at 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

er.-Holy

ere for a mode

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

he 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 l

similar to it in Italy at the same period. It is true that Madonnas in domestic settings ha

donna dell'

ere for a mode

s 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 t

mposition, 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

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, certainl

tment. 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 r

ng 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 pee

rt

NG TO THEIR SIGNIFICANCE