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+The Project Gutenberg EBook of The Madonna in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Madonna in Art
+
+Author: Estelle M. Hurll
+
+Release Date: December 22, 2005 [EBook #17373]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MADONNA IN ART ***
+
+
+
+
+Produced by Suzanne Lybarger, Kathryn Lybarger, Sankar
+Viswanathan, and the Online Distributed Proofreading Team
+at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+    [Illustration: _Madonna of Castelfranco_ Photogravure from the
+    Painting by Giorgione in the Parish Church, Castelfranco]
+
+                                  THE
+
+                            MADONNA IN ART
+
+
+                                  BY
+
+                           ESTELLE M. HURLL
+
+
+                              Illustrated
+
+
+
+                     A mother is a mother still--
+                     The holiest thing alive.
+                                            --COLERIDGE.
+
+
+
+                                BOSTON
+                         L.C. PAGE AND COMPANY
+                           (_INCORPORATED_)
+                                 1898
+
+
+                           _Copyright, 1897_
+                       BY L.C. PAGE AND COMPANY
+                            (INCORPORATED)
+
+
+
+
+CONTENTS.
+
+
+
+CHAPTER
+
+PREFACE
+
+INTRODUCTION
+
+I. THE PORTRAIT MADONNA
+
+II. THE MADONNA ENTHRONED
+
+III. THE MADONNA IN THE SKY
+
+IV. THE PASTORAL MADONNA
+
+V. THE MADONNA IN A HOME ENVIRONMENT
+
+VI. THE MADONNA OF LOVE
+
+VII. THE MADONNA IN ADORATION
+
+VIII. THE MADONNA AS WITNESS
+
+BIBLIOGRAPHY
+
+
+
+
+ILLUSTRATIONS.
+
+
+GIORGIONE         Madonna of Castelfranco              _Frontispiece_
+              _Parish Church, Castelfranco._
+
+JACOPO BELLINI    Madonna and Child
+              _Venice Academy._
+
+GABRIEL MAX       Madonna and Child
+
+PERUGINO          Madonna and Saints (Detail.)
+              _Vatican Gallery, Rome._
+
+GIOVANNI BELLINI  Madonna of San Zaccaria. (Detail.)
+              _Church of San Zaccaria, Venice._
+
+VERONESE          Madonna and Saints
+              _Venice Academy._
+
+QUENTIN MASSYS    Madonna and Child
+              _Berlin Gallery._
+
+FRA ANGELICO      Madonna della Stella
+              _Monastery of San Marco, Florence._
+
+UMBRIAN SCHOOL    Glorification of the Virgin
+              _National Gallery, London._
+
+MORETTO           Madonna in Glory
+              _Church of San Giorgio Maggiore, Verona._
+
+SPANISH SCHOOL       Madonna on the Crescent Moon
+                   _Dresden Gallery._
+
+BOUGUEREAU           Madonna of the Angels
+
+RAPHAEL              Madonna in the Meadow
+                   _Belvedere Gallery, Vienna._
+
+LEONARDO DA VINCI    Madonna of the Rocks
+                   _National Gallery, London._
+
+PALMA VECCHIO        Santa Conversazione
+                   _Belvedere Gallery, Vienna._
+
+FILIPPINO LIPPI      Madonna in a Rose Garden
+                   _Pitti Gallery, Florence._
+
+SCHONGAUER           Holy Family
+                   _Belvedere Gallery, Vienna._
+
+RAPHAEL              Madonna dell' Impannata
+                   _Pitti Gallery, Florence._
+
+CORREGGIO            Madonna della Scala
+                   _Parma Gallery._
+
+TITIAN               Madonna and Saints. (Detail.)
+                   _Belvedere Gallery, Vienna._
+
+DÜRER                Madonna and Child
+                   _Belvedere Gallery, Vienna._
+
+BODENHAUSEN          Madonna and Child
+                   _Private Gallery, Washington, D.C._
+
+ANDREA DELLA ROBBIA  Madonna in Adoration
+                   _National Museum, Florence._
+
+LORENZO DI CREDI     Nativity
+                   _Uffizi Gallery, Florence._
+
+FILIPPO LIPPI        Madonna in Adoration
+                   _Uffizi Gallery, Florence_.
+
+LUIGI VIVARINI    Madonna and Child     179
+                        _Church of the Redentore, Venice._
+
+GIOVANNI BELLINI  Madonna between St. George and St. Paul.
+                              (Detail.)
+                        _Venice Academy._
+
+LUINI             Madonna with St. Barbara and St. Anthony
+                        _Brera Gallery, Milan._
+
+BOTTICELLI        Madonna of the Pomegranate
+                        _Uffizi Gallery, Florence._
+
+MURILLO           Madonna and Child
+                        _Pitti Gallery, Florence._
+
+RAPHAEL           Sistine Madonna
+                        _Dresden Gallery._
+
+
+
+
+PREFACE.
+
+
+This little book is intended as a companion volume to "Child-Life in
+Art," and is a study of Madonna art as a revelation of motherhood.
+With the historical and legendary incidents in the life of the Virgin
+it has nothing to do. These subjects have been discussed
+comprehensively and finally in Mrs. Jameson's splendid work on the
+"Legends of the Madonna." Out of the great mass of Madonna subjects
+are selected, here, only the idealized and devotional pictures of the
+Mother and Babe. The methods of classifying such works are explained
+in the Introduction.
+
+Great pains have been taken to choose as illustrations, not only the
+pictures which are universal favorites, but others which are less
+widely known and not easily accessible.
+
+The cover was designed by Miss Isabelle A. Sinclair, in the various
+colors appropriate to the Virgin Mary. The lily is the Virgin's
+flower, _la fleur de Marie_, the highest symbol of her purity. The
+gold border surrounding the panel is copied from the ornamentation of
+the mantle worn by Botticelli's Dresden Madonna.
+
+ESTELLE M. HURLL.
+
+_New Bedford, Mass., May, 1897._
+
+
+
+
+INTRODUCTION.
+
+
+It is now about fifteen centuries since the Madonna with her Babe was
+first introduced into art, and it is safe to say that, throughout all
+this time, the subject has been unrivalled in popularity. It requires
+no very profound philosophy to discover the reason for this. The
+Madonna is the universal type of motherhood, a subject which, in its
+very nature, appeals to all classes and conditions of people. No one
+is too ignorant to understand it, and none too wise to be superior to
+its charm. The little child appreciates it as readily as the old man,
+and both, alike, are drawn to it by an irresistible attraction. Thus,
+century after century, the artist has poured out his soul in this
+all-prevailing theme of mother love until we have an accumulation of
+Madonna pictures so great that no one would dare to estimate their
+number. It would seem that every conceivable type was long since
+exhausted; but the end is not yet. So long as we have mothers, art
+will continue to produce Madonnas.
+
+With so much available material, the student of Madonna art would be
+discouraged at the outset were it not possible to approach the subject
+systematically. Even the vast number of Madonna pictures becomes
+manageable when studied by some method of classification. Several
+plans are possible. The historical student is naturally guided in his
+grouping by the periods in which the pictures were produced; the
+critic, by the technical schools which they represent. Besides these
+more scholarly methods, are others, founded on simpler and more
+obvious dividing lines. Such are the two proposed in the following
+pages, forming, respectively, Part I. and Part II. of our little
+volume.
+
+The first is based on the style of composition in which the picture is
+painted; the second, on the subject which it treats. The first
+examines the mechanical arrangement of the figures; the second asks,
+what is the real relation between them? The first deals with external
+characteristics; the second, with the inner significance.
+
+Proceeding by the first, we ask, what are the general styles of
+treatment in which Madonna pictures have been rendered? The answer
+names the following five classes:
+
+1. The Portrait Madonna, the figures in half-length against an
+indefinite background.
+
+2. The Madonna Enthroned, where the setting is some sort of a throne
+or dais.
+
+3. The Madonna in the Sky or the "Madonna in Gloria," where the
+figures are set in the heavens, as represented by a glory of light, by
+clouds, by a company of cherubs, or by simple elevation above the
+earth's surface.
+
+4. The Pastoral Madonna, with a landscape background.
+
+5. The Madonna in a Home Environment, where the setting is an
+interior.
+
+The foregoing subjects are arranged in the order of historical
+development, so far as is possible. The first and last of the classes
+enumerated are so small, compared with the others, that they are
+somewhat insignificant in the whole number of Madonna pictures. Yet,
+in all probability, it is along these lines that future art is most
+likely to develop the subject, choosing the portrait Madonna because
+of its universal adaptability, and representing the Madonna in her
+home, in an effort to realize, historically, the New Testament scenes.
+Of the remaining three, the enthroned Madonna is, doubtless, the
+largest class, historically considered, because of the long period
+through which it has been represented. The pastoral and enskied
+Madonnas were in high favor in the first period of their perfection.
+
+Our next question is concerned with the aspects of motherhood
+displayed in Madonna pictures: in what relation to her child has the
+Madonna been represented? The answer includes the following three
+subjects:
+
+1. The Madonna of Love (The Mater Amabilis), in which the relation is
+purely maternal. The emphasis is upon a mother's natural affection as
+displayed towards her child.
+
+2. The Madonna in Adoration (The Madre Pia), in which the mother's
+attitude is one of humility, contemplating her child with awe.
+
+3. The Madonna as Witness, in which the Mother is preëminently the
+Christ-bearer, wearing the honors of her proud position as witness to
+her son's great destiny.
+
+These subjects are mentioned in the order of philosophical climax, and
+as we go from the first to the second, and from the second to the
+third, we advance farther and farther into the experience of
+motherhood. At the same time there is an increase in the dignity of
+the Madonna and in her importance as an individual. In the Mater
+Amabilis she is subordinate to her child, absorbed in him, so to
+speak; his infantine charms often overmatch her own beauty. When she
+rises to the responsibilities of her high calling, she is, for the
+time being, of equal interest and importance. Æsthetically, she is
+now even more attractive than her child, whose seriousness, in such
+pictures, takes something from his childlikeness. Chronologically, our
+list reads backwards, as the religious aspect of Mary's motherhood was
+the first treated in art, while the naturalistic conception came last.
+Regarded as expressive of national characteristics, the Mater Amabilis
+is the Madonna best beloved in northern countries, while the other two
+subjects belong specially to the art of the south.
+
+It will be seen that any number of Madonna pictures, having been
+arranged in the five groups designated in Part I., may be gathered up
+and redistributed in the three classes of Part II. To make this clear,
+the pictures mentioned in the first method of classification are
+frequently referred to a second time, viewed from an entirely
+different standpoint. Since the lines of cleavage are so widely
+dissimilar in the two cases, both methods of study are necessary to a
+complete understanding of a picture. By the first, we learn a
+convenient term of description by which we may casually designate a
+Madonna; by the second, we find its highest meaning as a work of art,
+and are admitted to some new secret of a mother's love.
+
+
+
+
+PART I.
+
+MADONNAS CLASSED BY THE STYLE OF COMPOSITION.
+
+
+
+
+THE MADONNA IN ART.
+
+CHAPTER I.
+
+THE PORTRAIT MADONNA.
+
+
+The first Madonna pictures known to us are of the portrait style, and
+are of Byzantine or Greek origin. They were brought to Rome and the
+western empire from Constantinople (the ancient Byzantium), the
+capital of the eastern empire, where a new school of Christian art had
+developed out of that of ancient Greece. Justinian's conquest of Italy
+sowed the new art-seed in a fertile field, where it soon took root and
+multiplied rapidly. There was, however, little or no improvement in
+the type for a long period; it remained practically unchanged till
+the thirteenth century. Thus, while a Byzantine Madonna is to be found
+in nearly every old church in Italy, to see one is to see all. They
+are half-length figures against a background of gold leaf, at first
+laid on solidly, or, at a somewhat later date, studded with cherubs.
+The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes,
+and an almost peevish expression; her head is draped in a heavy, dark
+blue veil, falling in stiff folds.
+
+Unattractive as such pictures are to us from an artistic standpoint,
+they inspire us with respect if not with reverence. Once objects of
+mingled devotion and admiration, they are still regarded with awe by
+many who can no longer admire. Their real origin being lost in
+obscurity, innumerable legends have arisen, attributing them to
+miraculous agencies, and also endowing them with power to work
+miracles. There is an early and widespread tradition, imported with
+the Madonna from the East, which makes St. Luke a painter. It is said
+that he painted many portraits of the Virgin, and, naturally, all the
+churches possessing old Byzantine pictures claim that they are genuine
+works from the hand of the evangelist. There is one in the Ara Coeli
+at Rome, and another in S. Maria in Cosmedino, of which marvellous
+tales are told, besides others of great sanctity in St. Mark's,
+Venice, and in Padua.
+
+It would not be interesting to dwell, in any detail, upon these
+curious old pictures. We would do better to take our first example
+from the art which, though founded on Byzantine types, had begun to
+learn of nature. Such a picture we find in the Venice Academy, by
+Jacopo Bellini, painted at the beginning of the fifteenth century,
+somewhat later than any corresponding picture could have been found
+elsewhere in Italy, as Venice was chronologically behind the other art
+schools. The background is a glory of cherub heads touched with gold
+hatching. Both mother and child wear heavy nimbi, ornamented with
+gold. These points recall Byzantine work; but the gentler face of the
+Virgin, and the graceful fall of her drapery, show that we are in a
+different world of art. The child is dressed in a little tunic, in the
+primitive method.
+
+With the dawn of the Italian Renaissance, the old style of portrait
+Madonna passed out of vogue. More elaborate backgrounds were
+introduced from the growing resources of technique. In the fifteenth
+and sixteenth centuries, pictures of the portrait style were
+comparatively rare. Raphael, however, was not above adopting this
+method, as every lover of the Granduca Madonna will remember. His
+friend Bartolommeo also selected this style of composition for some of
+the loveliest of his works.
+
+[Illustration: JACOPO BELLINI.--MADONNA AND CHILD.]
+
+The story of the friendship between these two men is full of interest.
+At the time of Raphael's first appearance in Florence (1504),
+Bartolommeo had been four years a monk, and had laid aside, apparently
+forever, the brush he had previously wielded with such promise. The
+young stranger sought the Frate in his cell at San Marco, and soon
+found the way to his heart. Stimulated by this new friendship,
+Bartolommeo roused himself from lethargy and resumed the practice of
+art with increasing success. It is pleasant to trace the influence
+which the two artists exerted upon each other. The older man had
+experience and learning; the younger had enthusiasm and genius. Now it
+happened that, by nature, Bartolommeo was specially gifted in the
+arrangement of large compositions, with many figures and stately
+architectural backgrounds. It is by these that he is chiefly known
+to-day. So it is the more interesting that, when Raphael's sweet
+simplicity first touched him, he turned aside, for the time, from
+these elaborate plans and gave himself to the portrayal of the Madonna
+in that simplest possible way, the half-length portrait picture.
+Several of these he painted upon the walls of his own convent,
+glorifying that dim place of prayer and fasting with visions of
+radiant and happy motherhood. One of these may still be seen in the
+cell sometimes called the Capella Giovanato. It instantly recalls the
+Tempi Madonna of Raphael, both in the pose of the figure and in the
+genuineness of feeling exhibited. Damp and decay have warred in vain
+against it, and the modern visitor lingers before the Mother and Babe
+with hushed admiration.
+
+Two other similar frescoes have been removed to the Academy. They show
+the same motherly tenderness, the same innocent and beautiful
+babyhood. The mother holds her child close in her arms, pressing her
+forehead to his, or bending her cheek to receive his kiss. He throws
+his little arm about her neck, clinging to her veil or caressing her
+face.
+
+Besides this group of pictures by Bartolommeo, there are other
+scattered instances of portrait Madonnas during the Italian
+Renaissance, by men too great to be tied to the fashions of their day.
+Mantegna was such a painter, and Luini another. All told, however,
+their pictures of this sort make up a class too rare to deserve longer
+description.
+
+A century later, the Spanish school occasionally reverted to the same
+style of treatment. A pair of notable pictures are the Madonna of
+Bethlehem, by Alonzo Cano, and the Madonna of the Napkin, by Murillo.
+Both are in Seville, the latter in the museum, the former still
+hanging in its original place in the cathedral.
+
+Of Cano's work, a great authority[1] on Spanish art has written, that,
+"in serene, celestial beauty, it is excelled by no image of the
+blessed Mary ever devised in Spain." Murillo's picture is better
+known, and has a curious interest from its history. The cook in the
+Capuchin monastery, where the artist had been painting, begged a
+picture as a parting gift. No canvas being at hand, a napkin was
+offered instead, on which the master painted a Madonna, unexcelled
+among his works in brilliancy of color.
+
+[Footnote 1: Stirling-Maxwell, in "Annals of the Artists of Spain."]
+
+[Illustration: GABRIEL MAX.--MADONNA AND CHILD.]
+
+As the portrait picture was the first style of Madonna known to art,
+so, also, it is the last. By a leap of nearly a thousand years, we
+have returned, in our own day, to the method of the tenth century. It
+is strange that what was once a matter of necessity should at last
+become an object of choice. In the beginning of Madonna art, the
+limited resources of technique precluded any attempts to make a more
+elaborate setting. Such difficulties no longer stand in the way, and
+where we now see a portrait Madonna, the artist has deliberately
+discarded all accessories in order better to idealize his theme.
+
+Take, for instance, the portrait Madonnas by Gabriel Max. Here are no
+details to divert the attention from motherhood, pure and simple. We
+do not ask of the subject whether she is of high or of low estate, a
+queen or a peasant. We have only to look into the earnest, loving face
+to read that here is a mother. There are two pictures of this sort,
+evidently studied from the same Bohemian models. In one, the mother
+looks down at her babe; in the other, directly at the spectator, with
+a singularly visionary expression. When weary with the senseless
+repetition of the set compositions of past ages, we turn with relief
+to a simple portrait mother like this, at once the most primitive and
+the most advanced form of Madonna art. It is only another case where
+the simplest is the best.
+
+
+
+
+CHAPTER II.
+
+THE MADONNA ENTHRONED.
+
+
+In every true home the mother is queen, enthroned in the hearts of her
+loving children. There is, therefore, a beautiful double significance,
+which we should always have in mind, in looking at the Madonna
+enthroned. According to the theological conception of the period in
+which it was first produced, the picture stands for the Virgin Mother
+as Queen of Heaven. Understood typically, it represents the exaltation
+of motherhood.
+
+In the history of art development, the enthroned Madonna begins where
+the portrait Madonna ends. We may date it from the thirteenth century,
+when Cimabue, of Florence, and Guido, of Siena, produced their famous
+pictures. Similar types had previously appeared in the mosaic
+decorations of churches, but now, for the first time, they were
+worthily set forth in panel pictures.
+
+The story of Cimabue's Madonna is one of the oft-told tales we like to
+hear repeated. How on a certain day, about 1270, Charles of Anjou was
+passing through Florence; how he honored the studio of Cimabue by a
+visit; how the Madonna was then first uncovered; how the people
+shouted so joyously that the street was thereafter named the Borgo dei
+Allegri; and how the great picture was finally borne in triumphal
+procession to the church of Santa Maria Novella,--all these are the
+scenes in the pretty drama. The late Sir Frederick Leighton has
+preserved for future centuries this story, already six hundred years
+old, in a charming pageant picture: "Cimabue's Madonna carried
+through the streets of Florence." This was the first work ever
+exhibited by the English artist, and was an important step in the
+career which ended in the presidency of the Royal Academy.
+
+Cimabue's Madonna still hangs in Santa Maria Novella, over the altar
+of the Ruccellai chapel, and thither many a pilgrim takes his way to
+honor the memory of the father of modern painting. The throne is a
+sort of carved armchair, very simple in form, but richly overlaid with
+gold; the surrounding background is filled with adoring angels. Here
+sits the Madonna, in stiff solemnity, holding her child on her lap. If
+we find it hard to admire her beauty, we must note the superiority of
+the picture to its predecessors.
+
+For the enthroned Madonna in a really attractive and beautiful form,
+we must pass at once to the period of full art development. In the
+interval, many variations upon the theme have been invented. The
+throne may be of any size, shape, or material; the composition may
+consist of any number of figures. The Madonna, seated or standing, is
+now the centre of an assembly of personages symmetrically grouped
+about her. There is little or no unity of action among them; each one
+is an independent figure. The guard of honor may be composed of
+saints, as in Montagna's Madonna, of the Brera, Milan; or again it is
+a company of angels, as in the Berlin Madonna, attributed to
+Botticelli, similar to which is the picture by Ghirlandajo in the
+Uffizi Gallery. Where saints are represented, each one is marked by
+some special emblem, the identification of which makes, in itself, an
+interesting study. St. Peter's key, St. Paul's sword, St. Catherine's
+wheel, and St. Barbara's tower soon become familiar symbols to those
+fond of this kind of lore.
+
+Among the idealized presences about the Virgin's throne may sometimes
+be seen the prosaic figure of the donor, whose munificence has made
+the picture possible. This is well illustrated in the famous Madonna
+of Victory in the Louvre, painted in commemoration of the Battle of
+Fornovo, where Mantegna represents Francesco Gonzaga, commander of the
+Venetian forces, kneeling at the Virgin's feet.
+
+A charming feature in many enthroned Madonnas is the group of cherubs
+below,--one, two, or the mystic three. They are not the exclusive
+possession of any single school of art; Bartolommeo and Andrea del
+Sarto of the Florentines, Francia of the Bolognese, and Bellini and
+Cima of the Venetians were particularly partial to them. The
+treatment in Northern Italy gives them a more definite purpose in the
+composition than does that of Florence, for here they are always
+musicians, playing on all sorts of instruments,--the violin, the
+mandolin, or the pipe.
+
+Bartolommeo was specially successful in the subject of the enthroned
+Madonna, having fine gifts of composition united with profound
+religious earnestness. The great picture in the Pitti gallery at
+Florence may serve as a typical example. Andrea del Sarto's
+_chef-d'oeuvre_--the Madonna di San Francesco (Uffizi)--may also be
+assigned to this class, although the arrangement is entirely novel.
+The Virgin, holding the babe in her arms, stands on a sort of
+pedestal, carved at the corners with a design of harpies, from which
+the picture is often known as the Madonna of the Harpies. The
+pedestal throne is also seen in two of Correggio's Dresden
+pictures, but here the Virgin is seated, with the child on her lap. An
+exceedingly simple throne Madonna is that of Luini, in the Brera at
+Milan, where the Virgin sits on a plain coping not at all high.
+
+[Illustration: PERUGINO.--MADONNA AND SAINTS.
+(DETAIL.)]
+
+A beautiful Madonna enthroned is by Perugino, in the Vatican Gallery
+at Rome; one of the artist's best works in power and vivacity of
+color. The throne is an architectural structure of elegant simplicity
+of design, apparently of carved and inlaid marble. The Virgin sits in
+quiet dignity, her face bent towards the bishops at her right, St.
+Costantius and St. Herculanus. On the other side stand the youthful
+St. Laurence and St. Louis of Toulouse. Although Perugino was an
+exceedingly prolific artist, he did not often choose this particular
+subject. On this account the picture is especially interesting, and
+also because it is the original model of well known works by two of
+the Umbrian painter's most illustrious pupils.
+
+Many, indeed, were the apprentices trained in the famous _bottega_ at
+Perugia, but, among them all, Raphael and Pinturicchio took the lead.
+These were the two who honored their master by repeating, with
+modifications of their own, the beautiful composition of the Vatican.
+Pinturicchio's picture is in the Church of St. Andrea, at Perugia. A
+charming feature, which he introduced, is a little St. John, standing
+at the foot of the throne. Raphael's picture is the so-called Ansidei
+Madonna, of the National Gallery, London, purchased by the English
+government, in 1885, for the fabulous price of £72,000. The
+composition is here reduced to its simplest possible form, with only
+one saint on each side,--St. Nicholas on the right, St. John the
+Baptist on the left. The Virgin and child give no attention to these
+personages, but are absorbed in a book which is open on the Mother's
+knee.
+
+Raphael had no great liking for this style of picture, which was
+rather too formal for his taste. It is noticeable that, in the few
+instances where he painted it, he took the suggestion, as here, from
+some previous work. Thus his Madonna of St. Anthony, also in the
+National Gallery (loaned by the King of Naples), was based upon an old
+picture by Bernardino di Mariotto, according to the strict orders of
+the nuns for whose convent it was a commission. The Baldacchino
+Madonna of the Pitti, at Florence, is closely akin to Bartolommeo's
+composition in the same gallery.
+
+Glancing, briefly, at these scattered examples, we learn that the
+enthroned Madonna belongs to every school of Italian art, and
+exhibits an astonishing variety of forms. Probably it was in the North
+of Italy that it flourished most. The Paduan School has its fine
+representation in Mantegna's picture, already referred to; the
+Brescian, in Moretto's Madonna of S. Clemente; the Veronese, in
+Girolamo dai Libri's splendid altar piece in San Giorgio Maggiore; the
+Bergamesque, in Lotto's Madonna of S. Bartolommeo. Above all, it was
+in Venice, the Queen City of the Adriatic, that the enthroned Madonna
+reached the greatest popularity: the spirit of the composition was
+peculiarly adapted to the Venetian love of pomp and ceremony.
+
+To understand Venetian art aright, we must distinguish the character
+of the earlier and later periods. With Vivarini, Bellini, and Cima,
+the Madonna in Trono was the expression of a devout religious feeling.
+With Titian, Tintoretto, and Veronese, it was merely one among many
+popular art subjects. Thus arose two different general types. The
+earlier Madonna was a somewhat cold type of beauty; the faultless
+regularity of her features and the imperturbable calm of her
+expression make her rather unapproachable; but she shows a strong,
+sweet purity of character, worthy of profound respect.
+
+One of Cima's most important works is the Madonna of this type in the
+Venice Academy. High on a marble throne, she sits under a pillared
+portico, behind which stretches a pleasant landscape. Three saints
+stand on each side,--an old man, a youth, and a maiden. On the steps
+sit two choristers playing the violin and mandolin.
+
+Palma's great altar-piece, at Vicenza, is another splendid enthroned
+Madonna. Attended by St. George and St. Lucy, and entertained by a
+musical angel seated at her feet, the Virgin supports her beautiful
+boy, as he gives his blessing.
+
+Bellini's enthroned Madonnas are known throughout the world. The
+picture by which he established his fame was one of this class,
+originally painted for a chapel in San Giobbe, but now hanging in the
+Venice Academy. Ruskin has pronounced it "one of the greatest pictures
+ever painted in Christendom in her central art power." It is a large
+composition, with three saints at each side, and three choristers
+below.
+
+The Frari Madonna is in a simpler vein, and consists of three
+compartments, the central one containing the Virgin's throne. The
+angioletti, on the steps, are probably the most popular of their
+charming class in Venice.
+
+[Illustration: GIOVANNI BELLINI.--MADONNA OF SAN
+ZACCARIA. (DETAIL.)]
+
+The San Zaccaria Madonna was painted when Bellini was over eighty
+years old, and has certain technical qualities surpassing any the
+artist had previously attained. The depth of light and shade is
+particularly remarkable; the colors rich and harmonious. The attendant
+saints are St. Lucy on the right, a pretty blonde girl, with St.
+Jerome beyond her, absorbed in his Bible; opposite, stand St.
+Catherine, pensively looking down, and St. Peter, in profound
+meditation. The entire picture, both in conception and execution, may
+be considered a representative example of the times.
+
+Following the Bellini school, and forming, as it were, a connecting
+link between the earlier and the later art, was Giorgione. Less than a
+score of existing works give witness to the rare spirit of this
+master, who was spared to earth only thirty-four years. These are of a
+quality to place him among the immortals. The enthroned Madonna is the
+subject of two, one in the Madrid Gallery, and another at
+Castel-Franco. They create an entirely distinct Madonna ideal,--a
+poetic being, who sits, with drooping head and dreamy eyes, as if
+seeing unspeakable visions.
+
+The Castel-Franco picture expresses the finest elements in Venetian
+character. Every other composition seems elaborate and artificial when
+compared with the simplicity of this. Other Madonnas seem almost
+coarse beside such delicacy. The Virgin's throne is of an unusual
+height,--a double plinth,--the upper step of which is somewhat above
+the heads of the attendant saints, Liberale and Francis. This simple,
+compositional device emphasizes the effect of her pensive expression.
+It is as if her high meditations set her apart from human
+companionship. There is, indeed, something almost pathetic in her
+isolation, but for the strength of character in her face. The color
+scheme is as simple and beautiful as the underlying conception. The
+Virgin's tunic is of green, and the mantle, falling from the right
+shoulder and lying across her lap, is red, with deep shadows in its
+large folds. The back of the seat is covered with a strip of red and
+gold embroidery.
+
+The later period of Venetian art is marked by a new ideal of the
+Virgin. She is now a magnificent creature of flesh and blood. Her face
+is proud and handsome; her figure large, well-proportioned, and
+somewhat voluptuous. No Bethlehem stable ever sheltered this haughty
+beauty; her home is in kings' palaces; she belongs distinctly to the
+realm of wealth and worldliness. She has never known sorrow, anxiety,
+or poverty; life has brought her nothing but pleasure and luxury. Her
+throne stands no longer in the sacred place of some inner sanctuary,
+where angel choristers make music. It is an elevated platform, at one
+side of the composition, as in Titian's Pesaro altar-piece, and
+Veronese's Madonna in the Venice Academy. This gives an opportunity
+for a display of elaborate draperies, such as we may see in Veronese's
+picture.
+
+The peculiar qualities of art in Verona and Venice are blended in
+Paolo Veronese. No artist ever enjoyed more the splendors of color, or
+combined them in more enchanting harmonies. Such gifts transform the
+commonest materials, and, though his Virgin is a very ordinary woman,
+she has undeniable charms. An oft-copied figure, in this picture, is
+that of the little St. John, a universal favorite among child lovers.
+
+[Illustration: VERONESE.--MADONNA AND SAINTS.]
+
+The reader must have remarked that, though the fundamental idea of
+the enthroned Madonna is that of queenship, the Virgin wears no crown
+in any of the pictures thus far cited; the crowned Madonna is not
+characteristic of Italian art. It is found occasionally in mosaics
+from the eighth to the eleventh centuries, and in some of the early
+votive pictures, but does not appear in the later period except in a
+few Venetian pictures by Giovanni da Murano and Carlo Crivelli. The
+same idea was often carried out by placing two hovering angels over
+the Virgin's head, holding the crown between them. Botticelli's
+Madonna of the Inkhorn is treated in this way.
+
+The crown is essentially Teutonic in origin and character. Turning to
+the representative art of Germany and Belgium, we find the Virgin
+almost invariably wearing a crown, whether she sits on a throne, or in
+a pastoral environment. No better example could be named than the
+celebrated Holbein Madonna, of Darmstadt, known chiefly through the
+copy in the Dresden Gallery. Here the imposing height of the Virgin is
+rendered still more impressive by a high, golden crown, richly
+embossed and edged with pearls. Beneath this her blond hair falls
+loosely over her beautiful neck, and gleams on the blue garment
+hanging over her shoulders. Strong and tender, this noble figure sums
+up the finest elements in the Madonna art of the North.
+
+A simple and lovely form for the Madonna's crown is the narrow golden
+fillet set with pearls, singly or in clusters. This is placed over the
+Virgin's brow just at the edge of the hair, which is otherwise
+unconfined. This is seen on Madonnas by Van Eyck (Frankfort), Dürer
+(woodcut of 1513), Memling (Bruges), Schongauer (Munich).
+
+[Illustration: QUENTIN MASSYS.--MADONNA AND
+CHILD.]
+
+In the enthroned Madonna by Quentin Massys, in the Berlin Gallery, we
+have many typical characteristics of Northern art. The throne itself
+is exceedingly rich, ornamented with agate pillars with embossed
+capitals of gold. The Virgin has the fine features and earnest, tender
+expression which recalls earlier Flemish painters. Her dress falls in
+rich, heavy folds upon the marble pavement. But, as with Van Eyck and
+Memling, Holbein and Schongauer, fine clothes do not conceal her
+girlish simplicity or her loving heart. A low table, spread with food,
+stands at the left,--a curious domestic element to introduce, and
+thoroughly Northern in realism.
+
+Considered as a symbol of the exaltation of motherhood, there is no
+reason why the throne should go out of fashion; but if it is to
+appear, it must be used intelligently, and with some adaptation to
+present modes of thought, not servilely imitated from the forms of a
+by-gone age. This is a fact too little appreciated by the artists of
+to-day. Many modern pictures could be cited--by Bouguereau, Ittenbach,
+and others--of enthroned Madonnas in which is adopted the form, but
+not the spirit, of the Italian Rennaissance. In such works, the
+setting is a mere affectation entirely out of taste. If we are to have
+a throne, let us have a Madonna who is a veritable queen.
+
+
+
+
+CHAPTER III.
+
+THE MADONNA IN THE SKY.
+
+(THE MADONNA IN GLORIA.)
+
+
+We have seen that the first Madonnas were painted against a background
+either of solid gold, or of cherub figures, and that the latter style
+of setting was continued in the early pictures of the enthroned
+Madonna. The effect was to idealize the subject, and carry it into the
+region of the heavenly. This was the germinal idea which grew into the
+"Madonna in Gloria."
+
+The glory was originally a sort of nimbus of a larger order,
+surrounding the entire figure, instead of merely the head. It was oval
+in shape, like the almond or mandorla.
+
+A picture of this class is the famous Madonna della Stella, of Fra
+Angelico. It is in a beautiful Gothic tabernacle, which is the sole
+ornament of a cell in San Marco, Florence. At every step in these
+sacred precincts, we meet some reminder of the Angelic Brother. How
+the gray walls blossomed, under his brush, into forms and colors of
+eternal beauty! After seeing the larger wall-paintings in corridors
+and refectory, this little gem seems to epitomize his choicest gifts.
+A rich frame, fit setting for the jewel, encloses an outer circle of
+adoring angels, and within, the central panel contains only the full
+length figure of the Virgin with her child, against a mandorla formed
+of golden rays running from centre to circumference. The Madonna is
+enveloped in a long, dark blue cloak, drawn around her head like a
+Byzantine veil. A single star gleams above her brow, from which is
+derived the title of the picture. She holds her child fondly, and he,
+with responsive affection, nestles against his mother, pressing his
+little face into her neck. Faithful to the standards of his
+predecessors, and untouched by the new spirit of naturalism all about
+him, the monk painter preserves, in his conception, the most sacred
+traditions of past ages, and yet unites with them an element of love
+and tenderness which appeals strongly to every human heart.
+
+[Illustration: FRA ANGELICO.--MADONNA DELLA STELLA.]
+
+It is but a step from this earlier form of the Madonna in Gloria to
+the more modern style of the Madonna in the Sky, where the field of
+vision is enlarged, and we see the Virgin and child raised above the
+surface of the earth. In some pictures, her elevation is very slight.
+There is a curious composition, by Andrea del Sarto (Berlin Gallery),
+where we are puzzled to know if the Madonna is enthroned or enskied.
+A flight of steps in the centre leads up as if to a throne, but above
+these the Virgin sits in a niche, on a bank of clouds.
+
+In Correggio's Madonna of St. Sebastian, in the Dresden Gallery, the
+Virgin seems to be descending from heaven to earth with her babe, and
+the surrounding clouds and cherubs rest literally upon the heads of
+the saints who are honored by the vision.
+
+In other pictures the dividing line between earth and heaven is much
+more strongly marked. We have a landscape below, then a stratum of
+intervening air, and, in the upper sky, the Madonna with her child.
+The lower part of the picture is occupied by a company of saints, to
+whom the heavenly vision is vouchsafed; or, in rare cases, by cherubs.
+The Virgin appears in a cloud of cherub heads, or accompanied by a few
+child-angels. There are a few pictures in which her mother, St.
+Anne, sits with her. Adoring seraphs sometimes attend, one on each
+side, or even sainted personages. All these variations are exemplified
+in the pictures which we are to consider.
+
+[Illustration: UMBRIAN SCHOOL.--GLORIFICATION OF THE
+VIRGIN.]
+
+The first has come down to us from the hand of some unknown Umbrian
+painter. In the National Gallery, London, where it now hangs, it was
+once attributed to Lo Spagna, but is now entered in the catalogue as
+nameless. It matters little whether or not we know the name of the
+master; he could ask no higher tribute to his talent than the
+universal admiration which his picture commands.
+
+In the foreground of a quiet Umbrian landscape is a marble balcony, on
+the railing of which sit two captivating little boy choristers. One
+roguish fellow pipes on a trumpet, while the other, his face
+tip-tilted to the heavenly vision, makes music on a small guitar.
+Above, on a cloud, sits the Virgin, with the sweet, mystic smile on
+her face, so characteristic of Umbrian art. She supports her babe with
+her right arm, and in her left hand carries a lily stalk. The child,
+standing on his mother's knee and clinging to her neck, turns his face
+out with sweet earnestness. In clouds at the side, tiny cherubs bear
+tapers, while others, floating above, hold a large crown just over her
+head.
+
+Although we cannot limit this style of picture to any special
+locality, it appears to have found much favor in the art of Northern
+Italy. In the Brescian school, Moretto was unusually fond of the
+subject. His treatment of the theme is somewhat heavy; there is little
+of the ethereal in his celestial vision, either in the type of
+womanhood or in the style of arrangement. In defiance of the law of
+gravitation, he poses his upper figures so as to form a solid pyramid,
+wide at the base, and tapering abruptly to the apex.
+
+[Illustration: MORETTO.--MADONNA IN GLORY.]
+
+In the glorified Madonna of St. John the Evangelist, Brescia, the
+pyramidal effect is accentuated by curtains draped back on either side
+of the upper part of the composition. In the Madonna of San Giorgio
+Maggiore, at Verona, we have a much more attractive picture. The
+"gloria" encompassing the vision is clearly defined, giving so strong
+an effect of the supernatural that we cease to judge the composition
+by ordinary standards of natural law. The Virgin's white veil flutters
+from her head as if caught by some heavenly breeze. Her cloak floats
+about her by the same mysterious force, held in graceful festoons by
+winged cherub heads.
+
+Below is a group of five virgin martyrs, with St. Cecilia in the
+centre, wearing a crown of roses; St. Lucia holds the awl, the
+instrument of her torture, looking down at St. Catherine, who leans
+against her terrible wheel; St. Agnes, on the other side, reads
+quietly from a book while she caresses her lamb, and St. Barbara
+stands behind her, with eyes lifted to the sky. They are all splendid
+young Amazons, recalling Moretto's fine St. Justina of the Vienna
+Gallery. There is no trace of ascetism in their strong, well-developed
+figures, and in their faces no suggestion of an unhealthy pietism.
+
+Moretto's ideals were an anticipation of the most advanced ideas of
+the modern science of physical culture. His Madonna and saints derive
+their beauty neither from over refinement on the one hand, nor from
+sensuous charms on the other, but from sane and harmonious
+self-development.
+
+The Berlin Gallery contains a third glorified Madonna by the same
+painter, treated as a Holy Family. St. Elizabeth sits beside the
+Virgin, who holds her own boy on her right side, while bending to
+embrace the little St. John with the left arm. So large a group is not
+appropriately treated in this way, yet the picture is so fine a work
+of art as to disarm criticism.
+
+Still another representative of the Brescian school must be considered
+in the person of Savoldo. Born of a noble family, and following
+painting as an amusement rather than as an actual profession, his
+works are rare, and one of the finest examples of his art is the
+Glorification of the Virgin, in the Brera Gallery, at Milan. The
+mandorla-shaped glory surrounds the Virgin's figure, studded with
+faintly discerned cherub heads. On either side, a musical angel is in
+adoration; four saints stand on the earth below. The entire conception
+is rendered with the utmost delicacy: the grace and beauty of the
+Madonna are of exactly the quality to make her appearance a beatific
+vision.
+
+From Brescia we turn to Verona, where we again find many pictures of
+the beautiful subject. There are, in the churches of Verona, at least
+three notable works, by Gianfrancesco Caroto, in this style. One is in
+Sant' Anastasia, another is in San Giorgio, and the third--the
+artist's best existing work--is in San Fermo Maggiore, and shows the
+Virgin's mother, St. Anne, seated with her in the clouds.
+
+Girolamo dai Libri was a few years younger than Caroto, and at one
+period was, to some extent, an imitator of the latter. Beginning as a
+miniaturist, he finally attained a high place among the Veronese
+artists of the first order. His characteristics can nowhere be seen to
+better advantage than in the Madonna of St. Andrew and St. Peter, in
+the Verona Gallery. The Virgin is in an oval glory, edged all around
+with small, fleecy clouds. She has a beautiful, matronly face, with
+abundant hair, smoothly brushed over her forehead. The two apostles,
+below, are fine, strong figures, full of virility.
+
+Morando, or Cavazzola, was, doubtless, the most gifted of the older
+school of Verona, possessing some of the best qualities of the later
+master, Paolo Veronese. We should not leave the school, therefore,
+without mentioning a remarkable contribution he added to this class of
+pictures in his latest altar-piece. Here the upper air is filled with
+a sacred company, the Virgin and child are attended by St. Francis and
+St. Anthony, and surrounded by seven allegorical figures to represent
+the cardinal virtues. Below are six saints, specially honored in the
+Franciscan Order. The picture is called the finest production of the
+school in the first quarter of the sixteenth century.
+
+In the Venetian school, Titian and Tintoretto both painted the subject
+of the Madonna in glory, but the pictures are not notable compared
+with many others from their hands.
+
+From the North of Italy we naturally turn next to the South, to
+inquire what Raphael was doing at the same period in Rome. Occupied by
+many great works under the papal patronage, he still found time for
+his favorite subject of the Madonna, painting some pictures in the
+styles already mastered, and two for the first time in the style of
+the Madonna in the sky.
+
+[Illustration: SPANISH SCHOOL.--MADONNA ON THE CRESCENT
+MOON.]
+
+The first was the Foligno Madonna, now in the Vatican Gallery. It was
+painted in 1511 for the pope's secretary, Sigismund Conti, as a
+thank-offering for having escaped the danger of a falling meteor at
+Foligno. No thoughtful observer can be slow to recognize the
+superiority of this composition over all others of its kind in point
+of unity. Here is no formal row of saints, each absorbed in his or her
+own reflections, apart from any common purpose. On the contrary, all
+unite in paying honor to the Queen of Heaven. Not less superior to his
+contemporaries was the painter's skill in arranging the figures of
+Mother and child with such grace of equilibrium that they seem to
+float in the upper air.
+
+In the Sistine Madonna, Raphael carried this form of composition to
+the highest perfection. So simple and apparently unstudied is its
+beauty, that we do not realize the masterliness of its art. We seem to
+be standing before an altar, or, better still, before an open window,
+from which the curtains have been drawn aside, allowing us to look
+directly into the heaven of heavens. A cloud of cherub faces fills
+the air, from the midst of which, and advancing towards us, is the
+Virgin with her child. The downward force of gravity is perfectly
+counterbalanced by the vital energy of her progress forward. There is
+here no uncomfortable sense, on the part of the spectator, that
+natural law is disregarded. While the seated Madonna in glory seems
+often in danger of falling to earth, this full-length figure in motion
+avoids any such solidity of effect.
+
+The figures on either side are also so posed as to arouse no surprise
+at their presence. We should have said beforehand that heavy
+pontifical robes would be absurdly incongruous in such a composition,
+but Raphael solves the problem so simply that few would suspect the
+difficulties. The final touch of beauty is added in the cherub heads
+below, recalling the naïve charm of the similar figures in the
+Umbrian picture we have considered.
+
+[Illustration: BOUGUEREAU.--MADONNA OF THE ANGELS.]
+
+
+After the time of Raphael, a pretty form of Madonna in glory was
+occasionally painted, showing the Virgin with her babe sitting above
+the crescent moon. The conception appears more than once in the
+paintings of Albert Dürer, and later, artists of all schools adopted
+it. Sassoferrato's picture in the Vatican Gallery is a popular
+example. Tintoretto's, in Berlin, is not so well known. In the Dresden
+Gallery is a work, by an unknown Spanish painter of the seventeenth
+century, differing from the others in that the Virgin is standing, as
+in the oft-repeated Spanish pictures of the Immaculate Conception.
+
+It is of pictures like this that our poet Longfellow is speaking, when
+he thus apostrophizes the Virgin:
+
+               "Thou peerless queen of air,
+    As sandals to thy feet the silver moon dost wear."
+
+The enskied Madonna involves many technical difficulties of
+composition, and demands a high order of artistic imagination. It
+could hardly be called a frequent subject in the period of greatest
+artistic daring, and no modern painter has shown any adequate
+understanding of the subject, though there are not lacking those who
+have made the attempt. Bodenhausen, Defregger, Bouguereau, have all
+followed Raphael in representing the Queen of Heaven as a full-length
+figure in the sky; but their conception has not the dignity
+corresponding to the style of treatment.
+
+Impatient and dissatisfied with such modern art, we turn back to the
+old masters with new appreciation of their great gifts.
+
+
+
+
+CHAPTER IV.
+
+THE PASTORAL MADONNA.
+
+
+It was many centuries before art, at first devoted exclusively to
+figure painting, turned to the study of natural scenery. Thus it was
+that Madonna pictures, of various kinds, had long been established in
+popular favor before the idea of a landscape setting was introduced.
+We need not look for interesting pictures of this class before the
+latter part of the fifteenth century, and it was not until the
+sixteenth that the pastoral Madonna, in its highest form, was first
+produced. Even then there was no great number which show a really
+sympathetic love of nature.
+
+In the ideal pastoral, the landscape entirely fills the picture, and
+the figures are, as it were, an integral part of it. Such pictures are
+so rare that we write in golden letters the names of the few who have
+given us these treasures.
+
+Raphael's justly comes first in the list. His earliest Madonnas show
+his love of natural scenery, in the charming glimpses of Umbrian
+landscape, which form the background. These are treated, as Müntz
+points out, with marked "simplicity of outline and breadth of design."
+They are, however, but the beginning of the great things that were to
+follow. The young painter's sojourn in Florence witnessed a marvellous
+development of his powers. Here he was surrounded by the greatest
+artists of his time, and he was quick to absorb into himself something
+of excellence from them all. His fertility of production was amazing.
+In a period of four years (1504-1508), interrupted by visits to
+Perugia and Urbino, he produced about twenty Madonnas, in which we
+may trace the new influences affecting him.
+
+Leonardo da Vinci was, doubtless, his greatest inspiration, and it was
+from this master-student of nature that the young man learned, with
+new enthusiasm, the value of going directly to Nature herself. The
+fruit of this new study is a group of lovely pastoral Madonnas, which
+are entirely unique as Nature idyls. Three of these are among the
+world's great favorites. They are, the Belle Jardinière (The Beautiful
+Gardener), of the Louvre Gallery, Paris; the Madonna in Grünen (The
+Madonna in the Meadow), in the Belvedere Gallery, Vienna; and the
+Cardellino Madonna (The Madonna of the Goldfinch), of the Uffizi,
+Florence.
+
+We turn from one to another of these three beautiful pictures, always
+in doubt as to which is the greatest. Fortunately, it is a question
+which there is no occasion to decide, as every lover of art may be the
+happy possessor of all three, in that highest mode of possession
+attained by devoted study.
+
+In each one we have the typical Tuscan landscape, filling the whole
+picture with its tranquil beauty. The "glad green earth" blossoms with
+dainty flowers; the fair blue sky above is reflected in the placid
+surface of a lake. From its shores rise gently undulating hills, where
+towers show the signs of happy activity. In the foreground of this
+peaceful scene sits a beautiful woman with two charming children at
+her knee. They belong to the landscape as naturally as the trees and
+flowers; they partake of its tranquil, placid happiness.
