The Madonna in art . of the most charming productionsof the best period of Tuscan The 1 C. C. lcrkins, in Tuscan Sculptors. 168 THE MADONNA IN ART. tourist will consider it a rich reward forhis climb to the quaint old church onthe ramparts overhanging the Arno. Ifperchance his wanderings lead him, onanother occasion, to the hill rising onthe opposite side, he will find, in theCathedral of Fiesole, a fitting compan-ion in the altar-piece by Mino da is a decidedly unique rendering ofthe Madre Pia. The Virgin kneels in aniche, facing the spectator, adoring theChrist-child, who
The Madonna in art . of the most charming productionsof the best period of Tuscan The 1 C. C. lcrkins, in Tuscan Sculptors. 168 THE MADONNA IN ART. tourist will consider it a rich reward forhis climb to the quaint old church onthe ramparts overhanging the Arno. Ifperchance his wanderings lead him, onanother occasion, to the hill rising onthe opposite side, he will find, in theCathedral of Fiesole, a fitting compan-ion in the altar-piece by Mino da is a decidedly unique rendering ofthe Madre Pia. The Virgin kneels in aniche, facing the spectator, adoring theChrist-child, who sits on the steps belowher, turning to the little Baptist, whokneels at one side on a still lower step. Passing from the sculpture of Florenceto its painting, it is fitting that we men-tion first of all the friend and fellow-pupilof the Umbrian Perugino, Lorenzo diCredi. The two had much in together in the workshop of thesculptor Verrocchio, in those days ofintense religious stress, they both became. Lorenzo di Credi.— Nativity. THE MADONNA IN ADORATION. 171 followers of the prophet prior of SanMarco, Savonarola. Their- religious ear-nestness naturally found expression in thebeautiful subject of the Madre Pia. TheFlorentine artist, though not less devoutthan his friend, introduces into his workan element of joy, characteristic of hissurroundings, and more attractive thanthe somewhat melancholy types of Um-bria. His Adoration, in the Uffizi, isan admirable example of his best the fashion made popular bythe Delia Robbias, the artist chose forhis composition the round picture, ortondo. By this elimination of unneces-sary corners, the attention centres in thebeautiful figure of the Virgin, whichoccupies a large portion of the exquisite keeping with the modestloveliness of her face, a delicate, trans-parent veil is knotted over her smoothhair, and falls over the round curves of 172 THE MADONNA IN ART. her neck. In expression and attitudeshe
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