ate Conception.

The numerous heads of the Virgin which proceeded from the later
schools of Italy and Spain, wherein she appears neither veiled nor
crowned, but very young, and with flowing hair and white vesture, are
intended to embody the popular idea of the _Madonna purissima_, of
"the Virgin most pure, conceived without sin," in an abridged form.
There is one by Murillo, in the collection of Mr. Holford; and another
by Guido, which will give an idea of the treatment.

Before quitting the subject of the Immaculate Conception. I must
refer to a very curious picture[1] called an Assumption, but certainly
painted at least one hundred years before the Immaculate Conception
was authorized as a Church subject.

[Footnote 1: Once in the collection of Mr. Solly, and now in the
possession of Mr. Bromley of Wootten.]

From the year 1496, when Sixtus IV. promulgated his Bull, and the
Sorbonne put forth their famous decree,--at a time when there was
less of faith and religious feeling in Italy than ever before,--this
abstract dogma became a sort of watchword with theological disputants;
not ecclesiastics only, the literati and the reigning powers took
an interest in the controversy, and were arrayed on one side or the
other. The Borgias, for instance, were opposed to it. Just at this
period, the singular picture I allude to was painted by Girolamo da
Cotignola. It is mentioned by Lanzi, but his account of it is not
quite correct.

Above, in glory, is seen the _Padre Eterno_, surrounded by cherubim
bearing a scroll, on which is inscribed, "_Non enim pro te sed pro
omnibus hec lex constitutura est._"[1] Lower down the Virgin stands
on clouds, with hands joined, and attired in a white tunic embroidered
with gold, a blue mantle lined with red, and, which is quite singular
and unorthodox, _black shoes_. Below, on the earth, and to the
right, stands a bishop without a glory, holding a scroll, on which
is inscribed, "_Non puto vere esse amatorem Virginis qui respuit
celebrare Festum suae Conceptionis_;" on the left is St. Jerome. In
the centre are three kneeling figures: on one side St. Catherine (or
perhaps Caterina Sforza in the character of St. Catherine, for the
head looks like a portrait); on the other an elderly woman, Ginevra
Tiepolo, widow of Giovanni Sforza, last prince of Pesaro; [2] between
them the little Costanzo Sforza, looking up with a charming devout
expression. [3] Underneath is Inscribed, "JUNIPERA SFOSTIA PATR