+
+[Illustration: RAPHAEL.--MADONNA IN THE MEADOW.]
+
+Almost identical in general style of composition, the three pictures
+show many points of dissimilarity when we come to a closer study of
+the figures. Considered as a type of womanly beauty, the Belle
+Jardinière is perhaps the most commonplace of the three Virgins, or,
+to put it negatively, the least attractive. She is distinctly of the
+peasant class, gentle, amiable, and entirely unassuming. The Madonna
+in the Meadow is a maturer woman, more dignified, more beautiful. The
+smooth braids of her hair are coiled about the head, accentuating its
+lovely outline. The falling mantle reveals the finely modelled
+shoulders. The Madonna of the Goldfinch is a still higher type of
+loveliness, uniting with gentle dignity a certain delicate, high-bred
+grace, which Raphael alone could impart. Her face is charmingly framed
+in the soft hair which falls modestly about it. One wonders if any
+modern _coiffeur_ could invent so many styles of hair dressing as does
+this gifted young painter of the sixteenth century.
+
+Turning from the mother to the children, we find the same general
+types repeated in the three pictures, but with some difference of
+_motif_. The Christ-child of the Belle Jardinière is looking up fondly
+to his mother. In the Vienna picture he is eagerly interested in the
+cross which the little St. John gives him. In the Uffizi picture he is
+more serious, and strokes the goldfinch with an air of abstraction,
+meditating on the holy things his mother has been reading to him.
+
+The arrangement of the three figures is the same in all the pictures,
+and is so entirely simple that we forget the greatness of the art. The
+Virgin, dominating the composition, brings into unity the two smaller
+figures. This unity is somewhat less perfect in the Belle Jardinière,
+because the little St. John is almost neglected in the intense
+absorption of mother and child in each other.
+
+Once again, in the later days at Rome, Raphael recurred to the
+pastoral Madonna type of this Florentine period, and painted the
+picture known as the Casa Alba Madonna. We have again the same smiling
+landscape and the same charming children, but a Virgin of an
+altogether new order. A turbaned Roman beauty of superb, Juno-like
+physique, she does not belong to the idyllic character of her
+surroundings. It is as if some brilliant exotic had been transplanted
+from her native haunts to quiet fields, where hitherto the modest lily
+had bloomed alone.
+
+As Raphael's first inspiration for the pastoral Madonna came from the
+influence of Leonardo da Vinci, it is of interest to compare his work
+with that of the great Lombard himself. Critics tell us that the
+Madonna pictures in which he came nearest to his model are the Madonna
+in the Meadow and the Holy Family of the Lamb. (Madrid.) These we may
+place beside the Madonna of the Rocks, which is the only entirely
+authentic Da Vinci Madonna which we have.
+
+It is only the skilled connoisseur who, in travelling from Paris to
+Vienna, and from Vienna to Madrid, can hold in memory the qualities of
+technique which link together the three pictures; but for general
+characteristics of composition, the black and white reproductions may
+suffice. Leonardo availed himself of his intimate knowledge of Nature
+to choose from her storehouse something which is unique rather than
+typical. The rock grotto doubtless has a real counterpart, but we must
+go far to find it. In the river, gleaming beyond, we see the painter's
+characteristic treatment of water, which Raphael was glad to adopt.
+The triangular arrangement of the figures, the relation of the Virgin
+to the children, the simple, childish beauty of the latter, and their
+attitude towards each other--all these points suggest the source of
+Raphael's similar conceptions. The Virgin's hair falls over her
+shoulders entirely unbound, in gentle, waving ripples.
+
+[Illustration: LEONARDO DA VINCI.--MADONNA OF THE
+ROCKS.]
+
+We do not need to be told, though the historian has taken pains to
+record it, that a feature of personal beauty by which Leonardo was
+always greatly pleased was "curled and waving hair." We see it in the
+first touch of his hand when, as a boy in the workshop of Verrochio,
+he painted the wavy-haired angel in his Master's Baptism; and here,
+again, in the Virgin, we find it the crowning element of her
+mysterious loveliness. We try in vain to penetrate the secret of her
+smile,--it is as evasive as it is enchanting. And herein lies the
+distinguishing difference between Leonardo and Raphael. The former is
+always mysterious and subtle; the latter is always frank and
+ingenuous. While both are true interpreters of nature, Leonardo
+reveals the rare and inexplicable, Raphael chooses the typical and
+familiar. Both are possessed of a strong sense of the harmony of
+nature with human life. The smile of the Virgin of the Rocks is a part
+of the mystery of her shadowy environment;[2] the serenity of the
+Madonna in the Meadow belongs to the atmosphere of the open fields.
+
+[Footnote 2: That the Leonardesque _smile_ requires a Leonardesque
+_setting_ is seen, I think, in the pictures by Da Vinci's imitators.
+The Madonna by Sodoma, recently added to the Brera Gallery at Milan,
+is an example in point. Here the inevitable smile of mystery seems
+meaningless in the sunny, open landscape.]
+
+Among others who were affected by the influence of Leonardo--and chief
+of the Lombards--was Luini. His pastoral Madonna has, however, little
+in common with the landscapes of his master, judging from the lovely
+example in the Brera. The group of figures is strikingly suggestive of
+Da Vinci, but the quiet, rural pasture in which the Virgin sits is
+Luini's own. In the distance is a thick clump of trees, finely drawn
+in stem and branch. At one side is a shepherd's hut with a flock of
+sheep grazing near. The child Jesus reaches from his mother's lap to
+play with the lamb which the little St. John has brought, a _motif_
+similar to Raphael's Madrid picture, and perhaps due, in both
+painters, to the example of Leonardo.
+
+It is said by the learned that during the period of the Renaissance
+the love of nature received an immense impulse from the revival of the
+Latin poets, and that this impulse was felt most in the large cities.
+In the pictures noted, we have seen its effect in Florentine and
+Lombard art; that it was also felt in isolated places, we may see in
+some of Correggio's work at Parma, at about the same time. Two, at
+least, of his Madonna pictures are as famous for their beautiful
+landscapes as for the rare grace and charm of their figures. These are
+the kneeling Madonna, of the Uffizi, and "La Zingarella," at Naples.
+Both show a perfect adaptation of the surroundings to the spirit of
+the scene. In the first it is morning, and the gladness of Nature
+reflects the Mother's rapturous joy in her awakening babe. A brilliant
+light floods the figures in the foreground and melts across the green
+slopes into the hazy distance of the sea-bound horizon. In the second
+it is twilight, and a calm stillness broods over all, as under the
+feathery palms the Mother bends, watchful, over her little one's
+slumbers. Such were the revelations of Nature to the country-bred
+painter from the little town of Correggio.
+
+Turning now to Venice for our last examples, we find that the love of
+natural scenery was remarkably strong in this city of water and sky,
+where the very absence of verdure may have created a homesick longing
+for the green fields. It was Venetian art which originated that form
+of pastoral Madonna known as the Santa Conversazione. This is usually
+a long, narrow picture, showing a group of sacred personages, against
+a landscape setting, centering about the Madonna and child. The
+composition has none of the formality of the enthroned Madonna. An
+underlying unity of purpose and action binds all the figures together
+in natural and harmonious relations.
+
+The acknowledged leader of this style of composition--the inventor
+indeed, according to many--was Palma Vecchio. It is curious that of a
+painter whose works are so widely admired, almost nothing is known.
+Even the traditions which once lent color to his life have been
+shattered by the ruthless hand of the modern investigator. The span of
+his life extended from 1480 to 1528. Thus he came at the beginning of
+the century made glorious by Titian, and contributed not a little in
+his own way to its glory.
+
+It is supposed that he studied under Giovanni Bellini, and at one time
+was a friend and colleague of Lorenzo Lotto. A child of the
+mountains--for he was born in Serinalta--he never entirely lost the
+influence of his early surroundings.
+
+To the last his figures are grave, vigorous, sometimes almost rude,
+partaking of the characteristics of the everlasting hills. Perhaps it
+was these traits which made the Santa Conversazione a favorite
+composition with him. He has an intense love of Nature in her most
+luxuriant mood.
+
+[Illustration: PALMA VECCHIO.--SANTA CONVERSAZIONE.]
+
+For a collection of Palma's pictures, we should choose at least four
+to represent his treatment of the Santa Conversazione: those at
+Naples, Dresden, Munich, and Vienna. The Naples picture is considered
+the most successful of Palma's large pictures of this kind, but it is
+not easy for the less critical observer to choose a favorite among the
+four. One general formula describes them all: a sunny landscape with
+hills clad in their greenest garb; a tree in the foreground, beneath
+which sits the Virgin, a comely, country-bred matron, who seems to
+have drawn her splendid vigor from the clear, bright air. On her lap
+she supports a sprightly little boy, who is the centre of attention.
+
+In the simpler compositions the Madonna is at the left, and at the
+right kneel or sit two saints. One is a handsome young rustic, unkempt
+and roughly clad, sometimes figuring as St. John the Baptist, and
+sometimes as St. Roch. With him is contrasted a beautiful young female
+saint, usually St. Catherine. Where the composition includes other
+figures, the Virgin is in the centre, with the attendant personages
+symmetrically grouped on either side. In the Vienna picture the two
+additional figures at the left are the aged St. Celestin and a fine
+St. Barbara.
+
+Of all schools of painting, the Venetian is the least translatable
+into black and white, so rich in colors is the palette which composed
+it. This is especially true of Palma, and to understand aright his
+Santa Conversazione, we must read into it the harmony of colors which
+it expresses, the chords of blue, red, brown, and green, the
+shimmering lights and brilliant atmosphere.
+
+[Illustration: FILIPPINO LIPPI.--MADONNA IN A ROSE
+GARDEN.]
+
+The subject of the Santa Conversazione should not be left without a
+brief reference to other Venetians, who added to the popularity of
+this charming style of picture. Berenson mentions seven by Palma's
+pupil, Bonifazio Veronese, and one by his friend, Lorenzo Lotto. Cima,
+Cariani, Paris Bordone, and last, but not least, the great Titian,[3]
+lent their gifts to the subject, so that we have abundant evidence of
+the Venetian love of natural scenery.
+
+It remains to consider one more form of the pastoral Madonna, that
+which represents the Virgin and child in "a garden inclosed," in
+allusion to the symbolism of Solomon's Song (4:12). The subject is
+found among the woodcuts of Albert Dürer, but I have never seen it in
+any German painting.
+
+[Footnote 3: See particularly Titian's works in the Louvre, of which
+the Vierge au Lapin is an especially charming pastoral.]
+
+In Italian art there are two famous pictures of this class: by
+Francia, in the Munich Gallery, and by Filippino Lippi (or so
+attributed), in the Pitti, at Florence. In both the _motif_ is the
+same: in the foreground, a square inclosure surrounded by a
+rose-hedge, with a hilly landscape in the distance; the Virgin
+kneeling before her child in the centre. Filippino Lippi's is one of
+those pictures whose beauty attracts crowds of admirers to the canvas.
+Copyists are kept busy, repeating the composition for eager
+purchasers, and it has made its way all over the world. The circle of
+graceful angels who, with the boy St. John, join the mother in adoring
+the Christ-child, is one of the chief attractions of the picture. It
+is a pretty conceit that one of these angels showers rose leaves upon
+the babe.
+
+The pastoral Madonna is the sort of picture which can never be
+outgrown. The charm of nature is as perennial as is the beauty of
+motherhood, and the two are always in harmony. Here, then, is a
+proper subject for modern Madonna art, a field which has scarcely
+been opened by the artists of our own day. Such pastoral Madonnas as
+have been painted within recent years are all more or less artificial
+in conception. Compared with the idyllic charm of the sixteenth
+century pictures, they seem like pretty scenes in a well-mounted
+opera. We are looking for better things.
+
+
+
+
+CHAPTER V.
+
+THE MADONNA IN A HOME ENVIRONMENT.
+
+
+A subject so sacred as the Madonna was long held in too great
+reverence to permit of any common or realistic treatment. The pastoral
+setting brought the mother and her babe into somewhat closer and more
+human relations than had before been deemed possible; but art was slow
+to presume any further upon this familiarity. The Madonna as a
+domestic subject, represented in the interior of her home, was
+hesitatingly adopted, and has been so rarely treated, even down to our
+own times, as to form but a small group of pictures in the great body
+of art.
+
+[Illustration: SCHONGAUER.--HOLY FAMILY.]
+
+The Northern painters naturally led the way. Peculiarly home-loving
+in their tastes, their ideal woman is the _hausfrau_, and it was with
+them no lowering of the Madonna's dignity to represent her in this
+capacity. A picture in the style of Quentin Massys hangs in the Munich
+Gallery, and shows a Flemish bedroom of the fifteenth century. At the
+left stands the bed, and on the right burns the fire, with a kettle
+hanging over it. The Virgin sits alone with her babe at her breast.
+
+More frequently a domestic scene of this sort includes other figures
+belonging to the Holy Family. A typical German example is the picture
+by Schongauer in the Belvedere Gallery at Vienna. The Virgin is seated
+in homely surroundings, intent upon a bunch of grapes which she holds
+in her hands, and which she has taken from a basket standing on the
+floor beside her. Long, waving hair falls over her shoulders; a snowy
+kerchief is folded primly in the neck of her dress; she is the
+impersonation of virgin modesty. Her baby boy stands on her lap,
+nestling against his mother; his eyes fixed on the fruit, his eager
+little face glowing with pleasure. Beyond are seen the cattle, which
+Joseph is feeding. He pauses at the door, a bundle of hay in his arms,
+to look in with fond pride at his young wife and her child.
+
+Schongauer's work belongs to the latter part of the fifteenth century,
+and there was nothing similar to it in Italy at the same period. It is
+true that Madonnas in domestic settings have been attributed to
+contemporaneous Italians, but they were probably by some Flemish hand.
+
+[Illustration: RAPHAEL.--MADONNA DELL' IMPANNATA.]
+
+Giulio Romano, a pupil of Raphael, was perhaps the first of the
+Italians to give any domestic touch to the subject of the Madonna and
+child. His Madonna della Catina of the Dresden Gallery is well known.
+It is so called from the basin in which the Christ-child stands while
+the little St. John pours in water from a pitcher for the bath.
+Another picture by the same artist shows the Madonna seated with her
+child in the interior of a bedchamber. This was one of the
+"discoveries" of the late Senator Giovanni Morelli, the critic, and is
+in a private collection in Dresden.
+
+To Giulio Romano also, according to recent criticism, is due the
+domestic Madonna known as the "Impannata," and usually attributed to
+Raphael. It is probable that both artists had a hand in it, the master
+in the arrangement of the composition, the pupil in its execution. A
+bed at one side is concealed by a green curtain. In the rear is the
+cloth-covered window which gives the picture its name. Elizabeth and
+Mary Magdalene have brought home the child, who springs to his
+mother's arms, smiling back brightly at his friends. One other Madonna
+from Raphael's brush (the Orleans) has an interior setting, but the
+domestic environment here is undoubtedly the work of some Flemish
+painter of later date.
+
+By the seventeenth century, the Holy Family in a home environment can
+be found somewhat more often in various localities. By the French
+painter Mignard there is a well-known picture in the Louvre called La
+Vierge à la Grappe. By F. Barocci of Urbino there is an example in the
+National Gallery known as the Madonna del Gatto, in which the child
+holds a bird out of the reach of a cat. A similar _motif_, certainly
+not a pleasant one, is seen in Murillo's Holy Family of the Bird, in
+Madrid. By Salimbeni, in the Pitti, is a Holy Family in an interior,
+showing the boy Jesus and his cousin St. John playing with puppies.
+
+Rembrandt's domestic Madonna pictures, equally homely as to
+environment, are by no means scenes of hilarity, but rather of frugal
+contentment. Two similar works bear the title of Le Ménage du
+Menuisier--the Carpenter's Home. In both, the scene is the interior of
+a common room devoted to work and household purposes. Joseph is seen
+in the rear at his bench, while the central figures are the mother and
+child.
+
+In the Louvre picture, the Virgin's mother is present, caressing her
+grandchild, who is held at his mother's breast. The composition at St.
+Petersburg (Hermitage Gallery) is simpler, and shows the Virgin
+contemplating her babe as he lies asleep in the cradle. Another
+well-known picture by Rembrandt is in the Munich Gallery, where again
+we have signs of the carpenter's toil, but where the laborer has
+stopped for a moment to peep at the babe, who has gone off to
+dreamland at his mother's breast and now sleeps sweetly in her lap.
+Let those who think such pictures too homely for a sacred theme
+compare them with the simplicity of the Gospels.
+
+
+
+
+PART II.
+
+MADONNAS CLASSED ACCORDING TO THEIR SIGNIFICANCE AS TYPES OF
+MOTHERHOOD.
+
+
+
+
+CHAPTER VI.
+
+THE MADONNA OF LOVE.
+
+(THE MATER AMABILIS.)
+
+
+Undoubtedly the most popular of all Madonna subjects--certainly the
+most easily understood--is the Mater Amabilis. The mother's mood may
+be read at a glance: she is showing in one of a thousand tender ways
+her motherly affection for her child. She clasps him in her arms,
+holding him to her breast, pressing her face to his, kissing him,
+caressing him, or playing with him. Love is written in every line of
+her face; love is the key-note of the picture.
+
+The style of composition best adapted to such a theme is manifestly
+the simplest. The more formal types of the enthroned and glorified
+Madonnas are the least suitable for the display of maternal affection,
+while the portrait Madonna, and the Madonna in landscape or domestic
+scenes, are readily conceived as the Mater Amabilis. Nevertheless,
+these distinctions have not by any means been rigidly regarded in art.
+This is manifest in some of the illustrations in Part I., as the
+Enthroned Madonna, by Quentin Massys, where the mother kisses her
+child, and Angelico's Madonna in Glory, where she holds him to her
+cheek.
+
+Gathering our examples from so many methods of composition, we are in
+the midst of a multitude of pictures which no man can number, and
+which set forth every conceivable phase of motherliness.
+
+Let us make Raphael our starting-point. From the same master whose
+influence led him to the study of external nature, he learned also
+the study of human nature. To the interpretation of mother-love he
+brought all the fresh ardor of youth, and a sunny temperament which
+saw only joy in the face of Nature. One after another of the series of
+his Florentine pictures gives us a new glimpse of the loving relation
+between mother and child.
+
+The Belle Jardinière gazes into her boy's face in fond absorption. The
+Tempi Madonna holds him to her heart, pressing her lips to his soft
+cheek. In the Orleans and Colonna pictures she smiles indulgently into
+his eyes as he lies across her lap, plucking at the bosom of her
+dress. Other pictures show the two eagerly reading together from the
+Book of Wisdom (The Conestabile and Ansidei Madonnas).
+
+The painter's later work evinces a growing maturity of thought. In the
+Holy Family of Francis I., how strong and tender is the mother's
+attitude, as she stoops to lift her child from his cradle; in the
+Chair Madonna, how protecting is the capacious embrace with which she
+gathers him to herself in brooding love. No technical artistic
+education is necessary for the appreciation of such pictures. All who
+have known a mother's love look and understand, and look again and are
+satisfied.
+
+Correggio touches the heart in much the same way; he, too, saw the
+world through rose-colored glasses. His interpretation of life is full
+of buoyant enjoyment. Beside the tranquil joy of Raphael's ideals, his
+figures express a tumultuous gladness, an overflowing gayety. This is
+the more curious because of the singular melancholy which is
+attributed to him. The outer circumstances of his life moved in a
+quiet groove which was almost humdrum. He passed his days in
+comparative obscurity at Parma, far from the great art influences of
+his time. But isolation seemed the better to develop his rare
+individuality. He was the architect of his own fortunes, and wrought
+out independently a style peculiar to himself. His most famous Madonna
+pictures are large compositions, crowded with figures of extravagant
+attitudes and expression. The fame of these more pretentious works
+rests not so much upon their inner significance as upon their splendid
+technique. They are unsurpassed for masterly handling of color, and
+for triumphs of chiaroscuro.
+
+There are better qualities of sentiment in the smaller pictures, where
+the mother is alone with her child. It is here that we find something
+worthy to compare with Raphael. There are several of these, produced
+in rapid succession during the period when the artist was engaged upon
+the frescoes of S. Giovanni (Parma), and soon after marriage had
+opened his heart to sweet, domestic influences.
+
+The first was the Uffizi picture, so widely known and loved. The
+mother has gathered up her mantle so that it covers her head and drops
+at one side on a step, forming a soft, blue cushion for the babe. Here
+the little darling lies, looking up into his mother's face. Kneeling
+on the step below, she bends over him, with her hands playfully
+outstretched, in a transport of maternal affection.
+
+Following this came the picture now in the National Gallery, called
+the Madonna della Cesta, from the basket that lies on the ground. It
+is a domestic scene in the outer air: the mother is dressing her babe,
+and smilingly arrests his hand, which, on a sudden impulse, he has
+stretched towards some coveted object. The same face is almost exactly
+repeated in the Madonna of the Hermitage Gallery (St. Petersburg),
+who offers her breast to her boy, at that moment turning about to
+receive some fruit presented by a child angel. There are two
+duplicates of this picture in other galleries.
+
+The Zingarella (the Gypsy) is so called from the gypsy turban worn by
+the Madonna. The mother, supposed to be painted from the artist's
+wife, sits with the child asleep on her lap. With motherly tenderness
+she bends so closely over him that her forehead touches his little
+head. It is unfortunate that this beautiful work is not better known.
+It is in the Naples Gallery.
+
+A comparison of these pictures discloses a remarkable variety in
+action and grouping. On the other hand, the Madonnas are quite similar
+in general type. With the exception of the Zingarella, who is the most
+motherly, they are all in a playful mood. The same playfulness, but
+of a more sweet and motherly kind, lights the face of the Madonna
+della Scala. The composition is somewhat in the portrait style,
+showing the mother in half length, seated under a sort of canopy. The
+babe clings closely to her neck, turning about at the spectator with a
+glance half shy and half mischievous. His coyness awakens a smile of
+tender amusement in the gentle, young face above him.
+
+The picture has an interesting history. It was originally painted in
+fresco over the eastern gate of Parma, where Vasari saw and admired
+it. In after years, the wall which it decorated was incorporated into
+a small new church, of which it formed the rear wall. To accommodate
+the high level of the Madonna, the building was somewhat elevated,
+and, being entered by a flight of steps, was known as S. Maria della
+Scala (of the staircase). The name attached itself to the picture
+even after the church was destroyed (in 1812), and the fresco
+removed to the town gallery. The marks of defacement which it bears
+are due to the votive offerings which were formerly fastened upon
+it,--among them, a silver crown worn by the Madonna as late as the
+eighteenth century. Though such scars injure its artistic beauty, they
+add not a little to the romantic interest which invests it.
+
+[Illustration: CORREGGIO.--MADONNA DELLA SCALA.]
+
+Beside such names as Raphael and Correggio, history furnishes but one
+other worthy of comparison for the portrayal of the Mater Amabilis--it
+is Titian. His Madonna is by no means uniformly motherly. There are
+times when we look in vain for any softening of her aristocratic
+features; when her stately dignity seems quite incompatible with
+demonstrativeness.[4] But when love melts her heart how gracious is
+her unbending, how winning her smile! Once she goes so far as to play
+in the fields with her little boy, quieting a rabbit with one hand for
+him to admire. (La Vierge au Lapin, Louvre.) In other pictures she
+holds him lying across her lap, smiling thoughtfully upon him. Such an
+one is the Madonna with Sts. Ulfo and Brigida, in the Madrid Gallery.
+The child is taking the flowers St. Brigida offers him, and his mother
+looks down with the pleased expression of fond pride. Again, when her
+babe holds his two little hands full of the roses his cousin St. John
+has brought him, she smiles gently at the eagerness of the two
+children. (Uffizi Gallery.)
+
+[Footnote 4: See the Madonna of the Cherries in the Belvedere at
+Vienna, and the Madonna and Saints in the Dresden Gallery.]
+
+[Illustration: TITIAN.--MADONNA AND SAINTS.
+(DETAIL.)]
+
+Another similar composition reveals a still sweeter intimacy between
+mother and son. The babe stretches out his hand coaxingly towards his
+mother's breast, but she draws her veil about her, gently denying
+his appeal. A more beautiful mother, or a more bewitching babe, it
+were hard to find. Three fine half-length figures of saints complete
+this composition, each of great interest and individuality, but not
+necessary to the unity of action--the Madonna alone making a complete
+picture. There are two copies of this work, one in the Belvedere at
+Vienna, and one in the Louvre at Paris.
+
+The _motif_ of this picture is not unique in art, as will have been
+remarked in passing. The first duty of maternity, and one of its
+purest joys, is to sustain the newborn life at the mother's breast. A
+coarse interpretation of the subject desecrates a holy shrine, while a
+delicate rendering, such as Raphael's or Titian's, invests it with a
+new beauty. Other pictures of this class should be mentioned in the
+same connection. There is one in the Hermitage Gallery at St.
+Petersburg, attributed by late critics to the little-known painter,
+Bernardino de' Conti. The Madonna's face, her hair drawn smoothly over
+her temples, has a beautiful matronliness. Still another is the
+Madonna of the Green Cushion, by Solario, in the Louvre. Here the babe
+lies on a cushion before his mother, who bends over him ecstatically,
+her fair young face aglow with maternal love as she sees his
+contentment.
+
+We have noticed that in one of Corregio's pictures the babe lies
+asleep on his mother's lap. It is interesting to trace this pretty
+_motif_ through other works of art. No phase of motherhood is more
+touching than the watchful care which guards the child while he
+sleeps; nor is infancy ever more appealing than in peaceful and
+innocent slumber. Mrs. Browning understood this well, when she wrote
+her beautiful poem interpreting the thoughts of "the Virgin Mary to
+the Child Jesus." Hopes and fears, joy and pity, are alternately
+stirred in the heart of the watcher, as she bends over the tiny face,
+scanning every change that flits across it. Each verse suggests a
+subject for a picture.
+
+We should naturally expect that Raphael would not overlook so
+beautiful a theme as the mother watching her sleeping child. Nor are
+we disappointed. The Madonna of the Diadem, in the Louvre, belongs to
+this class of pictures. Like the pastoral Madonnas of the Florentine
+period, it includes the figure of the little St. John, to whom, in
+this instance, the proud mother is showing her babe, daintily lifting
+the veil which covers his face.
+
+The seventeenth century produced many pictures of this class; among
+them, a beautiful work by Guido Reni, in Rome, deserves mention,
+being executed with greater care than was usual with him. Sassoferrato
+and Carlo Dolce frequently painted the subject. Their Madonnas often
+seem affected, not to say sentimental, after the simpler and nobler
+types of the earlier period. But nowhere is their peculiar sweetness
+more appropriate than beside a sleeping babe. The Corsini picture by
+Carlo Dolce is an exquisite nursery scene. Its popularity depends
+more, perhaps, upon the babe than the mother. Like Lady Isobel's child
+in another poem of motherhood by Mrs. Browning, he sleeps--
+
+    "Fast, warm, as if its mother's smile,
+    Laden with love's dewy weight,
+    And red as rose of Harpocrate,
+    Dropt upon its eyelids, pressed
+    Lashes to cheek in a sealèd rest."
+
+In Northern Madonna art, the Mater Amabilis is the preëminent subject.
+This fact is due partly to the German theological tendency to
+subordinate the mother to her divine Son, but more especially to the
+characteristic domesticity of Teutonic peoples. From Van Eyck and
+Schongauer, through Dürer and Holbein, down to Rembrandt and Rubens,
+we trace this strongly marked predilection in every style of
+composition, regardless of proprieties. Van Eyck does not hesitate to
+occupy his richly dressed enthroned Madonna at Frankfort with giving
+her breast to her babe, and Dürer portrays the same maternal duties in
+the Virgin on the Crescent Moon. Holbein's Meyer Madonna, splendid
+with her jewelled crown, is not less motherly than Schongauer's young
+Virgin sitting in a rude stable.
+
+Rembrandt in humble Dutch interiors, Rubens in numerous Holy Families
+modelled upon the Flemish life about him always conceive of the
+Virgin Mother as delighting in her maternal cares. As has been said of
+Dürer's Madonna,--and the description applies equally well to many
+others in the North,--"She suckles her son with a calm feeling of
+happiness; she gazes upon him with admiration as he lies upon her lap;
+she caresses him and presses him to her bosom without a thought
+whether it is becoming to her, or whether she is being admired."
+
+[Illustration: DÜRER.--MADONNA AND CHILD.]
+
+This entire absence of posing on the part of the German Virgin is one
+of the most admirable elements in this art. This characteristic is
+perfectly illustrated in Dürer's portrait Madonna of the Belvedere
+Gallery, at Vienna. This is an excellent specimen of the master, who,
+alone of the Germans, is considered the peer of his great Italian
+contemporaries. Frankly admired both by Titian and Raphael, he has in
+common with them the supreme gift of seeing and reproducing natural
+human affections. His work, however, is as thoroughly German as theirs
+is Italian. The Madonna of this picture has the round, maidenly face
+of the typical German ideal. A transparent veil droops over the
+flowing hair, covered by a blue drapery above. The mother holds her
+child high in her arms, bending her face over him. The babe is a
+beautiful little fellow, full of vivacity. He holds up a pear
+gleefully, to meet his mother's smile. The picture is painted with
+great delicacy of finish.
+
+The Mater Amabilis is the subject _par excellence_ of modern Madonna
+art. Carrying on its surface so much beauty and significance, it is
+naturally attractive to all figure painters. While other Madonna
+subjects are too often beyond the comprehension of either the artist
+or his patron, this falls within the range of both. The shop windows
+are full of pretty pictures of this kind, in all styles of treatment.
+
+There are the portrait Madonnas by Gabriel Max, already mentioned, and
+pastoral Madonnas by Bouguereau, by Carl Müller, by N. Barabino, and
+by Dagnan-Bouveret. Others carry the subject into the more formal
+compositions of the enthroned and enskied Madonnas, being, as we have
+seen, not without illustrious predecessors among the old masters. Of
+these we have Guay's Mater Amabilis, where the mother leans from her
+throne to support her child, playing on the step below with his
+cousin, St. John; and Mary L. Macomber's picture, where the enthroned
+Madonna folds her babe in her protecting arms, as if to shield him
+from impending evil.
+
+[Illustration: BODENHAUSEN.--MADONNA AND CHILD.]
+
+By Bodenhausen we have the extremely popular Mater Amabilis in Gloria,
+where a girlish young mother, her long hair streaming about her,
+stands in upper air, poised above the great ball of the earth, holding
+her sweet babe to her heart.
+
+Pictures like these constantly reiterate the story of a mother's
+love--an old, old story, which begins again with every new birth.
+
+
+
+
+CHAPTER VII.
+
+THE MADONNA IN ADORATION.
+
+(THE MADRE PIA.)
+
+
+The first tender joys of a mother's love are strangely mingled with
+awe. Her babe is a precious gift of God, which she receives into
+trembling hands. A new sense of responsibility presses upon her with
+almost overwhelming force. Hers is the highest honor given unto woman;
+she accepts it with solemn joy, deeming herself all too unworthy.
+
+This spirit of humility has been idealized in art, in the form of
+Madonna known as the Madre Pia. It represents the Virgin Mary adoring
+her son. Sometimes she kneels before him, sometimes she sits with
+clasped hands, holding him in her lap. Whatever the variation in
+attitude, the thought is the same: it is an expression of that higher,
+finer aspect of motherhood which regards infancy as an object not only
+of love, but of reverent humility. It is a recognition of the great
+mystery of life which invests even the helpless babe with a dignity
+commanding respect.
+
+A picture with so serious an intention can never be widely understood.
+The meaning is too subtile for the casual observer. An outgrowth of
+mediæval pietism, it was superseded by more popular subjects, and has
+never since been revived. The subject had its origin as an idealized
+nativity, set in pastoral surroundings which suggest the Bethlehem
+manger. Theologically it represented the Virgin as the first
+worshipper of her divine Son. But though the sacred mystery of Mary's
+experience sets her forever apart as "blessed among women," she is the
+type of true motherhood in all generations.
+
+The Madonna in Adoration is, properly speaking, a fifteenth century
+subject. It belongs primarily to that most mystic of all schools of
+art, the Umbrian, centering in the town of Perugia. Nowhere else was
+painting so distinctly an adjunct of religious services, chiefly
+designed to aid the worshipper in prayer and contemplation.
+
+As an exponent of the typical qualities of the Perugian school stands
+the artist who is known by its name, Perugino. His favorite subject is
+the Madre Pia, and his best picture of the kind is the Madonna of the
+National Gallery. Having once seen her here, the traveller recognizes
+her again and again in other galleries, in the many replicas of this
+charming composition. The Madonna kneels in the foreground, adoring
+with folded hands the child, who is supported in a sitting posture on
+the ground, by a guardian angel. The Virgin's face is full of fervent
+and exalted emotion.
+
+Perugino had no direct imitator of his Madre Pia, but his Bolognese
+admirer Francia treated the subject in a way that readily suggests the
+source of his inspiration. His Madonna of the Rose Garden in Munich
+instantly recalls Perugino. The artist has, however, chosen a novel
+_motif_ in representing the moment when the Virgin is just sinking on
+her knees, as if overcome by emotion.
+
+Between the Umbrian school and the Florentine, a reciprocal influence
+was exerted. If the latter taught the former many secrets of
+composition and technical execution, the Umbrians in turn imparted
+something of their mysticism to their more matter-of-fact neighbors.
+While the Umbrian school of the fifteenth century was occupied with
+the Madre Pia, Florence also was devoted to the same subject.
+Sculpture led the race, and in the front ranks was Luca della Robbia,
+founder of the school which bears his family name.
+
+Beginning as a worker in marble, his inventive genius presently
+wrought out a style of sculpture peculiarly his own. This was the
+enamelled terra-cotta bas-relief showing pure white figures against a
+background of pale blue. They were made chiefly in circular
+medallions, lunettes, and tabernacles, and were scattered throughout
+the churches and homes of Tuscany.
+
+Associated with Luca in his work was his nephew Andrea, who, in turn,
+had three sculptor sons, Giovanni, Girolamo, and Luca II. So great was
+the demand for their ware that the Della Robbia studios became a
+veritable manufactory from which hundreds of pieces went forth. Of
+these, a goodly number represent the Madonna in Adoration. While it is
+difficult to trace every one of these with absolute correctness to its
+individual author, the majority seem to be by Andrea, who, as it would
+appear, had a special fondness for the subject. It must be
+acknowledged that the nephew is inferior to his uncle in his ideal of
+the Virgin, less original than Luca in his conceptions, and less noble
+in his results. His work, notwithstanding, has many charming
+qualities, which are specially appropriate to the character of the
+particular subject under consideration. There is, indeed, a peculiar
+value in low relief, for purposes of idealization. It has an effect of
+spiritualizing the material, and giving the figures an ethereal
+appearance. Andrea profited by this advantage, and, in addition,
+showed great delicacy of judgment in subduing curves and retaining
+simplicity in his lines.
+
+We may see all this in the popular tabernacle which he designed, and
+of which there are at least five, and probably more, copies. The
+Madonna kneels prayerfully before her babe, who lies on the ground by
+some lily stalks. In the sky above are two cherubim and hands holding
+a crown. There is a girlish grace in the kneeling figure, and a rare
+sweetness in the face, entirely free from sentimentality. A severe
+simplicity of drapery, and the absence of all unnecessary accessories,
+are points of excellence worth noting. The composition was sometimes
+varied by the introduction of different figures in the sky, other
+cherubim, or the head of the Almighty, with the Dove. Only second in
+popularity to this was Andrea's circular medallion of the Nativity,
+with the Virgin and St. John in adoration. There are two copies of
+this in the Florentine Academy, one in the Louvre, and one in Berlin.
+The effect of crowding so many figures into a small compass is not so
+pleasing as the classical simplicity of the former composition.
+
+[Illustration: ANDREA DELLA ROBBIA.--MADONNA IN
+ADORATION.]
+
+Contemporary with the Della Robbias was another Florentine family of
+artists equally numerous. Of the five Rossellini, Antonio is of
+greatest interest to us, as a sculptor who had some qualities in
+common with the famous porcelain workers. Like them, he had a special
+gift for the Madonna in Adoration. We can see this subject in his best
+style of treatment, in the beautiful Nativity in San Miniato, "which
+may be regarded as one of the most charming productions of the best
+period of Tuscan art."[5] The tourist will consider it a rich reward
+for his climb to the quaint old church on the ramparts overhanging the
+Arno. If perchance his wanderings lead him, on another occasion, to
+the hill rising on the opposite side, he will find, in the Cathedral
+of Fiesole, a fitting companion in the altar-piece by Mino da Fiesole.
+This is a decidedly unique rendering of the Madre Pia. The Virgin
+kneels in a niche, facing the spectator, adoring the Christ-child, who
+sits on the steps below her, turning to the little Baptist, who kneels
+at one side on a still lower step.
+
+[Footnote 5: C.C. Perkins, in Tuscan Sculptors.]
+
+[Illustration: LORENZO DI CREDI.--NATIVITY.]
+
+Passing from the sculpture of Florence to its painting, it is fitting
+that we mention first of all the friend and fellow-pupil of the
+Umbrian Perugino, Lorenzo di Credi. The two had much in common.
+Trained together in the workshop of the sculptor Verrocchio, in those
+days of intense religious stress, they both became followers of the
+prophet-prior of San Marco, Savonarola. Their religious earnestness
+naturally found expression in the beautiful subject of the Madre Pia.
+The Florentine artist, though not less devout than his friend,
+introduces into his work an element of joy, characteristic of his
+surroundings, and more attractive than the somewhat melancholy types
+of Umbria. His Adoration, in the Uffizi, is an admirable example of
+his best work. Following the fashion made popular by the Della
+Robbias, the artist chose for his composition the round picture, or
+_tondo_. By this elimination of unnecessary corners, the attention
+centres in the beautiful figure of the Virgin, which occupies a large
+portion of the circle. In exquisite keeping with the modest loveliness
+of her face, a delicate, transparent veil is knotted over her smooth
+hair, and falls over the round curves of her neck. In expression and
+attitude she is the perfect impersonation of the spirit of humility,
+joyfully submissive to her high calling, reverently acknowledging her
+unworthiness.
+
+This picture may be taken as a typical example of the subject in
+Florentine painting. Lorenzo himself repeated the composition many
+times, and numerous other works could be mentioned, strikingly similar
+in treatment, by Ghirlandajo, in the Florence Academy; by Signorelli,
+in the National Gallery; by Albertinelli, in the Pitti; by Filippo
+Lippi, in the Berlin Gallery; by Filippino Lippi, in the Pitti; and so
+on through the list.
+
+In many cases the subject seems to have been chosen, not so much from
+any devotional spirit on the part of the painter, as from force of
+imitation of the prevailing Florentine fashion. This is especially
+true in the case of Filippo Lippi, who does not bear the best of
+reputations. Although a brother in the Carmelite monastery, his love
+of worldly pleasures often led him astray, if we are to believe the
+gossip of the old annalists. We may allow much for the exaggerations
+of scandal, but still be forced to admit that his candid realism is
+plain evidence of a closer study of nature than of theology.
+
+Browning has given us a fine analysis of his character in the poem
+bearing his name, "Fra Lippo Lippi." The artist monk, caught in the
+streets of the city on his return from some midnight revel, explains
+his constant quarrel with the rules of art laid down by ecclesiastical
+authorities. They insist that his business is "to the souls of men,"
+and that it is "quite from the mark of painting" to make "faces, arms,
+legs, and bodies like the true." On his part, he claims that it will
+not help the interpretation of soul, by painting body ill. An intense
+lover of every beautiful line and color in God's world, he believes
+that these things are given us to be thankful for, not to pass over or
+despise. Obliged to devote himself to a class of subjects with which
+he had little sympathy, he compromised with his critics by adopting
+the traditional forms of composition, and treating them after the
+manner of _genre_ painters, in types drawn from the ordinary life
+about him. The kneeling Madre Pia he painted three times: two of the
+pictures are in the Florence Academy, and the third and best is in the
+Berlin Gallery.
+
+[Illustration: FILIPPO LIPPI.--MADONNA IN ADORATION.]
+
+In the Madonna of the Uffizi, he broke away somewhat from tradition,
+and rendered quite a new version of the subject. The Virgin is seated
+with folded hands, adoring her child, who is held up before her by two
+boy angels. His type of childhood is by no means pretty, though
+altogether natural. The Virgin cannot be called either intellectual or
+spiritual, but "where," as a noted critic has asked, "can we find a
+face more winsome and appealing?" Certainly she is a lovely woman, and
+
+    "If you get simple beauty and naught else,
+    That's somewhat: and you'll find the soul you have missed
+    Within yourself, when you return him thanks."
+
+The idea of the seated Madre Pia, comparatively rare in Florentine
+art, is quite frequent in northern Italy. Sometimes the setting is a
+landscape, in the foreground of which the Madonna sits adoring the
+babe lying on her lap. Examples are by Basaiti (Paduan), in the
+National Gallery, and by a painter of Titian's school, in Berlin. Much
+more common is the enthroned Madonna in Adoration, and for this we
+may turn to the pictures of the Vivarini, Bartolommeo and Luigi, or
+Alvise. These men were of Muranese origin, and in the very beginning
+of Venetian art-history were at the head of their profession, until
+finally eclipsed by the rival family of the Bellini. Among their
+works, we find by each one at least three pictures of the type
+described. As the most worthy of description, we may select the
+altar-piece by Luigi, in the Church of the Redentore. As it is one of
+the most popular Madonnas in Venice, no collection is complete without
+it. A green curtain forms the background, against which the plain
+marble throne-chair is brought into relief. The Virgin sits wrapt in
+her own thoughts, an impersonation of tranquil dignity. A heavy wimple
+falls low over her forehead, entirely concealing her hair, and with
+its severe simplicity accentuating the chaste beauty of her face.
+Two fascinating little cherubs sit on a parapet in front, playing on
+lutes; and, lulled by their gentle music, the sweet babe sleeps on,
+serenely unconscious of it all.
+
+[Illustration: LUIGI VIVARINI.--MADONNA AND CHILD.]
+
+Before such pictures as this, gleaming in the dim light of quiet
+chapels, many a heart, before unbelieving, may learn a new reverence
+for the mysterious sanctity of motherhood.
+
+
+
+
+CHAPTER VIII.
+
+THE MADONNA AS WITNESS.
+
+
+In proportion to a mother's ideals and ambitions for her child does
+her love take on a higher and purer aspect. The noblest mother is the
+most unselfish; she regards her child as a sacred charge, only
+temporarily committed to her keeping. Her care is to nurture and train
+him for his part in life; this is the object of her constant endeavor.
+Thus she comes to look upon him as hers and yet not hers. In one sense
+he is her very own; in another, he belongs to the universal life which
+he is to serve. There is no conflict between the two ideas; they are
+the obverse sides of one great truth. Both must be recognized for a
+complete understanding of life. What is true of all motherhood finds
+a supreme illustration in the character of the Virgin Mary. She
+understood from the first that her son had a great mission to fulfil,
+that his work had somewhat to do with a mighty kingdom. Never for a
+moment did she lose sight of these things as she "pondered them in her
+heart." Her highest joy was to present him to the world for the
+fulfilment of his calling.
+
+As a subject of art, this phase of the Madonna's character requires a
+mode of treatment quite unlike that of the Mater Amabilis or the Madre
+Pia. The attitude and expression of the Virgin are appropriate to her
+office as the Christ-bearer. Both mother and child, no longer
+absorbed in each other, direct their glance towards the people to whom
+he is given for a witness. (Isaiah 55:4.) These may be the spectators
+looking at the picture, or the saints and votaries filling the
+composition. The mother's lap is the throne for the child, from which,
+standing or sitting, he gives his royal blessing.
+
+It will be readily understood that so lofty a theme can not be common
+in art. In our own day, it has, with the Madre Pia, passed almost
+entirely out of the range of art subjects; modern painters do not try
+such heights. Franz Defregger is alone in having made an honest and
+earnest effort, not without success, to express his conception of the
+theme. To his Enthroned Madonna at Dölsach, and his less well-known
+Madonna in Glory, let us pay this passing word of honor.
+
+To approach our subject in the most systematic way, we will go back to
+the beginnings of Madonna art. Mrs. Jameson tells us that the group of
+Virgin and Son was, in its first intention, a _theological symbol_,
+and not a _representation_. It was a device set up in the orthodox
+churches as a definite formalization of a creed. The first Madonnas
+showed none of the aspects of ordinary motherhood in attitude,
+gesture, or expression. The theological element in the picture was the
+first consideration. We may take as a representative case the Virgin
+Nike-peja (of Victory), supposed to be the same which Eudocia, wife of
+the Emperor Theodosius II., discovered in her travels in Palestine,
+and sent to Constantinople, whence it was finally brought to St.
+Mark's, Venice. The Virgin--a half-length figure--holds the child in
+front of her, like a doll, as if exhibiting him to the gaze of the
+worshippers before the altar over which the picture hung. Both faces
+look directly out at the spectator, with grave and stiff solemnity.
+
+The progress of painting, and the growing love of beauty, at length
+wrought a change. The time came when art saw the possibility of
+uniting, with the religious conception of previous centuries, a more
+natural ideal of motherhood. Thus, while the Madonna continues to be
+preëminently a witness of her son's greatness, it is not at the
+sacrifice of motherly tenderness.
+
+In Venetian art-history, Giovanni Bellini stands at the period when
+the old was just merging into the new. We have already seen how
+greatly he and his contemporaries differed from the painters of a
+later time. Taking advantage of all the progressive methods of the
+day, they did not relinquish the religious spirit of their
+predecessors, hence their work embodies the best elements of the old
+and new. As we examine the Bellini Madonnas, one after another, we
+can not fail to notice how delicately they interpret the relation of
+the mother to her child.
+
+Loving and gracious as she is, she is not the Mater Amabilis: she is
+too preoccupied, though not too cold for caresses. Neither is she the
+Madre Pia, though by no means lacking in humility. Her thoughts are of
+the future, rather than of the present. True to a mother's instinct,
+she encircles her child with a protecting arm, but her face is turned,
+not to his, but to the world. Both are looking steadfastly forward to
+the great work before them. Their eyes have the far-seeing look of
+those absorbed in noble dreams. Their faces are full of sweet
+earnestness, not of the ascetic sort, but joyful, with a calm,
+tranquil gladness.
+
+This description applies almost equally well to a half-dozen or more
+of Bellini's Madonnas, in various styles of composition. For the sake
+of definiteness, we may specify the Madonna between St. Paul and St.
+George in the Venice Academy. The Virgin is in half-length, against a
+scarlet curtain, supporting the child, who stands on the coping of a
+balcony. In technical qualities alone, the picture is a notable one
+for precision of drawing, breadth of light and shade, and brilliant
+color. In Christian sentiment it is among the rare treasures of
+Italian art. The National Gallery and the Brera contain others which
+are very similar in style and conception.
+
+The three enthroned Madonnas which have already been noticed are not
+less remarkable for religious significance. There is a peculiar
+freshness and vivacity in the San Giobbe picture. Both Virgin and
+child are alert and eager, welcoming the future with smiling and
+youthful enthusiasm. The Frari Madonna is of a more subdued type,
+but is not less true to her ideal. The Virgin of San Zaccaria is more
+thoughtful and reflective, but she holds her child up bravely, that he
+may give his blessing to mankind.
