Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . Raphael, Monckton Milnes. The Children contend for the cross. Thelittle St. John begs to have it. Give me the cross, I pray you, dearest Jesus!O if you knew how much I wish to have it,You would not hold it in your hand so has told me, something in my breast here,Which I am sure is true, that if you keep it,If you will let no other take it from you,Terrible things I cannot bear to think ofMust fall upon you. Show me that you love me :Am I not here to be your little ser
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . Raphael, Monckton Milnes. The Children contend for the cross. Thelittle St. John begs to have it. Give me the cross, I pray you, dearest Jesus!O if you knew how much I wish to have it,You would not hold it in your hand so has told me, something in my breast here,Which I am sure is true, that if you keep it,If you will let no other take it from you,Terrible things I cannot bear to think ofMust fall upon you. Show me that you love me :Am I not here to be your little servant,Follow your steps, and wait upon your wishes ? But Christ refuses to yield the terrible plaything, and claimshis privilege to be the elder in the heritage of pain. In a picture by Carlo Maratti, I think this action is evident— Christ takes the cross, and St. John yields it with re-luctance. 136 LEGENDS OF THE 69 La Madre Pia. (Filippino Lippi.) FilippinoLippi. A beautiful version of the Mater Amabilis is the MadrePia, where the Virgin in her divine Infant acknowledges andadores the Godhead. We must be careful to distinguish thissubject from the Nativity, for it is common, in the scene ofthe birth of the Saviour at Bethlehem, to represent the Virginadoring her new-born Child. The presence of Joseph—theruined shed or manger—the ox and ass,—these express theevent. But in the Madre Pia properly so called, the loca-lity, and the accessories, if any, are purely ideal and poetical,and have no reference to time or place. The early Floren-tines, particularly Lorenzo di Credi, excelled in this charmingsubject. I give an example, which appears to me eminentlybeautiful and poetical. Here the mystical garden is formedof a balustrade, beyond which is seen a hedge all in a blush ?^ j I ( CU ) 1 ^ i :^:V:..
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