Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . 53 Greco-Italian. 54 Greco-Italian. .ya^ ^£ THE MATER AMABILIS. 127 doubtedly as Greek, and old, and black, and ugly, as sanctity could desire; while the rival Madonna in Santa Maria-in- Cosmedino (53.), dark as it is in colour, is yet most lovely; both Mother and Child are full of grace and refined expression: but though an undoubted original St. Luke, like many original Raphaels and Titians, it is not even a soft-ened copy of a Greek model; the sentiment is altogether Italian, as
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . 53 Greco-Italian. 54 Greco-Italian. .ya^ ^£ THE MATER AMABILIS. 127 doubtedly as Greek, and old, and black, and ugly, as sanctity could desire; while the rival Madonna in Santa Maria-in- Cosmedino (53.), dark as it is in colour, is yet most lovely; both Mother and Child are full of grace and refined expression: but though an undoubted original St. Luke, like many original Raphaels and Titians, it is not even a soft-ened copy of a Greek model; the sentiment is altogether Italian, as may be seen in the above sketch. The sketch54. is from an ancient frescoat Perugia. The next {55.^is a very peculiar imitationof the Greek, from the earlyPaduan school. Tlie infinite variety whichpainters have given to this most simple motif, the Mother and the Child only, withoutaccessories or accompaniments of any kind, exceeds all possi-bility of classification, either as to attitude or sentiment. HereRaphael shone supreme: the simplicity, the tenderness, thehalo of purity and virginal dignity, which he threw roundthe Mater Amahilis have never bee
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License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
