The Madonna in art . 02. This does not appear in Berensons list ofBotticellis works, but is treated as authentic by Crowe andCavalcaselle. 196 THE MADONNA IN ART. mother rises with the prince to receivethe homage of humanity. The boy, oldbeyond his years, gravely raises his righthand to bless his people, the other stillclinging, with infantile grace, to the dressof his mother. Lovely, rose-crownedangels hold court on either side, bearinglighted tapers in jars of roses. The Madonna of the Pomegranate isanother work by Botticelli which belongsin this class of pictures. It is a tondo inthe Uffizi
The Madonna in art . 02. This does not appear in Berensons list ofBotticellis works, but is treated as authentic by Crowe andCavalcaselle. 196 THE MADONNA IN ART. mother rises with the prince to receivethe homage of humanity. The boy, oldbeyond his years, gravely raises his righthand to bless his people, the other stillclinging, with infantile grace, to the dressof his mother. Lovely, rose-crownedangels hold court on either side, bearinglighted tapers in jars of roses. The Madonna of the Pomegranate isanother work by Botticelli which belongsin this class of pictures. It is a tondo inthe Uffizi, showing the figures in halflength. The Virgin, encircled by angels,holds the child half reclining on her face is inexpressibly sad, and thechild shares her mood, as he raises hislittle hand to bless the spectator. Twoangels bear the Virgins flowers, rosesand lilies; two others hold books. Theybend towards the queen as the petals ofa rose bend towards the centre, with theserious grace peculiar to Botticelli.— Madonna of the Pomegranate. THE MADONNA AS WITNESS. 199 In connection with the peculiar type ofmelancholy exhibited on the face of Botti-cellis Madonna, it will be of interest torefer to the work of Francia. The twoartists were, in some points, kindredspirits; both felt the burden of lifes mys-tery and sorrow. Francia, as we haveseen, imbibed from the works of Peruginosomething of the spirit of mysticism com-mon to the Umbrian school. But whilethere is a certain resemblance betweenhis Madonna and Peruginos, the formerhas less of sentimentality than the latter,and more real melancholy. Like Botti-cellis Virgin, she acts her part half-heart-edly, as if the sword had already begun topierce her heart. Francias favorite Ma-donna subjects were of the higher order,the Madre Pia and the Madonna as Wit-ness. In treating the latter, his Christ-child is always in keeping with the mother,a grave little fellow who gives the bless- 200 THE MADONNA IN ART. ing wit
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