+
+[Illustration: GIOVANNI BELLINI.--MADONNA BETWEEN ST.
+GEORGE AND ST. PAUL. (DETAIL.)]
+
+It will have been noticed that the throne is an especially appropriate
+setting for the Madonna as Witness. It is one of the functions of
+royalty that the queen should show the prince to his people. We
+therefore turn naturally to this class of pictures for examples. To
+those of Bellini just cited we may add, from the others mentioned in
+the second chapter, the Madonnas by Cima, by Palma, and by Montagna in
+Venetian Art; and by Luini and by Botticelli in the Lombard and
+Florentine schools respectively. Luini's picture is one which readily
+touches the heart. The Virgin unites the sweetness of fresh, young
+motherhood with womanly dignity of character. Her smile has nothing
+of mystery in it; it is simply sweet and winning. The Christ-child is
+a lovely boy, steadying himself against his mother's breast, and yet
+with an air of self-reliance. The two understand each other well.
+
+[Illustration: LUINI.--MADONNA WITH ST. BARBARA AND ST.
+ANTHONY.]
+
+One could hardly imagine two more dissimilar spirits than Luini and
+Botticelli. To Luini's Virgin, the consciousness of her son's
+greatness is a proud honor, accepted seriously, but gladly. To
+Botticelli, on the other hand, it brings a profound melancholy. This
+is so marked that at first sight almost every one is repelled by
+Botticelli, and yields only after long familiarity to the mysterious
+fascination of the sad-eyed Madonna, who holds her babe almost
+listlessly, as her head droops with the weight of her sorrow. Her
+expression is the same whatever her attitude, when she presses her
+babe to her bosom as the Mater Amabilis (in the Borghese Gallery at
+Rome, in the Dresden Gallery, and Louvre), or when, as witness to her
+son's destiny, she holds him forth to be seen of men. It is in this
+last capacity that her mood is most intelligible. She seems oppressed
+rather than humbled by her honors; reluctant, rather than glad to
+assume them; yet, with proud dignity, determined to do her part,
+though her heart break in the doing. Her nature is too deep to accept
+the joy without counting the cost, and her vision looks beyond
+Bethlehem to Calvary. This is well illustrated in the picture of the
+Berlin Gallery.[6] The queen mother rises with the prince to receive
+the homage of humanity. The boy, old beyond his years, gravely raises
+his right hand to bless his people, the other still clinging, with
+infantile grace, to the dress of his mother. Lovely, rose-crowned
+angels hold court on either side, bearing lighted tapers in jars of
+roses.
+
+[Footnote 6: The Berlin Gallery contains two Enthroned Madonnas
+attributed to Botticelli. The description here, and on page 40 makes
+it clear that the reference is to the picture numbered 102. This does
+not appear in Berenson's list of Botticelli's works, but is treated as
+authentic by Crowe and Cavalcaselle.]
+
+The Madonna of the Pomegranate is another work by Botticelli which
+belongs in this class of pictures. It is a _tondo_ in the Uffizi,
+showing the figures in half length. The Virgin, encircled by angels,
+holds the child half reclining on her lap. Her face is inexpressibly
+sad, and the child shares her mood, as he raises his little hand to
+bless the spectator. Two angels bear the Virgin's flowers, roses and
+lilies; two others hold books. They bend towards the queen as the
+petals of a rose bend towards the centre, with the serious grace
+peculiar to Botticelli.
+
+[Illustration: BOTTICELLI.--MADONNA OF THE
+POMEGRANATE .]
+
+In connection with the peculiar type of melancholy exhibited on the
+face of Botticelli's Madonna, it will be of interest to refer to the
+work of Francia. The two artists were, in some points, kindred
+spirits; both felt the burden of life's mystery and sorrow. Francia,
+as we have seen, imbibed from the works of Perugino something of the
+spirit of mysticism common to the Umbrian school. But while there is a
+certain resemblance between his Madonna and Perugino's, the former has
+less of sentimentality than the latter, and more real melancholy. Like
+Botticelli's Virgin, she acts her part half-heartedly, as if the sword
+had already begun to pierce her heart. Francia's favorite Madonna
+subjects were of the higher order, the Madre Pia and the Madonna as
+Witness. In treating the latter, his Christ-child is always in keeping
+with the mother, a grave little fellow who gives the blessing with
+almost touching dignity. Enthroned Madonnas illustrating the theme are
+those of the Hermitage at St. Petersburg, of the Belvedere at Vienna,
+and the famous Bentivoglio Madonna in S. Jacopo Maggiore at Bologna.
+The last-named is one of the works which enable us to understand
+Raphael's high praise of the Bolognese master. It is a noble
+composition, full of strong religious feeling.
+
+[Illustration: MURILLO.--MADONNA AND CHILD.]
+
+It is a long leap from the fifteenth to the seventeenth centuries,
+taking us from a period of genuine religious fervor in art, into an
+age of artificial imitation. In the midst of the decadence of old
+ideals and the birth of art methods entirely new, arose one who seemed
+to be the reincarnation of the old spirit in a form peculiar to his
+age and race. This was Murillo, the peasant-painter of Spain, than
+whom was never artist more pious, not even excepting the angelic
+brother of San Marco. He alone in the seventeenth century kept
+alive the pure flame of religious fervor, which had burned within the
+devout Italians of the early school. Through all his pictures of the
+Virgin and child we can see that the Madonna as the Christ-bearer is
+the ideal he always has in view. He falls short of it, not through any
+lack of earnestness, but because his type of womanhood is incapable of
+expressing such lofty idealism. His virgins are modelled upon the
+simple Andalusian maidens, sweet, timid, dark-eyed creatures. Their
+faces glow with gentle affection as they look wistfully out of the
+picture, or raise their eyes to heaven, as if dimly discerning the
+heights which they have never reached.
+
+The Pitti Madonna is one of this sweet company, and perhaps the
+loveliest of them all. Both she and her beautiful boy are full of
+gentle earnestness, and if they are too simple-minded to realize what
+is in store for them, they are none the less ready to do the Father's
+will.
+
+One more picture remains for us to consider as an illustration of the
+Madonna as Witness. Had we mentioned it first, nothing further could
+have been said on the subject. The Sistine Madonna is the greatest
+ever produced, from every point of view. We have already noted the
+superiority of its artistic composition over all other enskied
+Madonnas, and are the more ready to appreciate its higher merits; for
+its strongest hold upon our admiration is in its moral and religious
+significance. Its theme is the transfiguration of loving and
+consecrated motherhood. Mother and child, united in love, move towards
+the glorious consummation of the heavenly kingdom.
+
+[Illustration: RAPHAEL.--SISTINE MADONNA.]
+
+It has been said that Raphael made no preparatory studies for this
+Madonna, but, in a larger sense, he spent his life in preparation
+for it. He had begun by imitating the mystic sweetness of Perugino's
+types, drawn by an intuitive delicacy of perception to this spiritual
+idealism, while yet too inexperienced to express any originality.
+Then, by an inevitable reaction, he threw himself into the creation of
+a purely naturalistic Madonna, and carried the Mater Amabilis to its
+utmost perfection. Having mastered all the secrets of woman's beauty,
+he returned once more to the higher realm of idealism to send forth
+his matured conception of the Madonna as the Christ-bearer.
+
+The Sistine Madonna is above all words of praise; all extravagance of
+expression is silenced before her simplicity. Hers is the beauty of
+symmetrically developed womanhood; the perfect poise of her figure is
+not more marked than the perfect poise of her character. Not one
+false note, not one exaggerated emphasis, jars upon the harmony of
+body, soul, and spirit. Confident, but entirely unassuming; serious,
+but without sadness; joyous, but not to mirthfulness; eager, but
+without haste; she moves steadily forward with steps timed to the
+rhythmic music of the spheres. The child is no burden, but a part of
+her very being. The two are one in love, thought, and purpose. Sharing
+the secret of his sacred calling, the mother bears her son forth to
+meet his glorious destiny.
+
+Art can pay no higher tribute to Mary, the Mother of Jesus, than to
+show her in this phase of her motherhood. We sympathize with her
+maternal tenderness, lavishing fond caresses upon her child. We go
+still deeper into her experience when we see her bowed in sweet
+humility before the cares and duties she is called upon to assume.
+But we are admitted to the most cherished aspirations of her soul,
+when we see her oblivious of self, carrying her child forth to the
+service of humanity. It is thus that she becomes one of his "witnesses
+unto the people;" it is thus that "all generations shall call her
+blessed."
+
+
+
+
+BIBLIOGRAPHY.
+
+
+MRS. ANNA JAMESON: The Legends of the Madonna. Boston, 1896.
+
+CROWE AND CAVALCASELLE: History of Painting in Italy. London,
+1864. History of Painting in North Italy. London, 1871. Titian: His
+Life and Times. London, 1877.
+
+KUGLER: Handbook of the Italian Schools, revised by A.H.
+Layard. London, 1887. Handbook of the German, Flemish, and Dutch
+Schools, revised by J.A. Crowe. London, 1889.
+
+MORELLI: Critical Studies of the Italian Painters. Translated
+by Constance Jocelyn Ffoulkes. London, 1892.
+
+J.A. SYMONDS: Renaissance in Italy: The Fine Arts. New York,
+1888.
+
+WALTER H. PATER: Studies in the History of the Renaissance.
+London, 1873.
+
+BERNHARD BERENSON: The Venetian Painters of the Renaissance.
+New York, 1894. The Florentine Painters of the Renaissance. New York,
+1896.
+
+KARL KÁROLY: A Guide to the Paintings of Florence. London and
+New York, 1893. A Guide to the Paintings of Venice. London and New
+York, 1895.
+
+C.C. PERKINS: Tuscan Sculptors. London, 1864.
+
+CAVALUCCI ET MOLINIER: Les Della Robbia: leur vie et leur
+oeuvre. Paris, 1884.
+
+EUGENE MÜNTZ: Raphael. Translated by Walter Armstrong.
+London, 1882.
+
+
+
+
+INDEX OF ARTISTS.
+
+
+Albertinelli, Madonna in the Pitti, 172.
+
+Angelico, Fra, Madonna della Stella, 66-69, 132.
+
+Barabino, N., Mater Amabilis, 154.
+
+Barocci, F., Madonna del Gatto, 126.
+
+Bartolommeo, Madonna in the Capella Giovanato, 30;
+  Madonnas in the Florence Academy, 31;
+  Enthroned Madonna in the Pitti, 42, 47.
+
+Basaiti, Madonna in the National Gallery, 177.
+
+Bellini, Giovanni, Madonna of San Giobbe, 50, 188;
+  Frari Madonna, 50, 191;
+  Madonna of San Zaccaria, 50-53, 191;
+  Madonna between St. Paul and St. George, 188;
+  Madonna in the National Gallery, 188;
+  Madonna in the Brera, 188.
+
+Bellini, Jacopo, Madonna in the Venice Academy, 25.
+
+Bodenhausen, Madonna, 90, 154.
+
+Bonifazio Veronese, Seven pictures of the Santa Conversazione, 115.
+
+Botticelli, Enthroned Madonna at Berlin, 40, 191, 195, 196;
+  Madonna in the Borghese, 195;
+  Madonna in the Dresden Gallery, 195;
+  Madonna in the Louvre, 195;
+  Madonna of the Pomegranate, 196;
+  Madonna of the Inkhorn, 59.
+
+Bouguereau, Enthroned Madonna, 64;
+  Madonna of the Angels, 90;
+  Mater Amabilis, 154.
+
+Byzantine Madonna in the Ara Coeli, 25;
+  in S. Maria in Cosmedino, 25;
+  in St. Mark's, 25, 185;
+  at Padua, 25.
+
+Cano, Alonzo, Madonna of Bethlehem, 32.
+
+Caroto, Gianfrancesco, Madonna in Sant' Anastasia, 80;
+  Madonna in San Giorgio, 80;
+  Madonna in San Fermo Maggiore, 80.
+
+Cavazzola, see Morando.
+
+Cima, Enthroned Madonna in the Venice Academy, 49, 191.
+
+Cimabue, Ruccellai Madonna, 38-39.
+
+Conti, Bernardino de', Madonna in the Hermitage Gallery, 146.
+
+Correggio, Madonnas in Dresden, 45;
+  Madonna of St. Sebastian, 70;
+  Madonna in the Uffizi, 106, 136;
+  La Zingarella, 106, 137, 146;
+  Madonna della Cesta, 136;
+  Madonna della Scala, 138, 141.
+
+Credi, Lorenzo di, Nativity in the Uffizi, 171.
+
+Crivelli, Carlo, Use of Crown by, 59.
+
+Dagnan-Bouveret, Mater Amabilis, 154.
+
+Defregger, Franz, Madonna at Dölsach, 184;
+  Madonna in Glory, 90, 184.
+
+Dolce, Carlo, Madonna, 148.
+
+Dürer, Woodcut, 60;
+  Madonna in "garden inclosed," 115;
+  Madonna in the Belvedere, 150-153;
+  Virgin on the Crescent Moon, 89, 149.
+
+Eyck, Van, Madonna in Frankfort, 60, 149.
+
+Fiesole, Mino da, Altar-piece at Fiesole, 168.
+
+Francia, Madonna of the Rose Garden, 115, 161;
+  Enthroned Madonna in the Hermitage, 200;
+  Enthroned Madonna in the Belvedere, 200;
+  Bentivoglio Madonna, 200.
+
+Ghirlandajo, Enthroned Madonna in the Uffizi, 40;
+  Madonna in the Florence Academy, 172.
+
+Giorgione, Madonna of Castel-Franco, 54;
+  Madonna in Madrid, 54.
+
+Guay, Mater Amabilis, 154.
+
+Holbein, Meyer Madonna, 60, 149.
+
+Ittenbach, Enthroned Madonna, 64.
+
+Leonardo da Vinci, see Vinci.
+
+Libri, Girolamo dai, Madonna in San Giorgio Maggiore, Verona, 48;
+  Madonna of St. Andrew and St. Peter, 81.
+
+Lippi, Filippino, Madonna in the Pitti, 115-116, 172.
+
+Lippi, Filippo, Madonna in the Berlin Gallery, 172, 174;
+  Madonnas in the Florence Academy, 174;
+  Madonna in the Uffizi, 174-177.
+
+Lotto, Madonna of S. Bartolommeo, 48;
+  Santa Conversazione, 115.
+
+Luini, Madonna between St. Anthony and St. Barbara, 45, 191-192;
+  Pastoral Madonna, 104-105.
+
+Macomber, Mary L., Madonna, 154.
+
+Mantegna, Madonna of Victory, 41, 48.
+
+Mariotto, Bernardino di, Madonna, 47.
+
+Massys, Quentin, Enthroned Madonna in the Berlin Gallery, 63, 132;
+  Madonna in the Munich Gallery, 121.
+
+Max, Gabriel, Madonnas, 35, 154.
+
+Memling, Madonna at Bruges, 60.
+
+Mignard, La Vierge à la Grappe, 126.
+
+Montagna, Madonna in the Brera, 40, 191.
+
+Morando, Madonna in Glory in Verona Gallery, 81.
+
+Moretto, Madonna of S. Clemente, 48;
+  Madonna of St. John the Evangelist, 77;
+  Madonna of San Giorgio Maggiore, 77;
+  Madonna in the Berlin Gallery, 78-79.
+
+Müller, Carl, Mater Amabilis, 154.
+
+Murano, Giovanni da, Use of Crown by, 59.
+
+Murillo, Madonna of the Napkin, 32;
+  Holy Family of the Bird, 126;
+  Madonna in the Pitti, 203-204.
+
+Palma, Enthroned Madonna at Vicenza, 49, 191;
+  Santa Conversazione at Naples, 111;
+  Santa Conversazione at Dresden, 111;
+  Santa Conversazione at Munich, 111;
+  Santa Conversazione at Vienna, 111, 112.
+
+Perugino, Enthroned Madonna in the Vatican, 45;
+  Madonna in the National Gallery, 160.
+
+Pinturicchio, Madonna in St. Andrea, Perugia, 46.
+
+Raphael, Ansidei Madonna, 46, 133;
+  Madonna of St. Anthony, 47;
+  Baldacchino Madonna, 47;
+  Madonna of the Casa Alba, 99;
+  the Chair Madonna, 134;
+  the Colonna Madonna, 133;
+  the Conestabile Madonna, 133;
+  Madonna of the Diadem, 147;
+  Foligno Madonna, 82-85;
+  Granduca Madonna, 29;
+  Madonna of the Goldfinch, 93, 97, 98;
+  Holy Family of Francis I., 133;
+  Holy Family of the Lamb, 100, 105;
+  Madonna dell' Impannata, 125;
+  Belle Jardinière, 93, 97, 98;
+  Madonna in the Meadow, 93, 97, 98, 99, 104;
+  Orleans Madonna, 126, 133;
+  Sistine Madonna, 85, 204, 208;
+  Tempi Madonna, 30, 133.
+
+Rembrandt, Le Ménage du Menuisier in the Louvre, 127;
+  in St. Petersburg, 127;
+  Madonna in the Munich Gallery, 127-128.
+
+Reni, Guido, Madonna, 147.
+
+Robbia, Andrea della, Popular tabernacle, 164;
+  Nativity, 167.
+
+Robbia, Giovanni, Son of Andrea, 162.
+
+Robbia, Girolamo della, Son of Andrea, 162.
+
+Robbia, Luca della, Founder of his school, 162.
+
+Robbia, Luca della, II., Son of Andrea, 162.
+
+Romano, Giulio, Madonna della Catina, 125;
+  his work on the Madonna dell' Impannata, 125;
+  Madonna in a Bedchamber, 125.
+
+Rossellino, Antonio, Nativity in San Miniato, 167.
+
+Rubens, Holy Families, 149.
+
+Salimbeni, Holy Family, 126.
+
+Sarto, Andrea del, Madonna di San Francesco, 42;
+  Madonna in the Berlin Gallery, 69.
+
+Sassoferrato, Madonna in Vatican Gallery, 89;
+  Madonna with Sleeping Child, 148.
+
+Savoldo, Madonna in the Brera, 79.
+
+Schongauer, Madonna in Munich, 60;
+  Holy Family, 121-123.
+
+Siena, Guido da, Madonna, 38.
+
+Signorelli, Nativity in the National Gallery, 172.
+
+Sodoma, Madonna in the Brera, 104 (note).
+
+Solario, Madonna of the Green Cushion, 146.
+
+Lo Spagna, Madonna once attributed to, 73.
+
+Spanish School, Madonna in the Dresden Gallery, 89.
+
+Tintoretto, Madonna in the Berlin Gallery, 89.
+
+Titian, Vierge au Lapin, 115 (note), 142;
+  Madonna of the Cherries, 141 (note);
+  Madonnas and Saints at Dresden, 141 (note);
+  Madonna with Sts. Ulfo and Brigida, 142;
+  Madonna with Roses, 142;
+  Madonna and Saints, 145;
+  Pesaro Madonna, 56.
+
+Titian, School of, Madonna in Berlin, 177.
+
+Umbrian School, Madonna by, in the National Gallery, 73-74.
+
+Veronese, Madonna in the Venice Academy, 56.
+
+Vinci, Leonardo da, Madonna of the Rocks, 100-104.
+
+Vivarini, Bartolommeo, Madonnas, 178.
+
+Vivarini, Luigi, Madonna in the Church of the Redentore, 178.
+
+
+
+
+Art Series
+
+
+THE MADONNA IN ART
+         ESTELLE M. HURLL.
+
+CHILD LIFE IN ART
+         ESTELLE M. HURLL.
+
+ANGELS IN ART
+         CLARA ERSKINE CLEMENT.
+
+LOVE IN ART
+         MARY KNIGHT POTTER.
+
+L.C. PAGE AND COMPANY
+(INCORPORATED)
+196 Summer Street, Boston, Mass.
+
+
+
+
+
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MADONNA IN ART ***
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+
+The Project Gutenberg EBook of The Madonna in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Madonna in Art
+
+Author: Estelle M. Hurll
+
+Release Date: December 22, 2005 [EBook #17373]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MADONNA IN ART ***
+
+
+
+
+Produced by Suzanne Lybarger, Kathryn Lybarger, Sankar
+Viswanathan, and the Online Distributed Proofreading Team
+at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<div class="figcenter"><img src="images/image_01.jpg" alt="Cover" width="400" height="560" /></div>
+<div class="figcenter" style="width: 400px;"><a name="img_01" id="img_01"></a>
+<img class="img1" src="images/image_02.jpg" width="400" height="557" alt="Madonna of Castelfranco. Photogravure from the Painting by Giorgione in the Parish Church, Castelfranco." title="Madonna of Castelfranco. Photogravure from the Painting by Giorgione in the Parish Church, Castelfranco." />
+<span class="caption">Madonna of Castelfranco. Photogravure from the Painting by Giorgione in the Parish Church, Castelfranco.</span>
+<p class="center"><a href="images/image_02_1.jpg">Please click here for a modern color image</a></p>
+</div>
+<div class="tr"><p class="center">Transcriber's Note.</p><p>
+The images in this e book of the frescos and paintings are from the original book.
+However many of the frescos and paintings have undergone extensive restoration. Some of the restored frescos and paintings are presented as modern color images with links.</p></div>
+
+<h1>THE<br />
+
+MADONNA IN ART</h1>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+
+
+<h3>BY</h3>
+<h2>ESTELLE M. HURLL</h2>
+
+
+<p>&nbsp;</p>
+<h4>Illustrated</h4>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<div class="poem"><span class="i12">A mother is a mother still&mdash;<br />
+      </span>
+  <span class="i12">The holiest thing alive.</span><br />
+    <p class="quotsig">&mdash;<span class="smcap">Coleridge.</span></p>
+</div>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+
+<div class="center"><img src="images/seal.jpg" alt="Seal" width="155" height="146" /></div>
+<h3>BOSTON <br />
+  L.C. PAGE AND COMPANY </h3>
+<h5>(<i>INCORPORATED</i>)</h5>
+<h3>1898</h3>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="center"><i>Copyright, 1897</i> <br />
+  <span class="smcap">By L.C. Page and Company</span><br />
+  <span style="font-size:smaller; ">(INCORPORATED)</span>
+</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h2>CONTENTS.</h2>
+<p>&nbsp;</p>
+
+
+<table class="table1" summary="Contents">
+<tr>
+  <td >&nbsp;</td>
+  <td >CHAPTER</td><td class="tocpg">PAGE</td></tr>
+<tr>
+  <td >&nbsp;</td>
+  <td ><span class="smcap"><a href="#PREFACE">Preface</a></span></td>
+<td class="tocpg"><a href="#Page_xi">xi</a></td>
+</tr>
+<tr>
+  <td >&nbsp;</td>
+  <td ><span class="smcap"><a href="#INTRODUCTION">Introduction</a></span></td>
+<td class="tocpg"><a href="#Page_xiii">xiii</a></td>
+</tr>
+<tr>
+  <td class="tocch">I.</td>
+  <td ><span class="smcap"><a href="#Part_I">The Portrait Madonna</a></span></td>
+<td class="tocpg"><a href="#Page_23">23</a></td></tr>
+<tr>
+  <td class="tocch">II.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_II">The Madonna Enthroned</a></span></td>
+<td class="tocpg"><a href="#Page_37">37</a></td></tr>
+<tr>
+  <td class="tocch">III.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_III">The Madonna in the Sky</a></span></td>
+<td class="tocpg"><a href="#Page_65">65</a></td></tr>
+<tr>
+  <td class="tocch">IV.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_IV">The Pastoral Madonna</a></span></td>
+<td class="tocpg"><a href="#Page_91">91</a></td></tr>
+<tr>
+  <td class="tocch">V.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_V">The Madonna in a Home Environment</a></span></td>
+<td class="tocpg"><a href="#Page_118">118</a></td></tr>
+<tr>
+  <td class="tocch">VI.</td>
+  <td ><span class="smcap"><a href="#Part_II">The Madonna of Love</a></span></td>
+<td class="tocpg"><a href="#Page_131">131</a></td></tr>
+<tr>
+  <td class="tocch">VII.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_VII">The Madonna in Adoration</a></span></td>
+<td class="tocpg"><a href="#Page_158">158</a></td></tr>
+<tr>
+  <td class="tocch">VIII.</td>
+  <td ><span class="smcap"><a href="#CHAPTER_VIII">The Madonna As Witness</a></span></td>
+<td class="tocpg"><a href="#Page_182">182</a></td></tr>
+<tr>
+  <td >&nbsp;</td>
+  <td ><span class="smcap"><a href="#BIBLIOGRAPHY">Bibliography</a></span></td>
+<td class="tocpg"><a href="#Page_210">210</a></td></tr>
+
+</table>
+
+
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS.</h2>
+
+
+<table class="table2" summary="Illustrations">
+<tr><td>&nbsp;</td>
+  <td >&nbsp;</td>
+  <td class="tocpg">PAGE</td></tr>
+<tr><td ><span class="smcap">Giorgione</span></td>
+  <td ><a href="#img_01">Madonna of Castelfranco<br />
+      <i>Parish Church, Castelfranco.</i></a></td>
+<td class="tocpg"><i><a href="#img_01">Frontispiece</a></i></td>
+</tr>
+
+<tr><td ><span class="smcap">Jacopo Bellini</span></td>
+  <td ><a href="#img_02">Madonna and Child<br />
+      <i>Venice Academy.</i></a></td>
+  <td class="tocpg"><a href="#Page_27">27</a></td></tr>
+
+<tr><td ><span class="smcap">Gabriel Max</span></td>
+  <td ><a href="#img_03">Madonna and Child</a><br />
+    &nbsp;</td><td class="tocpg"><a href="#Page_33">33</a></td></tr>
+
+<tr><td ><span class="smcap">Perugino</span></td>
+  <td ><a href="#img_04">Madonna and Saints (Detail.)<br />
+      <i>Vatican Gallery, Rome.</i></a></td>
+  <td class="tocpg"><a href="#Page_43">43</a></td></tr>
+
+<tr><td ><span class="smcap" >Giovanni Bellini</span></td>
+  <td ><a href="#img_05">&quot;Madonna of San Zaccaria. (Detail.)<br />
+      <i>Church of San Zaccaria, Venice.</i></a></td>
+  <td class="tocpg"><a href="#Page_51">51</a></td></tr>
+
+<tr><td ><span class="smcap">Veronese</span></td>
+  <td ><a href="#img_06">Madonna and Saints<br />
+    Venice Academy.</a></td>
+  <td class="tocpg"><a href="#Page_57">57</a></td></tr>
+
+<tr><td ><span class="smcap">Quentin Massys</span></td>
+  <td ><a href="#img_07">Madonna and Child<br />
+      <i>Berlin Gallery.</i></a></td>
+  <td class="tocpg"><a href="#Page_61">61</a></td></tr>
+
+<tr><td ><span class="smcap">Fra Angelico</span></td>
+  <td ><a href="#img_08">Madonna della Stella<br />
+      <i>Monastery of San Marco, Florence.</i></a></td>
+  <td class="tocpg"><a href="#Page_67">67</a></td></tr>
+
+<tr><td ><span class="smcap">Umbrian School</span></td>
+  <td ><a href="#img_09">Glorification of the Virgin<br />
+      <i>National Gallery, London.</i></a></td>
+  <td class="tocpg"><a href="#Page_71">71</a></td></tr>
+
+<tr><td ><span class="smcap">Moretto</span></td>
+  <td ><a href="#img_10">Madonna in Glory<br />
+      <i>Church of San Giorgio Maggiore, Verona.</i></a></td>
+  <td class="tocpg"><a href="#Page_75">75</a></td></tr>
+
+
+<tr><td ><span class="smcap">Spanish School</span></td>
+  <td ><a href="#img_11">Madonna on the Crescent Moon<i><br />
+  Dresden Gallery.</i></a></td>
+<td class="tocpg"><a href="#Page_83">83</a></td></tr>
+
+
+<tr><td ><span class="smcap">Bouguereau</span></td>
+  <td ><a href="#img_12">Madonna of the Angels</a><br />
+    &nbsp;</td>
+  <td class="tocpg"><a href="#Page_87">87</a></td></tr>
+<tr><td ><span class="smcap">Raphael</span></td>
+  <td ><a href="#img_13">Madonna in the Meadow<i><br />
+  Belvedere Gallery, Vienna.</i></a></td>
+<td class="tocpg"><a href="#Page_95">95</a></td></tr>
+
+
+<tr><td ><span class="smcap">Leonardo da Vinci</span></td>
+  <td ><a href="#img_14">Madonna of the Rocks<i><br />
+  National Gallery, London.</i></a></td>
+<td class="tocpg"><a href="#Page_101">101</a></td></tr>
+
+
+<tr><td ><span class="smcap">Palma Vecchio</span></td>
+  <td ><a href="#img_15">Santa Conversazione<i><br />
+  Belvedere Gallery, Vienna.</i></a></td>
+<td class="tocpg"><a href="#Page_109">109</a></td></tr>
+
+
+<tr><td ><span class="smcap">Filippino Lippi</span></td>
+  <td ><a href="#img_16">Madonna in a Rose Garden<i><br />
+  Pitti Gallery, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_113">113</a></td></tr>
+
+
+<tr><td ><span class="smcap">Schongauer</span></td>
+  <td ><a href="#img_17">Holy Family<br />
+      <i>Belvedere Gallery, Vienna.</i></a></td>
+<td class="tocpg"><a href="#Page_119">119</a></td></tr>
+
+
+<tr><td ><span class="smcap">Raphael</span></td>
+  <td ><a href="#img_18">Madonna dell' Impannata<i><br />
+  Pitti Gallery, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_123">123</a></td></tr>
+
+
+<tr><td ><span class="smcap">Correggio</span></td>
+  <td ><a href="#img_19">Madonna della Scala<br />
+      <i>Parma Gallery.</i></a></td>
+<td class="tocpg"><a href="#Page_139">139</a></td></tr>
+
+
+<tr><td ><span class="smcap">Titian</span></td>
+  <td ><a href="#img_20">Madonna and Saints. (Detail.)<i><br />
+  Belvedere Gallery, Vienna.</i></a></td>
+<td class="tocpg"><a href="#Page_143">143</a></td></tr>
+
+
+<tr><td ><span class="smcap">D&uuml;rer</span></td>
+  <td ><a href="#img_21">Madonna and Child<i><br />
+  Belvedere Gallery, Vienna.</i></a></td>
+<td class="tocpg"><a href="#Page_151">151</a></td></tr>
+
+
+<tr><td ><span class="smcap">Bodenhausen</span></td>
+  <td ><a href="#img_22">Madonna and Child<i><br />
+  Private Gallery, Washington, D.C.</i></a></td>
+<td class="tocpg"><a href="#Page_155">155</a></td></tr>
+
+
+<tr>
+  <td ><span class="smcap">Andrea Della Robbia</span></td>
+  <td ><a href="#img_23">Madonna in Adoration<i><br />
+  National Museum, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_165">165</a></td></tr>
+
+
+<tr><td ><span class="smcap">Lorenzo di Credi</span></td>
+  <td ><a href="#img_24">Nativity<i><br />
+  Uffizi Gallery, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_169">169</a></td></tr>
+
+
+<tr><td ><span class="smcap">Filippo Lippi</span></td>
+  <td ><a href="#img_25">Madonna in Adoration<i><br />
+  Uffizi Gallery, Florence</i>.</a></td>
+<td class="tocpg"><a href="#Page_175">175</a></td></tr>
+
+
+
+<tr><td ><span class="smcap">Luigi Vivarini</span></td>
+  <td ><a href="#img_26">Madonna and Child<i><br />
+  Church of the Redentore, Venice.</i></a></td>
+<td class="tocpg"><a href="#Page_179">179</a></td></tr>
+
+
+<tr><td ><span class="smcap">Giovanni Bellini</span></td>
+  <td ><a href="#img_27">Madonna between St. George and St. Paul. (Detail.)<i><br />
+  Venice Academy.</i></a></td>
+<td class="tocpg"><a href="#Page_189">189</a></td></tr>
+
+
+<tr><td ><span class="smcap">Luini</span></td>
+  <td ><a href="#img_28">Madonna with St. Barbara and St. Anthony<br />
+      <i>Brera Gallery, Milan.</i></a></td>
+<td class="tocpg"><a href="#Page_193">193</a></td></tr>
+
+
+<tr><td ><span class="smcap">Botticelli</span></td>
+  <td ><a href="#img_29">Madonna of the Pomegranate<i><br />
+  Uffizi Gallery, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_197">197</a></td></tr>
+
+
+<tr><td ><span class="smcap">Murillo</span></td>
+  <td ><a href="#img_30">Madonna and Child<i><br />
+  Pitti Gallery, Florence.</i></a></td>
+<td class="tocpg"><a href="#Page_201">201</a></td></tr>
+
+
+<tr><td ><span class="smcap">Raphael</span></td>
+  <td ><a href="#img_31">Sistine Madonna<br />
+      <i>Dresden Gallery.</i></a></td>
+<td class="tocpg"><a href="#Page_205">205</a></td></tr>
+
+
+</table>
+
+
+
+
+
+
+
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>This little book is intended as a companion volume to &quot;Child-Life in
+Art," and is a study of Madonna art as a revelation of motherhood.
+With the historical and legendary incidents in the life of the Virgin
+it has nothing to do. These subjects have been discussed
+comprehensively and finally in Mrs. Jameson's splendid work on the
+"Legends of the Madonna." Out of the great mass of Madonna subjects
+are selected, here, only the idealized and devotional pictures of the
+Mother and Babe. The methods of classifying such works are explained
+in the Introduction.</p>
+
+<p>Great pains have been taken to choose as illustrations, not only the
+pictures which are <span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span>universal favorites, but others which are less
+widely known and not easily accessible.</p>
+
+<p>The cover was designed by Miss Isabelle A. Sinclair, in the various
+colors appropriate to the Virgin Mary. The lily is the Virgin's
+flower, <i>la fleur de Marie</i>, the highest symbol of her purity. The
+gold border surrounding the panel is copied from the ornamentation of
+the mantle worn by Botticelli's Dresden Madonna.</p>
+
+<p class="quotdate">
+<span class="smcap">Estelle M. Hurll.</span></p>
+<p>
+<i>New Bedford, Mass., May, 1897.</i><br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></p>
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a></h2>
+<h2>&nbsp;</h2>
+<h2>INTRODUCTION.</h2>
+<p>It is now about fifteen centuries since the Madonna with her Babe was
+first introduced into art, and it is safe to say that, throughout all
+this time, the subject has been unrivalled in popularity. It requires
+no very profound philosophy to discover the reason for this. The
+Madonna is the universal type of motherhood, a subject which, in its
+very nature, appeals to all classes and conditions of people. No one
+is too ignorant to understand it, and none too wise to be superior to
+its charm. The little child appreciates it as readily as the old man,
+and both, alike, are drawn to it by an irresistible attraction. Thus,
+century after <span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span>century, the artist has poured out his soul in this
+all-prevailing theme of mother love until we have an accumulation of
+Madonna pictures so great that no one would dare to estimate their
+number. It would seem that every conceivable type was long since
+exhausted; but the end is not yet. So long as we have mothers, art
+will continue to produce Madonnas.</p>
+
+<p>With so much available material, the student of Madonna art would be
+discouraged at the outset were it not possible to approach the subject
+systematically. Even the vast number of Madonna pictures becomes
+manageable when studied by some method of classification. Several
+plans are possible. The historical student is naturally guided in his
+grouping by the periods in which the pictures were produced; the
+critic, by the technical schools which they represent. Besides these
+more scholarly methods, are others, founded on <span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span>simpler and more
+obvious dividing lines. Such are the two proposed in the following
+pages, forming, respectively, Part I. and Part II. of our little
+volume.</p>
+
+<p>The first is based on the style of composition in which the picture is
+painted; the second, on the subject which it treats. The first
+examines the mechanical arrangement of the figures; the second asks,
+what is the real relation between them? The first deals with external
+characteristics; the second, with the inner significance.</p>
+
+<p>Proceeding by the first, we ask, what are the general styles of
+treatment in which Madonna pictures have been rendered? The answer
+names the following five classes:</p>
+
+<p>1. The Portrait Madonna, the figures in half-length against an
+indefinite background.</p>
+
+<p>2. The Madonna Enthroned, where <span class='pagenum'><a name="Page_xvi" id="Page_xvi">[xvi]</a></span>the setting is some sort of a throne
+or dais.</p>
+
+<p>3. The Madonna in the Sky or the "Madonna in Gloria," where the
+figures are set in the heavens, as represented by a glory of light, by
+clouds, by a company of cherubs, or by simple elevation above the
+earth's surface.</p>
+
+<p>4. The Pastoral Madonna, with a landscape background.</p>
+
+<p>5. The Madonna in a Home Environment, where the setting is an
+interior.</p>
+
+<p>The foregoing subjects are arranged in the order of historical
+development, so far as is possible. The first and last of the classes
+enumerated are so small, compared with the others, that they are
+somewhat insignificant in the whole number of Madonna pictures. Yet,
+in all probability, it is along these lines that future art is most
+likely to develop the subject, choosing the portrait Madonna because
+of its universal <span class='pagenum'><a name="Page_xvii" id="Page_xvii">[xvii]</a></span>adaptability, and representing the Madonna in her
+home, in an effort to realize, historically, the New Testament scenes.
+Of the remaining three, the enthroned Madonna is, doubtless, the
+largest class, historically considered, because of the long period
+through which it has been represented. The pastoral and enskied
+Madonnas were in high favor in the first period of their perfection.</p>
+
+<p>Our next question is concerned with the aspects of motherhood
+displayed in Madonna pictures: in what relation to her child has the
+Madonna been represented? The answer includes the following three
+subjects:</p>
+
+<p>1. The Madonna of Love (The Mater Amabilis), in which the relation is
+purely maternal. The emphasis is upon a mother's natural affection as
+displayed towards her child.</p>
+
+<p>2. The Madonna in Adoration (The <span class='pagenum'><a name="Page_xviii" id="Page_xviii">[xviii]</a></span>Madre Pia), in which the mother's
+attitude is one of humility, contemplating her child with awe.</p>
+
+<p>3. The Madonna as Witness, in which the Mother is pre&euml;minently the
+Christ-bearer, wearing the honors of her proud position as witness to
+her son's great destiny.</p>
+
+<p>These subjects are mentioned in the order of philosophical climax, and
+as we go from the first to the second, and from the second to the
+third, we advance farther and farther into the experience of
+motherhood. At the same time there is an increase in the dignity of
+the Madonna and in her importance as an individual. In the Mater
+Amabilis she is subordinate to her child, absorbed in him, so to
+speak; his infantine charms often overmatch her own beauty. When she
+rises to the responsibilities of her high calling, she is, for the
+time being, of equal interest and importance. <span class='pagenum'><a name="Page_xix" id="Page_xix">[xix]</a></span>&AElig;sthetically, she is
+now even more attractive than her child, whose seriousness, in such
+pictures, takes something from his childlikeness. Chronologically, our
+list reads backwards, as the religious aspect of Mary's motherhood was
+the first treated in art, while the naturalistic conception came last.
+Regarded as expressive of national characteristics, the Mater Amabilis
+is the Madonna best beloved in northern countries, while the other two
+subjects belong specially to the art of the south.</p>
+
+<p>It will be seen that any number of Madonna pictures, having been
+arranged in the five groups designated in Part I., may be gathered up
+and redistributed in the three classes of Part II. To make this clear,
+the pictures mentioned in the first method of classification are
+frequently referred to a second time, viewed from an entirely
+different standpoint. Since the lines of cleavage are so widely
+dissimilar <span class='pagenum'><a name="Page_xx" id="Page_xx">[xx]</a></span>in the two cases, both methods of study are necessary to a
+complete understanding of a picture. By the first, we learn a
+convenient term of description by which we may casually designate a
+Madonna; by the second, we find its highest meaning as a work of art,
+and are admitted to some new secret of a mother's love.</p><p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p><span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span></p>
+<hr style="width: 65%;" />
+<h2><a name="Part_I" id="Part_I"></a><span class="smcap">Part I.</span></h2>
+
+
+
+
+
+
+<h2>MADONNAS CLASSED BY THE STYLE OF COMPOSITION.</h2>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span></p>
+<h2><a name="THE_MADONNA_IN_ART" id="THE_MADONNA_IN_ART"></a>THE MADONNA IN ART.</h2>
+
+<h2>CHAPTER I.</h2>
+
+<h3>THE PORTRAIT MADONNA.</h3>
+
+
+<div class="figleft"><img src="images/image_163.jpg" alt="Decorative Image" width="100" height="101" /></div><p>he first Madonna pictures known to us are of the portrait style, and
+are of Byzantine or Greek origin. They were brought to Rome and the
+western empire from Constantinople (the ancient Byzantium), the
+capital of the eastern empire, where a new school of Christian art had
+developed out of that of ancient Greece. Justinian's conquest of Italy
+sowed the new art-seed in a fertile field, where it soon took root and
+multiplied rapidly. There was, however, little or no improvement in
+the type for a long <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>period; it remained practically unchanged till
+the thirteenth century. Thus, while a Byzantine Madonna is to be found
+in nearly every old church in Italy, to see one is to see all. They
+are half-length figures against a background of gold leaf, at first
+laid on solidly, or, at a somewhat later date, studded with cherubs.
+The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes,
+and an almost peevish expression; her head is draped in a heavy, dark
+blue veil, falling in stiff folds.</p>
+
+<p>Unattractive as such pictures are to us from an artistic standpoint,
+they inspire us with respect if not with reverence. Once objects of
+mingled devotion and admiration, they are still regarded with awe by
+many who can no longer admire. Their real origin being lost in
+obscurity, innumerable legends have arisen, attributing them to
+miraculous agencies, <span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>and also endowing them with power to work
+miracles. There is an early and widespread tradition, imported with
+the Madonna from the East, which makes St. Luke a painter. It is said
+that he painted many portraits of the Virgin, and, naturally, all the
+churches possessing old Byzantine pictures claim that they are genuine
+works from the hand of the evangelist. There is one in the Ara Coeli
+at Rome, and another in S. Maria in Cosmedino, of which marvellous
+tales are told, besides others of great sanctity in St. Mark's,
+Venice, and in Padua.</p>
+
+<p>It would not be interesting to dwell, in any detail, upon these
+curious old pictures. We would do better to take our first example
+from the art which, though founded on Byzantine types, had begun to
+learn of nature. Such a picture we find in the Venice Academy, by
+Jacopo Bellini, painted at the beginning of the fifteenth <span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>century,
+somewhat later than any corresponding picture could have been found
+elsewhere in Italy, as Venice was chronologically behind the other art
+schools. The background is a glory of cherub heads touched with gold
+hatching. Both mother and child wear heavy nimbi, ornamented with
+gold. These points recall Byzantine work; but the gentler face of the
+Virgin, and the graceful fall of her drapery, show that we are in a
+different world of art. The child is dressed in a little tunic, in the
+primitive method.</p>
+
+<p><span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_02" id="img_02"></a>
+<img src="images/image_027.jpg" width="400" height="557" alt="Jacopo Bellini.&mdash;Madonna and Child." title="Jacopo Bellini.&mdash;Madonna and Child." />
+<span class="caption">Jacopo Bellini.&mdash;Madonna and Child.</span>
+</div>
+<p class="center"><a href="images/image_027_1.jpg">Please click here for a modern color image</a></p>
+<p>With the dawn of the Italian Renaissance, the old style of portrait
+Madonna passed out of vogue. More elaborate backgrounds were
+introduced from the growing resources of technique. In the fifteenth
+and sixteenth centuries, pictures of the portrait style were
+comparatively rare. Raphael, however, was not above adopting this
+method, as every lover of <span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>the Granduca Madonna will remember. His
+friend Bartolommeo also selected this style of composition for some of
+the loveliest of his works.</p>
+
+
+
+<p>The story of the friendship between these two men is full of interest.
+At the time of Raphael's first appearance in Florence (1504),
+Bartolommeo had been four years a monk, and had laid aside, apparently
+forever, the brush he had previously wielded with such promise. The
+young stranger sought the Frate in his cell at San Marco, and soon
+found the way to his heart. Stimulated by this new friendship,
+Bartolommeo roused himself from lethargy and resumed the practice of
+art with increasing success. It is pleasant to trace the influence
+which the two artists exerted upon each other. The older man had
+experience and learning; the younger had enthusiasm and genius. Now it
+happened that, by na<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>ture, Bartolommeo was specially gifted in the
+arrangement of large compositions, with many figures and stately
+architectural backgrounds. It is by these that he is chiefly known
+to-day. So it is the more interesting that, when Raphael's sweet
+simplicity first touched him, he turned aside, for the time, from
+these elaborate plans and gave himself to the portrayal of the Madonna
+in that simplest possible way, the half-length portrait picture.
+Several of these he painted upon the walls of his own convent,
+glorifying that dim place of prayer and fasting with visions of
+radiant and happy motherhood. One of these may still be seen in the
+cell sometimes called the Capella Giovanato. It instantly recalls the
+Tempi Madonna of Raphael, both in the pose of the figure and in the
+genuineness of feeling exhibited. Damp and decay have warred in vain
+against it, and the modern visitor <span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>lingers before the Mother and Babe
+with hushed admiration.</p>
+
+<p>Two other similar frescoes have been removed to the Academy. They show
+the same motherly tenderness, the same innocent and beautiful
+babyhood. The mother holds her child close in her arms, pressing her
+forehead to his, or bending her cheek to receive his kiss. He throws
+his little arm about her neck, clinging to her veil or caressing her
+face.</p>
+
+<p>Besides this group of pictures by Bartolommeo, there are other
+scattered instances of portrait Madonnas during the Italian
+Renaissance, by men too great to be tied to the fashions of their day.
+Mantegna was such a painter, and Luini another. All told, however,
+their pictures of this sort make up a class too rare to deserve longer
+description.</p>
+
+<p>A century later, the Spanish school occasionally reverted to the same
+style of <span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>treatment. A pair of notable pictures are the Madonna of
+Bethlehem, by Alonzo Cano, and the Madonna of the Napkin, by Murillo.
