ly 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

ary. 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

iate 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

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, t

s 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 Palest

bility of uniting, with the religious conception of previous centuries, a more natural ideal of motherhood. Thus, while th

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

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

he 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 drawin

ious significance. There is a peculiar freshness and vivacity in the San Giobbe picture. Both

nna between St. George

ideal. The Virgin of San Zaccaria is more thoughtful and reflective, but

ed 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 swee

with St. Barbar

rrow. 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 d

e, and on page 40 makes it clear that the reference is to the picture numbered 102. This does not ap

ed 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 bea

adonna of the

ere for a mode

nce 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 grav

Madonna a

ere for a mode

ain, 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

she and her beautiful boy are full of gentle earnestness, and if they are too simple-minde

, 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 admi

-Sistine

ere for a mode

itive 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 carrie

acter. 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

ll 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

IOGR

he Legends of the Ma

London, 1864. History of Painting in North Italy. Lo

. Layard. London, 1887. Handbook of the German, Flemish

alian Painters. Translated by Const

nce in Italy: The Fine

in the History of the R

he Renaissance. New York, 1894. The Florentin

nce. London and New York, 1893. A Guide to the

uscan Sculptors

s Della Robbia: leur vie

Translated by Walter

OF A

Madonna in t

adonna della Ste

., Mater Am

Madonna del

apella Giovanato, 30; Madonna

onna in the P

a in the Nation

na of San Giobbe, 50, 18

an Zaccaria,

St. Paul and S

he National

in the B

Madonna in the Ve

n, Madonna

ven pictures of the Sa

at Berlin, 40, 191, 195, 196

he Dresden G

n the Lou

the Pomeg

f the Ink

d Madonna, 64; Madon

Amabil

e Ara Coeli, 25; in S.

Mark's,

adua

Madonna of B

nna in Sant' Anastasia, 80;

San Fermo M

la, see

donna in the Venic

ccellai Mad

', Madonna in the He

n Dresden, 45; Madonn

the Uffiz

ella, 106

della Ce

lla Scala,

di, Nativity in

rlo, Use of

ret, Mater A

na at D?lsach, 184; Mad

rlo, Mado

; Madonna in "gard

the Belvede

e Crescent M

donna in Fran

a, Altar-piece

Garden, 115, 161; Enthroned M

onna in the B

lio Mado

a in the Uffizi, 40; Madonna

Castel-Franco, 54; M

ter Amab

eyer Madon

Enthroned M

da Vinci,

Giorgio Maggiore, Verona, 48; Mado

Madonna in the P

Berlin Gallery, 172, 174; Madon

the Uffiz

Bartolommeo, 48; Sant

hony and St. Barbara, 45, 191-

Mary L., M

donna of Vic

rnardino di,

in the Berlin Gallery, 63, 132; M

el, Madonn

adonna at

Vierge à la

onna in the B

in Glory in Ver

emente, 48; Madonna of St

an Giorgio M

he Berlin Ga

l, Mater Am

nni da, Use o

he Napkin, 32; Holy F

the Pitti

Vicenza, 49, 191; Santa Co

sazione at D

rsazione at

azione at Vie

in the Vatican, 45; Madonna

donna in St. And

onna, 46, 133; Madon

ino Mado

f the Cas

ir Mado

nna Mado

tabile Ma

f the Dia

Madonn

a Madon

he Goldfinch

y of Franc

of the Lam

ell' Impa

dinière,

Meadow, 93, 9

Madonna,

donna, 85,

adonna,

enuisier in the Louvre, 1

e Munich Gall

ido, Mad

, Popular tabernacle

anni, Son of

mo della, Son

lla, Founder of

ella, II., Son

Catina, 125; his work on the

n a Bedch

nio, Nativity in

oly Famil

, Holy Fa

di San Francesco, 42; Madon

atican Gallery, 89; Madonn

donna in th

a in Munich, 60; H

ido da, M

vity in the Nati

na in the Bre

na of the Gree

onna once attr

adonna in the Dre

onna in the Ber

15 (note), 142; Madonna of

aints at Dresd

Sts. Ulfo and

with Ros

and Sain

Madon

of, Madonna i

onna by, in the Nat

nna in the Ven

da, Madonna of t

rtolommeo, M

onna in the Church o

Se

DONNA

le M.

LIFE

le M.

LS I

rskine

E I

night

GE AND

orpo

Street, B