days after his birth.The complex spatial arrangement of the painting reflects the development of Mannerism in Romano's works by compressing the figures in a very tight interlocking composition. In the middle of the composition, the Virgin is embracing the reclining Christ child, who makes a premature attempt to open a book with his hands. This particular gesture means that with the advent of Christ, the beginning of a new era came into existence. On the left-hand side, the youthful Saint John is approaching the scene while holding the iconographic object – a small scroll with the inscription Ecce Agnus Dei (Behold the Lamb of God). Meanwhile, on the other side of the Virgin, there is the figure of the impassive Saint Joseph, observing the event, and the old Saint Elizabeth is placing a hand upon her son. Adding to the theme of purification, on the right-hand side of the composition, there is a woman carrying a small wicker basket with two turtledoves inside it.Execution wise, Romano demonstrates his distinctive elements of artistry through the use of a unique metallic color scheme as well as intense sculpting of the human anatomy. As opposed to Raphael’s ideal smooth transitions, Romano employs an expressive heavy chiaroscuro technique where the architectural setting and rolling landscape of the scene is plunged into a shadowy world but the skin of the figures is illuminated intensely in porcelain-like manner. The painting is packed with various lively details depicting the religious story including the little dog that jumps over the threshold on the extreme left side of the painting. In the background, there is an all’antica valley with classical ruins of hills that resemble the ancient Roman structures such as the Baths of Caracalla.