The Madonna in art . ul, with a calm, tranquil gladness. This description applies almost equallywell to a half-dozen or more of BellinisMadonnas, in various styles of compo- 188 THE MADONNA IN ART. sition. For the sake of definiteness, wemay specify the Madonna between and St. George in the Venice Acad-emy. The Virgin is in half-length, againsta scarlet curtain, supporting the child,who stands on the coping of a technical qualities alone, the pictureis a notable one for precision of drawing,breadth of light and shade, and brilliantcolor. In Christian sentiment it is amongthe
The Madonna in art . ul, with a calm, tranquil gladness. This description applies almost equallywell to a half-dozen or more of BellinisMadonnas, in various styles of compo- 188 THE MADONNA IN ART. sition. For the sake of definiteness, wemay specify the Madonna between and St. George in the Venice Acad-emy. The Virgin is in half-length, againsta scarlet curtain, supporting the child,who stands on the coping of a technical qualities alone, the pictureis a notable one for precision of drawing,breadth of light and shade, and brilliantcolor. In Christian sentiment it is amongthe rare treasures of Italian art. TheNational Gallery and the Brera containothers which are very similar in style andconception. The three enthroned Madonnas whichhave already been noticed are not lessremarkable for religious is a peculiar freshness and vi-vacity in the San Giobbe picture. BothVirgin and child are alert and eager,welcoming the future with smiling andyouthful enthusiasm. The Frari Ma-. Giovanni Bellini.— Madonna between St. George andSt. Paul. (Detail.) THE MADONNA AS WITNESS. IQI donna is of a more subdued type, but isnot less true to her ideal. The Virginof San Zaccaria is more thoughtful andreflective, but she holds her child upbravely, that he may give his blessing tomankind. It will have been noticed that thethrone is an especially appropriate set-ting for the Madonna as Witness. It isone of the functions of royalty that thequeen should show the prince to hispeople. We therefore turn naturally tothis class of pictures for examples. Tothose of Bellini just cited we may add,from the others mentioned in the secondchapter, the Madonnas by Cima, byPalma, and by Montagna in VenetianArt; and by Luini and by Botticelli inthe Lombard and Florentine schools re-spectively. Luinis picture is one whichreadily touches the heart. The Virginunites the sweetness of fresh, young 192 THE MADONNA IN ART. motherhood with womanly dignity ofcharacter. Her smile
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