The Madonna in art . tinctly to therealm of wealth and worldliness. Shehas never known sorrow, anxiety, orpoverty; life has brought her nothingbut pleasure and luxury. Her throne 56 THE MADONNA IN ART. stands no longer in the sacred place ofsome inner sanctuary, where angel chor-isters make music. It is an elevatedplatform, at one side of the composition,as in Titians Pesaro altar-piece, andVeroneses Madonna in the Venice Aca-demy. This gives an opportunity for adisplay of elaborate draperies, such aswe. may see in Veroneses picture. The peculiar qualities of art in Veronaand Venice are blende
The Madonna in art . tinctly to therealm of wealth and worldliness. Shehas never known sorrow, anxiety, orpoverty; life has brought her nothingbut pleasure and luxury. Her throne 56 THE MADONNA IN ART. stands no longer in the sacred place ofsome inner sanctuary, where angel chor-isters make music. It is an elevatedplatform, at one side of the composition,as in Titians Pesaro altar-piece, andVeroneses Madonna in the Venice Aca-demy. This gives an opportunity for adisplay of elaborate draperies, such aswe. may see in Veroneses picture. The peculiar qualities of art in Veronaand Venice are blended in Paolo Veron-ese. No artist ever enjoyed more thesplendors of color, or combined them inmore enchanting harmonies. Such giftstransform the commonest materials, and,though his Virgin is a very ordinarywoman, she has undeniable charms. Anoft-copied figure, in this picture, is thatof the little St. John, a universal favoriteamong child lovers. The reader must have remarked that,though the fundamental idea of the en-. Veronese. — Madonna and Saints. THE MADONNA ENTHRONED. 59 throned Madonna is that of queenship,the Virgin wears no crown in any ofthe pictures thus far cited; the crownedMadonna is not characteristic of Italianart. It is found occasionally in mosaicsfrom the eighth to the eleventh centur-ies, and in some of the early votive pic-tures, but does not appear in the laterperiod except in a few Venetian picturesby Giovanni da Murano and Carlo Cri-velli. The same idea was often carriedout by placing two hovering angels overthe Virgins head, holding the crown be-tween them. Botticellis Madonna of theInkhorn is treated in this way. The crown is essentially Teutonic inorigin and character. Turning to therepresentative art of Germany and Bel-gium, we find the Virgin almost invari-ably wearing a crown, whether she sits ona throne, or in a pastoral better example could be named than 60 THE MADONNA IN ART. the celebrated Holbein Madonna, ofDarmstadt, known chie
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Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
