Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . Catherine; he dictates, and she, the patroness of divinephilosophy, writes down his words. When the later painters in their great altar-pieces imitatedthis idyllic treatment, the graceful Venetian conception be-came in their hands heavy, mannered, tasteless, — and some-times worse. The monastic saints or mitred dignitaries,introduced into familiar and irreverent communion with thesacred and ideal personages, in spite of the grand scenerystrike us as at once prosaic and fantastic : we m
Legends of the Madonna, as represented in the fine artsForming the third series of Sacred and legendary art . Catherine; he dictates, and she, the patroness of divinephilosophy, writes down his words. When the later painters in their great altar-pieces imitatedthis idyllic treatment, the graceful Venetian conception be-came in their hands heavy, mannered, tasteless, — and some-times worse. The monastic saints or mitred dignitaries,introduced into familiar and irreverent communion with thesacred and ideal personages, in spite of the grand scenerystrike us as at once prosaic and fantastic : we marvel howthey got there. Parmigiano, when he fled from the sack ofRome in 1527, painted at Bologna, for the nuns of SantaMargherita, an altar-piece which has been greatly Madonna, holding her Child, is seated in a landscape,under a tree, and turns her head to the Bishop St. Petronius,protector of Bologna. St. Margaret, kneeling and attendedby her great dragon, places one hand, with a free and easyair, on the knee of the Virgin, and with the other seems to V •-• --^--i^^^g?^ ^w ..s /-. 77 Parmigiano.
Size: 1554px × 1609px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade18, booksubjectmaryblessedvirginsaint