+Both are in Seville, the latter in the museum, the former still
+hanging in its original place in the cathedral.</p>
+
+<p>Of Cano's work, a great authority<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> on Spanish art has written, that,
+"in serene, celestial beauty, it is excelled by no image of the
+blessed Mary ever devised in Spain." Murillo's picture is better
+known, and has a curious interest from its history. The cook in the
+Capuchin monastery, where the artist had been painting, begged a
+picture as a parting gift. No canvas being at hand, a napkin was
+offered instead, on which the master painted a Madonna, unexcelled
+among his works in brilliancy of color.</p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Stirling-Maxwell, in "Annals of the Artists of Spain."</p></div>
+<p><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_03" id="img_03"></a>
+<img src="images/image_033.jpg" width="400" height="534" alt="Gabriel Max.&mdash;Madonna and Child." title="Gabriel Max.&mdash;Madonna and Child." /><span class="caption"><br />Gabriel Max.&mdash;Madonna and Child.</span>
+</div>
+
+<p>As the portrait picture was the first style of Madonna known to art,
+so, also, it<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> is the last. By a leap of nearly a thousand years, we
+have returned, in our own day, to the method of the tenth century. It
+is strange that what was once a matter of necessity should at last
+become an object of choice. In the beginning of Madonna art, the
+limited resources of technique precluded any attempts to make a more
+elaborate setting. Such difficulties no longer stand in the way, and
+where we now see a portrait Madonna, the artist has deliberately
+discarded all accessories in order better to idealize his theme.</p>
+
+<p>Take, for instance, the portrait Madonnas by Gabriel Max. Here are no
+details to divert the attention from motherhood, pure and simple. We
+do not ask of the subject whether she is of high or of low estate, a
+queen or a peasant. We have only to look into the earnest, loving face
+to read that here is a mother. There are two pictures of this sort,
+evi<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>dently studied from the same Bohemian models. In one, the mother
+looks down at her babe; in the other, directly at the spectator, with
+a singularly visionary expression. When weary with the senseless
+repetition of the set compositions of past ages, we turn with relief
+to a simple portrait mother like this, at once the most primitive and
+the most advanced form of Madonna art. It is only another case where
+the simplest is the best.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p>
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2>
+
+<h3>THE MADONNA ENTHRONED.</h3>
+
+
+<div class="figleft"><img src="images/image_187.jpg" alt="Decorative Image" width="100" height="101" /></div><p>n every true home the mother is queen, enthroned in the hearts of her
+loving children. There is, therefore, a beautiful double significance,
+which we should always have in mind, in looking at the Madonna
+enthroned. According to the theological conception of the period in
+which it was first produced, the picture stands for the Virgin Mother
+as Queen of Heaven. Understood typically, it represents the exaltation
+of motherhood.</p>
+
+<p>In the history of art development, the enthroned Madonna begins where
+the portrait Madonna ends. We may date it from the thirteenth century,
+when Cima<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>bue, of Florence, and Guido, of Siena, produced their famous
+pictures. Similar types had previously appeared in the mosaic
+decorations of churches, but now, for the first time, they were
+worthily set forth in panel pictures.</p>
+
+<p>The story of Cimabue's Madonna is one of the oft-told tales we like to
+hear repeated. How on a certain day, about 1270, Charles of Anjou was
+passing through Florence; how he honored the studio of Cimabue by a
+visit; how the Madonna was then first uncovered; how the people
+shouted so joyously that the street was thereafter named the Borgo dei
+Allegri; and how the great picture was finally borne in triumphal
+procession to the church of Santa Maria Novella,&mdash;all these are the
+scenes in the pretty drama. The late Sir Frederick Leighton has
+preserved for future centuries this story, already six hundred years
+old, in a <span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>charming pageant picture: "Cimabue's Madonna carried
+through the streets of Florence." This was the first work ever
+exhibited by the English artist, and was an important step in the
+career which ended in the presidency of the Royal Academy.</p>
+
+<p>Cimabue's Madonna still hangs in Santa Maria Novella, over the altar
+of the Ruccellai chapel, and thither many a pilgrim takes his way to
+honor the memory of the father of modern painting. The throne is a
+sort of carved armchair, very simple in form, but richly overlaid with
+gold; the surrounding background is filled with adoring angels. Here
+sits the Madonna, in stiff solemnity, holding her child on her lap. If
+we find it hard to admire her beauty, we must note the superiority of
+the picture to its predecessors.</p>
+
+<p>For the enthroned Madonna in a really attractive and beautiful form,
+we must <span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>pass at once to the period of full art development. In the
+interval, many variations upon the theme have been invented. The
+throne may be of any size, shape, or material; the composition may
+consist of any number of figures. The Madonna, seated or standing, is
+now the centre of an assembly of personages symmetrically grouped
+about her. There is little or no unity of action among them; each one
+is an independent figure. The guard of honor may be composed of
+saints, as in Montagna's Madonna, of the Brera, Milan; or again it is
+a company of angels, as in the Berlin Madonna, attributed to
+Botticelli, similar to which is the picture by Ghirlandajo in the
+Uffizi Gallery. Where saints are represented, each one is marked by
+some special emblem, the identification of which makes, in itself, an
+interesting study. St. Peter's key, St. Paul's sword, St. Catherine's
+<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>wheel, and St. Barbara's tower soon become familiar symbols to those
+fond of this kind of lore.</p>
+
+<p>Among the idealized presences about the Virgin's throne may sometimes
+be seen the prosaic figure of the donor, whose munificence has made
+the picture possible. This is well illustrated in the famous Madonna
+of Victory in the Louvre, painted in commemoration of the Battle of
+Fornovo, where Mantegna represents Francesco Gonzaga, commander of the
+Venetian forces, kneeling at the Virgin's feet.</p>
+
+<p>A charming feature in many enthroned Madonnas is the group of cherubs
+below,&mdash;one, two, or the mystic three. They are not the exclusive
+possession of any single school of art; Bartolommeo and Andrea del
+Sarto of the Florentines, Francia of the Bolognese, and Bellini and
+Cima of the Venetians were partic<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>ularly partial to them. The
+treatment in Northern Italy gives them a more definite purpose in the
+composition than does that of Florence, for here they are always
+musicians, playing on all sorts of instruments,&mdash;the violin, the
+mandolin, or the pipe.</p>
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="img_04" id="img_04"></a>
+<img src="images/image_043.jpg" width="400" height="687" alt="Perugino.&mdash;Madonna and Saints. (Detail.)" title="Perugino.&mdash;Madonna and Saints. (Detail.)" />
+<span class="caption">Perugino.&mdash;Madonna and Saints. (Detail.)</span>
+</div>
+
+<p>Bartolommeo was specially successful in the subject of the enthroned
+Madonna, having fine gifts of composition united with profound
+religious earnestness. The great picture in the Pitti gallery at
+Florence may serve as a typical example. Andrea del Sarto's
+<i>chef-d'&oelig;uvre</i>&mdash;the Madonna di San Francesco (Uffizi)&mdash;may also be
+assigned to this class, although the arrangement is entirely novel.
+The Virgin, holding the babe in her arms, stands on a sort of
+pedestal, carved at the corners with a design of harpies, from which
+the picture is often known as the Madonna of the Harpies. The
+pedestal <span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>throne is also seen in two of Correggio's Dresden
+pictures, but here the Virgin is seated, with the child on her lap. An
+exceedingly simple throne Madonna is that of Luini, in the Brera at
+Milan, where the Virgin sits on a plain coping not at all high.</p>
+
+
+
+<p>A beautiful Madonna enthroned is by Perugino, in the Vatican Gallery
+at Rome; one of the artist's best works in power and vivacity of
+color. The throne is an architectural structure of elegant simplicity
+of design, apparently of carved and inlaid marble. The Virgin sits in
+quiet dignity, her face bent towards the bishops at her right, St.
+Costantius and St. Herculanus. On the other side stand the youthful
+St. Laurence and St. Louis of Toulouse. Although Perugino was an
+exceedingly prolific artist, he did not often choose this particular
+subject. On this account the picture is especially interesting, and
+also <span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>because it is the original model of well known works by two of
+the Umbrian painter's most illustrious pupils.</p>
+
+<p>Many, indeed, were the apprentices trained in the famous <i>bottega</i> at
+Perugia, but, among them all, Raphael and Pinturicchio took the lead.
+These were the two who honored their master by repeating, with
+modifications of their own, the beautiful composition of the Vatican.
+Pinturicchio's picture is in the Church of St. Andrea, at Perugia. A
+charming feature, which he introduced, is a little St. John, standing
+at the foot of the throne. Raphael's picture is the so-called Ansidei
+Madonna, of the National Gallery, London, purchased by the English
+government, in 1885, for the fabulous price of &pound;72,000. The
+composition is here reduced to its simplest possible form, with only
+one saint on each side,&mdash;St. Nicholas on the right, St. John the
+Baptist on the <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>left. The Virgin and child give no attention to these
+personages, but are absorbed in a book which is open on the Mother's
+knee.</p>
+
+<p>Raphael had no great liking for this style of picture, which was
+rather too formal for his taste. It is noticeable that, in the few
+instances where he painted it, he took the suggestion, as here, from
+some previous work. Thus his Madonna of St. Anthony, also in the
+National Gallery (loaned by the King of Naples), was based upon an old
+picture by Bernardino di Mariotto, according to the strict orders of
+the nuns for whose convent it was a commission. The Baldacchino
+Madonna of the Pitti, at Florence, is closely akin to Bartolommeo's
+composition in the same gallery.</p>
+
+<p>Glancing, briefly, at these scattered examples, we learn that the
+enthroned Madonna belongs to every school of Italian <span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>art, and
+exhibits an astonishing variety of forms. Probably it was in the North
+of Italy that it flourished most. The Paduan School has its fine
+representation in Mantegna's picture, already referred to; the
+Brescian, in Moretto's Madonna of S. Clemente; the Veronese, in
+Girolamo dai Libri's splendid altar piece in San Giorgio Maggiore; the
+Bergamesque, in Lotto's Madonna of S. Bartolommeo. Above all, it was
+in Venice, the Queen City of the Adriatic, that the enthroned Madonna
+reached the greatest popularity: the spirit of the composition was
+peculiarly adapted to the Venetian love of pomp and ceremony.</p>
+
+<p>To understand Venetian art aright, we must distinguish the character
+of the earlier and later periods. With Vivarini, Bellini, and Cima,
+the Madonna in Trono was the expression of a devout religious feeling.
+With Titian, Tintoretto, and Ver<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span>onese, it was merely one among many
+popular art subjects. Thus arose two different general types. The
+earlier Madonna was a somewhat cold type of beauty; the faultless
+regularity of her features and the imperturbable calm of her
+expression make her rather unapproachable; but she shows a strong,
+sweet purity of character, worthy of profound respect.</p>
+
+<p>One of Cima's most important works is the Madonna of this type in the
+Venice Academy. High on a marble throne, she sits under a pillared
+portico, behind which stretches a pleasant landscape. Three saints
+stand on each side,&mdash;an old man, a youth, and a maiden. On the steps
+sit two choristers playing the violin and mandolin.</p>
+
+<p>Palma's great altar-piece, at Vicenza, is another splendid enthroned
+Madonna. Attended by St. George and St. Lucy, <span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>and entertained by a
+musical angel seated at her feet, the Virgin supports her beautiful
+boy, as he gives his blessing.</p>
+
+<p>Bellini's enthroned Madonnas are known throughout the world. The
+picture by which he established his fame was one of this class,
+originally painted for a chapel in San Giobbe, but now hanging in the
+Venice Academy. Ruskin has pronounced it "one of the greatest pictures
+ever painted in Christendom in her central art power." It is a large
+composition, with three saints at each side, and three choristers
+below.</p>
+
+<p>The Frari Madonna is in a simpler vein, and consists of three
+compartments, the central one containing the Virgin's throne. The
+angioletti, on the steps, are probably the most popular of their
+charming class in Venice.</p>
+<p><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="img_05" id="img_05"></a>
+<img src="images/image_051.jpg" width="500" height="769" alt="Giovanni Bellini.&mdash;Madonna of San Zaccaria. (Detail.)" title="Giovanni Bellini.&mdash;Madonna of San Zaccaria. (Detail]" />
+<span class="caption">Giovanni Bellini.&mdash;Madonna of San Zaccaria. (Detail.)</span>
+</div>
+<p class="center"><a href="images/image_051_1.jpg">Please click here for a modern color image</a></p>
+
+<p>The San Zaccaria Madonna was painted when Bellini was over eighty<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>
+years old, and has certain technical qualities surpassing any the
+artist had previously attained. The depth of light and shade is
+particularly remarkable; the colors rich and harmonious. The attendant
+saints are St. Lucy on the right, a pretty blonde girl, with St.
+Jerome beyond her, absorbed in his Bible; opposite, stand St.
+Catherine, pensively looking down, and St. Peter, in profound
+meditation. The entire picture, both in conception and execution, may
+be considered a representative example of the times.</p>
+
+<p>Following the Bellini school, and forming, as it were, a connecting
+link between the earlier and the later art, was Giorgione. Less than a
+score of existing works give witness to the rare spirit of this
+master, who was spared to earth only thirty-four years. These are of a
+quality to place him among the immortals. The enthroned Madonna is the
+subject of two, <span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>one in the Madrid Gallery, and another at
+Castel-Franco. They create an entirely distinct Madonna ideal,&mdash;a
+poetic being, who sits, with drooping head and dreamy eyes, as if
+seeing unspeakable visions.</p>
+
+<p>The Castel-Franco picture expresses the finest elements in Venetian
+character. Every other composition seems elaborate and artificial when
+compared with the simplicity of this. Other Madonnas seem almost
+coarse beside such delicacy. The Virgin's throne is of an unusual
+height,&mdash;a double plinth,&mdash;the upper step of which is somewhat above
+the heads of the attendant saints, Liberale and Francis. This simple,
+compositional device emphasizes the effect of her pensive expression.
+It is as if her high meditations set her apart from human
+companionship. There is, indeed, something almost pathetic in her
+<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>isolation, but for the strength of character in her face. The color
+scheme is as simple and beautiful as the underlying conception. The
+Virgin's tunic is of green, and the mantle, falling from the right
+shoulder and lying across her lap, is red, with deep shadows in its
+large folds. The back of the seat is covered with a strip of red and
+gold embroidery.</p>
+
+<p>The later period of Venetian art is marked by a new ideal of the
+Virgin. She is now a magnificent creature of flesh and blood. Her face
+is proud and handsome; her figure large, well-proportioned, and
+somewhat voluptuous. No Bethlehem stable ever sheltered this haughty
+beauty; her home is in kings' palaces; she belongs distinctly to the
+realm of wealth and worldliness. She has never known sorrow, anxiety,
+or poverty; life has brought her nothing but pleasure and luxury. Her
+throne <span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span>stands no longer in the sacred place of some inner sanctuary,
+where angel choristers make music. It is an elevated platform, at one
+side of the composition, as in Titian's Pesaro altar-piece, and
+Veronese's Madonna in the Venice Academy. This gives an opportunity
+for a display of elaborate draperies, such as we may see in Veronese's
+picture.</p>
+
+<p>The peculiar qualities of art in Verona and Venice are blended in
+Paolo Veronese. No artist ever enjoyed more the splendors of color, or
+combined them in more enchanting harmonies. Such gifts transform the
+commonest materials, and, though his Virgin is a very ordinary woman,
+she has undeniable charms. An oft-copied figure, in this picture, is
+that of the little St. John, a universal favorite among child lovers.</p>
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p>
+<div class="figcenter" style="width: 500px;"><a name="img_06" id="img_06"></a>
+<img src="images/image_057.jpg" width="500" height="844" alt="Veronese.&mdash;Madonna and Saints." title="Veronese.&mdash;Madonna and Saints." />
+<span class="caption">Veronese.&mdash;Madonna and Saints.</span>
+</div>
+<p class="center"><a href="images/image_057_1.jpg">Please click here for a modern color image</a></p>
+
+<p>The reader must have remarked that, though the fundamental idea of
+the<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> enthroned Madonna is that of queenship, the Virgin wears no crown
+in any of the pictures thus far cited; the crowned Madonna is not
+characteristic of Italian art. It is found occasionally in mosaics
+from the eighth to the eleventh centuries, and in some of the early
+votive pictures, but does not appear in the later period except in a
+few Venetian pictures by Giovanni da Murano and Carlo Crivelli. The
+same idea was often carried out by placing two hovering angels over
+the Virgin's head, holding the crown between them. Botticelli's
+Madonna of the Inkhorn is treated in this way.</p>
+
+<p>The crown is essentially Teutonic in origin and character. Turning to
+the representative art of Germany and Belgium, we find the Virgin
+almost invariably wearing a crown, whether she sits on a throne, or in
+a pastoral environment. No better example could be named than <span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>the
+celebrated Holbein Madonna, of Darmstadt, known chiefly through the
+copy in the Dresden Gallery. Here the imposing height of the Virgin is
+rendered still more impressive by a high, golden crown, richly
+embossed and edged with pearls. Beneath this her blond hair falls
+loosely over her beautiful neck, and gleams on the blue garment
+hanging over her shoulders. Strong and tender, this noble figure sums
+up the finest elements in the Madonna art of the North.</p>
+
+<p>A simple and lovely form for the Madonna's crown is the narrow golden
+fillet set with pearls, singly or in clusters. This is placed over the
+Virgin's brow just at the edge of the hair, which is otherwise
+unconfined. This is seen on Madonnas by Van Eyck (Frankfort), D&uuml;rer
+(woodcut of 1513), Memling (Bruges), Schongauer (Munich).</p>
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_07" id="img_07"></a>
+<img src="images/image_061.jpg" width="400" height="639" alt="Quentin Massys.&mdash;Madonna and Child." title="Quentin Massys.&mdash;Madonna and Child." />
+<span class="caption">Quentin Massys.&mdash;Madonna and Child.</span>
+</div>
+<p class="center"><a href="images/image_061_1.jpg">Please click here for a modern color image</a></p>
+
+<p>In the enthroned Madonna by Quentin<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span> Massys, in the Berlin Gallery, we
+have many typical characteristics of Northern art. The throne itself
+is exceedingly rich, ornamented with agate pillars with embossed
+capitals of gold. The Virgin has the fine features and earnest, tender
+expression which recalls earlier Flemish painters. Her dress falls in
+rich, heavy folds upon the marble pavement. But, as with Van Eyck and
+Memling, Holbein and Schongauer, fine clothes do not conceal her
+girlish simplicity or her loving heart. A low table, spread with food,
+stands at the left,&mdash;a curious domestic element to introduce, and
+thoroughly Northern in realism.</p>
+
+<p>Considered as a symbol of the exaltation of motherhood, there is no
+reason why the throne should go out of fashion; but if it is to
+appear, it must be used intelligently, and with some adaptation to
+present modes of thought, not servilely <span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span>imitated from the forms of a
+by-gone age. This is a fact too little appreciated by the artists of
+to-day. Many modern pictures could be cited&mdash;by Bouguereau, Ittenbach,
+and others&mdash;of enthroned Madonnas in which is adopted the form, but
+not the spirit, of the Italian Rennaissance. In such works, the
+setting is a mere affectation entirely out of taste. If we are to have
+a throne, let us have a Madonna who is a veritable queen.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p>
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2>
+
+<h3>THE MADONNA IN THE SKY.</h3>
+
+<h4>(THE MADONNA IN GLORIA.)</h4>
+
+
+<div class="figleft"><img src="images/image_070.jpg" alt="Decorative Image" width="100" height="102" /></div><p>e have seen that the first Madonnas were painted against a background
+either of solid gold, or of cherub figures, and that the latter style
+of setting was continued in the early pictures of the enthroned
+Madonna. The effect was to idealize the subject, and carry it into the
+region of the heavenly. This was the germinal idea which grew into the
+"Madonna in Gloria."</p>
+
+<p>The glory was originally a sort of nimbus of a larger order,
+surrounding the entire figure, instead of merely the head. It was oval
+in shape, like the almond or mandorla.</p><p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p>
+
+<p>A picture of this class is the famous Madonna della Stella, of Fra
+Angelico. It is in a beautiful Gothic tabernacle, which is the sole
+ornament of a cell in San Marco, Florence. At every step in these
+sacred precincts, we meet some reminder of the Angelic Brother. How
+the gray walls blossomed, under his brush, into forms and colors of
+eternal beauty! After seeing the larger wall-paintings in corridors
+and refectory, this little gem seems to epitomize his choicest gifts.
+A rich frame, fit setting for the jewel, encloses an outer circle of
+adoring angels, and within, the central panel contains only the full
+length figure of the Virgin with her child, against a mandorla formed
+of golden rays running from centre to circumference. The Madonna is
+enveloped in a long, dark blue cloak, drawn around her head like a
+Byzantine veil. </p>
+<p><span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_08" id="img_08"></a>
+<img class="img1" src="images/image_067.jpg" width="400" height="790" alt="Fra Angelico.&mdash;Madonna della Stella." title="Fra Angelico.&mdash;Madonna della Stella." />
+<span class="caption">Fra Angelico.&mdash;Madonna della Stella.</span>
+</div>
+
+<p>A single star gleams above her brow, from which<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>is
+  derived the title of the picture. She holds her child fondly, and he,
+  with responsive affection, nestles against his mother, pressing his
+  little face into her neck. Faithful to the standards of his
+  predecessors, and untouched by the new spirit of naturalism all about
+  him, the monk painter preserves, in his conception, the most sacred
+  traditions of past ages, and yet unites with them an element of love
+  and tenderness which appeals strongly to every human heart.</p>
+
+
+<p>It is but a step from this earlier form of the Madonna in Gloria to
+the more modern style of the Madonna in the Sky, where the field of
+vision is enlarged, and we see the Virgin and child raised above the
+surface of the earth. In some pictures, her elevation is very slight.
+There is a curious composition, by Andrea del Sarto (Berlin Gallery),
+where we are puzzled to know if the Madonna is en<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>throned or enskied.
+A flight of steps in the centre leads up as if to a throne, but above
+these the Virgin sits in a niche, on a bank of clouds.</p>
+
+<p>In Correggio's Madonna of St. Sebastian, in the Dresden Gallery, the
+Virgin seems to be descending from heaven to earth with her babe, and
+the surrounding clouds and cherubs rest literally upon the heads of
+the saints who are honored by the vision.</p>
+
+<p>In other pictures the dividing line between earth and heaven is much
+more strongly marked. We have a landscape below, then a stratum of
+intervening air, and, in the upper sky, the Madonna with her child.
+The lower part of the picture is occupied by a company of saints, to
+whom the heavenly vision is vouchsafed; or, in rare cases, by cherubs.</p>
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_09" id="img_09"></a>
+<img src="images/image_071.jpg" width="400" height="891" alt="Umbrian School.&mdash;Glorification of the Virgin." title="Umbrian School.&mdash;Glorification of the Virgin." />
+<span class="caption">Umbrian School.&mdash;Glorification of the Virgin.</span>
+</div>
+
+<p>The Virgin appears in a cloud of cherub heads, or accompanied by a few
+  child-angels. <span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>There are a few pictures in which her mother, St.
+  Anne, sits with her. Adoring seraphs sometimes attend, one on each
+  side, or even sainted personages. All these variations are exemplified
+  in the pictures which we are to consider.</p>
+
+
+<p>The first has come down to us from the hand of some unknown Umbrian
+painter. In the National Gallery, London, where it now hangs, it was
+once attributed to Lo Spagna, but is now entered in the catalogue as
+nameless. It matters little whether or not we know the name of the
+master; he could ask no higher tribute to his talent than the
+universal admiration which his picture commands.</p>
+
+<p>In the foreground of a quiet Umbrian landscape is a marble balcony, on
+the railing of which sit two captivating little boy choristers. One
+roguish fellow pipes on a trumpet, while the other, his face
+tip-tilted to the heavenly vision, makes music on a <span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>small guitar.
+Above, on a cloud, sits the Virgin, with the sweet, mystic smile on
+her face, so characteristic of Umbrian art. She supports her babe with
+her right arm, and in her left hand carries a lily stalk. The child,
+standing on his mother's knee and clinging to her neck, turns his face
+out with sweet earnestness. In clouds at the side, tiny cherubs bear
+tapers, while others, floating above, hold a large crown just over her
+head.</p>
+
+<p>Although we cannot limit this style of picture to any special
+locality, it appears to have found much favor in the art of Northern
+Italy. In the Brescian school, Moretto was unusually fond of the
+subject. His treatment of the theme is somewhat heavy; there is little
+of the ethereal in his celestial vision, either in the type of
+womanhood or in the style of arrangement. In defiance of the law of
+gravitation, he poses his upper figures so as to form a solid pyramid,
+wide at the base, and tapering abruptly to the apex.</p>
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p>
+<div class="figcenter" style="width: 500px;"><a name="img_10" id="img_10"></a>
+<img src="images/image_075.jpg" width="500" height="725" alt="Moretto.&mdash;Madonna in Glory." title="Moretto.&mdash;Madonna in Glory." />
+<span class="caption">Moretto.&mdash;Madonna in Glory.</span>
+</div>
+<p><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p>
+<p>In the glorified Madonna of St. John the Evangelist, Brescia, the
+pyramidal effect is accentuated by curtains draped back on either side
+of the upper part of the composition. In the Madonna of San Giorgio
+Maggiore, at Verona, we have a much more attractive picture. The
+"gloria" encompassing the vision is clearly defined, giving so strong
+an effect of the supernatural that we cease to judge the composition
+by ordinary standards of natural law. The Virgin's white veil flutters
+from her head as if caught by some heavenly breeze. Her cloak floats
+about her by the same mysterious force, held in graceful festoons by
+winged cherub heads.</p>
+
+<p>Below is a group of five virgin martyrs, with St. Cecilia in the
+centre, wearing a crown of roses; St. Lucia holds the awl, <span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>the
+instrument of her torture, looking down at St. Catherine, who leans
+against her terrible wheel; St. Agnes, on the other side, reads
+quietly from a book while she caresses her lamb, and St. Barbara
+stands behind her, with eyes lifted to the sky. They are all splendid
+young Amazons, recalling Moretto's fine St. Justina of the Vienna
+Gallery. There is no trace of ascetism in their strong, well-developed
+figures, and in their faces no suggestion of an unhealthy pietism.</p>
+
+<p>Moretto's ideals were an anticipation of the most advanced ideas of
+the modern science of physical culture. His Madonna and saints derive
+their beauty neither from over refinement on the one hand, nor from
+sensuous charms on the other, but from sane and harmonious
+self-development.</p>
+
+<p>The Berlin Gallery contains a third glorified Madonna by the same
+painter, <span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>treated as a Holy Family. St. Elizabeth sits beside the
+Virgin, who holds her own boy on her right side, while bending to
+embrace the little St. John with the left arm. So large a group is not
+appropriately treated in this way, yet the picture is so fine a work
+of art as to disarm criticism.</p>
+
+<p>Still another representative of the Brescian school must be considered
+in the person of Savoldo. Born of a noble family, and following
+painting as an amusement rather than as an actual profession, his
+works are rare, and one of the finest examples of his art is the
+Glorification of the Virgin, in the Brera Gallery, at Milan. The
+mandorla-shaped glory surrounds the Virgin's figure, studded with
+faintly discerned cherub heads. On either side, a musical angel is in
+adoration; four saints stand on the earth below. The entire conception
+is rendered with <span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span>the utmost delicacy: the grace and beauty of the
+Madonna are of exactly the quality to make her appearance a beatific
+vision.</p>
+
+<p>From Brescia we turn to Verona, where we again find many pictures of
+the beautiful subject. There are, in the churches of Verona, at least
+three notable works, by Gianfrancesco Caroto, in this style. One is in
+Sant' Anastasia, another is in San Giorgio, and the third&mdash;the
+artist's best existing work&mdash;is in San Fermo Maggiore, and shows the
+Virgin's mother, St. Anne, seated with her in the clouds.</p>
+
+<p>Girolamo dai Libri was a few years younger than Caroto, and at one
+period was, to some extent, an imitator of the latter. Beginning as a
+miniaturist, he finally attained a high place among the Veronese
+artists of the first order. His characteristics can nowhere be seen to
+better advantage than in the Madonna of <span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>St. Andrew and St. Peter, in
+the Verona Gallery. The Virgin is in an oval glory, edged all around
+with small, fleecy clouds. She has a beautiful, matronly face, with
+abundant hair, smoothly brushed over her forehead. The two apostles,
+below, are fine, strong figures, full of virility.</p>
+
+<p>Morando, or Cavazzola, was, doubtless, the most gifted of the older
+school of Verona, possessing some of the best qualities of the later
+master, Paolo Veronese. We should not leave the school, therefore,
+without mentioning a remarkable contribution he added to this class of
+pictures in his latest altar-piece. Here the upper air is filled with
+a sacred company, the Virgin and child are attended by St. Francis and
+St. Anthony, and surrounded by seven allegorical figures to represent
+the cardinal virtues. Below are six saints, specially honored in the
+Franciscan Order. The picture is called the finest production of <span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>the
+school in the first quarter of the sixteenth century.</p>
+
+<p>In the Venetian school, Titian and Tintoretto both painted the subject
+of the Madonna in glory, but the pictures are not notable compared
+with many others from their hands.</p>
+
+<p>From the North of Italy we naturally turn next to the South, to
+inquire what Raphael was doing at the same period in Rome. Occupied by
+many great works under the papal patronage, he still found time for
+his favorite subject of the Madonna, painting some pictures in the
+styles already mastered, and two for the first time in the style of
+the Madonna in the sky.</p>
+<p><span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="img_11" id="img_11"></a>
+<img src="images/image_083.jpg" width="400" height="555" alt="Spanish School.&mdash;Madonna on the Crescent Moon." title="Spanish School.&mdash;Madonna on the Crescent Moon." />
+<span class="caption">Spanish School.&mdash;Madonna on the Crescent Moon.</span>
+</div>
+
+<p>The first was the Foligno Madonna, now in the Vatican Gallery. It was
+painted in 1511 for the pope's secretary, Sigismund Conti, as a
+thank-offering for having escaped the danger of a falling<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> meteor at
+Foligno. No thoughtful observer can be slow to recognize the
+superiority of this composition over all others of its kind in point
+of unity. Here is no formal row of saints, each absorbed in his or her
+own reflections, apart from any common purpose. On the contrary, all
+unite in paying honor to the Queen of Heaven. Not less superior to his
+contemporaries was the painter's skill in arranging the figures of
+Mother and child with such grace of equilibrium that they seem to
+float in the upper air.</p>
+
+<p>In the Sistine Madonna, Raphael carried this form of composition to
+the highest perfection. So simple and apparently unstudied is its
+beauty, that we do not realize the masterliness of its art. We seem to
+be standing before an altar, or, better still, before an open window,
+from which the curtains have been drawn aside, allowing us to look
+directly <span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>into the heaven of heavens. A cloud of cherub faces fills
+the air, from the midst of which, and advancing towards us, is the
+Virgin with her child. The downward force of gravity is perfectly
+counterbalanced by the vital energy of her progress forward. There is
+here no uncomfortable sense, on the part of the spectator, that
+natural law is disregarded. While the seated Madonna in glory seems
+often in danger of falling to earth, this full-length figure in motion
+avoids any such solidity of effect.</p>
+
+<p>The figures on either side are also so posed as to arouse no surprise
+at their presence. We should have said beforehand that heavy
+pontifical robes would be absurdly incongruous in such a composition,
+but Raphael solves the problem so simply that few would suspect the
+difficulties. The final touch of beauty is added in the cherub heads
+below, recalling the na&iuml;ve charm of the similar figures in the
+Umbrian picture we have considered.</p>
+<p><span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_12" id="img_12"></a>
+<img class="img1" src="images/image_087.jpg" width="400" height="687" alt="Bouguereau.&mdash;Madonna of the Angels." title="Bouguereau.&mdash;Madonna of the Angels." />
+<span class="caption">Bouguereau.&mdash;Madonna of the Angels.</span>
+</div>
+<p><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p>
+
+<p>After the time of Raphael, a pretty form of Madonna in glory was
+occasionally painted, showing the Virgin with her babe sitting above
+the crescent moon. The conception appears more than once in the
+paintings of Albert D&uuml;rer, and later, artists of all schools adopted
+it. Sassoferrato's picture in the Vatican Gallery is a popular
+example. Tintoretto's, in Berlin, is not so well known. In the Dresden
+Gallery is a work, by an unknown Spanish painter of the seventeenth
+century, differing from the others in that the Virgin is standing, as
+in the oft-repeated Spanish pictures of the Immaculate Conception.</p>
+
+<p>It is of pictures like this that our poet Longfellow is speaking, when
+he thus apostrophizes the Virgin:</p><p><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i6">"Thou peerless queen of air,<br /></span>
+<span class="i0">As sandals to thy feet the silver moon dost wear."<br /></span>
+</div></div>
+
+<p>The enskied Madonna involves many technical difficulties of
+composition, and demands a high order of artistic imagination. It
+could hardly be called a frequent subject in the period of greatest
+artistic daring, and no modern painter has shown any adequate
+understanding of the subject, though there are not lacking those who
+have made the attempt. Bodenhausen, Defregger, Bouguereau, have all
+followed Raphael in representing the Queen of Heaven as a full-length
+figure in the sky; but their conception has not the dignity
+corresponding to the style of treatment.</p>
+
+<p>Impatient and dissatisfied with such modern art, we turn back to the
+old masters with new appreciation of their great gifts.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p>
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2>
+
+<h3>THE PASTORAL MADONNA.</h3>
+
+
+<div class="figleft"><img src="images/image_187.jpg" alt="Decorative Image" width="100" height="101" /></div><p>t was many centuries before art, at first devoted exclusively to
+figure painting, turned to the study of natural scenery. Thus it was
+that Madonna pictures, of various kinds, had long been established in
+popular favor before the idea of a landscape setting was introduced.
+We need not look for interesting pictures of this class before the
+latter part of the fifteenth century, and it was not until the
+sixteenth that the pastoral Madonna, in its highest form, was first
+produced. Even then there was no great number which show a really
+sympathetic love of nature.</p>
+
+<p>In the ideal pastoral, the landscape en<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>tirely fills the picture, and
+the figures are, as it were, an integral part of it. Such pictures are
+so rare that we write in golden letters the names of the few who have
+given us these treasures.</p>
+
+<p>Raphael's justly comes first in the list. His earliest Madonnas show
+his love of natural scenery, in the charming glimpses of Umbrian
+landscape, which form the background. These are treated, as M&uuml;ntz
+points out, with marked "simplicity of outline and breadth of design."
+They are, however, but the beginning of the great things that were to
+follow. The young painter's sojourn in Florence witnessed a marvellous
+development of his powers. Here he was surrounded by the greatest
+artists of his time, and he was quick to absorb into himself something
+of excellence from them all. His fertility of production was amazing.
+In a period of four years (1504-1508), interrupted by visits to
+<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span>Perugia and Urbino, he produced about twenty Madonnas, in which we
+may trace the new influences affecting him.</p>
+
+<p>Leonardo da Vinci was, doubtless, his greatest inspiration, and it was
+from this master-student of nature that the young man learned, with
+new enthusiasm, the value of going directly to Nature herself. The
+fruit of this new study is a group of lovely pastoral Madonnas, which
+are entirely unique as Nature idyls. Three of these are among the
+world's great favorites. They are, the Belle Jardini&egrave;re (The Beautiful
+Gardener), of the Louvre Gallery, Paris; the Madonna in Gr&uuml;nen (The
+Madonna in the Meadow), in the Belvedere Gallery, Vienna; and the
+Cardellino Madonna (The Madonna of the Goldfinch), of the Uffizi,
+Florence.</p>
+
+<p>We turn from one to another of these three beautiful pictures, always
+in doubt as to which is the greatest. Fortunately, <span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span>it is a question
+which there is no occasion to decide, as every lover of art may be the
+happy possessor of all three, in that highest mode of possession
+attained by devoted study.</p>
+
+<p>In each one we have the typical Tuscan landscape, filling the whole
+picture with its tranquil beauty. The "glad green earth" blossoms with
+dainty flowers; the fair blue sky above is reflected in the placid
+surface of a lake. From its shores rise gently undulating hills, where
+towers show the signs of happy activity. In the foreground of this
+peaceful scene sits a beautiful woman with two charming children at
+her knee. They belong to the landscape as naturally as the trees and
+flowers; they partake of its tranquil, placid happiness.</p>
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p>
+<div class="figcenter" style="width: 500px;"><a name="img_13" id="img_13"></a>
+<img src="images/image_095.jpg" width="500" height="623" alt="Raphael.&mdash;Madonna in the Meadow." title="Raphael.&mdash;Madonna in the Meadow." />
+<span class="caption">Raphael.&mdash;Madonna in the Meadow.</span>
+</div>
+<p class="center"><a href="images/image_095_1.jpg">Please click here for a modern color image</a></p>
+
+<p>Almost identical in general style of composition, the three pictures
+show many points of dissimilarity when we come to a closer study of
+the figures.<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> Considered as a type of womanly beauty, the Belle
+Jardini&egrave;re is perhaps the most commonplace of the three Virgins, or,
+to put it negatively, the least attractive. She is distinctly of the
+peasant class, gentle, amiable, and entirely unassuming. The Madonna
+in the Meadow is a maturer woman, more dignified, more beautiful. The
+smooth braids of her hair are coiled about the head, accentuating its
+lovely outline. The falling mantle reveals the finely modelled
+shoulders. The Madonna of the Goldfinch is a still higher type of
+loveliness, uniting with gentle dignity a certain delicate, high-bred
+grace, which Raphael alone could impart. Her face is charmingly framed
+in the soft hair which falls modestly about it. One wonders if any
+modern <i>coiffeur</i> could invent so many styles of hair dressing as does
+this gifted young painter of the sixteenth century.</p><p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p>
+
+<p>Turning from the mother to the children, we find the same general
+types repeated in the three pictures, but with some difference of
+<i>motif</i>. The Christ-child of the Belle Jardini&egrave;re is looking up fondly
+to his mother. In the Vienna picture he is eagerly interested in the
+cross which the little St. John gives him. In the Uffizi picture he is
+more serious, and strokes the goldfinch with an air of abstraction,
+meditating on the holy things his mother has been reading to him.</p>
+
+<p>The arrangement of the three figures is the same in all the pictures,
+and is so entirely simple that we forget the greatness of the art. The
+Virgin, dominating the composition, brings into unity the two smaller
+figures. This unity is somewhat less perfect in the Belle Jardini&egrave;re,
+because the little St. John is almost neglected in the intense
+absorption of mother and child in each other.</p><p><span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p>
+
+<p>Once again, in the later days at Rome, Raphael recurred to the
+pastoral Madonna type of this Florentine period, and painted the
+picture known as the Casa Alba Madonna. We have again the same smiling
+landscape and the same charming children, but a Virgin of an
+altogether new order. A turbaned Roman beauty of superb, Juno-like
+physique, she does not belong to the idyllic character of her
+surroundings. It is as if some brilliant exotic had been transplanted
+from her native haunts to quiet fields, where hitherto the modest lily
+had bloomed alone.</p>
+
+<p>As Raphael's first inspiration for the pastoral Madonna came from the
+influence of Leonardo da Vinci, it is of interest to compare his work
+with that of the great Lombard himself. Critics tell us that the
+Madonna pictures in which he came nearest to his model are the Madonna
+in the Meadow and the Holy <span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>Family of the Lamb. (Madrid.) These we may
+place beside the Madonna of the Rocks, which is the only entirely
+authentic Da Vinci Madonna which we have.</p>
+
+<p>It is only the skilled connoisseur who, in travelling from Paris to
+Vienna, and from Vienna to Madrid, can hold in memory the qualities of
+technique which link together the three pictures; but for general
+characteristics of composition, the black and white reproductions may
+suffice. Leonardo availed himself of his intimate knowledge of Nature
+to choose from her storehouse something which is unique rather than
+typical. The rock grotto doubtless has a real counterpart, but we must
+go far to find it. In the river, gleaming beyond, we see the painter's
+characteristic treatment of water, which Raphael was glad to adopt.
+The triangular arrangement of the figures, the relation of the Virgin
+to the children, the simple, childish beauty of the latter, and their
+attitude towards each other&mdash;all these points suggest the source of
+Raphael's similar conceptions. The Virgin's hair falls over her
+shoulders entirely unbound, in gentle, waving ripples.</p>
+<p><span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_14" id="img_14"></a>
+<img src="images/image_101.jpg" width="400" height="651" alt="Leonardo da Vinci.&mdash;Madonna of the Rocks." title="Leonardo da Vinci.&mdash;Madonna of the Rocks." />
+<span class="caption">Leonardo da Vinci.&mdash;Madonna of the Rocks.</span>
+</div>
+<p class="center"><a href="images/image_101_1.jpg">Please click here for a modern color image</a></p>
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span></p>
+
+<p>We do not need to be told, though the historian has taken pains to
+record it, that a feature of personal beauty by which Leonardo was
+always greatly pleased was "curled and waving hair." We see it in the
+first touch of his hand when, as a boy in the workshop of Verrochio,
+he painted the wavy-haired angel in his Master's Baptism; and here,
+again, in the Virgin, we find it the crowning element of her
+mysterious loveliness. We try in vain to penetrate the secret of her
+smile,&mdash;it is as evasive as it is enchanting. And herein lies the
+distinguishing difference between Leonardo and Raphael. The former is
+always mysterious and subtle; <span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>the latter is always frank and
+ingenuous. While both are true interpreters of nature, Leonardo
+reveals the rare and inexplicable, Raphael chooses the typical and
+familiar. Both are possessed of a strong sense of the harmony of
+nature with human life. The smile of the Virgin of the Rocks is a part
+of the mystery of her shadowy environment;<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> the serenity of the
+Madonna in the Meadow belongs to the atmosphere of the open fields.</p>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> That the Leonardesque <i>smile</i> requires a Leonardesque
+<i>setting</i> is seen, I think, in the pictures by Da Vinci's imitators.
+The Madonna by Sodoma, recently added to the Brera Gallery at Milan,
+is an example in point. Here the inevitable smile of mystery seems
+meaningless in the sunny, open landscape.</p></div><p><span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></p>
+
+<p>Among others who were affected by the influence of Leonardo&mdash;and chief
+of the Lombards&mdash;was Luini. His pastoral Madonna has, however, little
+in common with the landscapes of his master, judging from the lovely
+example in the Brera. The group of figures is strikingly suggestive of
+Da Vinci, but the quiet, rural pasture in which the Virgin sits is
+Luini's own. In the distance is a thick clump of trees, finely drawn
+in stem and branch. At one side is a shepherd's hut with a flock of
+sheep grazing near. The child Jesus reaches from his mother's lap to
+play with the lamb which the little St. John has brought, a <i>motif</i>
+similar to Raphael's Madrid picture, and perhaps due, in both
+painters, to the example of Leonardo.</p>
+
+<p>It is said by the learned that during the period of the Renaissance
+the love of nature received an immense impulse from the revival of the
+Latin poets, and that this impulse was felt most in the large cities.
+In the pictures noted, we have seen its effect in Florentine and
+Lombard art; that it was also felt in isolated places, we may see in
+some of Correggio's work at Parma, at about the same time. Two, <span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>at
+least, of his Madonna pictures are as famous for their beautiful
+landscapes as for the rare grace and charm of their figures. These are
+the kneeling Madonna, of the Uffizi, and "La Zingarella," at Naples.
+Both show a perfect adaptation of the surroundings to the spirit of
+the scene. In the first it is morning, and the gladness of Nature
+reflects the Mother's rapturous joy in her awakening babe. A brilliant
+light floods the figures in the foreground and melts across the green
+slopes into the hazy distance of the sea-bound horizon. In the second
+it is twilight, and a calm stillness broods over all, as under the
+feathery palms the Mother bends, watchful, over her little one's
+slumbers. Such were the revelations of Nature to the country-bred
+painter from the little town of Correggio.</p>
+
+<p>Turning now to Venice for our last <span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span>examples, we find that the love of
+natural scenery was remarkably strong in this city of water and sky,
+where the very absence of verdure may have created a homesick longing
+for the green fields. It was Venetian art which originated that form
+of pastoral Madonna known as the Santa Conversazione. This is usually
+a long, narrow picture, showing a group of sacred personages, against
+a landscape setting, centering about the Madonna and child. The
+composition has none of the formality of the enthroned Madonna. An
+underlying unity of purpose and action binds all the figures together
+in natural and harmonious relations.</p>
+
+<p>The acknowledged leader of this style of composition&mdash;the inventor
+indeed, according to many&mdash;was Palma Vecchio. It is curious that of a
+painter whose works are so widely admired, almost <span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>nothing is known.
+Even the traditions which once lent color to his life have been
+shattered by the ruthless hand of the modern investigator. The span of
+his life extended from 1480 to 1528. Thus he came at the beginning of
+the century made glorious by Titian, and contributed not a little in
+his own way to its glory.</p>
+
+<p>It is supposed that he studied under Giovanni Bellini, and at one time
+was a friend and colleague of Lorenzo Lotto. A child of the
+mountains&mdash;for he was born in Serinalta&mdash;he never entirely lost the
+influence of his early surroundings.</p>
+
+<p>To the last his figures are grave, vigorous, sometimes almost rude,
+partaking of the characteristics of the everlasting hills. Perhaps it
+was these traits which made the Santa Conversazione a favorite
+composition with him. He has an intense love of Nature in her most
+luxuriant mood.</p><p><span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="img_15" id="img_15"></a>
+<img src="images/image_109.jpg" width="600" height="399" alt="Palma Vecchio.&mdash;Santa Conversazione." title="Palma Vecchio.&mdash;Santa Conversazione." />
+<span class="caption">Palma Vecchio.&mdash;Santa Conversazione.</span>
+</div>
+<p><span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p>
+
+<p>For a collection of Palma's pictures, we should choose at least four
+to represent his treatment of the Santa Conversazione: those at
+Naples, Dresden, Munich, and Vienna. The Naples picture is considered
+the most successful of Palma's large pictures of this kind, but it is
+not easy for the less critical observer to choose a favorite among the
+four. One general formula describes them all: a sunny landscape with
+hills clad in their greenest garb; a tree in the foreground, beneath
+which sits the Virgin, a comely, country-bred matron, who seems to
+have drawn her splendid vigor from the clear, bright air. On her lap
+she supports a sprightly little boy, who is the centre of attention.</p>
+
+<p>In the simpler compositions the Madonna is at the left, and at the
+right kneel or sit two saints. One is a handsome young rustic, unkempt
+and roughly clad, sometimes figuring as St. John the Bap<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>tist, and
+sometimes as St. Roch. With him is contrasted a beautiful young female
+saint, usually St. Catherine. Where the composition includes other
+figures, the Virgin is in the centre, with the attendant personages
+symmetrically grouped on either side. In the Vienna picture the two
+additional figures at the left are the aged St. Celestin and a fine
+St. Barbara.</p>
+
+<p>Of all schools of painting, the Venetian is the least translatable
+into black and white, so rich in colors is the palette which composed
+it. This is especially true of Palma, and to understand aright his
+Santa Conversazione, we must read into it the harmony of colors which
+it expresses, the chords of blue, red, brown, and green, the
+shimmering lights and brilliant atmosphere.</p>
+
+<p><span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="img_16" id="img_16"></a>
+<img src="images/image_113.jpg" width="600" height="612" alt="Filippino Lippi.&mdash;Madonna in a Rose Garden." title="Filippino Lippi.&mdash;Madonna in a Rose Garden." />
+<span class="caption">Filippino Lippi.&mdash;Madonna in a Rose Garden.</span>
+</div>
+
+<p>The subject of the Santa Conversazione should not be left without a
+brief reference to other Venetians, who added to the<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span> popularity of
+this charming style of picture. Berenson mentions seven by Palma's
+pupil, Bonifazio Veronese, and one by his friend, Lorenzo Lotto. Cima,
+Cariani, Paris Bordone, and last, but not least, the great Titian,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>
+lent their gifts to the subject, so that we have abundant evidence of
+the Venetian love of natural scenery.</p>
+
+<p>It remains to consider one more form of the pastoral Madonna, that
+which represents the Virgin and child in "a garden inclosed," in
+allusion to the symbolism of Solomon's Song (4:12). The subject is
+found among the woodcuts of Albert D&uuml;rer, but I have never seen it in
+any German painting.</p>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> See particularly Titian's works in the Louvre, of which
+the Vierge au Lapin is an especially charming pastoral.</p></div><p><span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span></p>
+
+<p>In Italian art there are two famous pictures of this class: by
+Francia, in the Munich Gallery, and by Filippino Lippi (or so
+attributed), in the Pitti, at Florence. In both the <i>motif</i> is the
+same: in the foreground, a square inclosure surrounded by a
+rose-hedge, with a hilly landscape in the distance; the Virgin
+kneeling before her child in the centre. Filippino Lippi's is one of
+those pictures whose beauty attracts crowds of admirers to the canvas.
