Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . e lovely Virgin is seated under a tree: on one PASTORAL MADONNAS. 143 side appears the angel Raphael, presenting Tobit; on theother, St. Dorothea, kneeling, holds up her basket of celestialfruit, gathered for her in Paradise. When St. Ursula, with her standard, appears in theseVenetian pastorals, we may suppose the picture to have beenpainted for the famous brotherhood (^Scitola di Sanf Orsola)which bears her name. Thus, in a charming picture by Le*JSd^Art,Palma, she appears before the
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . e lovely Virgin is seated under a tree: on one PASTORAL MADONNAS. 143 side appears the angel Raphael, presenting Tobit; on theother, St. Dorothea, kneeling, holds up her basket of celestialfruit, gathered for her in Paradise. When St. Ursula, with her standard, appears in theseVenetian pastorals, we may suppose the picture to have beenpainted for the famous brotherhood (^Scitola di Sanf Orsola)which bears her name. Thus, in a charming picture by Le*JSd^Art,Palma, she appears before the Virgin, accompanied by as protector of Venice. Ex-voto pictures in this style are very interesting, andthe votary, without any striking impropriety, makes one ofthe Arcadian group. Very appropriate, too, is the marriageof St. Catherine, often treated in this poetical style. In apicture by Titian, the family of the Virgin attend the mysticalrite, and St. Anna places the hand of St. Catherine in thatof the Child. In this group by Signorelli, Christ appears as if teaching II. Vienna. Belvedere Signorelli. 144 LEGENDS OF THE MADONNA. St. Catherine; he dictates, and she, the patroness of divinephilosophy, writes down his words. When the later painters in their great altar-pieces imitatedthis idyllic treatment, the graceful Venetian conception be-came in their hands heavy, mannered, tasteless, — and some-times worse. The monastic saints or mitred dignitaries,introduced into familiar and irreverent communion with thesacred and ideal personages, in spite of the grand scenerystrike us as at once prosaic and fantastic : we marvel howthey got there. Parmigiano, when he fled from the sack ofRome in 1527, painted at Bologna, for the nuns of SantaMargherita, an altar-piece which has been greatly Madonna, holding her Child, is seated in a landscape,under a tree, and turns her head to the Bishop St. Petronius,protector of Bologna. St. Margaret, kneeling and atte
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
