Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . CJuido. PASTORAL MADONNAS. 139. 73 Pastoral Madonna. (Palma.) And, lastly, we have the Mater Amabilis in a more com-plex and picturesque, though still devotional, form. TheVirgin, seen at full length, reclines on a verdant bank, or isseated under a tree. She is not alone with her Child. Holypersonages, admitted to a communion with her, attend aroundher, rather sympathising than adoring. The love of variednature, the love of life under all its aspects, became mingledwith the religious c
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . CJuido. PASTORAL MADONNAS. 139. 73 Pastoral Madonna. (Palma.) And, lastly, we have the Mater Amabilis in a more com-plex and picturesque, though still devotional, form. TheVirgin, seen at full length, reclines on a verdant bank, or isseated under a tree. She is not alone with her Child. Holypersonages, admitted to a communion with her, attend aroundher, rather sympathising than adoring. The love of variednature, the love of life under all its aspects, became mingledwith the religious conception. Instead of cart^fully avoidingwhatever may remind us of her earthly relationship, themembers of her family always form a part of her pastoral and dramatic treatment began with the Venetianand Paduan schools, and extended to the early Germanschools, which were allied to them in feeling, though con-trasted with them in form and execution. The perpetual introduction of St. Joseph, St. EHzabeth, andother relatives of the Virgin, always avoided in a Madonnadeir Trono, would compose what is called a Holy Family, but 1
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