+Copyists are kept busy, repeating the composition for eager
+purchasers, and it has made its way all over the world. The circle of
+graceful angels who, with the boy St. John, join the mother in adoring
+the Christ-child, is one of the chief attractions of the picture. It
+is a pretty conceit that one of these angels showers rose leaves upon
+the babe.</p>
+
+<p>The pastoral Madonna is the sort of picture which can never be
+outgrown. The charm of nature is as perennial as is the beauty of
+motherhood, and the two are always in harmony. Here, then, is a
+<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>proper subject for modern Madonna art, a field which has scarcely
+been opened by the artists of our own day. Such pastoral Madonnas as
+have been painted within recent years are all more or less artificial
+in conception. Compared with the idyllic charm of the sixteenth
+century pictures, they seem like pretty scenes in a well-mounted
+opera. We are looking for better things.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></p>
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2>
+
+<h3>THE MADONNA IN A HOME ENVIRONMENT.</h3>
+
+
+<div class="figleft"><img src="images/image_124.jpg" alt="Decorative Image" width="100" height="99" /></div><p> subject so sacred as the Madonna was long held in too great
+reverence to permit of any common or realistic treatment. The pastoral
+setting brought the mother and her babe into somewhat closer and more
+human relations than had before been deemed possible; but art was slow
+to presume any further upon this familiarity. The Madonna as a
+domestic subject, represented in the interior of her home, was
+hesitatingly adopted, and has been so rarely treated, even down to our
+own times, as to form but a small group of pictures in the great body
+of art.</p>
+<p><span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="img_17" id="img_17"></a>
+<img src="images/image_119.jpg" width="400" height="610" alt="Schongauer.&mdash;Holy Family." title="Schongauer.&mdash;Holy Family." />
+<span class="caption">Schongauer.&mdash;Holy Family.</span>
+</div>
+<p class="center"><a href="images/image_119_1.jpg">Please click here for a modern color image</a></p>
+
+<p>The Northern painters naturally led<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> the way. Peculiarly home-loving
+in their tastes, their ideal woman is the <i>hausfrau</i>, and it was with
+them no lowering of the Madonna's dignity to represent her in this
+capacity. A picture in the style of Quentin Massys hangs in the Munich
+Gallery, and shows a Flemish bedroom of the fifteenth century. At the
+left stands the bed, and on the right burns the fire, with a kettle
+hanging over it. The Virgin sits alone with her babe at her breast.</p>
+
+<p>More frequently a domestic scene of this sort includes other figures
+belonging to the Holy Family. A typical German example is the picture
+by Schongauer in the Belvedere Gallery at Vienna. The Virgin is seated
+in homely surroundings, intent upon a bunch of grapes which she holds
+in her hands, and which she has taken from a basket standing on the
+floor beside her. Long, waving hair falls over <span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span>her shoulders; a snowy
+kerchief is folded primly in the neck of her dress; she is the
+impersonation of virgin modesty. Her baby boy stands on her lap,
+nestling against his mother; his eyes fixed on the fruit, his eager
+little face glowing with pleasure. Beyond are seen the cattle, which
+Joseph is feeding. He pauses at the door, a bundle of hay in his arms,
+to look in with fond pride at his young wife and her child.</p>
+
+<p>Schongauer's work belongs to the latter part of the fifteenth century,
+and there was nothing similar to it in Italy at the same period. It is
+true that Madonnas in domestic settings have been attributed to
+contemporaneous Italians, but they were probably by some Flemish hand.</p>
+<p><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="img_18" id="img_18"></a>
+<img src="images/image_123.jpg" width="500" height="666" alt="Raphael.&mdash;Madonna dell&#39; Impannata." title="Raphael.&mdash;Madonna dell&#39; Impannata." />
+<span class="caption">Raphael.&mdash;Madonna dell&#39; Impannata.</span>
+</div>
+<p class="center"><a href="images/image_123_1.jpg">Please click here for a modern color image</a></p>
+
+<p>Giulio Romano, a pupil of Raphael, was perhaps the first of the
+Italians to give any domestic touch to the subject of the Madonna and
+child. His<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> Madonna della Catina of the Dresden Gallery is well known.
+It is so called from the basin in which the Christ-child stands while
+the little St. John pours in water from a pitcher for the bath.
+Another picture by the same artist shows the Madonna seated with her
+child in the interior of a bedchamber. This was one of the
+"discoveries" of the late Senator Giovanni Morelli, the critic, and is
+in a private collection in Dresden.</p>
+
+<p>To Giulio Romano also, according to recent criticism, is due the
+domestic Madonna known as the "Impannata," and usually attributed to
+Raphael. It is probable that both artists had a hand in it, the master
+in the arrangement of the composition, the pupil in its execution. A
+bed at one side is concealed by a green curtain. In the rear is the
+cloth-covered window which gives the picture its name. Elizabeth and
+Mary Magdalene have <span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>brought home the child, who springs to his
+mother's arms, smiling back brightly at his friends. One other Madonna
+from Raphael's brush (the Orleans) has an interior setting, but the
+domestic environment here is undoubtedly the work of some Flemish
+painter of later date.</p>
+
+<p>By the seventeenth century, the Holy Family in a home environment can
+be found somewhat more often in various localities. By the French
+painter Mignard there is a well-known picture in the Louvre called La
+Vierge &agrave; la Grappe. By F. Barocci of Urbino there is an example in the
+National Gallery known as the Madonna del Gatto, in which the child
+holds a bird out of the reach of a cat. A similar <i>motif</i>, certainly
+not a pleasant one, is seen in Murillo's Holy Family of the Bird, in
+Madrid. By Salimbeni, in the Pitti, is a Holy Family in an interior,
+showing the boy Jesus <span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>and his cousin St. John playing with puppies.</p>
+
+<p>Rembrandt's domestic Madonna pictures, equally homely as to
+environment, are by no means scenes of hilarity, but rather of frugal
+contentment. Two similar works bear the title of Le M&eacute;nage du
+Menuisier&mdash;the Carpenter's Home. In both, the scene is the interior of
+a common room devoted to work and household purposes. Joseph is seen
+in the rear at his bench, while the central figures are the mother and
+child.</p>
+
+<p>In the Louvre picture, the Virgin's mother is present, caressing her
+grandchild, who is held at his mother's breast. The composition at St.
+Petersburg (Hermitage Gallery) is simpler, and shows the Virgin
+contemplating her babe as he lies asleep in the cradle. Another
+well-known picture by Rembrandt is in the Munich Gallery, where again
+we have <span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>signs of the carpenter's toil, but where the laborer has
+stopped for a moment to peep at the babe, who has gone off to
+dreamland at his mother's breast and now sleeps sweetly in her lap.
+Let those who think such pictures too homely for a sacred theme
+compare them with the simplicity of the Gospels.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p>
+<h2><a name="Part_II" id="Part_II"></a><span class="smcap">Part II.</span></h2>
+
+<h2>MADONNAS CLASSED ACCORDING TO THEIR SIGNIFICANCE AS TYPES OF
+MOTHERHOOD.</h2>
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span></p>
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2>
+
+<h3>THE MADONNA OF LOVE.</h3>
+
+<h4>(THE MATER AMABILIS.)</h4>
+
+
+<div class="figleft"><img src="images/image_136.jpg" alt="Decorative Image" width="100" height="101" /></div><p>ndoubtedly the most popular of all Madonna subjects&mdash;certainly the
+most easily understood&mdash;is the Mater Amabilis. The mother's mood may
+be read at a glance: she is showing in one of a thousand tender ways
+her motherly affection for her child. She clasps him in her arms,
+holding him to her breast, pressing her face to his, kissing him,
+caressing him, or playing with him. Love is written in every line of
+her face; love is the key-note of the picture.</p>
+
+<p>The style of composition best adapted to such a theme is manifestly
+the simplest. <span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span>The more formal types of the enthroned and glorified
+Madonnas are the least suitable for the display of maternal affection,
+while the portrait Madonna, and the Madonna in landscape or domestic
+scenes, are readily conceived as the Mater Amabilis. Nevertheless,
+these distinctions have not by any means been rigidly regarded in art.
+This is manifest in some of the illustrations in Part I., as the
+Enthroned Madonna, by Quentin Massys, where the mother kisses her
+child, and Angelico's Madonna in Glory, where she holds him to her
+cheek.</p>
+
+<p>Gathering our examples from so many methods of composition, we are in
+the midst of a multitude of pictures which no man can number, and
+which set forth every conceivable phase of motherliness.</p>
+
+<p>Let us make Raphael our starting-point. From the same master whose
+influence led him to the study of external nature, he <span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span>learned also
+the study of human nature. To the interpretation of mother-love he
+brought all the fresh ardor of youth, and a sunny temperament which
+saw only joy in the face of Nature. One after another of the series of
+his Florentine pictures gives us a new glimpse of the loving relation
+between mother and child.</p>
+
+<p>The Belle Jardini&egrave;re gazes into her boy's face in fond absorption. The
+Tempi Madonna holds him to her heart, pressing her lips to his soft
+cheek. In the Orleans and Colonna pictures she smiles indulgently into
+his eyes as he lies across her lap, plucking at the bosom of her
+dress. Other pictures show the two eagerly reading together from the
+Book of Wisdom (The Conestabile and Ansidei Madonnas).</p>
+
+<p>The painter's later work evinces a growing maturity of thought. In the
+Holy Family of Francis I., how strong and tender is the mother's
+attitude, as <span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span>she stoops to lift her child from his cradle; in the
+Chair Madonna, how protecting is the capacious embrace with which she
+gathers him to herself in brooding love. No technical artistic
+education is necessary for the appreciation of such pictures. All who
+have known a mother's love look and understand, and look again and are
+satisfied.</p>
+
+<p>Correggio touches the heart in much the same way; he, too, saw the
+world through rose-colored glasses. His interpretation of life is full
+of buoyant enjoyment. Beside the tranquil joy of Raphael's ideals, his
+figures express a tumultuous gladness, an overflowing gayety. This is
+the more curious because of the singular melancholy which is
+attributed to him. The outer circumstances of his life moved in a
+quiet groove which was almost humdrum. He passed his days in
+comparative obscurity at Parma, <span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span>far from the great art influences of
+his time. But isolation seemed the better to develop his rare
+individuality. He was the architect of his own fortunes, and wrought
+out independently a style peculiar to himself. His most famous Madonna
+pictures are large compositions, crowded with figures of extravagant
+attitudes and expression. The fame of these more pretentious works
+rests not so much upon their inner significance as upon their splendid
+technique. They are unsurpassed for masterly handling of color, and
+for triumphs of chiaroscuro.</p>
+
+<p>There are better qualities of sentiment in the smaller pictures, where
+the mother is alone with her child. It is here that we find something
+worthy to compare with Raphael. There are several of these, produced
+in rapid succession during the period when the artist was engaged upon
+the frescoes of S. Giovanni (Parma), and <span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span>soon after marriage had
+opened his heart to sweet, domestic influences.</p>
+
+<p>The first was the Uffizi picture, so widely known and loved. The
+mother has gathered up her mantle so that it covers her head and drops
+at one side on a step, forming a soft, blue cushion for the babe. Here
+the little darling lies, looking up into his mother's face. Kneeling
+on the step below, she bends over him, with her hands playfully
+outstretched, in a transport of maternal affection.</p>
+
+<p>Following this came the picture now in the National Gallery, called
+the Madonna della Cesta, from the basket that lies on the ground. It
+is a domestic scene in the outer air: the mother is dressing her babe,
+and smilingly arrests his hand, which, on a sudden impulse, he has
+stretched towards some coveted object. The same face is almost exactly
+repeated in the Madonna of the Hermitage Gallery <span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span>(St. Petersburg),
+who offers her breast to her boy, at that moment turning about to
+receive some fruit presented by a child angel. There are two
+duplicates of this picture in other galleries.</p>
+
+<p>The Zingarella (the Gypsy) is so called from the gypsy turban worn by
+the Madonna. The mother, supposed to be painted from the artist's
+wife, sits with the child asleep on her lap. With motherly tenderness
+she bends so closely over him that her forehead touches his little
+head. It is unfortunate that this beautiful work is not better known.
+It is in the Naples Gallery.</p>
+
+<p>A comparison of these pictures discloses a remarkable variety in
+action and grouping. On the other hand, the Madonnas are quite similar
+in general type. With the exception of the Zingarella, who is the most
+motherly, they are all in a playful mood. The same playfulness, but
+<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span>of a more sweet and motherly kind, lights the face of the Madonna
+della Scala. The composition is somewhat in the portrait style,
+showing the mother in half length, seated under a sort of canopy. The
+babe clings closely to her neck, turning about at the spectator with a
+glance half shy and half mischievous. His coyness awakens a smile of
+tender amusement in the gentle, young face above him.</p>
+
+<p>The picture has an interesting history. It was originally painted in
+fresco over the eastern gate of Parma, where Vasari saw and admired
+it. In after years, the wall which it decorated was incorporated into
+a small new church, of which it formed the rear wall. To accommodate
+the high level of the Madonna, the building was somewhat elevated,
+and, being entered by a flight of steps, was known as S. Maria della
+Scala (of the staircase). </p>
+<p><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_19" id="img_19"></a>
+<img src="images/image_139.jpg" width="400" height="567" alt="Correggio.&mdash;Madonna della Scala." title="Correggio.&mdash;Madonna della Scala." />
+<span class="caption">Correggio.&mdash;Madonna della Scala.</span>
+</div>
+
+<p>The name attached itself to the picture <span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span>even after the church was destroyed (in 1812), and the fresco
+  removed to the town gallery. The marks of defacement which it bears
+  are due to the votive offerings which were formerly fastened upon
+  it,&mdash;among them, a silver crown worn by the Madonna as late as the
+  eighteenth century. Though such scars injure its artistic beauty, they
+  add not a little to the romantic interest which invests it.</p>
+
+
+<p>Beside such names as Raphael and Correggio, history furnishes but one
+other worthy of comparison for the portrayal of the Mater Amabilis&mdash;it
+is Titian. His Madonna is by no means uniformly motherly. There are
+times when we look in vain for any softening of her aristocratic
+features; when her stately dignity seems quite incompatible with
+demonstrativeness.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> But when love melts her heart <span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span>how gracious is
+her unbending, how winning her smile! Once she goes so far as to play
+in the fields with her little boy, quieting a rabbit with one hand for
+him to admire. (La Vierge au Lapin, Louvre.) In other pictures she
+holds him lying across her lap, smiling thoughtfully upon him. Such an
+one is the Madonna with Sts. Ulfo and Brigida, in the Madrid Gallery.
+The child is taking the flowers St. Brigida offers him, and his mother
+looks down with the pleased expression of fond pride. Again, when her
+babe holds his two little hands full of the roses his cousin St. John
+has brought him, she smiles gently at the eagerness of the two
+children. (Uffizi Gallery.)</p>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See the Madonna of the Cherries in the Belvedere at
+Vienna, and the Madonna and Saints in the Dresden Gallery.</p></div>
+<p><span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_20" id="img_20"></a>
+<img src="images/image_143.jpg" width="400" height="545" alt="Titian.&mdash;Madonna and Saints. (Detail.)" title="Titian.&mdash;Madonna and Saints. (Detail.)" />
+<span class="caption">Titian.&mdash;Madonna and Saints. (Detail.)</span>
+</div>
+
+
+<p>Another similar composition reveals a still sweeter intimacy between
+mother and son. The babe stretches out his hand coaxingly towards his
+mother's breast, but she draws her veil about her, gently denying
+<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span>his appeal. A more beautiful mother, or a more bewitching babe, it
+were hard to find. Three fine half-length figures of saints complete
+this composition, each of great interest and individuality, but not
+necessary to the unity of action&mdash;the Madonna alone making a complete
+picture. There are two copies of this work, one in the Belvedere at
+Vienna, and one in the Louvre at Paris.</p>
+
+<p>The <i>motif</i> of this picture is not unique in art, as will have been
+remarked in passing. The first duty of maternity, and one of its
+purest joys, is to sustain the newborn life at the mother's breast. A
+coarse interpretation of the subject desecrates a holy shrine, while a
+delicate rendering, such as Raphael's or Titian's, invests it with a
+new beauty. Other pictures of this class should be mentioned in the
+same connection. There is one in the Hermitage Gallery at St.
+Petersburg, at<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span>tributed by late critics to the little-known painter,
+Bernardino de' Conti. The Madonna's face, her hair drawn smoothly over
+her temples, has a beautiful matronliness. Still another is the
+Madonna of the Green Cushion, by Solario, in the Louvre. Here the babe
+lies on a cushion before his mother, who bends over him ecstatically,
+her fair young face aglow with maternal love as she sees his
+contentment.</p>
+
+<p>We have noticed that in one of Corregio's pictures the babe lies
+asleep on his mother's lap. It is interesting to trace this pretty
+<i>motif</i> through other works of art. No phase of motherhood is more
+touching than the watchful care which guards the child while he
+sleeps; nor is infancy ever more appealing than in peaceful and
+innocent slumber. Mrs. Browning understood this well, when she wrote
+her beautiful poem inter<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span>preting the thoughts of "the Virgin Mary to
+the Child Jesus." Hopes and fears, joy and pity, are alternately
+stirred in the heart of the watcher, as she bends over the tiny face,
+scanning every change that flits across it. Each verse suggests a
+subject for a picture.</p>
+
+<p>We should naturally expect that Raphael would not overlook so
+beautiful a theme as the mother watching her sleeping child. Nor are
+we disappointed. The Madonna of the Diadem, in the Louvre, belongs to
+this class of pictures. Like the pastoral Madonnas of the Florentine
+period, it includes the figure of the little St. John, to whom, in
+this instance, the proud mother is showing her babe, daintily lifting
+the veil which covers his face.</p>
+
+<p>The seventeenth century produced many pictures of this class; among
+them, a beautiful work by Guido Reni, in Rome, <span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span>deserves mention,
+being executed with greater care than was usual with him. Sassoferrato
+and Carlo Dolce frequently painted the subject. Their Madonnas often
+seem affected, not to say sentimental, after the simpler and nobler
+types of the earlier period. But nowhere is their peculiar sweetness
+more appropriate than beside a sleeping babe. The Corsini picture by
+Carlo Dolce is an exquisite nursery scene. Its popularity depends
+more, perhaps, upon the babe than the mother. Like Lady Isobel's child
+in another poem of motherhood by Mrs. Browning, he sleeps&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Fast, warm, as if its mother's smile,<br /></span>
+<span class="i0">Laden with love's dewy weight,<br /></span>
+<span class="i0">And red as rose of Harpocrate,<br /></span>
+<span class="i0">Dropt upon its eyelids, pressed<br /></span>
+<span class="i0">Lashes to cheek in a seal&egrave;d rest."<br /></span>
+</div></div>
+
+<p>In Northern Madonna art, the Mater Amabilis is the pre&euml;minent subject.
+<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span>This fact is due partly to the German theological tendency to
+subordinate the mother to her divine Son, but more especially to the
+characteristic domesticity of Teutonic peoples. From Van Eyck and
+Schongauer, through D&uuml;rer and Holbein, down to Rembrandt and Rubens,
+we trace this strongly marked predilection in every style of
+composition, regardless of proprieties. Van Eyck does not hesitate to
+occupy his richly dressed enthroned Madonna at Frankfort with giving
+her breast to her babe, and D&uuml;rer portrays the same maternal duties in
+the Virgin on the Crescent Moon. Holbein's Meyer Madonna, splendid
+with her jewelled crown, is not less motherly than Schongauer's young
+Virgin sitting in a rude stable.</p>
+
+<p>Rembrandt in humble Dutch interiors, Rubens in numerous Holy Families
+modelled upon the Flemish life about him <span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span>always conceive of the
+Virgin Mother as delighting in her maternal cares. As has been said of
+D&uuml;rer's Madonna,&mdash;and the description applies equally well to many
+others in the North,&mdash;"She suckles her son with a calm feeling of
+happiness; she gazes upon him with admiration as he lies upon her lap;
+she caresses him and presses him to her bosom without a thought
+whether it is becoming to her, or whether she is being admired."</p>
+<p><span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_21" id="img_21"></a>
+<img src="images/image_151.jpg" width="400" height="517" alt="D&uuml;rer.&mdash;Madonna and Child." title="D&uuml;rer.&mdash;Madonna and Child." />
+<span class="caption">D&uuml;rer.&mdash;Madonna and Child.</span>
+</div>
+<p class="center"><a href="images/image_151_1.jpg">Please click here for a modern color image</a></p>
+
+
+<p>This entire absence of posing on the part of the German Virgin is one
+of the most admirable elements in this art. This characteristic is
+perfectly illustrated in D&uuml;rer's portrait Madonna of the Belvedere
+Gallery, at Vienna. This is an excellent specimen of the master, who,
+alone of the Germans, is considered the peer of his great Italian
+contemporaries. Frankly admired both by Titian and Raphael, he has in
+common with them <span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span>the supreme gift of seeing and reproducing natural
+human affections. His work, however, is as thoroughly German as theirs
+is Italian. The Madonna of this picture has the round, maidenly face
+of the typical German ideal. A transparent veil droops over the
+flowing hair, covered by a blue drapery above. The mother holds her
+child high in her arms, bending her face over him. The babe is a
+beautiful little fellow, full of vivacity. He holds up a pear
+gleefully, to meet his mother's smile. The picture is painted with
+great delicacy of finish.</p>
+
+<p>The Mater Amabilis is the subject <i>par excellence</i> of modern Madonna
+art. Carrying on its surface so much beauty and significance, it is
+naturally attractive to all figure painters. While other Madonna
+subjects are too often beyond the comprehension of either the artist
+or his patron, this falls within the range of both. <span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span>The shop windows
+are full of pretty pictures of this kind, in all styles of treatment.</p>
+
+<p>There are the portrait Madonnas by Gabriel Max, already mentioned, and
+pastoral Madonnas by Bouguereau, by Carl M&uuml;ller, by N. Barabino, and
+by Dagnan-Bouveret. Others carry the subject into the more formal
+compositions of the enthroned and enskied Madonnas, being, as we have
+seen, not without illustrious predecessors among the old masters. Of
+these we have Guay's Mater Amabilis, where the mother leans from her
+throne to support her child, playing on the step below with his
+cousin, St. John; and Mary L. Macomber's picture, where the enthroned
+Madonna folds her babe in her protecting arms, as if to shield him
+from impending evil.</p>
+
+<p><span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_22" id="img_22"></a>
+<img src="images/image_155.jpg" width="400" height="535" alt="Bodenhausen.&mdash;Madonna and Child." title="Bodenhausen.&mdash;Madonna and Child." />
+<span class="caption">Bodenhausen.&mdash;Madonna and Child.</span>
+</div>
+
+<p>By Bodenhausen we have the extremely popular Mater Amabilis in Gloria,
+where <span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span>a girlish young mother, her long hair streaming about her,
+stands in upper air, poised above the great ball of the earth, holding
+her sweet babe to her heart.</p>
+
+<p>Pictures like these constantly reiterate the story of a mother's
+love&mdash;an old, old story, which begins again with every new birth.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span></p>
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2>
+
+<h3>THE MADONNA IN ADORATION.</h3>
+
+<h4>(THE MADRE PIA.)</h4>
+
+
+<div class="figleft"><img src="images/image_163.jpg" alt="Decorative Image" width="100" height="101" /></div><p>he first tender joys of a mother's love are strangely mingled with
+awe. Her babe is a precious gift of God, which she receives into
+trembling hands. A new sense of responsibility presses upon her with
+almost overwhelming force. Hers is the highest honor given unto woman;
+she accepts it with solemn joy, deeming herself all too unworthy.</p>
+
+<p>This spirit of humility has been idealized in art, in the form of
+Madonna known as the Madre Pia. It represents the Virgin Mary adoring
+her son. Sometimes <span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span>she kneels before him, sometimes she sits with
+clasped hands, holding him in her lap. Whatever the variation in
+attitude, the thought is the same: it is an expression of that higher,
+finer aspect of motherhood which regards infancy as an object not only
+of love, but of reverent humility. It is a recognition of the great
+mystery of life which invests even the helpless babe with a dignity
+commanding respect.</p>
+
+<p>A picture with so serious an intention can never be widely understood.
+The meaning is too subtile for the casual observer. An outgrowth of
+medi&aelig;val pietism, it was superseded by more popular subjects, and has
+never since been revived. The subject had its origin as an idealized
+nativity, set in pastoral surroundings which suggest the Bethlehem
+manger. Theologically it represented the Virgin as the first
+worshipper of her divine Son. But though the sacred mys<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span>tery of Mary's
+experience sets her forever apart as "blessed among women," she is the
+type of true motherhood in all generations.</p>
+
+<p>The Madonna in Adoration is, properly speaking, a fifteenth century
+subject. It belongs primarily to that most mystic of all schools of
+art, the Umbrian, centering in the town of Perugia. Nowhere else was
+painting so distinctly an adjunct of religious services, chiefly
+designed to aid the worshipper in prayer and contemplation.</p>
+
+<p>As an exponent of the typical qualities of the Perugian school stands
+the artist who is known by its name, Perugino. His favorite subject is
+the Madre Pia, and his best picture of the kind is the Madonna of the
+National Gallery. Having once seen her here, the traveller recognizes
+her again and again in other galleries, in the many replicas of this
+charming composition. The Madonna kneels in the fore<span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span>ground, adoring
+with folded hands the child, who is supported in a sitting posture on
+the ground, by a guardian angel. The Virgin's face is full of fervent
+and exalted emotion.</p>
+
+<p>Perugino had no direct imitator of his Madre Pia, but his Bolognese
+admirer Francia treated the subject in a way that readily suggests the
+source of his inspiration. His Madonna of the Rose Garden in Munich
+instantly recalls Perugino. The artist has, however, chosen a novel
+<i>motif</i> in representing the moment when the Virgin is just sinking on
+her knees, as if overcome by emotion.</p>
+
+<p>Between the Umbrian school and the Florentine, a reciprocal influence
+was exerted. If the latter taught the former many secrets of
+composition and technical execution, the Umbrians in turn imparted
+something of their mysticism to their more matter-of-fact neighbors.
+While <span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span>the Umbrian school of the fifteenth century was occupied with
+the Madre Pia, Florence also was devoted to the same subject.
+Sculpture led the race, and in the front ranks was Luca della Robbia,
+founder of the school which bears his family name.</p>
+
+<p>Beginning as a worker in marble, his inventive genius presently
+wrought out a style of sculpture peculiarly his own. This was the
+enamelled terra-cotta bas-relief showing pure white figures against a
+background of pale blue. They were made chiefly in circular
+medallions, lunettes, and tabernacles, and were scattered throughout
+the churches and homes of Tuscany.</p>
+
+<p>Associated with Luca in his work was his nephew Andrea, who, in turn,
+had three sculptor sons, Giovanni, Girolamo, and Luca II. So great was
+the demand for their ware that the Della Robbia <span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span>studios became a
+veritable manufactory from which hundreds of pieces went forth. Of
+these, a goodly number represent the Madonna in Adoration. While it is
+difficult to trace every one of these with absolute correctness to its
+individual author, the majority seem to be by Andrea, who, as it would
+appear, had a special fondness for the subject. It must be
+acknowledged that the nephew is inferior to his uncle in his ideal of
+the Virgin, less original than Luca in his conceptions, and less noble
+in his results. His work, notwithstanding, has many charming
+qualities, which are specially appropriate to the character of the
+particular subject under consideration. There is, indeed, a peculiar
+value in low relief, for purposes of idealization. It has an effect of
+spiritualizing the material, and giving the figures an ethereal
+appearance. Andrea profited by this advan<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span>tage, and, in addition,
+showed great delicacy of judgment in subduing curves and retaining
+simplicity in his lines.</p>
+
+<p>We may see all this in the popular tabernacle which he designed, and
+of which there are at least five, and probably more, copies. The
+Madonna kneels prayerfully before her babe, who lies on the ground by
+some lily stalks. In the sky above are two cherubim and hands holding
+a crown. There is a girlish grace in the kneeling figure, and a rare
+sweetness in the face, entirely free from sentimentality. A severe
+simplicity of drapery, and the absence of all unnecessary accessories,
+are points of excellence worth noting. The composition was sometimes
+varied by the introduction of different figures in the sky, other
+cherubim, or the head of the Almighty, with the Dove. </p>
+<p><span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_23" id="img_23"></a>
+<img src="images/image_165.jpg" width="400" height="587" alt="Andrea della Robbia.&mdash;Madonna in Adoration." title="Andrea della Robbia.&mdash;Madonna in Adoration." />
+<span class="caption">Andrea della Robbia.&mdash;Madonna in Adoration.</span>
+</div>
+<p>Only second in
+  popularity to this was Andrea's circular medallion of the Na<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span>tivity,
+  with the Virgin and St. John in adoration. There are two copies of
+  this in the Florentine Academy, one in the Louvre, and one in Berlin.
+  The effect of crowding so many figures into a small compass is not so
+  pleasing as the classical simplicity of the former composition.</p>
+
+
+<p>Contemporary with the Della Robbias was another Florentine family of
+artists equally numerous. Of the five Rossellini, Antonio is of
+greatest interest to us, as a sculptor who had some qualities in
+common with the famous porcelain workers. Like them, he had a special
+gift for the Madonna in Adoration. We can see this subject in his best
+style of treatment, in the beautiful Nativity in San Miniato, "which
+may be regarded as one of the most charming productions of the best
+period of Tuscan art."<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> The <span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span>tourist will consider it a rich reward
+for his climb to the quaint old church on the ramparts overhanging the
+Arno. If perchance his wanderings lead him, on another occasion, to
+the hill rising on the opposite side, he will find, in the Cathedral
+of Fiesole, a fitting companion in the altar-piece by Mino da Fiesole.
+This is a decidedly unique rendering of the Madre Pia. The Virgin
+kneels in a niche, facing the spectator, adoring the Christ-child, who
+sits on the steps below her, turning to the little Baptist, who kneels
+at one side on a still lower step.</p>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> C.C. Perkins, in Tuscan Sculptors.</p></div>
+<p><span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="img_24" id="img_24"></a>
+<img src="images/image_169.jpg" width="500" height="499" alt="Lorenzo di Credi.&mdash;Nativity." title="Lorenzo di Credi.&mdash;Nativity." />
+<span class="caption">Lorenzo di Credi.&mdash;Nativity.</span>
+</div>
+<p><span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span></p>
+
+<p>Passing from the sculpture of Florence to its painting, it is fitting
+that we mention first of all the friend and fellow-pupil of the
+Umbrian Perugino, Lorenzo di Credi. The two had much in common.
+Trained together in the workshop of the sculptor Verrocchio, in those
+days of intense religious stress, they both became<span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span>followers of the
+prophet-prior of San Marco, Savonarola. Their religious earnestness
+naturally found expression in the beautiful subject of the Madre Pia.
+The Florentine artist, though not less devout than his friend,
+introduces into his work an element of joy, characteristic of his
+surroundings, and more attractive than the somewhat melancholy types
+of Umbria. His Adoration, in the Uffizi, is an admirable example of
+his best work. Following the fashion made popular by the Della
+Robbias, the artist chose for his composition the round picture, or
+<i>tondo</i>. By this elimination of unnecessary corners, the attention
+centres in the beautiful figure of the Virgin, which occupies a large
+portion of the circle. In exquisite keeping with the modest loveliness
+of her face, a delicate, transparent veil is knotted over her smooth
+hair, and falls over the round curves of <span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span>her neck. In expression and
+attitude she is the perfect impersonation of the spirit of humility,
+joyfully submissive to her high calling, reverently acknowledging her
+unworthiness.</p>
+
+<p>This picture may be taken as a typical example of the subject in
+Florentine painting. Lorenzo himself repeated the composition many
+times, and numerous other works could be mentioned, strikingly similar
+in treatment, by Ghirlandajo, in the Florence Academy; by Signorelli,
+in the National Gallery; by Albertinelli, in the Pitti; by Filippo
+Lippi, in the Berlin Gallery; by Filippino Lippi, in the Pitti; and so
+on through the list.</p>
+
+<p>In many cases the subject seems to have been chosen, not so much from
+any devotional spirit on the part of the painter, as from force of
+imitation of the prevailing Florentine fashion. This is especially
+true in the case of Filippo Lippi, <span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span>who does not bear the best of
+reputations. Although a brother in the Carmelite monastery, his love
+of worldly pleasures often led him astray, if we are to believe the
+gossip of the old annalists. We may allow much for the exaggerations
+of scandal, but still be forced to admit that his candid realism is
+plain evidence of a closer study of nature than of theology.</p>
+
+<p>Browning has given us a fine analysis of his character in the poem
+bearing his name, "Fra Lippo Lippi." The artist monk, caught in the
+streets of the city on his return from some midnight revel, explains
+his constant quarrel with the rules of art laid down by ecclesiastical
+authorities. They insist that his business is "to the souls of men,"
+and that it is "quite from the mark of painting" to make "faces, arms,
+legs, and bodies like the true." On his part, he claims that it will
+not help <span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span>the interpretation of soul, by painting body ill. An intense
+lover of every beautiful line and color in God's world, he believes
+that these things are given us to be thankful for, not to pass over or
+despise. Obliged to devote himself to a class of subjects with which
+he had little sympathy, he compromised with his critics by adopting
+the traditional forms of composition, and treating them after the
+manner of <i>genre</i> painters, in types drawn from the ordinary life
+about him. The kneeling Madre Pia he painted three times: two of the
+pictures are in the Florence Academy, and the third and best is in the
+Berlin Gallery.</p>
+<p><span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_25" id="img_25"></a>
+<img src="images/image_175.jpg" width="400" height="607" alt="Filippo Lippi.&mdash;Madonna in Adoration." title="Filippo Lippi.&mdash;Madonna in Adoration." />
+<span class="caption">Filippo Lippi.&mdash;Madonna in Adoration.</span>
+</div>
+<p class="center"><a href="images/image_175_1.jpg">Please click here for a modern color image</a></p>
+
+
+<p>In the Madonna of the Uffizi, he broke away somewhat from tradition,
+and rendered quite a new version of the subject. The Virgin is seated
+with folded hands, adoring her child, who is held up before her by two
+boy angels. His type of childhood <span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span>is by no means pretty, though
+altogether natural. The Virgin cannot be called either intellectual or
+spiritual, but "where," as a noted critic has asked, "can we find a
+face more winsome and appealing?" Certainly she is a lovely woman, and</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"If you get simple beauty and naught else,<br /></span>
+<span class="i0">That's somewhat: and you'll find the soul you have missed<br /></span>
+<span class="i0">Within yourself, when you return him thanks."<br /></span>
+</div></div>
+
+<p>The idea of the seated Madre Pia, comparatively rare in Florentine
+art, is quite frequent in northern Italy. Sometimes the setting is a
+landscape, in the foreground of which the Madonna sits adoring the
+babe lying on her lap. Examples are by Basaiti (Paduan), in the
+National Gallery, and by a painter of Titian's school, in Berlin. Much
+more common is the enthroned Madonna in <span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span>Adoration, and for this we
+may turn to the pictures of the Vivarini, Bartolommeo and Luigi, or
+Alvise. These men were of Muranese origin, and in the very beginning
+of Venetian art-history were at the head of their profession, until
+finally eclipsed by the rival family of the Bellini. Among their
+works, we find by each one at least three pictures of the type
+described. As the most worthy of description, we may select the
+altar-piece by Luigi, in the Church of the Redentore. As it is one of
+the most popular Madonnas in Venice, no collection is complete without
+it. A green curtain forms the background, against which the plain
+marble throne-chair is brought into relief. The Virgin sits wrapt in
+her own thoughts, an impersonation of tranquil dignity. </p>
+<p><span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_26" id="img_26"></a>
+<img src="images/image_179.jpg" width="400" height="467" alt="Luigi Vivarini.&mdash;Madonna and Child." title="Luigi Vivarini.&mdash;Madonna and Child." />
+<span class="caption">Luigi Vivarini.&mdash;Madonna and Child.</span>
+</div>
+<p class="center"><a href="images/image_179_1.jpg">Please click here for a modern color image</a></p>
+
+<p>A heavy wimple
+  falls low over her forehead, entirely concealing her hair, and with
+  its severe simplicity accentuating the chaste<span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span>beauty of her face.
+  Two fascinating little cherubs sit on a parapet in front, playing on
+  lutes; and, lulled by their gentle music, the sweet babe sleeps on,
+  serenely unconscious of it all.</p>
+
+
+<p>Before such pictures as this, gleaming in the dim light of quiet
+chapels, many a heart, before unbelieving, may learn a new reverence
+for the mysterious sanctity of motherhood.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span></p>
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2>
+
+<h3>THE MADONNA AS WITNESS.</h3>
+
+
+<div class="figleft"><img src="images/image_187.jpg" alt="Decorative Image" width="100" height="101" /></div><p>n proportion to a mother's ideals and ambitions for her child does
+her love take on a higher and purer aspect. The noblest mother is the
+most unselfish; she regards her child as a sacred charge, only
+temporarily committed to her keeping. Her care is to nurture and train
+him for his part in life; this is the object of her constant endeavor.
+Thus she comes to look upon him as hers and yet not hers. In one sense
+he is her very own; in another, he belongs to the universal life which
+he is to serve. There is no conflict between the two ideas; they are
+the obverse sides of one great truth. Both must be recognized for a
+complete <span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span>understanding of life. What is true of all motherhood finds
+a supreme illustration in the character of the Virgin Mary. She
+understood from the first that her son had a great mission to fulfil,
+that his work had somewhat to do with a mighty kingdom. Never for a
+moment did she lose sight of these things as she "pondered them in her
+heart." Her highest joy was to present him to the world for the
+fulfilment of his calling.</p>
+
+<p>As a subject of art, this phase of the Madonna's character requires a
+mode of treatment quite unlike that of the Mater Amabilis or the Madre
+Pia. The attitude and expression of the Virgin are appropriate to her
+office as the Christ-bearer. Both mother and child, no longer
+absorbed in each other, direct their glance towards the people to whom
+he is given for a witness. (Isaiah 55:4.) These may be the spectators
+looking <span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span>at the picture, or the saints and votaries filling the
+composition. The mother's lap is the throne for the child, from which,
+standing or sitting, he gives his royal blessing.</p>
+
+<p>It will be readily understood that so lofty a theme can not be common
+in art. In our own day, it has, with the Madre Pia, passed almost
+entirely out of the range of art subjects; modern painters do not try
+such heights. Franz Defregger is alone in having made an honest and
+earnest effort, not without success, to express his conception of the
+theme. To his Enthroned Madonna at D&ouml;lsach, and his less well-known
+Madonna in Glory, let us pay this passing word of honor.</p>
+
+<p>To approach our subject in the most systematic way, we will go back to
+the beginnings of Madonna art. Mrs. Jameson tells us that the group of
+Virgin and Son was, in its first intention, a <span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span><i>theological symbol</i>,
+and not a <i>representation</i>. It was a device set up in the orthodox
+churches as a definite formalization of a creed. The first Madonnas
+showed none of the aspects of ordinary motherhood in attitude,
+gesture, or expression. The theological element in the picture was the
+first consideration. We may take as a representative case the Virgin
+Nike-peja (of Victory), supposed to be the same which Eudocia, wife of
+the Emperor Theodosius II., discovered in her travels in Palestine,
+and sent to Constantinople, whence it was finally brought to St.
+Mark's, Venice. The Virgin&mdash;a half-length figure&mdash;holds the child in
+front of her, like a doll, as if exhibiting him to the gaze of the
+worshippers before the altar over which the picture hung. Both faces
+look directly out at the spectator, with grave and stiff solemnity.</p><p><span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span></p>
+
+<p>The progress of painting, and the growing love of beauty, at length
+wrought a change. The time came when art saw the possibility of
+uniting, with the religious conception of previous centuries, a more
+natural ideal of motherhood. Thus, while the Madonna continues to be
+pre&euml;minently a witness of her son's greatness, it is not at the
+sacrifice of motherly tenderness.</p>
+
+<p>In Venetian art-history, Giovanni Bellini stands at the period when
+the old was just merging into the new. We have already seen how
+greatly he and his contemporaries differed from the painters of a
+later time. Taking advantage of all the progressive methods of the
+day, they did not relinquish the religious spirit of their
+predecessors, hence their work embodies the best elements of the old
+and new. As we examine the Bellini Madonnas, one after another, we
+<span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span>can not fail to notice how delicately they interpret the relation of
+the mother to her child.</p>
+
+<p>Loving and gracious as she is, she is not the Mater Amabilis: she is
+too preoccupied, though not too cold for caresses. Neither is she the
+Madre Pia, though by no means lacking in humility. Her thoughts are of
+the future, rather than of the present. True to a mother's instinct,
+she encircles her child with a protecting arm, but her face is turned,
+not to his, but to the world. Both are looking steadfastly forward to
+the great work before them. Their eyes have the far-seeing look of
+those absorbed in noble dreams. Their faces are full of sweet
+earnestness, not of the ascetic sort, but joyful, with a calm,
+tranquil gladness.</p>
+
+<p>This description applies almost equally well to a half-dozen or more
+of Bellini's Madonnas, in various styles of compo<span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span>sition. For the sake
+of definiteness, we may specify the Madonna between St. Paul and St.
+George in the Venice Academy. The Virgin is in half-length, against a
+scarlet curtain, supporting the child, who stands on the coping of a
+balcony. In technical qualities alone, the picture is a notable one
+for precision of drawing, breadth of light and shade, and brilliant
+color. In Christian sentiment it is among the rare treasures of
+Italian art. The National Gallery and the Brera contain others which
+are very similar in style and conception.</p>
+
+<p>The three enthroned Madonnas which have already been noticed are not
+less remarkable for religious significance. There is a peculiar
+freshness and vivacity in the San Giobbe picture. Both Virgin and
+child are alert and eager, welcoming the future with smiling and
+youthful enthusiasm. </p>
+<p><span class='pagenum'><a name="Page_189" id="Page_189">[189]</a></span></p>
+<div class="figcenter" style="width: 500px;"><a name="img_27" id="img_27"></a>
+<img src="images/image_189.jpg" width="500" height="702" alt="Giovanni Bellini.&mdash;Madonna between St. George and St. Paul. (Detail.)" title="Giovanni Bellini.&mdash;Madonna between St. George and St. Paul. (Detail.)" />
+<span class="caption">Giovanni Bellini.&mdash;Madonna between St. George and St. Paul. (Detail.)</span>
+</div>
+
+<p>The Frari<span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span> Madonna is of a more subdued type,
+  but is not less true to her ideal. The Virgin of San Zaccaria is more
+  thoughtful and reflective, but she holds her child up bravely, that he
+  may give his blessing to mankind.</p>
+
+
+<p>It will have been noticed that the throne is an especially appropriate
+setting for the Madonna as Witness. It is one of the functions of
+royalty that the queen should show the prince to his people. We
+therefore turn naturally to this class of pictures for examples. To
+those of Bellini just cited we may add, from the others mentioned in
+the second chapter, the Madonnas by Cima, by Palma, and by Montagna in
+Venetian Art; and by Luini and by Botticelli in the Lombard and
+Florentine schools respectively. Luini's picture is one which readily
+touches the heart. The Virgin unites the sweetness of fresh, young
+<span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span>motherhood with womanly dignity of character. Her smile has nothing
+of mystery in it; it is simply sweet and winning. The Christ-child is
+a lovely boy, steadying himself against his mother's breast, and yet
+with an air of self-reliance. The two understand each other well.</p>
+
+<p><span class='pagenum'><a name="Page_193" id="Page_193">[193]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_28" id="img_28"></a>
+<img src="images/image_193.jpg" width="400" height="586" alt="Luini.&mdash;Madonna with St. Barbara and St.Anthony." title="Luini.&mdash;Madonna with St. Barbara and St.Anthony." />
+<span class="caption">Luini.&mdash;Madonna with St. Barbara and St.Anthony.</span>
+</div>
+
+
+<p>One could hardly imagine two more dissimilar spirits than Luini and
+Botticelli. To Luini's Virgin, the consciousness of her son's
+greatness is a proud honor, accepted seriously, but gladly. To
+Botticelli, on the other hand, it brings a profound melancholy. This
+is so marked that at first sight almost every one is repelled by
+Botticelli, and yields only after long familiarity to the mysterious
+fascination of the sad-eyed Madonna, who holds her babe almost
+listlessly, as her head droops with the weight of her sorrow. Her
+expression is the same whatever her <span class='pagenum'><a name="Page_195" id="Page_195">[195]</a></span>attitude, when she presses her
+babe to her bosom as the Mater Amabilis (in the Borghese Gallery at
+Rome, in the Dresden Gallery, and Louvre), or when, as witness to her
+son's destiny, she holds him forth to be seen of men. It is in this
+last capacity that her mood is most intelligible. She seems oppressed
+rather than humbled by her honors; reluctant, rather than glad to
+assume them; yet, with proud dignity, determined to do her part,
+though her heart break in the doing. Her nature is too deep to accept
+the joy without counting the cost, and her vision looks beyond
+Bethlehem to Calvary. This is well illustrated in the picture of the
+Berlin Gallery.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> The queen <span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span>mother rises with the prince to receive
+the homage of humanity. The boy, old beyond his years, gravely raises
+his right hand to bless his people, the other still clinging, with
+infantile grace, to the dress of his mother. Lovely, rose-crowned
+angels hold court on either side, bearing lighted tapers in jars of
+roses.</p>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The Berlin Gallery contains two Enthroned Madonnas
+attributed to Botticelli. The description here, and on page 40 makes
+it clear that the reference is to the picture numbered 102. This does
+not appear in Berenson's list of Botticelli's works, but is treated as
+authentic by Crowe and Cavalcaselle.</p></div>
+
+<p>The Madonna of the Pomegranate is another work by Botticelli which
+belongs in this class of pictures. It is a <i>tondo</i> in the Uffizi,
+showing the figures in half length. The Virgin, encircled by angels,
+holds the child half reclining on her lap. Her face is inexpressibly
+sad, and the child shares her mood, as he raises his little hand to
+bless the spectator. Two angels bear the Virgin's flowers, roses and
+lilies; two others hold books. They bend towards the queen as the
+petals of a rose bend towards the centre, with the serious grace
+peculiar to Botticelli.</p>
+<p><span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span></p>
+
+<div class="figcenter" style="width: 500px;"><a name="img_29" id="img_29"></a>
+<img src="images/image_197.jpg" width="500" height="509" alt="Botticelli.&mdash;Madonna of the Pomegranate." title="Botticelli.&mdash;Madonna of the Pomegranate." />
+<span class="caption">Botticelli.&mdash;Madonna of the Pomegranate.</span>
+</div>
+<p class="center"><a href="images/image_197_1.jpg">Please click here for a modern color image</a></p>
+<p><span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span></p>
+
+<p>In connection with the peculiar type of melancholy exhibited on the
+face of Botticelli's Madonna, it will be of interest to refer to the
+work of Francia. The two artists were, in some points, kindred
+spirits; both felt the burden of life's mystery and sorrow. Francia,
+as we have seen, imbibed from the works of Perugino something of the
+spirit of mysticism common to the Umbrian school. But while there is a
+certain resemblance between his Madonna and Perugino's, the former has
+less of sentimentality than the latter, and more real melancholy. Like
+Botticelli's Virgin, she acts her part half-heartedly, as if the sword
+had already begun to pierce her heart. Francia's favorite Madonna
+subjects were of the higher order, the Madre Pia and the Madonna as
+Witness. In treating the latter, his Christ-child is always in keeping
+with the mother, a grave little fellow who gives the bless<span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span>ing with
+almost touching dignity. Enthroned Madonnas illustrating the theme are
+those of the Hermitage at St. Petersburg, of the Belvedere at Vienna,
+and the famous Bentivoglio Madonna in S. Jacopo Maggiore at Bologna.
