The Madonna in art . ht kneelor sit two saints. One is a handsomeyoung rustic, unkempt and roughly clad,sometimes figuring as St. John the Bap- 112 THE MADONNA IN ART. tist, and sometimes as St. Roch. Withhim is contrasted a beautiful young femalesaint, usually St. Catherine. Where thecomposition includes other figures, theVirgin is in the centre, with the attendantpersonages symmetrically grouped oneither side. In the Vienna picture thetwo additional figures at the left are theaged St. Celestin and a fine St. Barbara. Of all schools of painting, the Venetianis the least translatable into blac
The Madonna in art . ht kneelor sit two saints. One is a handsomeyoung rustic, unkempt and roughly clad,sometimes figuring as St. John the Bap- 112 THE MADONNA IN ART. tist, and sometimes as St. Roch. Withhim is contrasted a beautiful young femalesaint, usually St. Catherine. Where thecomposition includes other figures, theVirgin is in the centre, with the attendantpersonages symmetrically grouped oneither side. In the Vienna picture thetwo additional figures at the left are theaged St. Celestin and a fine St. Barbara. Of all schools of painting, the Venetianis the least translatable into black andwhite, so rich in colors is the palette whichcomposed it. This is especially true ofPalma, and to understand aright his SantaConversazione, we must read into it theharmony of colors which it expresses,the chords of blue, red, brown, and green,the shimmering lights and brilliant at-mosphere. The subject of the Santa Conversazioneshould not be left without a brief referenceto other Venetians, who added to the pop-. Filippino Lippi. — Madonna in a Rose Garden. THE PASTORAL MADONNA. 115 ularity of this charming style of mentions seven by Palmaspupil, Bonifazio Veronese, and one by hisfriend, Lorenzo Lotto. Cima, Cariani,Paris Bordone, and last, but not least, thegreat Titian,1 lent their gifts to the subject,so that we have abundant evidence of theVenetian love of natural scenery. It remains to consider one more formof the pastoral Madonna, that whichrepresents the Virgin and child in agarden inclosed, in allusion to the sym-bolism of Solomons Song (4: 12). Thesubject is found among the woodcuts ofAlbert Durer, but I have never seen it inany German painting. In Italian art there are two famouspictures of this class: by Francia, in theMunich Gallery, and by Filippino Lippi(or so attributed), in the Pitti, at Flor- 1 See particularly Titians works in the Louvre, of whichthe Vierge au Lapin is an especially charming pastoral. Il6 THE MADONNA IN ART. ence. In bo
Size: 1582px × 1579px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
