Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . lle-gory is less palpable, we feel that the treatment is whollyreligious and poetical. The usual attitude of the Mater Dolorosa by the crucifixis that of intense but resigned sorrow; the hands clasped,the head declined and shaded by a veil, the figure closelywrapped in a dark blue or violet mantle. In some instancesa more generally religious and ideal cast is given to thefigure; she stands with outspread arms, and looking up ; notweeping, but in her still beautiful face a mingled expre
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . lle-gory is less palpable, we feel that the treatment is whollyreligious and poetical. The usual attitude of the Mater Dolorosa by the crucifixis that of intense but resigned sorrow; the hands clasped,the head declined and shaded by a veil, the figure closelywrapped in a dark blue or violet mantle. In some instancesa more generally religious and ideal cast is given to thefigure; she stands with outspread arms, and looking up ; notweeping, but in her still beautiful face a mingled expressionof faith and anguish. Thisis the true conception ofthe sublime hymn, Stabat Mater DolorosaJuxta crucem lachrymosaDum pendebat filius. The three figures in theetching exhibit a charac-teristic difference of treat-ment. : the first is byAngelico; the second byMichael Angelo ; the thirdby Guido. In this sketch,after Philippe de Cham-pagne, she is not standing,but seated at the foot of thecross. The original picturedeserves its celebrity; it is very fine and solemn. ^^ Mater Dolorosa. (P. de Champagne.). THE MATER DOLOROSA. 41 The third, and it is the most important and most beautifulof all as far as the Virgin is concerned, is the group called thePiETA, which, when strictly devotional, consists only of theVirgin with her dead Son in her arms, or on her lap, orlying at her feet; in some instances with lamenting angels,but no other personages. This group has been varied in athousand ways : no doubt the two most perfect conceptionsare those of Michael Angelo and Raphael; the first excellingin sublimity, the latter in pathos. The celebrated marblegroup by Michael Angelo stands in the^Vatican in a chapelto the right as we enter. The Virgin is seated; the deadSaviour lies across the knees of his mother : she looks downon him in mingled sorrow and resignation, but the majestic re-signation predominates. The composition of Raphael existsonly as a print; but the flimsy paper, consecra
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