+The last-named is one of the works which enable us to understand
+Raphael's high praise of the Bolognese master. It is a noble
+composition, full of strong religious feeling.</p>
+<p><span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span></p>
+<div class="figcenter" style="width: 400px;"><a name="img_30" id="img_30"></a>
+<img src="images/image_201.jpg" width="400" height="518" alt="Murillo.&mdash;Madonna and Child." title="Murillo.&mdash;Madonna and Child." />
+<span class="caption">Murillo.&mdash;Madonna and Child.</span>
+</div>
+<p class="center"><a href="images/image_201_1.jpg">Please click here for a modern color image</a></p>
+
+
+<p>It is a long leap from the fifteenth to the seventeenth centuries,
+taking us from a period of genuine religious fervor in art, into an
+age of artificial imitation. In the midst of the decadence of old
+ideals and the birth of art methods entirely new, arose one who seemed
+to be the reincarnation of the old spirit in a form peculiar to his
+age and race. This was Murillo, the peasant-painter of Spain, than
+whom was never artist more pious, not even excepting the angelic
+brother of San Marco. <span class='pagenum'><a name="Page_203" id="Page_203">[203]</a></span>He alone in the seventeenth century kept
+alive the pure flame of religious fervor, which had burned within the
+devout Italians of the early school. Through all his pictures of the
+Virgin and child we can see that the Madonna as the Christ-bearer is
+the ideal he always has in view. He falls short of it, not through any
+lack of earnestness, but because his type of womanhood is incapable of
+expressing such lofty idealism. His virgins are modelled upon the
+simple Andalusian maidens, sweet, timid, dark-eyed creatures. Their
+faces glow with gentle affection as they look wistfully out of the
+picture, or raise their eyes to heaven, as if dimly discerning the
+heights which they have never reached.</p>
+
+<p>The Pitti Madonna is one of this sweet company, and perhaps the
+loveliest of them all. Both she and her beautiful boy are full of
+gentle earnestness, and if they <span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span>are too simple-minded to realize what
+is in store for them, they are none the less ready to do the Father's
+will.</p>
+
+<p>One more picture remains for us to consider as an illustration of the
+Madonna as Witness. Had we mentioned it first, nothing further could
+have been said on the subject. The Sistine Madonna is the greatest
+ever produced, from every point of view. We have already noted the
+superiority of its artistic composition over all other enskied
+Madonnas, and are the more ready to appreciate its higher merits; for
+its strongest hold upon our admiration is in its moral and religious
+significance. Its theme is the transfiguration of loving and
+consecrated motherhood. Mother and child, united in love, move towards
+the glorious consummation of the heavenly kingdom.</p>
+<p><span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span></p>
+
+<div class="figcenter" style="width: 400px;"><a name="img_31" id="img_31"></a>
+<img src="images/image_205.jpg" width="400" height="566" alt="Raphael.&mdash;Sistine Madonna." title="Raphael.&mdash;Sistine Madonna." />
+<span class="caption">Raphael.&mdash;Sistine Madonna.</span>
+</div>
+<p class="center"><a href="images/image_205_1.jpg">Please click here for a modern color image</a></p>
+
+
+<p>It has been said that Raphael made no preparatory studies for this
+Madonna,<span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span> but, in a larger sense, he spent his life in preparation
+for it. He had begun by imitating the mystic sweetness of Perugino's
+types, drawn by an intuitive delicacy of perception to this spiritual
+idealism, while yet too inexperienced to express any originality.
+Then, by an inevitable reaction, he threw himself into the creation of
+a purely naturalistic Madonna, and carried the Mater Amabilis to its
+utmost perfection. Having mastered all the secrets of woman's beauty,
+he returned once more to the higher realm of idealism to send forth
+his matured conception of the Madonna as the Christ-bearer.</p>
+
+<p>The Sistine Madonna is above all words of praise; all extravagance of
+expression is silenced before her simplicity. Hers is the beauty of
+symmetrically developed womanhood; the perfect poise of her figure is
+not more marked than the <span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span>perfect poise of her character. Not one
+false note, not one exaggerated emphasis, jars upon the harmony of
+body, soul, and spirit. Confident, but entirely unassuming; serious,
+but without sadness; joyous, but not to mirthfulness; eager, but
+without haste; she moves steadily forward with steps timed to the
+rhythmic music of the spheres. The child is no burden, but a part of
+her very being. The two are one in love, thought, and purpose. Sharing
+the secret of his sacred calling, the mother bears her son forth to
+meet his glorious destiny.</p>
+
+<p>Art can pay no higher tribute to Mary, the Mother of Jesus, than to
+show her in this phase of her motherhood. We sympathize with her
+maternal tenderness, lavishing fond caresses upon her child. We go
+still deeper into her experience when we see her bowed in sweet
+humility before the cares and duties she is called <span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span>upon to assume.
+But we are admitted to the most cherished aspirations of her soul,
+when we see her oblivious of self, carrying her child forth to the
+service of humanity. It is thus that she becomes one of his "witnesses
+unto the people;" it is thus that "all generations shall call her
+blessed."</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span></p>
+<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY.</h2>
+
+
+<p><span class="smcap">Mrs. Anna Jameson</span>: The Legends of the Madonna. Boston, 1896.</p>
+
+<p><span class="smcap">Crowe and Cavalcaselle</span>: History of Painting in Italy. London,
+1864. History of Painting in North Italy. London, 1871. Titian: His
+Life and Times. London, 1877.</p>
+
+<p><span class="smcap">Kugler</span>: Handbook of the Italian Schools, revised by A.H.
+Layard. London, 1887. Handbook of the German, Flemish, and Dutch
+Schools, revised by J.A. Crowe. London, 1889.</p>
+
+<p><span class="smcap">Morelli</span>: Critical Studies of the Italian Painters. Translated
+by Constance Jocelyn Ffoulkes. London, 1892.</p>
+
+<p><span class="smcap">J.A. Symonds</span>: Renaissance in Italy: The Fine Arts. New York,
+1888.</p>
+
+<p><span class="smcap">Walter H. Pater</span>: Studies in the History of the Renaissance.
+London, 1873.</p>
+
+<p><span class="smcap">Bernhard Berenson</span>: The Venetian Painters of the Renaissance.
+New York, 1894. The Florentine Painters of the Renaissance. New York,
+1896.</p><p><span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span></p>
+
+<p><span class="smcap">Karl K&aacute;roly</span>: A Guide to the Paintings of Florence. London and
+New York, 1893. A Guide to the Paintings of Venice. London and New
+York, 1895.</p>
+
+<p><span class="smcap">C.C. Perkins</span>: Tuscan Sculptors. London, 1864.</p>
+
+<p><span class="smcap">Cavalucci et Molinier</span>: Les Della Robbia: leur vie et leur
+&oelig;uvre. Paris, 1884.</p>
+
+<p><span class="smcap">Eugene M&uuml;ntz</span>: Raphael. Translated by Walter Armstrong.
+London, 1882.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span></p>
+<h2><a name="INDEX_OF_ARTISTS" id="INDEX_OF_ARTISTS"></a>INDEX OF ARTISTS.</h2>
+
+
+
+<div class="index">
+<ul class="IX"><li>Albertinelli, Madonna in the Pitti, <a href="#Page_172">172</a>.</li>
+
+<li>Angelico, Fra, Madonna della Stella, <a href="#Page_66">66-69</a>, <a href="#Page_132">132</a>.</li>
+</ul><ul class="IX">
+<li>Barabino, N., Mater Amabilis, <a href="#Page_154">154</a>.</li>
+
+<li>Barocci, F., Madonna del Gatto, <a href="#Page_126">126</a>.</li>
+
+<li>Bartolommeo, Madonna in the Capella Giovanato, <a href="#Page_30">30</a>;
+<ul class="IX">
+  <li>Madonnas in the Florence Academy, <a href="#Page_31">31</a>;</li>
+  <li>Enthroned Madonna in the Pitti, <a href="#Page_42">42</a>, <a href="#Page_47">47</a>.</li>
+</ul></li>
+<li>Basaiti, Madonna in the National Gallery, <a href="#Page_177">177</a>.</li>
+
+<li>Bellini, Giovanni, Madonna of San Giobbe, <a href="#Page_50">50</a>, <a href="#Page_188">188</a>;
+<ul class="IX">
+  <li>Frari Madonna, <a href="#Page_50">50</a>, <a href="#Page_191">191</a>;</li>
+  <li>Madonna of San Zaccaria, <a href="#Page_50">50-53</a>, <a href="#Page_191">191</a>;</li>
+  <li>Madonna between St. Paul and St. George, <a href="#Page_188">188</a>;</li>
+ <li>Madonna in the National Gallery, <a href="#Page_188">188</a>;</li>
+ <li>Madonna in the Brera, <a href="#Page_188">188</a>.</li></ul></li>
+
+<li>Bellini, Jacopo, Madonna in the Venice Academy, <a href="#Page_25">25</a>.</li>
+
+<li>Bodenhausen, Madonna, <a href="#Page_90">90</a>, <a href="#Page_154">154</a>.</li>
+
+<li>Bonifazio Veronese, Seven pictures of the Santa Conversazione, <a href="#Page_115">115</a>.</li>
+
+<li>Botticelli, Enthroned Madonna at Berlin, <a href="#Page_40">40</a>, <a href="#Page_191">191</a>, <a href="#Page_195">195</a>, <a href="#Page_196">196</a>;
+<ul class="IX">
+  <li>Madonna in the Borghese, <a href="#Page_195">195</a>;</li>
+ <li>Madonna in the Dresden Gallery, <a href="#Page_195">195</a>;</li>
+  <li>Madonna in the Louvre, <a href="#Page_195">195</a>;</li>
+ <li> Madonna of the Pomegranate, <a href="#Page_196">196</a>;</li>
+  <li>Madonna of the Inkhorn, <a href="#Page_59">59</a>.</li></ul></li>
+
+<li>Bouguereau, Enthroned Madonna, <a href="#Page_64">64</a>;
+<ul class="IX">
+ <li>Madonna of the Angels, <a href="#Page_90">90</a>;</li>
+ <li> Mater Amabilis, <a href="#Page_154">154</a>.</li></ul></li>
+
+<li>Byzantine Madonna in the Ara Coeli, <a href="#Page_25">25</a>;
+<ul class="IX">
+ <li> in S. Maria in Cosmedino, <a href="#Page_25">25</a>;</li>
+  <li>in St. Mark's, <a href="#Page_25">25</a>, <a href="#Page_185">185</a>;</li>
+ <li> at Padua, <a href="#Page_25">25</a>.</li></ul></li>
+  </ul><ul class="IX">
+
+<li>Cano, Alonzo, Madonna of Bethlehem, <a href="#Page_32">32</a>.</li>
+<li>Caroto, Gianfrancesco, Madonna in Sant' Anastasia, <a href="#Page_80">80</a>;
+<ul class="IX">
+  <li>Madonna in San Giorgio, <a href="#Page_80">80</a>;</li>
+<li> Madonna in San Fermo Maggiore, <a href="#Page_80">80</a>.</li></ul></li>
+
+<li>Cavazzola, see <a href="#Morando">Morando</a>.</li>
+
+<li>Cima, Enthroned Madonna in the Venice Academy, <a href="#Page_49">49</a>, <a href="#Page_191">191</a>.</li>
+
+<li>Cimabue, Ruccellai Madonna, <a href="#Page_38">38-39</a>.</li>
+
+<li>Conti, Bernardino de', Madonna in the Hermitage Gallery, <a href="#Page_146">146</a>.</li>
+
+<li>Correggio, Madonnas in Dresden, <a href="#Page_45">45</a>;
+<ul class="IX">
+  <li>Madonna of St. Sebastian, <a href="#Page_70">70</a>;</li>
+ <li> Madonna in the Uffizi, <a href="#Page_106">106</a>, <a href="#Page_136">136</a>;</li>
+  <li>La Zingarella, <a href="#Page_106">106</a>, <a href="#Page_137">137</a>, <a href="#Page_146">146</a>;</li>
+  <li>Madonna della Cesta, <a href="#Page_136">136</a>;</li>
+  <li>Madonna della Scala, <a href="#Page_138">138</a>, <a href="#Page_141">141</a>.</li></ul></li>
+
+<li>Credi, Lorenzo di, Nativity in the Uffizi, <a href="#Page_171">171</a>.</li>
+
+<li>Crivelli, Carlo, Use of Crown by, <a href="#Page_59">59</a>.</li>
+</ul><ul class="IX">
+<li>Dagnan-Bouveret, Mater Amabilis, <a href="#Page_154">154</a>.</li>
+
+<li>Defregger, Franz, Madonna at D&ouml;lsach, <a href="#Page_184">184</a>;
+<ul class="IX">
+  <li>Madonna in Glory, <a href="#Page_90">90</a>, <a href="#Page_184">184</a>.</li></ul></li>
+
+<li>Dolce, Carlo, Madonna, <a href="#Page_148">148</a>.</li>
+
+<li>D&uuml;rer, Woodcut, <a href="#Page_60">60</a>;
+<ul class="IX">
+ <li> Madonna in "garden inclosed," <a href="#Page_115">115</a>;</li>
+ <li>Madonna in the Belvedere, <a href="#Page_150">150-153</a>;</li>
+ <li>Virgin on the Crescent Moon, <a href="#Page_89">89</a>, <a href="#Page_149">149</a>.</li></ul></li>
+</ul><ul class="IX">
+<li>Eyck, Van, Madonna in Frankfort, <a href="#Page_60">60</a>, <a href="#Page_149">149</a>.</li>
+</ul><ul class="IX">
+<li>Fiesole, Mino da, Altar-piece at Fiesole, <a href="#Page_168">168</a>.</li>
+
+<li>Francia, Madonna of the Rose Garden, <a href="#Page_115">115</a>, <a href="#Page_161">161</a>;
+<ul class="IX">
+  <li>Enthroned Madonna in the Hermitage, <a href="#Page_200">200</a>;</li>
+<li>Enthroned Madonna in the Belvedere, <a href="#Page_200">200</a>;</li>
+ <li> Bentivoglio Madonna, <a href="#Page_200">200</a>.</li></ul></li>
+</ul><ul class="IX">
+<li>Ghirlandajo, Enthroned Madonna in the Uffizi, <a href="#Page_40">40</a>;
+<ul class="IX">
+ <li>Madonna in the Florence Academy, <a href="#Page_172">172</a>.</li></ul></li>
+
+<li>Giorgione, Madonna of Castel-Franco, <a href="#Page_54">54</a>;
+<ul class="IX">
+  <li>Madonna in Madrid, <a href="#Page_54">54</a>.</li></ul></li>
+
+<li>Guay, Mater Amabilis, <a href="#Page_154">154</a>.</li>
+</ul><ul class="IX">
+<li>Holbein, Meyer Madonna, <a href="#Page_60">60</a>, <a href="#Page_149">149</a>.</li>
+</ul><ul class="IX">
+<li>Ittenbach, Enthroned Madonna, <a href="#Page_64">64</a>.</li>
+</ul><ul class="IX">
+<li>Leonardo da Vinci, see <a href="#Vinci">Vinci</a>.</li>
+
+<li>Libri, Girolamo dai, Madonna in San Giorgio Maggiore, Verona, <a href="#Page_48">48</a>;
+<ul class="IX">
+  <li>Madonna of St. Andrew and St. Peter, <a href="#Page_81">81</a>.</li></ul></li>
+
+<li>Lippi, Filippino, Madonna in the Pitti, <a href="#Page_115">115</a>-<a href="#Page_116">116</a>, <a href="#Page_172">172</a>.</li>
+
+<li>Lippi, Filippo, Madonna in the Berlin Gallery, <a href="#Page_172">172</a>, <a href="#Page_174">174</a>;
+<ul class="IX">
+ <li>Madonnas in the Florence Academy, <a href="#Page_174">174</a>;</li>
+  <li>Madonna in the Uffizi, <a href="#Page_174">174-177</a>.</li></ul></li>
+
+<li>Lotto, Madonna of S. Bartolommeo, <a href="#Page_48">48</a>;
+<ul class="IX">
+  <li>Santa Conversazione, <a href="#Page_115">115</a>.</li></ul></li>
+
+<li>Luini, Madonna between St. Anthony and St. Barbara, <a href="#Page_45">45</a>, <a href="#Page_191">191-192</a>;
+<ul class="IX">
+ <li>Pastoral Madonna, <a href="#Page_104">104-105</a>.</li></ul></li>
+</ul><ul class="IX">
+<li>Macomber, Mary L., Madonna, <a href="#Page_154">154</a>.</li>
+
+<li>Mantegna, Madonna of Victory, <a href="#Page_41">41</a>, <a href="#Page_48">48</a>.</li>
+
+<li>Mariotto, Bernardino di, Madonna, <a href="#Page_47">47</a>.</li>
+
+<li>Massys, Quentin, Enthroned Madonna in the Berlin Gallery, <a href="#Page_63">63</a>, <a href="#Page_132">132</a>;
+<ul class="IX">
+  <li>Madonna in the Munich Gallery, <a href="#Page_121">121</a>.</li></ul></li>
+
+<li>Max, Gabriel, Madonnas, <a href="#Page_35">35</a>, <a href="#Page_154">154</a>.</li>
+
+<li>Memling, Madonna at Bruges, <a href="#Page_60">60</a>.</li>
+
+<li>Mignard, La Vierge &agrave; la Grappe, <a href="#Page_126">126</a>.</li>
+
+<li>Montagna, Madonna in the Brera, <a href="#Page_40">40</a>, <a href="#Page_191">191</a>.</li>
+
+<li><a name="Morando" id="Morando"></a>Morando, Madonna in Glory in Verona Gallery, <a href="#Page_81">81</a>.</li>
+
+<li>Moretto, Madonna of S. Clemente, <a href="#Page_48">48</a>;
+<ul class="IX">
+ <li>Madonna of St. John the Evangelist, <a href="#Page_77">77</a>;</li>
+  <li>Madonna of San Giorgio Maggiore, <a href="#Page_77">77</a>;</li>
+  <li>Madonna in the Berlin Gallery, <a href="#Page_78">78-79</a>.</li></ul></li>
+
+<li>M&uuml;ller, Carl, Mater Amabilis, <a href="#Page_154">154</a>.</li>
+
+<li>Murano, Giovanni da, Use of Crown by, <a href="#Page_59">59</a>.</li>
+
+<li>Murillo, Madonna of the Napkin, <a href="#Page_32">32</a>;
+<ul class="IX">
+  <li>Holy Family of the Bird, <a href="#Page_126">126</a>;</li>
+  <li>Madonna in the Pitti, <a href="#Page_203">203-204</a>.</li></ul></li>
+</ul><ul class="IX">
+<li>Palma, Enthroned Madonna at Vicenza, <a href="#Page_49">49</a>, <a href="#Page_191">191</a>;
+<ul class="IX">
+  <li>Santa Conversazione at Naples, <a href="#Page_111">111</a>;</li>
+  <li>Santa Conversazione at Dresden, <a href="#Page_111">111</a>;</li>
+  <li>Santa Conversazione at Munich, <a href="#Page_111">111</a>;</li>
+  <li>Santa Conversazione at Vienna, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>.</li></ul></li>
+
+<li>Perugino, Enthroned Madonna in the Vatican, <a href="#Page_45">45</a>;
+<ul class="IX">
+ <li>Madonna in the National Gallery, <a href="#Page_160">160</a>.</li></ul></li>
+
+<li>Pinturicchio, Madonna in St. Andrea, Perugia, <a href="#Page_46">46</a>.</li>
+</ul><ul class="IX">
+<li>Raphael, Ansidei Madonna, <a href="#Page_46">46</a>, <a href="#Page_133">133</a>;
+<ul class="IX">
+ <li>Madonna of St. Anthony, <a href="#Page_47">47</a>;</li>
+  <li>Baldacchino Madonna, <a href="#Page_47">47</a>;</li>
+  <li>Madonna of the Casa Alba, <a href="#Page_99">99</a>;</li>
+ <li>the Chair Madonna, <a href="#Page_134">134</a>;</li>
+ <li>the Colonna Madonna, <a href="#Page_133">133</a>;</li>
+ <li> the Conestabile Madonna, <a href="#Page_133">133</a>;</li>
+ <li> Madonna of the Diadem, <a href="#Page_147">147</a>;</li>
+ <li>Foligno Madonna, <a href="#Page_82">82-85</a>;</li>
+  <li>Granduca Madonna, <a href="#Page_29">29</a>;</li>
+  <li>Madonna of the Goldfinch, <a href="#Page_93">93</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>;</li>
+  <li>Holy Family of Francis I., <a href="#Page_133">133</a>;</li>
+  <li>Holy Family of the Lamb, <a href="#Page_100">100</a>, <a href="#Page_105">105</a>;</li>
+  <li>Madonna dell' Impannata, <a href="#Page_125">125</a>;</li>
+  <li>Belle Jardini&egrave;re, <a href="#Page_93">93</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>;</li>
+  <li>Madonna in the Meadow, <a href="#Page_93">93</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>, <a href="#Page_104">104</a>;</li>
+ <li>Orleans Madonna, <a href="#Page_126">126</a>, <a href="#Page_133">133</a>;</li>
+  <li>Sistine Madonna, <a href="#Page_85">85</a>, <a href="#Page_204">204</a>, <a href="#Page_208">208</a>;</li>
+  <li>Tempi Madonna, <a href="#Page_30">30</a>, <a href="#Page_133">133</a>.</li></ul></li>
+
+<li>Rembrandt, Le M&eacute;nage du Menuisier in the Louvre, <a href="#Page_127">127</a>;
+<ul class="IX">
+ <li>in St. Petersburg, <a href="#Page_127">127</a>;</li>
+  <li>Madonna in the Munich Gallery, <a href="#Page_127">127-128</a>.</li></ul></li>
+
+<li>Reni, Guido, Madonna, <a href="#Page_147">147</a>.</li>
+
+<li>Robbia, Andrea della, Popular tabernacle, <a href="#Page_164">164</a>;
+<ul class="IX">
+ <li> Nativity, <a href="#Page_167">167</a>.</li></ul></li>
+
+<li>Robbia, Giovanni, Son of Andrea, <a href="#Page_162">162</a>.</li>
+
+<li>Robbia, Girolamo della, Son of Andrea, <a href="#Page_162">162</a>.</li>
+
+<li>Robbia, Luca della, Founder of his school, <a href="#Page_162">162</a>.</li>
+
+<li>Robbia, Luca della, II., Son of Andrea, <a href="#Page_162">162</a>.</li>
+
+<li>Romano, Giulio, Madonna della Catina, <a href="#Page_125">125</a>;
+<ul class="IX">
+ <li>his work on the Madonna dell' Impannata, <a href="#Page_125">125</a>;</li>
+ <li> Madonna in a Bedchamber, <a href="#Page_125">125</a>.</li></ul></li>
+
+<li>Rossellino, Antonio, Nativity in San Miniato, <a href="#Page_167">167</a>.</li>
+
+<li>Rubens, Holy Families, <a href="#Page_149">149</a>.</li>
+</ul><ul class="IX">
+<li>Salimbeni, Holy Family, <a href="#Page_126">126</a>.</li>
+
+<li>Sarto, Andrea del, Madonna di San Francesco, <a href="#Page_42">42</a>;
+<ul class="IX">
+<li> Madonna in the Berlin Gallery, <a href="#Page_69">69</a>.</li></ul></li>
+
+<li>Sassoferrato, Madonna in Vatican Gallery, <a href="#Page_89">89</a>;
+<ul class="IX">
+  <li>Madonna with Sleeping Child, <a href="#Page_148">148</a>.</li></ul></li>
+
+<li>Savoldo, Madonna in the Brera, <a href="#Page_79">79</a>.</li>
+
+<li>Schongauer, Madonna in Munich, <a href="#Page_60">60</a>;
+<ul class="IX">
+  <li>Holy Family, <a href="#Page_121">121-123</a>.</li></ul></li>
+
+<li>Siena, Guido da, Madonna, <a href="#Page_38">38</a>.</li>
+
+<li>Signorelli, Nativity in the National Gallery, <a href="#Page_172">172</a>.</li>
+
+<li>Sodoma, Madonna in the Brera, <a href="#Page_104">104</a> (note).</li>
+
+<li>Solario, Madonna of the Green Cushion, <a href="#Page_146">146</a>.</li>
+
+<li>Lo Spagna, Madonna once attributed to, <a href="#Page_73">73</a>.</li>
+
+<li>Spanish School, Madonna in the Dresden Gallery, <a href="#Page_89">89</a>.</li>
+
+</ul><ul class="IX">
+
+<li>Tintoretto, Madonna in the Berlin Gallery, <a href="#Page_89">89</a>.</li>
+
+<li>Titian, Vierge au Lapin, <a href="#Page_115">115</a> (note), <a href="#Page_142">142</a>;
+<ul class="IX">
+ <li>Madonna of the Cherries, <a href="#Page_141">141</a> (note);</li>
+  <li>Madonnas and Saints at Dresden, <a href="#Page_141">141</a> (note);</li>
+ <li> Madonna with Sts. Ulfo and Brigida, <a href="#Page_142">142</a>;</li>
+ <li> Madonna with Roses, <a href="#Page_142">142</a>;</li>
+  <li>Madonna and Saints, <a href="#Page_145">145</a>;</li>
+  <li>Pesaro Madonna, <a href="#Page_56">56</a>.</li></ul></li>
+
+<li>Titian, School of, Madonna in Berlin, <a href="#Page_177">177</a>.</li>
+</ul><ul class="IX">
+
+<li>Umbrian School, Madonna by, in the National Gallery, <a href="#Page_73">73-74</a>.</li>
+</ul><ul class="IX">
+
+<li>Veronese, Madonna in the Venice Academy, <a href="#Page_56">56</a>.</li>
+
+<li><a name="Vinci" id="Vinci"></a>Vinci, Leonardo da, Madonna of the Rocks, <a href="#Page_100">100-104</a>.</li>
+
+<li>Vivarini, Bartolommeo, Madonnas, <a href="#Page_178">178</a>.</li>
+
+<li>Vivarini, Luigi, Madonna in the Church of the Redentore, <a href="#Page_178">178</a>.</li>
+</ul></div>
+<hr style="width: 65%;" />
+
+<p>&nbsp;</p>
+<p style="margin-left:15em; ">
+<b>Art Series</b><br />
+<br />
+<br />
+<b>THE MADONNA IN ART</b><br />
+<span style="margin-left: 4.5em;" class="smcap">Estelle M. Hurll.</span><br />
+<br />
+<b>CHILD LIFE IN ART</b><br />
+<span style="margin-left: 4.5em;" class="smcap">Estelle M. Hurll.</span><br />
+<br />
+<b>ANGELS IN ART</b><br />
+<span style="margin-left: 4.5em;" class="smcap">Clara Erskine Clement.</span><br />
+<br />
+<b>LOVE IN ART</b><br />
+<span style="margin-left: 4.5em;" class="smcap">Mary Knight Potter.</span></p>
+<p class="center"><b>L.C. PAGE AND COMPANY</b><br />
+(<span class="smcap">incorporated</span>)<br />
+<b>196 Summer Street, Boston, Mass.</b></p>
+
+<p>&nbsp;</p>
+<hr style="width: 65%;" />
+
+
+
+
+
+
+
+
+
+
+<pre>
+
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+The Project Gutenberg EBook of The Madonna in Art, by Estelle M. Hurll
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Madonna in Art
+
+Author: Estelle M. Hurll
+
+Release Date: December 22, 2005 [EBook #17373]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MADONNA IN ART ***
+
+
+
+
+Produced by Suzanne Lybarger, Kathryn Lybarger, Sankar
+Viswanathan, and the Online Distributed Proofreading Team
+at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+    [Illustration: _Madonna of Castelfranco_ Photogravure from the
+    Painting by Giorgione in the Parish Church, Castelfranco]
+
+                                  THE
+
+                            MADONNA IN ART
+
+
+                                  BY
+
+                           ESTELLE M. HURLL
+
+
+                              Illustrated
+
+
+
+                     A mother is a mother still--
+                     The holiest thing alive.
+                                            --COLERIDGE.
+
+
+
+                                BOSTON
+                         L.C. PAGE AND COMPANY
+                           (_INCORPORATED_)
+                                 1898
+
+
+                           _Copyright, 1897_
+                       BY L.C. PAGE AND COMPANY
+                            (INCORPORATED)
+
+
+
+
+CONTENTS.
+
+
+
+CHAPTER
+
+PREFACE
+
+INTRODUCTION
+
+I. THE PORTRAIT MADONNA
+
+II. THE MADONNA ENTHRONED
+
+III. THE MADONNA IN THE SKY
+
+IV. THE PASTORAL MADONNA
+
+V. THE MADONNA IN A HOME ENVIRONMENT
+
+VI. THE MADONNA OF LOVE
+
+VII. THE MADONNA IN ADORATION
+
+VIII. THE MADONNA AS WITNESS
+
+BIBLIOGRAPHY
+
+
+
+
+ILLUSTRATIONS.
+
+
+GIORGIONE         Madonna of Castelfranco              _Frontispiece_
+              _Parish Church, Castelfranco._
+
+JACOPO BELLINI    Madonna and Child
+              _Venice Academy._
+
+GABRIEL MAX       Madonna and Child
+
+PERUGINO          Madonna and Saints (Detail.)
+              _Vatican Gallery, Rome._
+
+GIOVANNI BELLINI  Madonna of San Zaccaria. (Detail.)
+              _Church of San Zaccaria, Venice._
+
+VERONESE          Madonna and Saints
+              _Venice Academy._
+
+QUENTIN MASSYS    Madonna and Child
+              _Berlin Gallery._
+
+FRA ANGELICO      Madonna della Stella
+              _Monastery of San Marco, Florence._
+
+UMBRIAN SCHOOL    Glorification of the Virgin
+              _National Gallery, London._
+
+MORETTO           Madonna in Glory
+              _Church of San Giorgio Maggiore, Verona._
+
+SPANISH SCHOOL       Madonna on the Crescent Moon
+                   _Dresden Gallery._
+
+BOUGUEREAU           Madonna of the Angels
+
+RAPHAEL              Madonna in the Meadow
+                   _Belvedere Gallery, Vienna._
+
+LEONARDO DA VINCI    Madonna of the Rocks
+                   _National Gallery, London._
+
+PALMA VECCHIO        Santa Conversazione
+                   _Belvedere Gallery, Vienna._
+
+FILIPPINO LIPPI      Madonna in a Rose Garden
+                   _Pitti Gallery, Florence._
+
+SCHONGAUER           Holy Family
+                   _Belvedere Gallery, Vienna._
+
+RAPHAEL              Madonna dell' Impannata
+                   _Pitti Gallery, Florence._
+
+CORREGGIO            Madonna della Scala
+                   _Parma Gallery._
+
+TITIAN               Madonna and Saints. (Detail.)
+                   _Belvedere Gallery, Vienna._
+
+DUeRER                Madonna and Child
+                   _Belvedere Gallery, Vienna._
+
+BODENHAUSEN          Madonna and Child
+                   _Private Gallery, Washington, D.C._
+
+ANDREA DELLA ROBBIA  Madonna in Adoration
+                   _National Museum, Florence._
+
+LORENZO DI CREDI     Nativity
+                   _Uffizi Gallery, Florence._
+
+FILIPPO LIPPI        Madonna in Adoration
+                   _Uffizi Gallery, Florence_.
+
+LUIGI VIVARINI    Madonna and Child     179
+                        _Church of the Redentore, Venice._
+
+GIOVANNI BELLINI  Madonna between St. George and St. Paul.
+                              (Detail.)
+                        _Venice Academy._
+
+LUINI             Madonna with St. Barbara and St. Anthony
+                        _Brera Gallery, Milan._
+
+BOTTICELLI        Madonna of the Pomegranate
+                        _Uffizi Gallery, Florence._
+
+MURILLO           Madonna and Child
+                        _Pitti Gallery, Florence._
+
+RAPHAEL           Sistine Madonna
+                        _Dresden Gallery._
+
+
+
+
+PREFACE.
+
+
+This little book is intended as a companion volume to "Child-Life in
+Art," and is a study of Madonna art as a revelation of motherhood.
+With the historical and legendary incidents in the life of the Virgin
+it has nothing to do. These subjects have been discussed
+comprehensively and finally in Mrs. Jameson's splendid work on the
+"Legends of the Madonna." Out of the great mass of Madonna subjects
+are selected, here, only the idealized and devotional pictures of the
+Mother and Babe. The methods of classifying such works are explained
+in the Introduction.
+
+Great pains have been taken to choose as illustrations, not only the
+pictures which are universal favorites, but others which are less
+widely known and not easily accessible.
+
+The cover was designed by Miss Isabelle A. Sinclair, in the various
+colors appropriate to the Virgin Mary. The lily is the Virgin's
+flower, _la fleur de Marie_, the highest symbol of her purity. The
+gold border surrounding the panel is copied from the ornamentation of
+the mantle worn by Botticelli's Dresden Madonna.
+
+ESTELLE M. HURLL.
+
+_New Bedford, Mass., May, 1897._
+
+
+
+
+INTRODUCTION.
+
+
+It is now about fifteen centuries since the Madonna with her Babe was
+first introduced into art, and it is safe to say that, throughout all
+this time, the subject has been unrivalled in popularity. It requires
+no very profound philosophy to discover the reason for this. The
+Madonna is the universal type of motherhood, a subject which, in its
+very nature, appeals to all classes and conditions of people. No one
+is too ignorant to understand it, and none too wise to be superior to
+its charm. The little child appreciates it as readily as the old man,
+and both, alike, are drawn to it by an irresistible attraction. Thus,
+century after century, the artist has poured out his soul in this
+all-prevailing theme of mother love until we have an accumulation of
+Madonna pictures so great that no one would dare to estimate their
+number. It would seem that every conceivable type was long since
+exhausted; but the end is not yet. So long as we have mothers, art
+will continue to produce Madonnas.
+
+With so much available material, the student of Madonna art would be
+discouraged at the outset were it not possible to approach the subject
+systematically. Even the vast number of Madonna pictures becomes
+manageable when studied by some method of classification. Several
+plans are possible. The historical student is naturally guided in his
+grouping by the periods in which the pictures were produced; the
+critic, by the technical schools which they represent. Besides these
+more scholarly methods, are others, founded on simpler and more
+obvious dividing lines. Such are the two proposed in the following
+pages, forming, respectively, Part I. and Part II. of our little
+volume.
+
+The first is based on the style of composition in which the picture is
+painted; the second, on the subject which it treats. The first
+examines the mechanical arrangement of the figures; the second asks,
+what is the real relation between them? The first deals with external
+characteristics; the second, with the inner significance.
+
+Proceeding by the first, we ask, what are the general styles of
+treatment in which Madonna pictures have been rendered? The answer
+names the following five classes:
+
+1. The Portrait Madonna, the figures in half-length against an
+indefinite background.
+
+2. The Madonna Enthroned, where the setting is some sort of a throne
+or dais.
+
+3. The Madonna in the Sky or the "Madonna in Gloria," where the
+figures are set in the heavens, as represented by a glory of light, by
+clouds, by a company of cherubs, or by simple elevation above the
+earth's surface.
+
+4. The Pastoral Madonna, with a landscape background.
+
+5. The Madonna in a Home Environment, where the setting is an
+interior.
+
+The foregoing subjects are arranged in the order of historical
+development, so far as is possible. The first and last of the classes
+enumerated are so small, compared with the others, that they are
+somewhat insignificant in the whole number of Madonna pictures. Yet,
+in all probability, it is along these lines that future art is most
+likely to develop the subject, choosing the portrait Madonna because
+of its universal adaptability, and representing the Madonna in her
+home, in an effort to realize, historically, the New Testament scenes.
+Of the remaining three, the enthroned Madonna is, doubtless, the
+largest class, historically considered, because of the long period
+through which it has been represented. The pastoral and enskied
+Madonnas were in high favor in the first period of their perfection.
+
+Our next question is concerned with the aspects of motherhood
+displayed in Madonna pictures: in what relation to her child has the
+Madonna been represented? The answer includes the following three
+subjects:
+
+1. The Madonna of Love (The Mater Amabilis), in which the relation is
+purely maternal. The emphasis is upon a mother's natural affection as
+displayed towards her child.
+
+2. The Madonna in Adoration (The Madre Pia), in which the mother's
+attitude is one of humility, contemplating her child with awe.
+
+3. The Madonna as Witness, in which the Mother is preeminently the
+Christ-bearer, wearing the honors of her proud position as witness to
+her son's great destiny.
+
+These subjects are mentioned in the order of philosophical climax, and
+as we go from the first to the second, and from the second to the
+third, we advance farther and farther into the experience of
+motherhood. At the same time there is an increase in the dignity of
+the Madonna and in her importance as an individual. In the Mater
+Amabilis she is subordinate to her child, absorbed in him, so to
+speak; his infantine charms often overmatch her own beauty. When she
+rises to the responsibilities of her high calling, she is, for the
+time being, of equal interest and importance. AEsthetically, she is
+now even more attractive than her child, whose seriousness, in such
+pictures, takes something from his childlikeness. Chronologically, our
+list reads backwards, as the religious aspect of Mary's motherhood was
+the first treated in art, while the naturalistic conception came last.
+Regarded as expressive of national characteristics, the Mater Amabilis
+is the Madonna best beloved in northern countries, while the other two
+subjects belong specially to the art of the south.
+
+It will be seen that any number of Madonna pictures, having been
+arranged in the five groups designated in Part I., may be gathered up
+and redistributed in the three classes of Part II. To make this clear,
+the pictures mentioned in the first method of classification are
+frequently referred to a second time, viewed from an entirely
+different standpoint. Since the lines of cleavage are so widely
+dissimilar in the two cases, both methods of study are necessary to a
+complete understanding of a picture. By the first, we learn a
+convenient term of description by which we may casually designate a
+Madonna; by the second, we find its highest meaning as a work of art,
+and are admitted to some new secret of a mother's love.
+
+
+
+
+PART I.
+
+MADONNAS CLASSED BY THE STYLE OF COMPOSITION.
+
+
+
+
+THE MADONNA IN ART.
+
+CHAPTER I.
+
+THE PORTRAIT MADONNA.
+
+
+The first Madonna pictures known to us are of the portrait style, and
+are of Byzantine or Greek origin. They were brought to Rome and the
+western empire from Constantinople (the ancient Byzantium), the
+capital of the eastern empire, where a new school of Christian art had
+developed out of that of ancient Greece. Justinian's conquest of Italy
+sowed the new art-seed in a fertile field, where it soon took root and
+multiplied rapidly. There was, however, little or no improvement in
+the type for a long period; it remained practically unchanged till
+the thirteenth century. Thus, while a Byzantine Madonna is to be found
+in nearly every old church in Italy, to see one is to see all. They
+are half-length figures against a background of gold leaf, at first
+laid on solidly, or, at a somewhat later date, studded with cherubs.
+The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes,
+and an almost peevish expression; her head is draped in a heavy, dark
+blue veil, falling in stiff folds.
+
+Unattractive as such pictures are to us from an artistic standpoint,
+they inspire us with respect if not with reverence. Once objects of
+mingled devotion and admiration, they are still regarded with awe by
+many who can no longer admire. Their real origin being lost in
+obscurity, innumerable legends have arisen, attributing them to
+miraculous agencies, and also endowing them with power to work
+miracles. There is an early and widespread tradition, imported with
+the Madonna from the East, which makes St. Luke a painter. It is said
+that he painted many portraits of the Virgin, and, naturally, all the
+churches possessing old Byzantine pictures claim that they are genuine
+works from the hand of the evangelist. There is one in the Ara Coeli
+at Rome, and another in S. Maria in Cosmedino, of which marvellous
+tales are told, besides others of great sanctity in St. Mark's,
+Venice, and in Padua.
+
+It would not be interesting to dwell, in any detail, upon these
+curious old pictures. We would do better to take our first example
+from the art which, though founded on Byzantine types, had begun to
+learn of nature. Such a picture we find in the Venice Academy, by
+Jacopo Bellini, painted at the beginning of the fifteenth century,
+somewhat later than any corresponding picture could have been found
+elsewhere in Italy, as Venice was chronologically behind the other art
+schools. The background is a glory of cherub heads touched with gold
+hatching. Both mother and child wear heavy nimbi, ornamented with
+gold. These points recall Byzantine work; but the gentler face of the
+Virgin, and the graceful fall of her drapery, show that we are in a
+different world of art. The child is dressed in a little tunic, in the
+primitive method.
+
+With the dawn of the Italian Renaissance, the old style of portrait
+Madonna passed out of vogue. More elaborate backgrounds were
+introduced from the growing resources of technique. In the fifteenth
+and sixteenth centuries, pictures of the portrait style were
+comparatively rare. Raphael, however, was not above adopting this
+method, as every lover of the Granduca Madonna will remember. His
+friend Bartolommeo also selected this style of composition for some of
+the loveliest of his works.
+
+[Illustration: JACOPO BELLINI.--MADONNA AND CHILD.]
+
+The story of the friendship between these two men is full of interest.
+At the time of Raphael's first appearance in Florence (1504),
+Bartolommeo had been four years a monk, and had laid aside, apparently
+forever, the brush he had previously wielded with such promise. The
+young stranger sought the Frate in his cell at San Marco, and soon
+found the way to his heart. Stimulated by this new friendship,
+Bartolommeo roused himself from lethargy and resumed the practice of
+art with increasing success. It is pleasant to trace the influence
+which the two artists exerted upon each other. The older man had
+experience and learning; the younger had enthusiasm and genius. Now it
+happened that, by nature, Bartolommeo was specially gifted in the
+arrangement of large compositions, with many figures and stately
+architectural backgrounds. It is by these that he is chiefly known
+to-day. So it is the more interesting that, when Raphael's sweet
+simplicity first touched him, he turned aside, for the time, from
+these elaborate plans and gave himself to the portrayal of the Madonna
+in that simplest possible way, the half-length portrait picture.
+Several of these he painted upon the walls of his own convent,
+glorifying that dim place of prayer and fasting with visions of
+radiant and happy motherhood. One of these may still be seen in the
+cell sometimes called the Capella Giovanato. It instantly recalls the
+Tempi Madonna of Raphael, both in the pose of the figure and in the
+genuineness of feeling exhibited. Damp and decay have warred in vain
+against it, and the modern visitor lingers before the Mother and Babe
+with hushed admiration.
+
+Two other similar frescoes have been removed to the Academy. They show
+the same motherly tenderness, the same innocent and beautiful
+babyhood. The mother holds her child close in her arms, pressing her
+forehead to his, or bending her cheek to receive his kiss. He throws
+his little arm about her neck, clinging to her veil or caressing her
+face.
+
+Besides this group of pictures by Bartolommeo, there are other
+scattered instances of portrait Madonnas during the Italian
+Renaissance, by men too great to be tied to the fashions of their day.
+Mantegna was such a painter, and Luini another. All told, however,
+their pictures of this sort make up a class too rare to deserve longer
+description.
+
+A century later, the Spanish school occasionally reverted to the same
+style of treatment. A pair of notable pictures are the Madonna of
+Bethlehem, by Alonzo Cano, and the Madonna of the Napkin, by Murillo.
+Both are in Seville, the latter in the museum, the former still
+hanging in its original place in the cathedral.
+
+Of Cano's work, a great authority[1] on Spanish art has written, that,
+"in serene, celestial beauty, it is excelled by no image of the
+blessed Mary ever devised in Spain." Murillo's picture is better
+known, and has a curious interest from its history. The cook in the
+Capuchin monastery, where the artist had been painting, begged a
+picture as a parting gift. No canvas being at hand, a napkin was
+offered instead, on which the master painted a Madonna, unexcelled
+among his works in brilliancy of color.
+
+[Footnote 1: Stirling-Maxwell, in "Annals of the Artists of Spain."]
+
+[Illustration: GABRIEL MAX.--MADONNA AND CHILD.]
+
+As the portrait picture was the first style of Madonna known to art,
+so, also, it is the last. By a leap of nearly a thousand years, we
+have returned, in our own day, to the method of the tenth century. It
+is strange that what was once a matter of necessity should at last
+become an object of choice. In the beginning of Madonna art, the
+limited resources of technique precluded any attempts to make a more
+elaborate setting. Such difficulties no longer stand in the way, and
+where we now see a portrait Madonna, the artist has deliberately
+discarded all accessories in order better to idealize his theme.
+
+Take, for instance, the portrait Madonnas by Gabriel Max. Here are no
+details to divert the attention from motherhood, pure and simple. We
+do not ask of the subject whether she is of high or of low estate, a
+queen or a peasant. We have only to look into the earnest, loving face
+to read that here is a mother. There are two pictures of this sort,
+evidently studied from the same Bohemian models. In one, the mother
+looks down at her babe; in the other, directly at the spectator, with
+a singularly visionary expression. When weary with the senseless
+repetition of the set compositions of past ages, we turn with relief
+to a simple portrait mother like this, at once the most primitive and
+the most advanced form of Madonna art. It is only another case where
+the simplest is the best.
+
+
+
+
+CHAPTER II.
+
+THE MADONNA ENTHRONED.
+
+
+In every true home the mother is queen, enthroned in the hearts of her
+loving children. There is, therefore, a beautiful double significance,
+which we should always have in mind, in looking at the Madonna
+enthroned. According to the theological conception of the period in
+which it was first produced, the picture stands for the Virgin Mother
+as Queen of Heaven. Understood typically, it represents the exaltation
+of motherhood.
+
+In the history of art development, the enthroned Madonna begins where
+the portrait Madonna ends. We may date it from the thirteenth century,
+when Cimabue, of Florence, and Guido, of Siena, produced their famous
+pictures. Similar types had previously appeared in the mosaic
+decorations of churches, but now, for the first time, they were
+worthily set forth in panel pictures.
+
+The story of Cimabue's Madonna is one of the oft-told tales we like to
+hear repeated. How on a certain day, about 1270, Charles of Anjou was
+passing through Florence; how he honored the studio of Cimabue by a
+visit; how the Madonna was then first uncovered; how the people
+shouted so joyously that the street was thereafter named the Borgo dei
+Allegri; and how the great picture was finally borne in triumphal
+procession to the church of Santa Maria Novella,--all these are the
+scenes in the pretty drama. The late Sir Frederick Leighton has
+preserved for future centuries this story, already six hundred years
+old, in a charming pageant picture: "Cimabue's Madonna carried
+through the streets of Florence." This was the first work ever
+exhibited by the English artist, and was an important step in the
+career which ended in the presidency of the Royal Academy.
+
+Cimabue's Madonna still hangs in Santa Maria Novella, over the altar
+of the Ruccellai chapel, and thither many a pilgrim takes his way to
+honor the memory of the father of modern painting. The throne is a
+sort of carved armchair, very simple in form, but richly overlaid with
+gold; the surrounding background is filled with adoring angels. Here
+sits the Madonna, in stiff solemnity, holding her child on her lap. If
+we find it hard to admire her beauty, we must note the superiority of
+the picture to its predecessors.
