Madonna and Child Enthroned with Five Saints

The idiosyncratic Ruschi remained faithful to Veronese’s schemes and palette while emphasizing their underlying geometry and imposing a sharp, naturalistic illumination. Strangely static and solemn, this style is seen to advantage in a se-ries of altarpieces of the Madonna and Child enthroned with saints for a number of churches in Venice. Although no corresponding painting has been identified, this compositional study pertains to that series in its format, figural disposition, figural type, and architectural prop. It is a foundation for understanding Ruschi’s draftsmanship and a dimension of the revival of interest in Veronese in later 17th-century Venice.