nly with the Infant Godhead on her knee, or
the living worshippers who come to lay down their cares and sorrows
at the foot of her throne and breathe a devout "Salve Regina!"--is,
through its very simplicity and concentrated interest, a sublime
conception. The effect of these figures, in their divine quietude and
loveliness, can never be appreciated when hung in a gallery or room
with other pictures, for admiration, or criticism, or comparison. I
remember well suddenly discovering such a Madonna, in a retired chapel
in S. Francesco della Vigna at Venice,--a picture I had never heard
of, by a painter then quite unknown to me, Fra Antonio da Negroponte,
a Franciscan friar who lived in the fifteenth century. The calm
dignity of the attitude, the sweetness, the adoring love in the face
of the queenly mother as with folded hands she looked down on the
divine Infant reclining on her knee, so struck upon my heart, that I
remained for minutes quite motionless. In this picture, nothing can
exceed the gorgeous splendor of the Virgin's throne and apparel:
she wears a jewelled crown; the Child a coronal of pearls; while the
background is composed entirely of the mystical roses twined in a sort
of _treillage_.

I remember, too, a picture by Carlo Crivelli, in which the Virgin is
seated on a throne, adorned, in the artist's usual style, with rich
festoons of fruit and flowers. She is most sumptuously crowned and
apparelled; and the beautiful Child on her knee, grasping her hand as
if to support himself, with the most _naive_ and graceful action bends
forward and looks dawn benignly on the worshippers _supposed_ to be
kneeling below.

When human personages were admitted within the same compartment, the
throne was generally raised by several steps, or placed on a lofty
pedestal, and till the middle of the fifteenth century it was always
in the centre of the composition fronting the spectator. It was a
Venetian innovation to place the throne at one side of the picture,
and show the Virgin in profile or in the act of turning round.
This more scenic disposition became afterwards, in the passion for
variety and effect, too palpably artificial, and at length forced and
theatrical.

The Italians distinguish between the _Madonna in Trono_ and the
_Madonna in Gloria_. When human beings, however sainted and exalted
were admitted within the margin of the picture, the divine dignity
of the Virgin as _Madre di Dio_, was often expressed by elev