+
+For the enthroned Madonna in a really attractive and beautiful form,
+we must pass at once to the period of full art development. In the
+interval, many variations upon the theme have been invented. The
+throne may be of any size, shape, or material; the composition may
+consist of any number of figures. The Madonna, seated or standing, is
+now the centre of an assembly of personages symmetrically grouped
+about her. There is little or no unity of action among them; each one
+is an independent figure. The guard of honor may be composed of
+saints, as in Montagna's Madonna, of the Brera, Milan; or again it is
+a company of angels, as in the Berlin Madonna, attributed to
+Botticelli, similar to which is the picture by Ghirlandajo in the
+Uffizi Gallery. Where saints are represented, each one is marked by
+some special emblem, the identification of which makes, in itself, an
+interesting study. St. Peter's key, St. Paul's sword, St. Catherine's
+wheel, and St. Barbara's tower soon become familiar symbols to those
+fond of this kind of lore.
+
+Among the idealized presences about the Virgin's throne may sometimes
+be seen the prosaic figure of the donor, whose munificence has made
+the picture possible. This is well illustrated in the famous Madonna
+of Victory in the Louvre, painted in commemoration of the Battle of
+Fornovo, where Mantegna represents Francesco Gonzaga, commander of the
+Venetian forces, kneeling at the Virgin's feet.
+
+A charming feature in many enthroned Madonnas is the group of cherubs
+below,--one, two, or the mystic three. They are not the exclusive
+possession of any single school of art; Bartolommeo and Andrea del
+Sarto of the Florentines, Francia of the Bolognese, and Bellini and
+Cima of the Venetians were particularly partial to them. The
+treatment in Northern Italy gives them a more definite purpose in the
+composition than does that of Florence, for here they are always
+musicians, playing on all sorts of instruments,--the violin, the
+mandolin, or the pipe.
+
+Bartolommeo was specially successful in the subject of the enthroned
+Madonna, having fine gifts of composition united with profound
+religious earnestness. The great picture in the Pitti gallery at
+Florence may serve as a typical example. Andrea del Sarto's
+_chef-d'oeuvre_--the Madonna di San Francesco (Uffizi)--may also be
+assigned to this class, although the arrangement is entirely novel.
+The Virgin, holding the babe in her arms, stands on a sort of
+pedestal, carved at the corners with a design of harpies, from which
+the picture is often known as the Madonna of the Harpies. The
+pedestal throne is also seen in two of Correggio's Dresden
+pictures, but here the Virgin is seated, with the child on her lap. An
+exceedingly simple throne Madonna is that of Luini, in the Brera at
+Milan, where the Virgin sits on a plain coping not at all high.
+
+[Illustration: PERUGINO.--MADONNA AND SAINTS.
+(DETAIL.)]
+
+A beautiful Madonna enthroned is by Perugino, in the Vatican Gallery
+at Rome; one of the artist's best works in power and vivacity of
+color. The throne is an architectural structure of elegant simplicity
+of design, apparently of carved and inlaid marble. The Virgin sits in
+quiet dignity, her face bent towards the bishops at her right, St.
+Costantius and St. Herculanus. On the other side stand the youthful
+St. Laurence and St. Louis of Toulouse. Although Perugino was an
+exceedingly prolific artist, he did not often choose this particular
+subject. On this account the picture is especially interesting, and
+also because it is the original model of well known works by two of
+the Umbrian painter's most illustrious pupils.
+
+Many, indeed, were the apprentices trained in the famous _bottega_ at
+Perugia, but, among them all, Raphael and Pinturicchio took the lead.
+These were the two who honored their master by repeating, with
+modifications of their own, the beautiful composition of the Vatican.
+Pinturicchio's picture is in the Church of St. Andrea, at Perugia. A
+charming feature, which he introduced, is a little St. John, standing
+at the foot of the throne. Raphael's picture is the so-called Ansidei
+Madonna, of the National Gallery, London, purchased by the English
+government, in 1885, for the fabulous price of L72,000. The
+composition is here reduced to its simplest possible form, with only
+one saint on each side,--St. Nicholas on the right, St. John the
+Baptist on the left. The Virgin and child give no attention to these
+personages, but are absorbed in a book which is open on the Mother's
+knee.
+
+Raphael had no great liking for this style of picture, which was
+rather too formal for his taste. It is noticeable that, in the few
+instances where he painted it, he took the suggestion, as here, from
+some previous work. Thus his Madonna of St. Anthony, also in the
+National Gallery (loaned by the King of Naples), was based upon an old
+picture by Bernardino di Mariotto, according to the strict orders of
+the nuns for whose convent it was a commission. The Baldacchino
+Madonna of the Pitti, at Florence, is closely akin to Bartolommeo's
+composition in the same gallery.
+
+Glancing, briefly, at these scattered examples, we learn that the
+enthroned Madonna belongs to every school of Italian art, and
+exhibits an astonishing variety of forms. Probably it was in the North
+of Italy that it flourished most. The Paduan School has its fine
+representation in Mantegna's picture, already referred to; the
+Brescian, in Moretto's Madonna of S. Clemente; the Veronese, in
+Girolamo dai Libri's splendid altar piece in San Giorgio Maggiore; the
+Bergamesque, in Lotto's Madonna of S. Bartolommeo. Above all, it was
+in Venice, the Queen City of the Adriatic, that the enthroned Madonna
+reached the greatest popularity: the spirit of the composition was
+peculiarly adapted to the Venetian love of pomp and ceremony.
+
+To understand Venetian art aright, we must distinguish the character
+of the earlier and later periods. With Vivarini, Bellini, and Cima,
+the Madonna in Trono was the expression of a devout religious feeling.
+With Titian, Tintoretto, and Veronese, it was merely one among many
+popular art subjects. Thus arose two different general types. The
+earlier Madonna was a somewhat cold type of beauty; the faultless
+regularity of her features and the imperturbable calm of her
+expression make her rather unapproachable; but she shows a strong,
+sweet purity of character, worthy of profound respect.
+
+One of Cima's most important works is the Madonna of this type in the
+Venice Academy. High on a marble throne, she sits under a pillared
+portico, behind which stretches a pleasant landscape. Three saints
+stand on each side,--an old man, a youth, and a maiden. On the steps
+sit two choristers playing the violin and mandolin.
+
+Palma's great altar-piece, at Vicenza, is another splendid enthroned
+Madonna. Attended by St. George and St. Lucy, and entertained by a
+musical angel seated at her feet, the Virgin supports her beautiful
+boy, as he gives his blessing.
+
+Bellini's enthroned Madonnas are known throughout the world. The
+picture by which he established his fame was one of this class,
+originally painted for a chapel in San Giobbe, but now hanging in the
+Venice Academy. Ruskin has pronounced it "one of the greatest pictures
+ever painted in Christendom in her central art power." It is a large
+composition, with three saints at each side, and three choristers
+below.
+
+The Frari Madonna is in a simpler vein, and consists of three
+compartments, the central one containing the Virgin's throne. The
+angioletti, on the steps, are probably the most popular of their
+charming class in Venice.
+
+[Illustration: GIOVANNI BELLINI.--MADONNA OF SAN
+ZACCARIA. (DETAIL.)]
+
+The San Zaccaria Madonna was painted when Bellini was over eighty
+years old, and has certain technical qualities surpassing any the
+artist had previously attained. The depth of light and shade is
+particularly remarkable; the colors rich and harmonious. The attendant
+saints are St. Lucy on the right, a pretty blonde girl, with St.
+Jerome beyond her, absorbed in his Bible; opposite, stand St.
+Catherine, pensively looking down, and St. Peter, in profound
+meditation. The entire picture, both in conception and execution, may
+be considered a representative example of the times.
+
+Following the Bellini school, and forming, as it were, a connecting
+link between the earlier and the later art, was Giorgione. Less than a
+score of existing works give witness to the rare spirit of this
+master, who was spared to earth only thirty-four years. These are of a
+quality to place him among the immortals. The enthroned Madonna is the
+subject of two, one in the Madrid Gallery, and another at
+Castel-Franco. They create an entirely distinct Madonna ideal,--a
+poetic being, who sits, with drooping head and dreamy eyes, as if
+seeing unspeakable visions.
+
+The Castel-Franco picture expresses the finest elements in Venetian
+character. Every other composition seems elaborate and artificial when
+compared with the simplicity of this. Other Madonnas seem almost
+coarse beside such delicacy. The Virgin's throne is of an unusual
+height,--a double plinth,--the upper step of which is somewhat above
+the heads of the attendant saints, Liberale and Francis. This simple,
+compositional device emphasizes the effect of her pensive expression.
+It is as if her high meditations set her apart from human
+companionship. There is, indeed, something almost pathetic in her
+isolation, but for the strength of character in her face. The color
+scheme is as simple and beautiful as the underlying conception. The
+Virgin's tunic is of green, and the mantle, falling from the right
+shoulder and lying across her lap, is red, with deep shadows in its
+large folds. The back of the seat is covered with a strip of red and
+gold embroidery.
+
+The later period of Venetian art is marked by a new ideal of the
+Virgin. She is now a magnificent creature of flesh and blood. Her face
+is proud and handsome; her figure large, well-proportioned, and
+somewhat voluptuous. No Bethlehem stable ever sheltered this haughty
+beauty; her home is in kings' palaces; she belongs distinctly to the
+realm of wealth and worldliness. She has never known sorrow, anxiety,
+or poverty; life has brought her nothing but pleasure and luxury. Her
+throne stands no longer in the sacred place of some inner sanctuary,
+where angel choristers make music. It is an elevated platform, at one
+side of the composition, as in Titian's Pesaro altar-piece, and
+Veronese's Madonna in the Venice Academy. This gives an opportunity
+for a display of elaborate draperies, such as we may see in Veronese's
+picture.
+
+The peculiar qualities of art in Verona and Venice are blended in
+Paolo Veronese. No artist ever enjoyed more the splendors of color, or
+combined them in more enchanting harmonies. Such gifts transform the
+commonest materials, and, though his Virgin is a very ordinary woman,
+she has undeniable charms. An oft-copied figure, in this picture, is
+that of the little St. John, a universal favorite among child lovers.
+
+[Illustration: VERONESE.--MADONNA AND SAINTS.]
+
+The reader must have remarked that, though the fundamental idea of
+the enthroned Madonna is that of queenship, the Virgin wears no crown
+in any of the pictures thus far cited; the crowned Madonna is not
+characteristic of Italian art. It is found occasionally in mosaics
+from the eighth to the eleventh centuries, and in some of the early
+votive pictures, but does not appear in the later period except in a
+few Venetian pictures by Giovanni da Murano and Carlo Crivelli. The
+same idea was often carried out by placing two hovering angels over
+the Virgin's head, holding the crown between them. Botticelli's
+Madonna of the Inkhorn is treated in this way.
+
+The crown is essentially Teutonic in origin and character. Turning to
+the representative art of Germany and Belgium, we find the Virgin
+almost invariably wearing a crown, whether she sits on a throne, or in
+a pastoral environment. No better example could be named than the
+celebrated Holbein Madonna, of Darmstadt, known chiefly through the
+copy in the Dresden Gallery. Here the imposing height of the Virgin is
+rendered still more impressive by a high, golden crown, richly
+embossed and edged with pearls. Beneath this her blond hair falls
+loosely over her beautiful neck, and gleams on the blue garment
+hanging over her shoulders. Strong and tender, this noble figure sums
+up the finest elements in the Madonna art of the North.
+
+A simple and lovely form for the Madonna's crown is the narrow golden
+fillet set with pearls, singly or in clusters. This is placed over the
+Virgin's brow just at the edge of the hair, which is otherwise
+unconfined. This is seen on Madonnas by Van Eyck (Frankfort), Duerer
+(woodcut of 1513), Memling (Bruges), Schongauer (Munich).
+
+[Illustration: QUENTIN MASSYS.--MADONNA AND
+CHILD.]
+
+In the enthroned Madonna by Quentin Massys, in the Berlin Gallery, we
+have many typical characteristics of Northern art. The throne itself
+is exceedingly rich, ornamented with agate pillars with embossed
+capitals of gold. The Virgin has the fine features and earnest, tender
+expression which recalls earlier Flemish painters. Her dress falls in
+rich, heavy folds upon the marble pavement. But, as with Van Eyck and
+Memling, Holbein and Schongauer, fine clothes do not conceal her
+girlish simplicity or her loving heart. A low table, spread with food,
+stands at the left,--a curious domestic element to introduce, and
+thoroughly Northern in realism.
+
+Considered as a symbol of the exaltation of motherhood, there is no
+reason why the throne should go out of fashion; but if it is to
+appear, it must be used intelligently, and with some adaptation to
+present modes of thought, not servilely imitated from the forms of a
+by-gone age. This is a fact too little appreciated by the artists of
+to-day. Many modern pictures could be cited--by Bouguereau, Ittenbach,
+and others--of enthroned Madonnas in which is adopted the form, but
+not the spirit, of the Italian Rennaissance. In such works, the
+setting is a mere affectation entirely out of taste. If we are to have
+a throne, let us have a Madonna who is a veritable queen.
+
+
+
+
+CHAPTER III.
+
+THE MADONNA IN THE SKY.
+
+(THE MADONNA IN GLORIA.)
+
+
+We have seen that the first Madonnas were painted against a background
+either of solid gold, or of cherub figures, and that the latter style
+of setting was continued in the early pictures of the enthroned
+Madonna. The effect was to idealize the subject, and carry it into the
+region of the heavenly. This was the germinal idea which grew into the
+"Madonna in Gloria."
+
+The glory was originally a sort of nimbus of a larger order,
+surrounding the entire figure, instead of merely the head. It was oval
+in shape, like the almond or mandorla.
+
+A picture of this class is the famous Madonna della Stella, of Fra
+Angelico. It is in a beautiful Gothic tabernacle, which is the sole
+ornament of a cell in San Marco, Florence. At every step in these
+sacred precincts, we meet some reminder of the Angelic Brother. How
+the gray walls blossomed, under his brush, into forms and colors of
+eternal beauty! After seeing the larger wall-paintings in corridors
+and refectory, this little gem seems to epitomize his choicest gifts.
+A rich frame, fit setting for the jewel, encloses an outer circle of
+adoring angels, and within, the central panel contains only the full
+length figure of the Virgin with her child, against a mandorla formed
+of golden rays running from centre to circumference. The Madonna is
+enveloped in a long, dark blue cloak, drawn around her head like a
+Byzantine veil. A single star gleams above her brow, from which is
+derived the title of the picture. She holds her child fondly, and he,
+with responsive affection, nestles against his mother, pressing his
+little face into her neck. Faithful to the standards of his
+predecessors, and untouched by the new spirit of naturalism all about
+him, the monk painter preserves, in his conception, the most sacred
+traditions of past ages, and yet unites with them an element of love
+and tenderness which appeals strongly to every human heart.
+
+[Illustration: FRA ANGELICO.--MADONNA DELLA STELLA.]
+
+It is but a step from this earlier form of the Madonna in Gloria to
+the more modern style of the Madonna in the Sky, where the field of
+vision is enlarged, and we see the Virgin and child raised above the
+surface of the earth. In some pictures, her elevation is very slight.
+There is a curious composition, by Andrea del Sarto (Berlin Gallery),
+where we are puzzled to know if the Madonna is enthroned or enskied.
+A flight of steps in the centre leads up as if to a throne, but above
+these the Virgin sits in a niche, on a bank of clouds.
+
+In Correggio's Madonna of St. Sebastian, in the Dresden Gallery, the
+Virgin seems to be descending from heaven to earth with her babe, and
+the surrounding clouds and cherubs rest literally upon the heads of
+the saints who are honored by the vision.
+
+In other pictures the dividing line between earth and heaven is much
+more strongly marked. We have a landscape below, then a stratum of
+intervening air, and, in the upper sky, the Madonna with her child.
+The lower part of the picture is occupied by a company of saints, to
+whom the heavenly vision is vouchsafed; or, in rare cases, by cherubs.
+The Virgin appears in a cloud of cherub heads, or accompanied by a few
+child-angels. There are a few pictures in which her mother, St.
+Anne, sits with her. Adoring seraphs sometimes attend, one on each
+side, or even sainted personages. All these variations are exemplified
+in the pictures which we are to consider.
+
+[Illustration: UMBRIAN SCHOOL.--GLORIFICATION OF THE
+VIRGIN.]
+
+The first has come down to us from the hand of some unknown Umbrian
+painter. In the National Gallery, London, where it now hangs, it was
+once attributed to Lo Spagna, but is now entered in the catalogue as
+nameless. It matters little whether or not we know the name of the
+master; he could ask no higher tribute to his talent than the
+universal admiration which his picture commands.
+
+In the foreground of a quiet Umbrian landscape is a marble balcony, on
+the railing of which sit two captivating little boy choristers. One
+roguish fellow pipes on a trumpet, while the other, his face
+tip-tilted to the heavenly vision, makes music on a small guitar.
+Above, on a cloud, sits the Virgin, with the sweet, mystic smile on
+her face, so characteristic of Umbrian art. She supports her babe with
+her right arm, and in her left hand carries a lily stalk. The child,
+standing on his mother's knee and clinging to her neck, turns his face
+out with sweet earnestness. In clouds at the side, tiny cherubs bear
+tapers, while others, floating above, hold a large crown just over her
+head.
+
+Although we cannot limit this style of picture to any special
+locality, it appears to have found much favor in the art of Northern
+Italy. In the Brescian school, Moretto was unusually fond of the
+subject. His treatment of the theme is somewhat heavy; there is little
+of the ethereal in his celestial vision, either in the type of
+womanhood or in the style of arrangement. In defiance of the law of
+gravitation, he poses his upper figures so as to form a solid pyramid,
+wide at the base, and tapering abruptly to the apex.
+
+[Illustration: MORETTO.--MADONNA IN GLORY.]
+
+In the glorified Madonna of St. John the Evangelist, Brescia, the
+pyramidal effect is accentuated by curtains draped back on either side
+of the upper part of the composition. In the Madonna of San Giorgio
+Maggiore, at Verona, we have a much more attractive picture. The
+"gloria" encompassing the vision is clearly defined, giving so strong
+an effect of the supernatural that we cease to judge the composition
+by ordinary standards of natural law. The Virgin's white veil flutters
+from her head as if caught by some heavenly breeze. Her cloak floats
+about her by the same mysterious force, held in graceful festoons by
+winged cherub heads.
+
+Below is a group of five virgin martyrs, with St. Cecilia in the
+centre, wearing a crown of roses; St. Lucia holds the awl, the
+instrument of her torture, looking down at St. Catherine, who leans
+against her terrible wheel; St. Agnes, on the other side, reads
+quietly from a book while she caresses her lamb, and St. Barbara
+stands behind her, with eyes lifted to the sky. They are all splendid
+young Amazons, recalling Moretto's fine St. Justina of the Vienna
+Gallery. There is no trace of ascetism in their strong, well-developed
+figures, and in their faces no suggestion of an unhealthy pietism.
+
+Moretto's ideals were an anticipation of the most advanced ideas of
+the modern science of physical culture. His Madonna and saints derive
+their beauty neither from over refinement on the one hand, nor from
+sensuous charms on the other, but from sane and harmonious
+self-development.
+
+The Berlin Gallery contains a third glorified Madonna by the same
+painter, treated as a Holy Family. St. Elizabeth sits beside the
+Virgin, who holds her own boy on her right side, while bending to
+embrace the little St. John with the left arm. So large a group is not
+appropriately treated in this way, yet the picture is so fine a work
+of art as to disarm criticism.
+
+Still another representative of the Brescian school must be considered
+in the person of Savoldo. Born of a noble family, and following
+painting as an amusement rather than as an actual profession, his
+works are rare, and one of the finest examples of his art is the
+Glorification of the Virgin, in the Brera Gallery, at Milan. The
+mandorla-shaped glory surrounds the Virgin's figure, studded with
+faintly discerned cherub heads. On either side, a musical angel is in
+adoration; four saints stand on the earth below. The entire conception
+is rendered with the utmost delicacy: the grace and beauty of the
+Madonna are of exactly the quality to make her appearance a beatific
+vision.
+
+From Brescia we turn to Verona, where we again find many pictures of
+the beautiful subject. There are, in the churches of Verona, at least
+three notable works, by Gianfrancesco Caroto, in this style. One is in
+Sant' Anastasia, another is in San Giorgio, and the third--the
+artist's best existing work--is in San Fermo Maggiore, and shows the
+Virgin's mother, St. Anne, seated with her in the clouds.
+
+Girolamo dai Libri was a few years younger than Caroto, and at one
+period was, to some extent, an imitator of the latter. Beginning as a
+miniaturist, he finally attained a high place among the Veronese
+artists of the first order. His characteristics can nowhere be seen to
+better advantage than in the Madonna of St. Andrew and St. Peter, in
+the Verona Gallery. The Virgin is in an oval glory, edged all around
+with small, fleecy clouds. She has a beautiful, matronly face, with
+abundant hair, smoothly brushed over her forehead. The two apostles,
+below, are fine, strong figures, full of virility.
+
+Morando, or Cavazzola, was, doubtless, the most gifted of the older
+school of Verona, possessing some of the best qualities of the later
+master, Paolo Veronese. We should not leave the school, therefore,
+without mentioning a remarkable contribution he added to this class of
+pictures in his latest altar-piece. Here the upper air is filled with
+a sacred company, the Virgin and child are attended by St. Francis and
+St. Anthony, and surrounded by seven allegorical figures to represent
+the cardinal virtues. Below are six saints, specially honored in the
+Franciscan Order. The picture is called the finest production of the
+school in the first quarter of the sixteenth century.
+
+In the Venetian school, Titian and Tintoretto both painted the subject
+of the Madonna in glory, but the pictures are not notable compared
+with many others from their hands.
+
+From the North of Italy we naturally turn next to the South, to
+inquire what Raphael was doing at the same period in Rome. Occupied by
+many great works under the papal patronage, he still found time for
+his favorite subject of the Madonna, painting some pictures in the
+styles already mastered, and two for the first time in the style of
+the Madonna in the sky.
+
+[Illustration: SPANISH SCHOOL.--MADONNA ON THE CRESCENT
+MOON.]
+
+The first was the Foligno Madonna, now in the Vatican Gallery. It was
+painted in 1511 for the pope's secretary, Sigismund Conti, as a
+thank-offering for having escaped the danger of a falling meteor at
+Foligno. No thoughtful observer can be slow to recognize the
+superiority of this composition over all others of its kind in point
+of unity. Here is no formal row of saints, each absorbed in his or her
+own reflections, apart from any common purpose. On the contrary, all
+unite in paying honor to the Queen of Heaven. Not less superior to his
+contemporaries was the painter's skill in arranging the figures of
+Mother and child with such grace of equilibrium that they seem to
+float in the upper air.
+
+In the Sistine Madonna, Raphael carried this form of composition to
+the highest perfection. So simple and apparently unstudied is its
+beauty, that we do not realize the masterliness of its art. We seem to
+be standing before an altar, or, better still, before an open window,
+from which the curtains have been drawn aside, allowing us to look
+directly into the heaven of heavens. A cloud of cherub faces fills
+the air, from the midst of which, and advancing towards us, is the
+Virgin with her child. The downward force of gravity is perfectly
+counterbalanced by the vital energy of her progress forward. There is
+here no uncomfortable sense, on the part of the spectator, that
+natural law is disregarded. While the seated Madonna in glory seems
+often in danger of falling to earth, this full-length figure in motion
+avoids any such solidity of effect.
+
+The figures on either side are also so posed as to arouse no surprise
+at their presence. We should have said beforehand that heavy
+pontifical robes would be absurdly incongruous in such a composition,
+but Raphael solves the problem so simply that few would suspect the
+difficulties. The final touch of beauty is added in the cherub heads
+below, recalling the naive charm of the similar figures in the
+Umbrian picture we have considered.
+
+[Illustration: BOUGUEREAU.--MADONNA OF THE ANGELS.]
+
+
+After the time of Raphael, a pretty form of Madonna in glory was
+occasionally painted, showing the Virgin with her babe sitting above
+the crescent moon. The conception appears more than once in the
+paintings of Albert Duerer, and later, artists of all schools adopted
+it. Sassoferrato's picture in the Vatican Gallery is a popular
+example. Tintoretto's, in Berlin, is not so well known. In the Dresden
+Gallery is a work, by an unknown Spanish painter of the seventeenth
+century, differing from the others in that the Virgin is standing, as
+in the oft-repeated Spanish pictures of the Immaculate Conception.
+
+It is of pictures like this that our poet Longfellow is speaking, when
+he thus apostrophizes the Virgin:
+
+               "Thou peerless queen of air,
+    As sandals to thy feet the silver moon dost wear."
+
+The enskied Madonna involves many technical difficulties of
+composition, and demands a high order of artistic imagination. It
+could hardly be called a frequent subject in the period of greatest
+artistic daring, and no modern painter has shown any adequate
+understanding of the subject, though there are not lacking those who
+have made the attempt. Bodenhausen, Defregger, Bouguereau, have all
+followed Raphael in representing the Queen of Heaven as a full-length
+figure in the sky; but their conception has not the dignity
+corresponding to the style of treatment.
+
+Impatient and dissatisfied with such modern art, we turn back to the
+old masters with new appreciation of their great gifts.
+
+
+
+
+CHAPTER IV.
+
+THE PASTORAL MADONNA.
+
+
+It was many centuries before art, at first devoted exclusively to
+figure painting, turned to the study of natural scenery. Thus it was
+that Madonna pictures, of various kinds, had long been established in
+popular favor before the idea of a landscape setting was introduced.
+We need not look for interesting pictures of this class before the
+latter part of the fifteenth century, and it was not until the
+sixteenth that the pastoral Madonna, in its highest form, was first
+produced. Even then there was no great number which show a really
+sympathetic love of nature.
+
+In the ideal pastoral, the landscape entirely fills the picture, and
+the figures are, as it were, an integral part of it. Such pictures are
+so rare that we write in golden letters the names of the few who have
+given us these treasures.
+
+Raphael's justly comes first in the list. His earliest Madonnas show
+his love of natural scenery, in the charming glimpses of Umbrian
+landscape, which form the background. These are treated, as Muentz
+points out, with marked "simplicity of outline and breadth of design."
+They are, however, but the beginning of the great things that were to
+follow. The young painter's sojourn in Florence witnessed a marvellous
+development of his powers. Here he was surrounded by the greatest
+artists of his time, and he was quick to absorb into himself something
+of excellence from them all. His fertility of production was amazing.
+In a period of four years (1504-1508), interrupted by visits to
+Perugia and Urbino, he produced about twenty Madonnas, in which we
+may trace the new influences affecting him.
+
+Leonardo da Vinci was, doubtless, his greatest inspiration, and it was
+from this master-student of nature that the young man learned, with
+new enthusiasm, the value of going directly to Nature herself. The
+fruit of this new study is a group of lovely pastoral Madonnas, which
+are entirely unique as Nature idyls. Three of these are among the
+world's great favorites. They are, the Belle Jardiniere (The Beautiful
+Gardener), of the Louvre Gallery, Paris; the Madonna in Gruenen (The
+Madonna in the Meadow), in the Belvedere Gallery, Vienna; and the
+Cardellino Madonna (The Madonna of the Goldfinch), of the Uffizi,
+Florence.
+
+We turn from one to another of these three beautiful pictures, always
+in doubt as to which is the greatest. Fortunately, it is a question
+which there is no occasion to decide, as every lover of art may be the
+happy possessor of all three, in that highest mode of possession
+attained by devoted study.
+
+In each one we have the typical Tuscan landscape, filling the whole
+picture with its tranquil beauty. The "glad green earth" blossoms with
+dainty flowers; the fair blue sky above is reflected in the placid
+surface of a lake. From its shores rise gently undulating hills, where
+towers show the signs of happy activity. In the foreground of this
+peaceful scene sits a beautiful woman with two charming children at
+her knee. They belong to the landscape as naturally as the trees and
+flowers; they partake of its tranquil, placid happiness.
+
+[Illustration: RAPHAEL.--MADONNA IN THE MEADOW.]
+
+Almost identical in general style of composition, the three pictures
+show many points of dissimilarity when we come to a closer study of
+the figures. Considered as a type of womanly beauty, the Belle
+Jardiniere is perhaps the most commonplace of the three Virgins, or,
+to put it negatively, the least attractive. She is distinctly of the
+peasant class, gentle, amiable, and entirely unassuming. The Madonna
+in the Meadow is a maturer woman, more dignified, more beautiful. The
+smooth braids of her hair are coiled about the head, accentuating its
+lovely outline. The falling mantle reveals the finely modelled
+shoulders. The Madonna of the Goldfinch is a still higher type of
+loveliness, uniting with gentle dignity a certain delicate, high-bred
+grace, which Raphael alone could impart. Her face is charmingly framed
+in the soft hair which falls modestly about it. One wonders if any
+modern _coiffeur_ could invent so many styles of hair dressing as does
+this gifted young painter of the sixteenth century.
+
+Turning from the mother to the children, we find the same general
+types repeated in the three pictures, but with some difference of
+_motif_. The Christ-child of the Belle Jardiniere is looking up fondly
+to his mother. In the Vienna picture he is eagerly interested in the
+cross which the little St. John gives him. In the Uffizi picture he is
+more serious, and strokes the goldfinch with an air of abstraction,
+meditating on the holy things his mother has been reading to him.
+
+The arrangement of the three figures is the same in all the pictures,
+and is so entirely simple that we forget the greatness of the art. The
+Virgin, dominating the composition, brings into unity the two smaller
+figures. This unity is somewhat less perfect in the Belle Jardiniere,
+because the little St. John is almost neglected in the intense
+absorption of mother and child in each other.
+
+Once again, in the later days at Rome, Raphael recurred to the
+pastoral Madonna type of this Florentine period, and painted the
+picture known as the Casa Alba Madonna. We have again the same smiling
+landscape and the same charming children, but a Virgin of an
+altogether new order. A turbaned Roman beauty of superb, Juno-like
+physique, she does not belong to the idyllic character of her
+surroundings. It is as if some brilliant exotic had been transplanted
+from her native haunts to quiet fields, where hitherto the modest lily
+had bloomed alone.
+
+As Raphael's first inspiration for the pastoral Madonna came from the
+influence of Leonardo da Vinci, it is of interest to compare his work
+with that of the great Lombard himself. Critics tell us that the
+Madonna pictures in which he came nearest to his model are the Madonna
+in the Meadow and the Holy Family of the Lamb. (Madrid.) These we may
+place beside the Madonna of the Rocks, which is the only entirely
+authentic Da Vinci Madonna which we have.
+
+It is only the skilled connoisseur who, in travelling from Paris to
+Vienna, and from Vienna to Madrid, can hold in memory the qualities of
+technique which link together the three pictures; but for general
+characteristics of composition, the black and white reproductions may
+suffice. Leonardo availed himself of his intimate knowledge of Nature
+to choose from her storehouse something which is unique rather than
+typical. The rock grotto doubtless has a real counterpart, but we must
+go far to find it. In the river, gleaming beyond, we see the painter's
+characteristic treatment of water, which Raphael was glad to adopt.
+The triangular arrangement of the figures, the relation of the Virgin
+to the children, the simple, childish beauty of the latter, and their
+attitude towards each other--all these points suggest the source of
+Raphael's similar conceptions. The Virgin's hair falls over her
+shoulders entirely unbound, in gentle, waving ripples.
+
+[Illustration: LEONARDO DA VINCI.--MADONNA OF THE
+ROCKS.]
+
+We do not need to be told, though the historian has taken pains to
+record it, that a feature of personal beauty by which Leonardo was
+always greatly pleased was "curled and waving hair." We see it in the
+first touch of his hand when, as a boy in the workshop of Verrochio,
+he painted the wavy-haired angel in his Master's Baptism; and here,
+again, in the Virgin, we find it the crowning element of her
+mysterious loveliness. We try in vain to penetrate the secret of her
+smile,--it is as evasive as it is enchanting. And herein lies the
+distinguishing difference between Leonardo and Raphael. The former is
+always mysterious and subtle; the latter is always frank and
+ingenuous. While both are true interpreters of nature, Leonardo
+reveals the rare and inexplicable, Raphael chooses the typical and
+familiar. Both are possessed of a strong sense of the harmony of
+nature with human life. The smile of the Virgin of the Rocks is a part
+of the mystery of her shadowy environment;[2] the serenity of the
+Madonna in the Meadow belongs to the atmosphere of the open fields.
+
+[Footnote 2: That the Leonardesque _smile_ requires a Leonardesque
+_setting_ is seen, I think, in the pictures by Da Vinci's imitators.
+The Madonna by Sodoma, recently added to the Brera Gallery at Milan,
+is an example in point. Here the inevitable smile of mystery seems
+meaningless in the sunny, open landscape.]
+
+Among others who were affected by the influence of Leonardo--and chief
+of the Lombards--was Luini. His pastoral Madonna has, however, little
+in common with the landscapes of his master, judging from the lovely
+example in the Brera. The group of figures is strikingly suggestive of
+Da Vinci, but the quiet, rural pasture in which the Virgin sits is
+Luini's own. In the distance is a thick clump of trees, finely drawn
+in stem and branch. At one side is a shepherd's hut with a flock of
+sheep grazing near. The child Jesus reaches from his mother's lap to
+play with the lamb which the little St. John has brought, a _motif_
+similar to Raphael's Madrid picture, and perhaps due, in both
+painters, to the example of Leonardo.
+
+It is said by the learned that during the period of the Renaissance
+the love of nature received an immense impulse from the revival of the
+Latin poets, and that this impulse was felt most in the large cities.
+In the pictures noted, we have seen its effect in Florentine and
+Lombard art; that it was also felt in isolated places, we may see in
+some of Correggio's work at Parma, at about the same time. Two, at
+least, of his Madonna pictures are as famous for their beautiful
+landscapes as for the rare grace and charm of their figures. These are
+the kneeling Madonna, of the Uffizi, and "La Zingarella," at Naples.
+Both show a perfect adaptation of the surroundings to the spirit of
+the scene. In the first it is morning, and the gladness of Nature
+reflects the Mother's rapturous joy in her awakening babe. A brilliant
+light floods the figures in the foreground and melts across the green
+slopes into the hazy distance of the sea-bound horizon. In the second
+it is twilight, and a calm stillness broods over all, as under the
+feathery palms the Mother bends, watchful, over her little one's
+slumbers. Such were the revelations of Nature to the country-bred
+painter from the little town of Correggio.
+
+Turning now to Venice for our last examples, we find that the love of
+natural scenery was remarkably strong in this city of water and sky,
+where the very absence of verdure may have created a homesick longing
+for the green fields. It was Venetian art which originated that form
+of pastoral Madonna known as the Santa Conversazione. This is usually
+a long, narrow picture, showing a group of sacred personages, against
+a landscape setting, centering about the Madonna and child. The
+composition has none of the formality of the enthroned Madonna. An
+underlying unity of purpose and action binds all the figures together
+in natural and harmonious relations.
+
+The acknowledged leader of this style of composition--the inventor
+indeed, according to many--was Palma Vecchio. It is curious that of a
+painter whose works are so widely admired, almost nothing is known.
+Even the traditions which once lent color to his life have been
+shattered by the ruthless hand of the modern investigator. The span of
+his life extended from 1480 to 1528. Thus he came at the beginning of
+the century made glorious by Titian, and contributed not a little in
+his own way to its glory.
+
+It is supposed that he studied under Giovanni Bellini, and at one time
+was a friend and colleague of Lorenzo Lotto. A child of the
+mountains--for he was born in Serinalta--he never entirely lost the
+influence of his early surroundings.
+
+To the last his figures are grave, vigorous, sometimes almost rude,
+partaking of the characteristics of the everlasting hills. Perhaps it
+was these traits which made the Santa Conversazione a favorite
+composition with him. He has an intense love of Nature in her most
+luxuriant mood.
+
+[Illustration: PALMA VECCHIO.--SANTA CONVERSAZIONE.]
+
+For a collection of Palma's pictures, we should choose at least four
+to represent his treatment of the Santa Conversazione: those at
+Naples, Dresden, Munich, and Vienna. The Naples picture is considered
+the most successful of Palma's large pictures of this kind, but it is
+not easy for the less critical observer to choose a favorite among the
+four. One general formula describes them all: a sunny landscape with
+hills clad in their greenest garb; a tree in the foreground, beneath
+which sits the Virgin, a comely, country-bred matron, who seems to
+have drawn her splendid vigor from the clear, bright air. On her lap
+she supports a sprightly little boy, who is the centre of attention.
+
+In the simpler compositions the Madonna is at the left, and at the
+right kneel or sit two saints. One is a handsome young rustic, unkempt
+and roughly clad, sometimes figuring as St. John the Baptist, and
+sometimes as St. Roch. With him is contrasted a beautiful young female
+saint, usually St. Catherine. Where the composition includes other
+figures, the Virgin is in the centre, with the attendant personages
+symmetrically grouped on either side. In the Vienna picture the two
+additional figures at the left are the aged St. Celestin and a fine
+St. Barbara.
+
+Of all schools of painting, the Venetian is the least translatable
+into black and white, so rich in colors is the palette which composed
+it. This is especially true of Palma, and to understand aright his
+Santa Conversazione, we must read into it the harmony of colors which
+it expresses, the chords of blue, red, brown, and green, the
+shimmering lights and brilliant atmosphere.
+
+[Illustration: FILIPPINO LIPPI.--MADONNA IN A ROSE
+GARDEN.]
+
+The subject of the Santa Conversazione should not be left without a
+brief reference to other Venetians, who added to the popularity of
+this charming style of picture. Berenson mentions seven by Palma's
+pupil, Bonifazio Veronese, and one by his friend, Lorenzo Lotto. Cima,
+Cariani, Paris Bordone, and last, but not least, the great Titian,[3]
+lent their gifts to the subject, so that we have abundant evidence of
+the Venetian love of natural scenery.
+
+It remains to consider one more form of the pastoral Madonna, that
+which represents the Virgin and child in "a garden inclosed," in
+allusion to the symbolism of Solomon's Song (4:12). The subject is
+found among the woodcuts of Albert Duerer, but I have never seen it in
+any German painting.
+
+[Footnote 3: See particularly Titian's works in the Louvre, of which
+the Vierge au Lapin is an especially charming pastoral.]
+
+In Italian art there are two famous pictures of this class: by
+Francia, in the Munich Gallery, and by Filippino Lippi (or so
+attributed), in the Pitti, at Florence. In both the _motif_ is the
+same: in the foreground, a square inclosure surrounded by a
+rose-hedge, with a hilly landscape in the distance; the Virgin
+kneeling before her child in the centre. Filippino Lippi's is one of
+those pictures whose beauty attracts crowds of admirers to the canvas.
+Copyists are kept busy, repeating the composition for eager
+purchasers, and it has made its way all over the world. The circle of
+graceful angels who, with the boy St. John, join the mother in adoring
+the Christ-child, is one of the chief attractions of the picture. It
+is a pretty conceit that one of these angels showers rose leaves upon
+the babe.
+
+The pastoral Madonna is the sort of picture which can never be
+outgrown. The charm of nature is as perennial as is the beauty of
+motherhood, and the two are always in harmony. Here, then, is a
+proper subject for modern Madonna art, a field which has scarcely
+been opened by the artists of our own day. Such pastoral Madonnas as
+have been painted within recent years are all more or less artificial
+in conception. Compared with the idyllic charm of the sixteenth
+century pictures, they seem like pretty scenes in a well-mounted
+opera. We are looking for better things.
+
+
+
+
+CHAPTER V.
+
+THE MADONNA IN A HOME ENVIRONMENT.
+
+
+A subject so sacred as the Madonna was long held in too great
+reverence to permit of any common or realistic treatment. The pastoral
+setting brought the mother and her babe into somewhat closer and more
+human relations than had before been deemed possible; but art was slow
+to presume any further upon this familiarity. The Madonna as a
+domestic subject, represented in the interior of her home, was
+hesitatingly adopted, and has been so rarely treated, even down to our
+own times, as to form but a small group of pictures in the great body
+of art.
+
+[Illustration: SCHONGAUER.--HOLY FAMILY.]
+
+The Northern painters naturally led the way. Peculiarly home-loving
+in their tastes, their ideal woman is the _hausfrau_, and it was with
+them no lowering of the Madonna's dignity to represent her in this
+capacity. A picture in the style of Quentin Massys hangs in the Munich
+Gallery, and shows a Flemish bedroom of the fifteenth century. At the
+left stands the bed, and on the right burns the fire, with a kettle
+hanging over it. The Virgin sits alone with her babe at her breast.
+
+More frequently a domestic scene of this sort includes other figures
+belonging to the Holy Family. A typical German example is the picture
+by Schongauer in the Belvedere Gallery at Vienna. The Virgin is seated
+in homely surroundings, intent upon a bunch of grapes which she holds
+in her hands, and which she has taken from a basket standing on the
+floor beside her. Long, waving hair falls over her shoulders; a snowy
+kerchief is folded primly in the neck of her dress; she is the
+impersonation of virgin modesty. Her baby boy stands on her lap,
+nestling against his mother; his eyes fixed on the fruit, his eager
+little face glowing with pleasure. Beyond are seen the cattle, which
+Joseph is feeding. He pauses at the door, a bundle of hay in his arms,
+to look in with fond pride at his young wife and her child.
+
+Schongauer's work belongs to the latter part of the fifteenth century,
+and there was nothing similar to it in Italy at the same period. It is
+true that Madonnas in domestic settings have been attributed to
+contemporaneous Italians, but they were probably by some Flemish hand.
+
+[Illustration: RAPHAEL.--MADONNA DELL' IMPANNATA.]
+
+Giulio Romano, a pupil of Raphael, was perhaps the first of the
+Italians to give any domestic touch to the subject of the Madonna and
+child. His Madonna della Catina of the Dresden Gallery is well known.
+It is so called from the basin in which the Christ-child stands while
+the little St. John pours in water from a pitcher for the bath.
+Another picture by the same artist shows the Madonna seated with her
+child in the interior of a bedchamber. This was one of the
+"discoveries" of the late Senator Giovanni Morelli, the critic, and is
+in a private collection in Dresden.
+
+To Giulio Romano also, according to recent criticism, is due the
+domestic Madonna known as the "Impannata," and usually attributed to
+Raphael. It is probable that both artists had a hand in it, the master
+in the arrangement of the composition, the pupil in its execution. A
+bed at one side is concealed by a green curtain. In the rear is the
+cloth-covered window which gives the picture its name. Elizabeth and
+Mary Magdalene have brought home the child, who springs to his
+mother's arms, smiling back brightly at his friends. One other Madonna
+from Raphael's brush (the Orleans) has an interior setting, but the
+domestic environment here is undoubtedly the work of some Flemish
+painter of later date.
+
+By the seventeenth century, the Holy Family in a home environment can
+be found somewhat more often in various localities. By the French
+painter Mignard there is a well-known picture in the Louvre called La
+Vierge a la Grappe. By F. Barocci of Urbino there is an example in the
+National Gallery known as the Madonna del Gatto, in which the child
+holds a bird out of the reach of a cat. A similar _motif_, certainly
+not a pleasant one, is seen in Murillo's Holy Family of the Bird, in
+Madrid. By Salimbeni, in the Pitti, is a Holy Family in an interior,
+showing the boy Jesus and his cousin St. John playing with puppies.
+
+Rembrandt's domestic Madonna pictures, equally homely as to
+environment, are by no means scenes of hilarity, but rather of frugal
+contentment. Two similar works bear the title of Le Menage du
+Menuisier--the Carpenter's Home. In both, the scene is the interior of
+a common room devoted to work and household purposes. Joseph is seen
+in the rear at his bench, while the central figures are the mother and
+child.
+
+In the Louvre picture, the Virgin's mother is present, caressing her
+grandchild, who is held at his mother's breast. The composition at St.
+Petersburg (Hermitage Gallery) is simpler, and shows the Virgin
+contemplating her babe as he lies asleep in the cradle. Another
+well-known picture by Rembrandt is in the Munich Gallery, where again
+we have signs of the carpenter's toil, but where the laborer has
+stopped for a moment to peep at the babe, who has gone off to
+dreamland at his mother's breast and now sleeps sweetly in her lap.
+Let those who think such pictures too homely for a sacred theme
+compare them with the simplicity of the Gospels.
+
+
+
+
+PART II.
+
+MADONNAS CLASSED ACCORDING TO THEIR SIGNIFICANCE AS TYPES OF
+MOTHERHOOD.
+
+
+
+
+CHAPTER VI.
+
+THE MADONNA OF LOVE.
+
+(THE MATER AMABILIS.)
+
+
+Undoubtedly the most popular of all Madonna subjects--certainly the
+most easily understood--is the Mater Amabilis. The mother's mood may
+be read at a glance: she is showing in one of a thousand tender ways
+her motherly affection for her child. She clasps him in her arms,
+holding him to her breast, pressing her face to his, kissing him,
+caressing him, or playing with him. Love is written in every line of
+her face; love is the key-note of the picture.
+
+The style of composition best adapted to such a theme is manifestly
+the simplest. The more formal types of the enthroned and glorified
+Madonnas are the least suitable for the display of maternal affection,
+while the portrait Madonna, and the Madonna in landscape or domestic
+scenes, are readily conceived as the Mater Amabilis. Nevertheless,
+these distinctions have not by any means been rigidly regarded in art.
+This is manifest in some of the illustrations in Part I., as the
+Enthroned Madonna, by Quentin Massys, where the mother kisses her
+child, and Angelico's Madonna in Glory, where she holds him to her
+cheek.
+
+Gathering our examples from so many methods of composition, we are in
+the midst of a multitude of pictures which no man can number, and
+which set forth every conceivable phase of motherliness.
+
+Let us make Raphael our starting-point. From the same master whose
+influence led him to the study of external nature, he learned also
+the study of human nature. To the interpretation of mother-love he
+brought all the fresh ardor of youth, and a sunny temperament which
+saw only joy in the face of Nature. One after another of the series of
+his Florentine pictures gives us a new glimpse of the loving relation
+between mother and child.
+
+The Belle Jardiniere gazes into her boy's face in fond absorption. The
+Tempi Madonna holds him to her heart, pressing her lips to his soft
+cheek. In the Orleans and Colonna pictures she smiles indulgently into
+his eyes as he lies across her lap, plucking at the bosom of her
+dress. Other pictures show the two eagerly reading together from the
+Book of Wisdom (The Conestabile and Ansidei Madonnas).
+
+The painter's later work evinces a growing maturity of thought. In the
+Holy Family of Francis I., how strong and tender is the mother's
+attitude, as she stoops to lift her child from his cradle; in the
+Chair Madonna, how protecting is the capacious embrace with which she
+gathers him to herself in brooding love. No technical artistic
+education is necessary for the appreciation of such pictures. All who
+have known a mother's love look and understand, and look again and are
+satisfied.
+
+Correggio touches the heart in much the same way; he, too, saw the
+world through rose-colored glasses. His interpretation of life is full
+of buoyant enjoyment. Beside the tranquil joy of Raphael's ideals, his
+figures express a tumultuous gladness, an overflowing gayety. This is
+the more curious because of the singular melancholy which is
+attributed to him. The outer circumstances of his life moved in a
+quiet groove which was almost humdrum. He passed his days in
+comparative obscurity at Parma, far from the great art influences of
+his time. But isolation seemed the better to develop his rare
+individuality. He was the architect of his own fortunes, and wrought
+out independently a style peculiar to himself. His most famous Madonna
+pictures are large compositions, crowded with figures of extravagant
+attitudes and expression. The fame of these more pretentious works
+rests not so much upon their inner significance as upon their splendid
+technique. They are unsurpassed for masterly handling of color, and
+for triumphs of chiaroscuro.
