Page:The New International Encyclopædia 1st ed. v. 12.djvu/738

MADONNA. 656 MADONNA. his .Madonnas. Of the two charming circular specimens in the Lllizi, the "Maguilicat" is the most representative of his early manner, while its companion piece holds the same rank for liis later period. Both represent the Virgin crowned and adored by dreamy angels. See Bot- ticelli, Alessandbo. Of Leonardo da Vinci's Madonnas but two probable specimens survive: "La Vierge au. rochers," and the "JIailonna with Saint Anne," a very unusual, though charming representation, in which Saint Anne sits in the Virgin's lap. (For description of his other Madonnas see ViN'CI, Leonardo i).'l Michelangelo twice painted the subject: an unfinished Madonna in the British Museum, and the "Jladonna of Augelo Doni." in the Uffizi, remarkable for the novel action of Joseph passing the child to the Madonna over her shoulder, and for the manner in which the backgroimd is filled with nude youths. The best known examples of Andrea del Sarto's Ma- donnas are the "iladonna ' del sacco," a fresco over the portal of the cloister of the Annunciata (Florence), so called for the sack upon whicii Joseph leans, and the "Madonna dell' arpie." which derives its name from the harpies on the pedestal, ujion which the Virgin leans. See Sarto, Andrea Del. In the Madonnas of the I'mbrian school its dreamy sentiment and ecstatic piety are most strikingly revealed. There are good examples by Perugino in the 1 llizi. in the Vienna Gal- lery and elsewhere; but the best known is the "Enthroned Madonna and Child," surrounde.l by the patron saints of Perugia, now in the Vatican. Of the Ferrarese work of the four- teenth century it is suflicient to mention the fine altarpiece by Franceso Cossa in the gallery of Bologna, and those of Lorenzo Costa in the Church of San Giovanni in Monte (Bologna) and in the Berlin Museum. The alti.rpiece of San Andrea by Dosso Dossi (sixteenth century), now in the Gallery of Ferrara. representing the '"Madonna Enthroned." surrounded by saints, with .Tohn the Baptist at the foot of the throne, is one of the l)est works, both in color and treatment, of Italian art. At Bologna Francia produced a number of Madonnas, celebrated for their mild, reproachful expression, of which tlv l)est known are in the gallery there: a "Ma- donna Enthroned." and the "Virgin in a Rose- Garden," adoring the Child. The best known Madonnas of Mantegna are the grand altarpiece of San Zeno, Verona, the example in the National Gallery (London), and most of all. the "Ma- donna della vittoria" in the Louvre. (For descrip- tion see Maxtegn..) Among the Jtadonnas of Correggio one in the Uftizi. "La zingarella" (the Madonna as a gipsy), in the Naples Gallery, and the "Vierge au panier," in the National Gal- lery, represent domestic scenes : more ambitious attempts are the "iladonna with Saint Francis" (Dresden) and the famous "Giorno" (Day) in the Parma Gallery. See CoRRECGio. The Madonnas of the Venetian painters of the fifteenth century unite Paduan virility of exe- cution with Venetian charm of color. Especially ^beautiful are those of Giovanni Bellini, numer- ous in the Venetian Academy, the Berlin Gal- lery, and the Brera (Jfilan). A good example is the "Madonna with a Pomegranate" (National Gallery. London), but perhaps the most re- markable is the altarpiece of San Giobbe (Ve- netian Academy), in which two angels are rep- resented at the foot of the throne of the 'irgin. who is surrounded by five saints. Only one of Giorgione's survives: the "Castelfranco Ma- donna," in the cathedral of that town. TIk- head of the Virgin, who is seated upon a high throne, is of the purest and most pathetic beauty. On her right is San Liberale in full armor, an ideal of knighthood, and to the left is Saint Francis. Above a wall in the background may be seen a fair and simny landscape, .mong Titian's Madonnas there are well-known ex- amples at Vienna (including the "Madonna with the Cherries"), at Dresden, in the Louvre, the Utiizi, and the Prado ( Madrid ) . The most cele- brated and grandest, however, is the Pesaro Madonna, in the Church of the Frari, Venice. See Titian. The chief of all Madonna painters, the one who developed the subject to its fullest extent, was Raphael. In his early period he paintc 1 a dreamy and sentimental type, the highest development of the Umbrian ideal; in the middle or Florentine period he used the theme to por- traj- the relation of mother and child, while in the Roman he combined with this motif the nobler concept of the Queen of Heaven. ( )t the large number ascribed to him over fifty merit consideration; but some of these are prob- ably the work of contemporary painters, and we know that many, especially in the Roman period, were executed by his pupils. Of his earliest period there are two good examples at Berlin, after dra^vings by Pinturicchio, but tv! "Connestabile Madonna" (St. Petersburg) is in- contestably the finest. The Virgin sits readin- in a garden, the Child in her arms; the picture is almost miniature in size and delicate in finish. An early work of the Florentine period — per- haps the best, and certainly the most popular example — is the "Madonna del Graft Duca" ( Pitti Palace. Florence), so called because it was the favorite of the Grand Duke. The Virgin stands erect holding the Child, and is statuesqie in character and well modeled. Similar in pose is the "Madonna Tempi" (Munich), while those known as the "Colonna" (at Berlin), "Orleans" (Due d'Aumale), and ""Panshanger" Madonna^ (at Panshanger), represent the Virgin as seated. All of these have been much damaged by restora- tion. Another favorite type represents the Virgin as seated in a meadow landscape with the infant Christ and St. .John, of which the best examples are the "Madonna in the Meadow" (Vienna): the "Madonna del cardellino" (Uffizi). so called because .John presents a goldfinch to the Virgin : and most perfect of all. "La belle jardini&re," in the Louvre. (See Raphael.) Of his more am- bitious altarpieces the chief are the "Blenheim" or ". sidei Madonna" (150.5, National Gallerv, London), one of the best preserved of Raphael's works, in which the enthroned Virgin is repre- sented between Saint .John and Saint Nicholas of Bart ; and especially the "Madonna del balda- chino." See Raphael. The best known JIadonnas of Raphael's Roman period are the ".ldnbrandini (Garvagh) Madon- na" (National Gallery) ; the "Madonna col divin amore" (Naples) ; the "Madonna vrith the Diadem" (Louvre), in which the crnvned Vir- gin lifts a veil from the body of the sleeping Child, revealing him to the enthusiastic Baptist.