A genuine Florentine Madonna is distinguished by a certain elegance
and stateliness, and well becomes her throne. As patroness of
Florence, in her own right, the Virgin bears the title of Santa Maria
del Fiore, and in this character she holds a flower, generally a rose,
or is in the act of presenting it to the Child. She is often attended
by St. John the Baptist, as patron of Florence; but he is everywhere
a saint of such power and importance as an attendant on the divine
personages, that his appearance in a picture does not stamp it as
Florentine. St. Cosmo and St. Damian are Florentine, as the protectors
of the Medici family; but as patrons of the healing art, they have
a significance which renders them common in the Venetian and other
pictures. It may, however, be determined, that if St. John the
Baptist, St. Cosmo and St. Damian, with St. Laurence (the patron of
Lorenzo the Magnificent), appear together in attendance on the Virgin,
that picture is of the Florentine school. The presence of St. Zenobio,
or of St. Antonino, the patron archbishops of Florence, will set the
matter at rest, for these are exclusively Florentine. In a picture by
Giotto, angels attend on the Virgin bearing vases of lilies in their
hands. (Lilies are at once the emblem of the Virgin and the _device_
of Florence.) On each side kneel St. John the Baptist and St.
Zenobio.[1]

[Footnote 1: We now possess in our National Gallery a very interesting
example of a Florentine enthroned Madonna, attended by St. John the
Baptist and St. Zenobio as patrons of Florence.]

A Siena Madonna would naturally be attended by St. Bernardino and St.
Catherine of Siena; if they seldom appear together, it is because they
belong to different religious orders.

In the Venetian pictures we find a crowd of guardian saints; first
among them, St. Mark, then St. Catherine, St. George, St. Nicholas,
and St. Justina: wherever these appear together, that picture is
surely from the Venetian school.

All through Lombardy and Piedmont, St. Ambrose of Milan and St.
Maurice of Savoy are favourite attendants on the Virgin.

* * * * *

In Spanish and Flemish art, the usual attendants on the queenly
Madonna are monks and nuns, which brings us to the consideration of
a large and interesting class of pictures, those dedicated by the
various religious orders. When we remember that the institution of
some of the most influential of these communiti