Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . eting. 1. The earliest representation of the Visitation to which Ican refer is a rude but not ungraceful drawing, in the Cata-combs at Rome, of two women embracing. It is not of very high antiquity, perhaps the seventh or eighth century, but cemetery ofthere can be no doubt about the subject. v. bosIo. 2. Cimabue has followed the Greek formula, and his group appears to me to have great feeling and sim-plicity. (102.) 3. More modern instances, from the date of the revival
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . eting. 1. The earliest representation of the Visitation to which Ican refer is a rude but not ungraceful drawing, in the Cata-combs at Rome, of two women embracing. It is not of very high antiquity, perhaps the seventh or eighth century, but cemetery ofthere can be no doubt about the subject. v. bosIo. 2. Cimabue has followed the Greek formula, and his group appears to me to have great feeling and sim-plicity. (102.) 3. More modern instances, from the date of the revival ofart, abound in every form. Almost every painter who hastreated subjects from the life of the Virgin has treated theVisitation. In the composition by Raphael there are the two figures only; and I should object to this otherwise per- Madrid,feet picture, the bashful conscious look of the Virgin heads are, however, eminently beautiful and the far background is seen the Baptism of Christ — veryhappily and significantly introduced, not merely as expressing 206 LEGENDS OF THE 102 The Visitation. (Cimabue.) the name of the votary who dedicated the picture, Giovan-Battista Branconio, but also as expressing the relation betweenthe two unborn Children — the Christ and his , 1224. 4. The group by Sebastian del Piombo is singularly grand,showing in every part the influence of Michael Angelo, butrichly coloured in Sebastians best manner. The figures areseen only to the knees. In the background, Zacharias isseen hurrying down some steps to receive the Virgin. 5. The group by Pinturicchio (100.), with the attendantangels, is remarkable for its poetic grace; and this, by LucasV. Leyden (103.), is equally remarkable for affectionate sen-timent. 6. Still more beautiful, and more dramatic and varied, isanother composition by Pinturicchio in the Sala Borgia. TheVirgin and St. Elizabeth, in the centre, take each others the Virgin is S
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