the lighting seem to be a bit more dramatic than would be typical of the Renaissance. There are some very dark areas placed against some areas of great light. For example, the brightly illuminated white of the flying angel's garb is placed against the dark shadow of the area along the sides, near the columns. Even the way Mary's dress is shaded shows a fairly dramatic contrast of light against dark or chiaroscuro. Some aspects of the lighting seem a little more like Baroque painting than Renaissance, although, overall, the lighting is even and unified. The lighting of course, helps to create that beautiful modeling, which is especially seen in Mary's hands and in the legs, body, and face of Jesus. All of the figures are modeled with great three dimensionality. They appear very realistic and human. Adding to that human effect is the use of line, or the non-use of it. Strong use of outline generally makes a painting look very flat - not real. These figures are painted without very much of an outline. Instead, the shadows, lighting and color create the shapes, which is very much like what is seen in real life.Speaking of color, characteristic of the Renaissance, David uses rich and vibrant colors - mostly the reds and the golds seem to stand out. Obviously, Mary's dress is an example of that deep, rich red. But that color can be seen along the columns on the side of the painting as well. In fact, much like the composition, the color is very balanced and spread evenly throughout. Besides the reds, there are the golds of the crown above Mary's head, which can also be seen on the wings of both of the angels holding it. Then again, that goldish hugh is seen in the instruments that then angels on both sides of Mary are playing. Blues and greens are used in a balanced manner throughout as well. On one side, the angel playing the harp is dressed in a light blue that is similar to the blue of the sky. The other angel is dressed...