+
+There are better qualities of sentiment in the smaller pictures, where
+the mother is alone with her child. It is here that we find something
+worthy to compare with Raphael. There are several of these, produced
+in rapid succession during the period when the artist was engaged upon
+the frescoes of S. Giovanni (Parma), and soon after marriage had
+opened his heart to sweet, domestic influences.
+
+The first was the Uffizi picture, so widely known and loved. The
+mother has gathered up her mantle so that it covers her head and drops
+at one side on a step, forming a soft, blue cushion for the babe. Here
+the little darling lies, looking up into his mother's face. Kneeling
+on the step below, she bends over him, with her hands playfully
+outstretched, in a transport of maternal affection.
+
+Following this came the picture now in the National Gallery, called
+the Madonna della Cesta, from the basket that lies on the ground. It
+is a domestic scene in the outer air: the mother is dressing her babe,
+and smilingly arrests his hand, which, on a sudden impulse, he has
+stretched towards some coveted object. The same face is almost exactly
+repeated in the Madonna of the Hermitage Gallery (St. Petersburg),
+who offers her breast to her boy, at that moment turning about to
+receive some fruit presented by a child angel. There are two
+duplicates of this picture in other galleries.
+
+The Zingarella (the Gypsy) is so called from the gypsy turban worn by
+the Madonna. The mother, supposed to be painted from the artist's
+wife, sits with the child asleep on her lap. With motherly tenderness
+she bends so closely over him that her forehead touches his little
+head. It is unfortunate that this beautiful work is not better known.
+It is in the Naples Gallery.
+
+A comparison of these pictures discloses a remarkable variety in
+action and grouping. On the other hand, the Madonnas are quite similar
+in general type. With the exception of the Zingarella, who is the most
+motherly, they are all in a playful mood. The same playfulness, but
+of a more sweet and motherly kind, lights the face of the Madonna
+della Scala. The composition is somewhat in the portrait style,
+showing the mother in half length, seated under a sort of canopy. The
+babe clings closely to her neck, turning about at the spectator with a
+glance half shy and half mischievous. His coyness awakens a smile of
+tender amusement in the gentle, young face above him.
+
+The picture has an interesting history. It was originally painted in
+fresco over the eastern gate of Parma, where Vasari saw and admired
+it. In after years, the wall which it decorated was incorporated into
+a small new church, of which it formed the rear wall. To accommodate
+the high level of the Madonna, the building was somewhat elevated,
+and, being entered by a flight of steps, was known as S. Maria della
+Scala (of the staircase). The name attached itself to the picture
+even after the church was destroyed (in 1812), and the fresco
+removed to the town gallery. The marks of defacement which it bears
+are due to the votive offerings which were formerly fastened upon
+it,--among them, a silver crown worn by the Madonna as late as the
+eighteenth century. Though such scars injure its artistic beauty, they
+add not a little to the romantic interest which invests it.
+
+[Illustration: CORREGGIO.--MADONNA DELLA SCALA.]
+
+Beside such names as Raphael and Correggio, history furnishes but one
+other worthy of comparison for the portrayal of the Mater Amabilis--it
+is Titian. His Madonna is by no means uniformly motherly. There are
+times when we look in vain for any softening of her aristocratic
+features; when her stately dignity seems quite incompatible with
+demonstrativeness.[4] But when love melts her heart how gracious is
+her unbending, how winning her smile! Once she goes so far as to play
+in the fields with her little boy, quieting a rabbit with one hand for
+him to admire. (La Vierge au Lapin, Louvre.) In other pictures she
+holds him lying across her lap, smiling thoughtfully upon him. Such an
+one is the Madonna with Sts. Ulfo and Brigida, in the Madrid Gallery.
+The child is taking the flowers St. Brigida offers him, and his mother
+looks down with the pleased expression of fond pride. Again, when her
+babe holds his two little hands full of the roses his cousin St. John
+has brought him, she smiles gently at the eagerness of the two
+children. (Uffizi Gallery.)
+
+[Footnote 4: See the Madonna of the Cherries in the Belvedere at
+Vienna, and the Madonna and Saints in the Dresden Gallery.]
+
+[Illustration: TITIAN.--MADONNA AND SAINTS.
+(DETAIL.)]
+
+Another similar composition reveals a still sweeter intimacy between
+mother and son. The babe stretches out his hand coaxingly towards his
+mother's breast, but she draws her veil about her, gently denying
+his appeal. A more beautiful mother, or a more bewitching babe, it
+were hard to find. Three fine half-length figures of saints complete
+this composition, each of great interest and individuality, but not
+necessary to the unity of action--the Madonna alone making a complete
+picture. There are two copies of this work, one in the Belvedere at
+Vienna, and one in the Louvre at Paris.
+
+The _motif_ of this picture is not unique in art, as will have been
+remarked in passing. The first duty of maternity, and one of its
+purest joys, is to sustain the newborn life at the mother's breast. A
+coarse interpretation of the subject desecrates a holy shrine, while a
+delicate rendering, such as Raphael's or Titian's, invests it with a
+new beauty. Other pictures of this class should be mentioned in the
+same connection. There is one in the Hermitage Gallery at St.
+Petersburg, attributed by late critics to the little-known painter,
+Bernardino de' Conti. The Madonna's face, her hair drawn smoothly over
+her temples, has a beautiful matronliness. Still another is the
+Madonna of the Green Cushion, by Solario, in the Louvre. Here the babe
+lies on a cushion before his mother, who bends over him ecstatically,
+her fair young face aglow with maternal love as she sees his
+contentment.
+
+We have noticed that in one of Corregio's pictures the babe lies
+asleep on his mother's lap. It is interesting to trace this pretty
+_motif_ through other works of art. No phase of motherhood is more
+touching than the watchful care which guards the child while he
+sleeps; nor is infancy ever more appealing than in peaceful and
+innocent slumber. Mrs. Browning understood this well, when she wrote
+her beautiful poem interpreting the thoughts of "the Virgin Mary to
+the Child Jesus." Hopes and fears, joy and pity, are alternately
+stirred in the heart of the watcher, as she bends over the tiny face,
+scanning every change that flits across it. Each verse suggests a
+subject for a picture.
+
+We should naturally expect that Raphael would not overlook so
+beautiful a theme as the mother watching her sleeping child. Nor are
+we disappointed. The Madonna of the Diadem, in the Louvre, belongs to
+this class of pictures. Like the pastoral Madonnas of the Florentine
+period, it includes the figure of the little St. John, to whom, in
+this instance, the proud mother is showing her babe, daintily lifting
+the veil which covers his face.
+
+The seventeenth century produced many pictures of this class; among
+them, a beautiful work by Guido Reni, in Rome, deserves mention,
+being executed with greater care than was usual with him. Sassoferrato
+and Carlo Dolce frequently painted the subject. Their Madonnas often
+seem affected, not to say sentimental, after the simpler and nobler
+types of the earlier period. But nowhere is their peculiar sweetness
+more appropriate than beside a sleeping babe. The Corsini picture by
+Carlo Dolce is an exquisite nursery scene. Its popularity depends
+more, perhaps, upon the babe than the mother. Like Lady Isobel's child
+in another poem of motherhood by Mrs. Browning, he sleeps--
+
+    "Fast, warm, as if its mother's smile,
+    Laden with love's dewy weight,
+    And red as rose of Harpocrate,
+    Dropt upon its eyelids, pressed
+    Lashes to cheek in a sealed rest."
+
+In Northern Madonna art, the Mater Amabilis is the preeminent subject.
+This fact is due partly to the German theological tendency to
+subordinate the mother to her divine Son, but more especially to the
+characteristic domesticity of Teutonic peoples. From Van Eyck and
+Schongauer, through Duerer and Holbein, down to Rembrandt and Rubens,
+we trace this strongly marked predilection in every style of
+composition, regardless of proprieties. Van Eyck does not hesitate to
+occupy his richly dressed enthroned Madonna at Frankfort with giving
+her breast to her babe, and Duerer portrays the same maternal duties in
+the Virgin on the Crescent Moon. Holbein's Meyer Madonna, splendid
+with her jewelled crown, is not less motherly than Schongauer's young
+Virgin sitting in a rude stable.
+
+Rembrandt in humble Dutch interiors, Rubens in numerous Holy Families
+modelled upon the Flemish life about him always conceive of the
+Virgin Mother as delighting in her maternal cares. As has been said of
+Duerer's Madonna,--and the description applies equally well to many
+others in the North,--"She suckles her son with a calm feeling of
+happiness; she gazes upon him with admiration as he lies upon her lap;
+she caresses him and presses him to her bosom without a thought
+whether it is becoming to her, or whether she is being admired."
+
+[Illustration: DUeRER.--MADONNA AND CHILD.]
+
+This entire absence of posing on the part of the German Virgin is one
+of the most admirable elements in this art. This characteristic is
+perfectly illustrated in Duerer's portrait Madonna of the Belvedere
+Gallery, at Vienna. This is an excellent specimen of the master, who,
+alone of the Germans, is considered the peer of his great Italian
+contemporaries. Frankly admired both by Titian and Raphael, he has in
+common with them the supreme gift of seeing and reproducing natural
+human affections. His work, however, is as thoroughly German as theirs
+is Italian. The Madonna of this picture has the round, maidenly face
+of the typical German ideal. A transparent veil droops over the
+flowing hair, covered by a blue drapery above. The mother holds her
+child high in her arms, bending her face over him. The babe is a
+beautiful little fellow, full of vivacity. He holds up a pear
+gleefully, to meet his mother's smile. The picture is painted with
+great delicacy of finish.
+
+The Mater Amabilis is the subject _par excellence_ of modern Madonna
+art. Carrying on its surface so much beauty and significance, it is
+naturally attractive to all figure painters. While other Madonna
+subjects are too often beyond the comprehension of either the artist
+or his patron, this falls within the range of both. The shop windows
+are full of pretty pictures of this kind, in all styles of treatment.
+
+There are the portrait Madonnas by Gabriel Max, already mentioned, and
+pastoral Madonnas by Bouguereau, by Carl Mueller, by N. Barabino, and
+by Dagnan-Bouveret. Others carry the subject into the more formal
+compositions of the enthroned and enskied Madonnas, being, as we have
+seen, not without illustrious predecessors among the old masters. Of
+these we have Guay's Mater Amabilis, where the mother leans from her
+throne to support her child, playing on the step below with his
+cousin, St. John; and Mary L. Macomber's picture, where the enthroned
+Madonna folds her babe in her protecting arms, as if to shield him
+from impending evil.
+
+[Illustration: BODENHAUSEN.--MADONNA AND CHILD.]
+
+By Bodenhausen we have the extremely popular Mater Amabilis in Gloria,
+where a girlish young mother, her long hair streaming about her,
+stands in upper air, poised above the great ball of the earth, holding
+her sweet babe to her heart.
+
+Pictures like these constantly reiterate the story of a mother's
+love--an old, old story, which begins again with every new birth.
+
+
+
+
+CHAPTER VII.
+
+THE MADONNA IN ADORATION.
+
+(THE MADRE PIA.)
+
+
+The first tender joys of a mother's love are strangely mingled with
+awe. Her babe is a precious gift of God, which she receives into
+trembling hands. A new sense of responsibility presses upon her with
+almost overwhelming force. Hers is the highest honor given unto woman;
+she accepts it with solemn joy, deeming herself all too unworthy.
+
+This spirit of humility has been idealized in art, in the form of
+Madonna known as the Madre Pia. It represents the Virgin Mary adoring
+her son. Sometimes she kneels before him, sometimes she sits with
+clasped hands, holding him in her lap. Whatever the variation in
+attitude, the thought is the same: it is an expression of that higher,
+finer aspect of motherhood which regards infancy as an object not only
+of love, but of reverent humility. It is a recognition of the great
+mystery of life which invests even the helpless babe with a dignity
+commanding respect.
+
+A picture with so serious an intention can never be widely understood.
+The meaning is too subtile for the casual observer. An outgrowth of
+mediaeval pietism, it was superseded by more popular subjects, and has
+never since been revived. The subject had its origin as an idealized
+nativity, set in pastoral surroundings which suggest the Bethlehem
+manger. Theologically it represented the Virgin as the first
+worshipper of her divine Son. But though the sacred mystery of Mary's
+experience sets her forever apart as "blessed among women," she is the
+type of true motherhood in all generations.
+
+The Madonna in Adoration is, properly speaking, a fifteenth century
+subject. It belongs primarily to that most mystic of all schools of
+art, the Umbrian, centering in the town of Perugia. Nowhere else was
+painting so distinctly an adjunct of religious services, chiefly
+designed to aid the worshipper in prayer and contemplation.
+
+As an exponent of the typical qualities of the Perugian school stands
+the artist who is known by its name, Perugino. His favorite subject is
+the Madre Pia, and his best picture of the kind is the Madonna of the
+National Gallery. Having once seen her here, the traveller recognizes
+her again and again in other galleries, in the many replicas of this
+charming composition. The Madonna kneels in the foreground, adoring
+with folded hands the child, who is supported in a sitting posture on
+the ground, by a guardian angel. The Virgin's face is full of fervent
+and exalted emotion.
+
+Perugino had no direct imitator of his Madre Pia, but his Bolognese
+admirer Francia treated the subject in a way that readily suggests the
+source of his inspiration. His Madonna of the Rose Garden in Munich
+instantly recalls Perugino. The artist has, however, chosen a novel
+_motif_ in representing the moment when the Virgin is just sinking on
+her knees, as if overcome by emotion.
+
+Between the Umbrian school and the Florentine, a reciprocal influence
+was exerted. If the latter taught the former many secrets of
+composition and technical execution, the Umbrians in turn imparted
+something of their mysticism to their more matter-of-fact neighbors.
+While the Umbrian school of the fifteenth century was occupied with
+the Madre Pia, Florence also was devoted to the same subject.
+Sculpture led the race, and in the front ranks was Luca della Robbia,
+founder of the school which bears his family name.
+
+Beginning as a worker in marble, his inventive genius presently
+wrought out a style of sculpture peculiarly his own. This was the
+enamelled terra-cotta bas-relief showing pure white figures against a
+background of pale blue. They were made chiefly in circular
+medallions, lunettes, and tabernacles, and were scattered throughout
+the churches and homes of Tuscany.
+
+Associated with Luca in his work was his nephew Andrea, who, in turn,
+had three sculptor sons, Giovanni, Girolamo, and Luca II. So great was
+the demand for their ware that the Della Robbia studios became a
+veritable manufactory from which hundreds of pieces went forth. Of
+these, a goodly number represent the Madonna in Adoration. While it is
+difficult to trace every one of these with absolute correctness to its
+individual author, the majority seem to be by Andrea, who, as it would
+appear, had a special fondness for the subject. It must be
+acknowledged that the nephew is inferior to his uncle in his ideal of
+the Virgin, less original than Luca in his conceptions, and less noble
+in his results. His work, notwithstanding, has many charming
+qualities, which are specially appropriate to the character of the
+particular subject under consideration. There is, indeed, a peculiar
+value in low relief, for purposes of idealization. It has an effect of
+spiritualizing the material, and giving the figures an ethereal
+appearance. Andrea profited by this advantage, and, in addition,
+showed great delicacy of judgment in subduing curves and retaining
+simplicity in his lines.
+
+We may see all this in the popular tabernacle which he designed, and
+of which there are at least five, and probably more, copies. The
+Madonna kneels prayerfully before her babe, who lies on the ground by
+some lily stalks. In the sky above are two cherubim and hands holding
+a crown. There is a girlish grace in the kneeling figure, and a rare
+sweetness in the face, entirely free from sentimentality. A severe
+simplicity of drapery, and the absence of all unnecessary accessories,
+are points of excellence worth noting. The composition was sometimes
+varied by the introduction of different figures in the sky, other
+cherubim, or the head of the Almighty, with the Dove. Only second in
+popularity to this was Andrea's circular medallion of the Nativity,
+with the Virgin and St. John in adoration. There are two copies of
+this in the Florentine Academy, one in the Louvre, and one in Berlin.
+The effect of crowding so many figures into a small compass is not so
+pleasing as the classical simplicity of the former composition.
+
+[Illustration: ANDREA DELLA ROBBIA.--MADONNA IN
+ADORATION.]
+
+Contemporary with the Della Robbias was another Florentine family of
+artists equally numerous. Of the five Rossellini, Antonio is of
+greatest interest to us, as a sculptor who had some qualities in
+common with the famous porcelain workers. Like them, he had a special
+gift for the Madonna in Adoration. We can see this subject in his best
+style of treatment, in the beautiful Nativity in San Miniato, "which
+may be regarded as one of the most charming productions of the best
+period of Tuscan art."[5] The tourist will consider it a rich reward
+for his climb to the quaint old church on the ramparts overhanging the
+Arno. If perchance his wanderings lead him, on another occasion, to
+the hill rising on the opposite side, he will find, in the Cathedral
+of Fiesole, a fitting companion in the altar-piece by Mino da Fiesole.
+This is a decidedly unique rendering of the Madre Pia. The Virgin
+kneels in a niche, facing the spectator, adoring the Christ-child, who
+sits on the steps below her, turning to the little Baptist, who kneels
+at one side on a still lower step.
+
+[Footnote 5: C.C. Perkins, in Tuscan Sculptors.]
+
+[Illustration: LORENZO DI CREDI.--NATIVITY.]
+
+Passing from the sculpture of Florence to its painting, it is fitting
+that we mention first of all the friend and fellow-pupil of the
+Umbrian Perugino, Lorenzo di Credi. The two had much in common.
+Trained together in the workshop of the sculptor Verrocchio, in those
+days of intense religious stress, they both became followers of the
+prophet-prior of San Marco, Savonarola. Their religious earnestness
+naturally found expression in the beautiful subject of the Madre Pia.
+The Florentine artist, though not less devout than his friend,
+introduces into his work an element of joy, characteristic of his
+surroundings, and more attractive than the somewhat melancholy types
+of Umbria. His Adoration, in the Uffizi, is an admirable example of
+his best work. Following the fashion made popular by the Della
+Robbias, the artist chose for his composition the round picture, or
+_tondo_. By this elimination of unnecessary corners, the attention
+centres in the beautiful figure of the Virgin, which occupies a large
+portion of the circle. In exquisite keeping with the modest loveliness
+of her face, a delicate, transparent veil is knotted over her smooth
+hair, and falls over the round curves of her neck. In expression and
+attitude she is the perfect impersonation of the spirit of humility,
+joyfully submissive to her high calling, reverently acknowledging her
+unworthiness.
+
+This picture may be taken as a typical example of the subject in
+Florentine painting. Lorenzo himself repeated the composition many
+times, and numerous other works could be mentioned, strikingly similar
+in treatment, by Ghirlandajo, in the Florence Academy; by Signorelli,
+in the National Gallery; by Albertinelli, in the Pitti; by Filippo
+Lippi, in the Berlin Gallery; by Filippino Lippi, in the Pitti; and so
+on through the list.
+
+In many cases the subject seems to have been chosen, not so much from
+any devotional spirit on the part of the painter, as from force of
+imitation of the prevailing Florentine fashion. This is especially
+true in the case of Filippo Lippi, who does not bear the best of
+reputations. Although a brother in the Carmelite monastery, his love
+of worldly pleasures often led him astray, if we are to believe the
+gossip of the old annalists. We may allow much for the exaggerations
+of scandal, but still be forced to admit that his candid realism is
+plain evidence of a closer study of nature than of theology.
+
+Browning has given us a fine analysis of his character in the poem
+bearing his name, "Fra Lippo Lippi." The artist monk, caught in the
+streets of the city on his return from some midnight revel, explains
+his constant quarrel with the rules of art laid down by ecclesiastical
+authorities. They insist that his business is "to the souls of men,"
+and that it is "quite from the mark of painting" to make "faces, arms,
+legs, and bodies like the true." On his part, he claims that it will
+not help the interpretation of soul, by painting body ill. An intense
+lover of every beautiful line and color in God's world, he believes
+that these things are given us to be thankful for, not to pass over or
+despise. Obliged to devote himself to a class of subjects with which
+he had little sympathy, he compromised with his critics by adopting
+the traditional forms of composition, and treating them after the
+manner of _genre_ painters, in types drawn from the ordinary life
+about him. The kneeling Madre Pia he painted three times: two of the
+pictures are in the Florence Academy, and the third and best is in the
+Berlin Gallery.
+
+[Illustration: FILIPPO LIPPI.--MADONNA IN ADORATION.]
+
+In the Madonna of the Uffizi, he broke away somewhat from tradition,
+and rendered quite a new version of the subject. The Virgin is seated
+with folded hands, adoring her child, who is held up before her by two
+boy angels. His type of childhood is by no means pretty, though
+altogether natural. The Virgin cannot be called either intellectual or
+spiritual, but "where," as a noted critic has asked, "can we find a
+face more winsome and appealing?" Certainly she is a lovely woman, and
+
+    "If you get simple beauty and naught else,
+    That's somewhat: and you'll find the soul you have missed
+    Within yourself, when you return him thanks."
+
+The idea of the seated Madre Pia, comparatively rare in Florentine
+art, is quite frequent in northern Italy. Sometimes the setting is a
+landscape, in the foreground of which the Madonna sits adoring the
+babe lying on her lap. Examples are by Basaiti (Paduan), in the
+National Gallery, and by a painter of Titian's school, in Berlin. Much
+more common is the enthroned Madonna in Adoration, and for this we
+may turn to the pictures of the Vivarini, Bartolommeo and Luigi, or
+Alvise. These men were of Muranese origin, and in the very beginning
+of Venetian art-history were at the head of their profession, until
+finally eclipsed by the rival family of the Bellini. Among their
+works, we find by each one at least three pictures of the type
+described. As the most worthy of description, we may select the
+altar-piece by Luigi, in the Church of the Redentore. As it is one of
+the most popular Madonnas in Venice, no collection is complete without
+it. A green curtain forms the background, against which the plain
+marble throne-chair is brought into relief. The Virgin sits wrapt in
+her own thoughts, an impersonation of tranquil dignity. A heavy wimple
+falls low over her forehead, entirely concealing her hair, and with
+its severe simplicity accentuating the chaste beauty of her face.
+Two fascinating little cherubs sit on a parapet in front, playing on
+lutes; and, lulled by their gentle music, the sweet babe sleeps on,
+serenely unconscious of it all.
+
+[Illustration: LUIGI VIVARINI.--MADONNA AND CHILD.]
+
+Before such pictures as this, gleaming in the dim light of quiet
+chapels, many a heart, before unbelieving, may learn a new reverence
+for the mysterious sanctity of motherhood.
+
+
+
+
+CHAPTER VIII.
+
+THE MADONNA AS WITNESS.
+
+
+In proportion to a mother's ideals and ambitions for her child does
+her love take on a higher and purer aspect. The noblest mother is the
+most unselfish; she regards her child as a sacred charge, only
+temporarily committed to her keeping. Her care is to nurture and train
+him for his part in life; this is the object of her constant endeavor.
+Thus she comes to look upon him as hers and yet not hers. In one sense
+he is her very own; in another, he belongs to the universal life which
+he is to serve. There is no conflict between the two ideas; they are
+the obverse sides of one great truth. Both must be recognized for a
+complete understanding of life. What is true of all motherhood finds
+a supreme illustration in the character of the Virgin Mary. She
+understood from the first that her son had a great mission to fulfil,
+that his work had somewhat to do with a mighty kingdom. Never for a
+moment did she lose sight of these things as she "pondered them in her
+heart." Her highest joy was to present him to the world for the
+fulfilment of his calling.
+
+As a subject of art, this phase of the Madonna's character requires a
+mode of treatment quite unlike that of the Mater Amabilis or the Madre
+Pia. The attitude and expression of the Virgin are appropriate to her
+office as the Christ-bearer. Both mother and child, no longer
+absorbed in each other, direct their glance towards the people to whom
+he is given for a witness. (Isaiah 55:4.) These may be the spectators
+looking at the picture, or the saints and votaries filling the
+composition. The mother's lap is the throne for the child, from which,
+standing or sitting, he gives his royal blessing.
+
+It will be readily understood that so lofty a theme can not be common
+in art. In our own day, it has, with the Madre Pia, passed almost
+entirely out of the range of art subjects; modern painters do not try
+such heights. Franz Defregger is alone in having made an honest and
+earnest effort, not without success, to express his conception of the
+theme. To his Enthroned Madonna at Doelsach, and his less well-known
+Madonna in Glory, let us pay this passing word of honor.
+
+To approach our subject in the most systematic way, we will go back to
+the beginnings of Madonna art. Mrs. Jameson tells us that the group of
+Virgin and Son was, in its first intention, a _theological symbol_,
+and not a _representation_. It was a device set up in the orthodox
+churches as a definite formalization of a creed. The first Madonnas
+showed none of the aspects of ordinary motherhood in attitude,
+gesture, or expression. The theological element in the picture was the
+first consideration. We may take as a representative case the Virgin
+Nike-peja (of Victory), supposed to be the same which Eudocia, wife of
+the Emperor Theodosius II., discovered in her travels in Palestine,
+and sent to Constantinople, whence it was finally brought to St.
+Mark's, Venice. The Virgin--a half-length figure--holds the child in
+front of her, like a doll, as if exhibiting him to the gaze of the
+worshippers before the altar over which the picture hung. Both faces
+look directly out at the spectator, with grave and stiff solemnity.
+
+The progress of painting, and the growing love of beauty, at length
+wrought a change. The time came when art saw the possibility of
+uniting, with the religious conception of previous centuries, a more
+natural ideal of motherhood. Thus, while the Madonna continues to be
+preeminently a witness of her son's greatness, it is not at the
+sacrifice of motherly tenderness.
+
+In Venetian art-history, Giovanni Bellini stands at the period when
+the old was just merging into the new. We have already seen how
+greatly he and his contemporaries differed from the painters of a
+later time. Taking advantage of all the progressive methods of the
+day, they did not relinquish the religious spirit of their
+predecessors, hence their work embodies the best elements of the old
+and new. As we examine the Bellini Madonnas, one after another, we
+can not fail to notice how delicately they interpret the relation of
+the mother to her child.
+
+Loving and gracious as she is, she is not the Mater Amabilis: she is
+too preoccupied, though not too cold for caresses. Neither is she the
+Madre Pia, though by no means lacking in humility. Her thoughts are of
+the future, rather than of the present. True to a mother's instinct,
+she encircles her child with a protecting arm, but her face is turned,
+not to his, but to the world. Both are looking steadfastly forward to
+the great work before them. Their eyes have the far-seeing look of
+those absorbed in noble dreams. Their faces are full of sweet
+earnestness, not of the ascetic sort, but joyful, with a calm,
+tranquil gladness.
+
+This description applies almost equally well to a half-dozen or more
+of Bellini's Madonnas, in various styles of composition. For the sake
+of definiteness, we may specify the Madonna between St. Paul and St.
+George in the Venice Academy. The Virgin is in half-length, against a
+scarlet curtain, supporting the child, who stands on the coping of a
+balcony. In technical qualities alone, the picture is a notable one
+for precision of drawing, breadth of light and shade, and brilliant
+color. In Christian sentiment it is among the rare treasures of
+Italian art. The National Gallery and the Brera contain others which
+are very similar in style and conception.
+
+The three enthroned Madonnas which have already been noticed are not
+less remarkable for religious significance. There is a peculiar
+freshness and vivacity in the San Giobbe picture. Both Virgin and
+child are alert and eager, welcoming the future with smiling and
+youthful enthusiasm. The Frari Madonna is of a more subdued type,
+but is not less true to her ideal. The Virgin of San Zaccaria is more
+thoughtful and reflective, but she holds her child up bravely, that he
+may give his blessing to mankind.
+
+[Illustration: GIOVANNI BELLINI.--MADONNA BETWEEN ST.
+GEORGE AND ST. PAUL. (DETAIL.)]
+
+It will have been noticed that the throne is an especially appropriate
+setting for the Madonna as Witness. It is one of the functions of
+royalty that the queen should show the prince to his people. We
+therefore turn naturally to this class of pictures for examples. To
+those of Bellini just cited we may add, from the others mentioned in
+the second chapter, the Madonnas by Cima, by Palma, and by Montagna in
+Venetian Art; and by Luini and by Botticelli in the Lombard and
+Florentine schools respectively. Luini's picture is one which readily
+touches the heart. The Virgin unites the sweetness of fresh, young
+motherhood with womanly dignity of character. Her smile has nothing
+of mystery in it; it is simply sweet and winning. The Christ-child is
+a lovely boy, steadying himself against his mother's breast, and yet
+with an air of self-reliance. The two understand each other well.
+
+[Illustration: LUINI.--MADONNA WITH ST. BARBARA AND ST.
+ANTHONY.]
+
+One could hardly imagine two more dissimilar spirits than Luini and
+Botticelli. To Luini's Virgin, the consciousness of her son's
+greatness is a proud honor, accepted seriously, but gladly. To
+Botticelli, on the other hand, it brings a profound melancholy. This
+is so marked that at first sight almost every one is repelled by
+Botticelli, and yields only after long familiarity to the mysterious
+fascination of the sad-eyed Madonna, who holds her babe almost
+listlessly, as her head droops with the weight of her sorrow. Her
+expression is the same whatever her attitude, when she presses her
+babe to her bosom as the Mater Amabilis (in the Borghese Gallery at
+Rome, in the Dresden Gallery, and Louvre), or when, as witness to her
+son's destiny, she holds him forth to be seen of men. It is in this
+last capacity that her mood is most intelligible. She seems oppressed
+rather than humbled by her honors; reluctant, rather than glad to
+assume them; yet, with proud dignity, determined to do her part,
+though her heart break in the doing. Her nature is too deep to accept
+the joy without counting the cost, and her vision looks beyond
+Bethlehem to Calvary. This is well illustrated in the picture of the
+Berlin Gallery.[6] The queen mother rises with the prince to receive
+the homage of humanity. The boy, old beyond his years, gravely raises
+his right hand to bless his people, the other still clinging, with
+infantile grace, to the dress of his mother. Lovely, rose-crowned
+angels hold court on either side, bearing lighted tapers in jars of
+roses.
+
+[Footnote 6: The Berlin Gallery contains two Enthroned Madonnas
+attributed to Botticelli. The description here, and on page 40 makes
+it clear that the reference is to the picture numbered 102. This does
+not appear in Berenson's list of Botticelli's works, but is treated as
+authentic by Crowe and Cavalcaselle.]
+
+The Madonna of the Pomegranate is another work by Botticelli which
+belongs in this class of pictures. It is a _tondo_ in the Uffizi,
+showing the figures in half length. The Virgin, encircled by angels,
+holds the child half reclining on her lap. Her face is inexpressibly
+sad, and the child shares her mood, as he raises his little hand to
+bless the spectator. Two angels bear the Virgin's flowers, roses and
+lilies; two others hold books. They bend towards the queen as the
+petals of a rose bend towards the centre, with the serious grace
+peculiar to Botticelli.
+
+[Illustration: BOTTICELLI.--MADONNA OF THE
+POMEGRANATE .]
+
+In connection with the peculiar type of melancholy exhibited on the
+face of Botticelli's Madonna, it will be of interest to refer to the
+work of Francia. The two artists were, in some points, kindred
+spirits; both felt the burden of life's mystery and sorrow. Francia,
+as we have seen, imbibed from the works of Perugino something of the
+spirit of mysticism common to the Umbrian school. But while there is a
+certain resemblance between his Madonna and Perugino's, the former has
+less of sentimentality than the latter, and more real melancholy. Like
+Botticelli's Virgin, she acts her part half-heartedly, as if the sword
+had already begun to pierce her heart. Francia's favorite Madonna
+subjects were of the higher order, the Madre Pia and the Madonna as
+Witness. In treating the latter, his Christ-child is always in keeping
+with the mother, a grave little fellow who gives the blessing with
+almost touching dignity. Enthroned Madonnas illustrating the theme are
+those of the Hermitage at St. Petersburg, of the Belvedere at Vienna,
+and the famous Bentivoglio Madonna in S. Jacopo Maggiore at Bologna.
+The last-named is one of the works which enable us to understand
+Raphael's high praise of the Bolognese master. It is a noble
+composition, full of strong religious feeling.
+
+[Illustration: MURILLO.--MADONNA AND CHILD.]
+
+It is a long leap from the fifteenth to the seventeenth centuries,
+taking us from a period of genuine religious fervor in art, into an
+age of artificial imitation. In the midst of the decadence of old
+ideals and the birth of art methods entirely new, arose one who seemed
+to be the reincarnation of the old spirit in a form peculiar to his
+age and race. This was Murillo, the peasant-painter of Spain, than
+whom was never artist more pious, not even excepting the angelic
+brother of San Marco. He alone in the seventeenth century kept
+alive the pure flame of religious fervor, which had burned within the
+devout Italians of the early school. Through all his pictures of the
+Virgin and child we can see that the Madonna as the Christ-bearer is
+the ideal he always has in view. He falls short of it, not through any
+lack of earnestness, but because his type of womanhood is incapable of
+expressing such lofty idealism. His virgins are modelled upon the
+simple Andalusian maidens, sweet, timid, dark-eyed creatures. Their
+faces glow with gentle affection as they look wistfully out of the
+picture, or raise their eyes to heaven, as if dimly discerning the
+heights which they have never reached.
+
+The Pitti Madonna is one of this sweet company, and perhaps the
+loveliest of them all. Both she and her beautiful boy are full of
+gentle earnestness, and if they are too simple-minded to realize what
+is in store for them, they are none the less ready to do the Father's
+will.
+
+One more picture remains for us to consider as an illustration of the
+Madonna as Witness. Had we mentioned it first, nothing further could
+have been said on the subject. The Sistine Madonna is the greatest
+ever produced, from every point of view. We have already noted the
+superiority of its artistic composition over all other enskied
+Madonnas, and are the more ready to appreciate its higher merits; for
+its strongest hold upon our admiration is in its moral and religious
+significance. Its theme is the transfiguration of loving and
+consecrated motherhood. Mother and child, united in love, move towards
+the glorious consummation of the heavenly kingdom.
+
+[Illustration: RAPHAEL.--SISTINE MADONNA.]
+
+It has been said that Raphael made no preparatory studies for this
+Madonna, but, in a larger sense, he spent his life in preparation
+for it. He had begun by imitating the mystic sweetness of Perugino's
+types, drawn by an intuitive delicacy of perception to this spiritual
+idealism, while yet too inexperienced to express any originality.
+Then, by an inevitable reaction, he threw himself into the creation of
+a purely naturalistic Madonna, and carried the Mater Amabilis to its
+utmost perfection. Having mastered all the secrets of woman's beauty,
+he returned once more to the higher realm of idealism to send forth
+his matured conception of the Madonna as the Christ-bearer.
+
+The Sistine Madonna is above all words of praise; all extravagance of
+expression is silenced before her simplicity. Hers is the beauty of
+symmetrically developed womanhood; the perfect poise of her figure is
+not more marked than the perfect poise of her character. Not one
+false note, not one exaggerated emphasis, jars upon the harmony of
+body, soul, and spirit. Confident, but entirely unassuming; serious,
+but without sadness; joyous, but not to mirthfulness; eager, but
+without haste; she moves steadily forward with steps timed to the
+rhythmic music of the spheres. The child is no burden, but a part of
+her very being. The two are one in love, thought, and purpose. Sharing
+the secret of his sacred calling, the mother bears her son forth to
+meet his glorious destiny.
+
+Art can pay no higher tribute to Mary, the Mother of Jesus, than to
+show her in this phase of her motherhood. We sympathize with her
+maternal tenderness, lavishing fond caresses upon her child. We go
+still deeper into her experience when we see her bowed in sweet
+humility before the cares and duties she is called upon to assume.
+But we are admitted to the most cherished aspirations of her soul,
+when we see her oblivious of self, carrying her child forth to the
+service of humanity. It is thus that she becomes one of his "witnesses
+unto the people;" it is thus that "all generations shall call her
+blessed."
+
+
+
+
+BIBLIOGRAPHY.
+
+
+MRS. ANNA JAMESON: The Legends of the Madonna. Boston, 1896.
+
+CROWE AND CAVALCASELLE: History of Painting in Italy. London,
+1864. History of Painting in North Italy. London, 1871. Titian: His
+Life and Times. London, 1877.
+
+KUGLER: Handbook of the Italian Schools, revised by A.H.
+Layard. London, 1887. Handbook of the German, Flemish, and Dutch
+Schools, revised by J.A. Crowe. London, 1889.
+
+MORELLI: Critical Studies of the Italian Painters. Translated
+by Constance Jocelyn Ffoulkes. London, 1892.
+
+J.A. SYMONDS: Renaissance in Italy: The Fine Arts. New York,
+1888.
+
+WALTER H. PATER: Studies in the History of the Renaissance.
+London, 1873.
+
+BERNHARD BERENSON: The Venetian Painters of the Renaissance.
+New York, 1894. The Florentine Painters of the Renaissance. New York,
+1896.
+
+KARL KAROLY: A Guide to the Paintings of Florence. London and
+New York, 1893. A Guide to the Paintings of Venice. London and New
+York, 1895.
+
+C.C. PERKINS: Tuscan Sculptors. London, 1864.
+
+CAVALUCCI ET MOLINIER: Les Della Robbia: leur vie et leur
+oeuvre. Paris, 1884.
+
+EUGENE MUeNTZ: Raphael. Translated by Walter Armstrong.
+London, 1882.
+
+
+
+
+INDEX OF ARTISTS.
+
+
+Albertinelli, Madonna in the Pitti, 172.
+
+Angelico, Fra, Madonna della Stella, 66-69, 132.
+
+Barabino, N., Mater Amabilis, 154.
+
+Barocci, F., Madonna del Gatto, 126.
+
+Bartolommeo, Madonna in the Capella Giovanato, 30;
+  Madonnas in the Florence Academy, 31;
+  Enthroned Madonna in the Pitti, 42, 47.
+
+Basaiti, Madonna in the National Gallery, 177.
+
+Bellini, Giovanni, Madonna of San Giobbe, 50, 188;
+  Frari Madonna, 50, 191;
+  Madonna of San Zaccaria, 50-53, 191;
+  Madonna between St. Paul and St. George, 188;
+  Madonna in the National Gallery, 188;
+  Madonna in the Brera, 188.
+
+Bellini, Jacopo, Madonna in the Venice Academy, 25.
+
+Bodenhausen, Madonna, 90, 154.
+
+Bonifazio Veronese, Seven pictures of the Santa Conversazione, 115.
+
+Botticelli, Enthroned Madonna at Berlin, 40, 191, 195, 196;
+  Madonna in the Borghese, 195;
+  Madonna in the Dresden Gallery, 195;
+  Madonna in the Louvre, 195;
+  Madonna of the Pomegranate, 196;
+  Madonna of the Inkhorn, 59.
+
+Bouguereau, Enthroned Madonna, 64;
+  Madonna of the Angels, 90;
+  Mater Amabilis, 154.
+
+Byzantine Madonna in the Ara Coeli, 25;
+  in S. Maria in Cosmedino, 25;
+  in St. Mark's, 25, 185;
+  at Padua, 25.
+
+Cano, Alonzo, Madonna of Bethlehem, 32.
+
+Caroto, Gianfrancesco, Madonna in Sant' Anastasia, 80;
+  Madonna in San Giorgio, 80;
+  Madonna in San Fermo Maggiore, 80.
+
+Cavazzola, see Morando.
+
+Cima, Enthroned Madonna in the Venice Academy, 49, 191.
+
+Cimabue, Ruccellai Madonna, 38-39.
+
+Conti, Bernardino de', Madonna in the Hermitage Gallery, 146.
+
+Correggio, Madonnas in Dresden, 45;
+  Madonna of St. Sebastian, 70;
+  Madonna in the Uffizi, 106, 136;
+  La Zingarella, 106, 137, 146;
+  Madonna della Cesta, 136;
+  Madonna della Scala, 138, 141.
+
+Credi, Lorenzo di, Nativity in the Uffizi, 171.
+
+Crivelli, Carlo, Use of Crown by, 59.
+
+Dagnan-Bouveret, Mater Amabilis, 154.
+
+Defregger, Franz, Madonna at Doelsach, 184;
+  Madonna in Glory, 90, 184.
+
+Dolce, Carlo, Madonna, 148.
+
+Duerer, Woodcut, 60;
+  Madonna in "garden inclosed," 115;
+  Madonna in the Belvedere, 150-153;
+  Virgin on the Crescent Moon, 89, 149.
+
+Eyck, Van, Madonna in Frankfort, 60, 149.
+
+Fiesole, Mino da, Altar-piece at Fiesole, 168.
+
+Francia, Madonna of the Rose Garden, 115, 161;
+  Enthroned Madonna in the Hermitage, 200;
+  Enthroned Madonna in the Belvedere, 200;
+  Bentivoglio Madonna, 200.
+
+Ghirlandajo, Enthroned Madonna in the Uffizi, 40;
+  Madonna in the Florence Academy, 172.
+
+Giorgione, Madonna of Castel-Franco, 54;
+  Madonna in Madrid, 54.
+
+Guay, Mater Amabilis, 154.
+
+Holbein, Meyer Madonna, 60, 149.
+
+Ittenbach, Enthroned Madonna, 64.
+
+Leonardo da Vinci, see Vinci.
+
+Libri, Girolamo dai, Madonna in San Giorgio Maggiore, Verona, 48;
+  Madonna of St. Andrew and St. Peter, 81.
+
+Lippi, Filippino, Madonna in the Pitti, 115-116, 172.
+
+Lippi, Filippo, Madonna in the Berlin Gallery, 172, 174;
+  Madonnas in the Florence Academy, 174;
+  Madonna in the Uffizi, 174-177.
+
+Lotto, Madonna of S. Bartolommeo, 48;
+  Santa Conversazione, 115.
+
+Luini, Madonna between St. Anthony and St. Barbara, 45, 191-192;
+  Pastoral Madonna, 104-105.
+
+Macomber, Mary L., Madonna, 154.
+
+Mantegna, Madonna of Victory, 41, 48.
+
+Mariotto, Bernardino di, Madonna, 47.
+
+Massys, Quentin, Enthroned Madonna in the Berlin Gallery, 63, 132;
+  Madonna in the Munich Gallery, 121.
+
+Max, Gabriel, Madonnas, 35, 154.
+
+Memling, Madonna at Bruges, 60.
+
+Mignard, La Vierge a la Grappe, 126.
+
+Montagna, Madonna in the Brera, 40, 191.
+
+Morando, Madonna in Glory in Verona Gallery, 81.
+
+Moretto, Madonna of S. Clemente, 48;
+  Madonna of St. John the Evangelist, 77;
+  Madonna of San Giorgio Maggiore, 77;
+  Madonna in the Berlin Gallery, 78-79.
+
+Mueller, Carl, Mater Amabilis, 154.
+
+Murano, Giovanni da, Use of Crown by, 59.
+
+Murillo, Madonna of the Napkin, 32;
+  Holy Family of the Bird, 126;
+  Madonna in the Pitti, 203-204.
+
+Palma, Enthroned Madonna at Vicenza, 49, 191;
+  Santa Conversazione at Naples, 111;
+  Santa Conversazione at Dresden, 111;
+  Santa Conversazione at Munich, 111;
+  Santa Conversazione at Vienna, 111, 112.
+
+Perugino, Enthroned Madonna in the Vatican, 45;
+  Madonna in the National Gallery, 160.
+
+Pinturicchio, Madonna in St. Andrea, Perugia, 46.
+
+Raphael, Ansidei Madonna, 46, 133;
+  Madonna of St. Anthony, 47;
+  Baldacchino Madonna, 47;
+  Madonna of the Casa Alba, 99;
+  the Chair Madonna, 134;
+  the Colonna Madonna, 133;
+  the Conestabile Madonna, 133;
+  Madonna of the Diadem, 147;
+  Foligno Madonna, 82-85;
+  Granduca Madonna, 29;
+  Madonna of the Goldfinch, 93, 97, 98;
+  Holy Family of Francis I., 133;
+  Holy Family of the Lamb, 100, 105;
+  Madonna dell' Impannata, 125;
+  Belle Jardiniere, 93, 97, 98;
+  Madonna in the Meadow, 93, 97, 98, 99, 104;
+  Orleans Madonna, 126, 133;
+  Sistine Madonna, 85, 204, 208;
+  Tempi Madonna, 30, 133.
+
+Rembrandt, Le Menage du Menuisier in the Louvre, 127;
+  in St. Petersburg, 127;
+  Madonna in the Munich Gallery, 127-128.
+
+Reni, Guido, Madonna, 147.
+
+Robbia, Andrea della, Popular tabernacle, 164;
+  Nativity, 167.
+
+Robbia, Giovanni, Son of Andrea, 162.
+
+Robbia, Girolamo della, Son of Andrea, 162.
+
+Robbia, Luca della, Founder of his school, 162.
+
+Robbia, Luca della, II., Son of Andrea, 162.
+
+Romano, Giulio, Madonna della Catina, 125;
+  his work on the Madonna dell' Impannata, 125;
+  Madonna in a Bedchamber, 125.
+
+Rossellino, Antonio, Nativity in San Miniato, 167.
+
+Rubens, Holy Families, 149.
+
+Salimbeni, Holy Family, 126.
+
+Sarto, Andrea del, Madonna di San Francesco, 42;
+  Madonna in the Berlin Gallery, 69.
+
+Sassoferrato, Madonna in Vatican Gallery, 89;
+  Madonna with Sleeping Child, 148.
+
+Savoldo, Madonna in the Brera, 79.
+
+Schongauer, Madonna in Munich, 60;
+  Holy Family, 121-123.
+
+Siena, Guido da, Madonna, 38.
+
+Signorelli, Nativity in the National Gallery, 172.
+
+Sodoma, Madonna in the Brera, 104 (note).
+
+Solario, Madonna of the Green Cushion, 146.
+
+Lo Spagna, Madonna once attributed to, 73.
+
+Spanish School, Madonna in the Dresden Gallery, 89.
+
+Tintoretto, Madonna in the Berlin Gallery, 89.
+
+Titian, Vierge au Lapin, 115 (note), 142;
+  Madonna of the Cherries, 141 (note);
+  Madonnas and Saints at Dresden, 141 (note);
+  Madonna with Sts. Ulfo and Brigida, 142;
+  Madonna with Roses, 142;
+  Madonna and Saints, 145;
+  Pesaro Madonna, 56.
+
+Titian, School of, Madonna in Berlin, 177.
+
+Umbrian School, Madonna by, in the National Gallery, 73-74.
+
+Veronese, Madonna in the Venice Academy, 56.
+
+Vinci, Leonardo da, Madonna of the Rocks, 100-104.
+
+Vivarini, Bartolommeo, Madonnas, 178.
+
+Vivarini, Luigi, Madonna in the Church of the Redentore, 178.
+
+
+
+
+Art Series
+
+
+THE MADONNA IN ART
+         ESTELLE M. HURLL.
+
+CHILD LIFE IN ART
+         ESTELLE M. HURLL.
+
+ANGELS IN ART
+         CLARA ERSKINE CLEMENT.
+
+LOVE IN ART
+         MARY KNIGHT POTTER.
+
+L.C. PAGE AND COMPANY
+(INCORPORATED)
+196 Summer Street, Boston, Mass.
+
+
+
+
+
+
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