so the patriarch of the Franciscans and
Dominicans, and frequently takes an influential place in their
pictures, as the companion either of St. Francis or of St. Dominick,
as in a picture by Fra Angelico. (Florence Gal.)

Among the votive Madonnas of the mendicant orders, I will mention a
few conspicuous for beauty and interest, which will serve as a key to
others.

1. The Virgin and Child enthroned between Antony of Padua and St.
Clara of Assisi, as in a small elegant picture by Pellegrino, must
have been dedicated in a church of the Franciscans. (Sutherland Gal.)

2. The Virgin blesses St. Francis, who looks up adoring: behind him
St. Antony of Padua; on the other side, John the Baptist as a man, and
St. Catherine. A celebrated but not an agreeable picture, painted by
Correggio for the Franciscan church at Parma. (Dresden Gal.)

3. The Virgin is seated in glory; on one side St. Francis, on the
other St. Antony of Padua, both placed in heaven, and almost on
an equality with the celestial personages. Around are seven female
figures, representing the seven cardinal virtues, bearing their
respective attributes. Below are seen the worthies of the Franciscan
Order; to the right of the Virgin, St. Elizabeth of Hungary, St. Louis
of France, St. Bonaventura; to the left, St. Ives of Bretagne, St.
Eleazar, and St. Louis of Toulouse.[1] Painted for the Franciscans by
Morone and Paolo Cavazzolo of Verona. This is a picture of wonderful
beauty, and quite poetical in the sentiment and arrangement, and the
mingling of the celestial, the allegorical, and the real personages,
with a certain solemnity and gracefulness quite indescribable.
The virtues, for instance, are not so much allegorical persons as
spiritual appearances, and the whole of the ripper part of the picture
is like a vision.

[Footnote 1: For these Franciscan saints, v. Legends of the Monastic
Orders.]

4. The Virgin, standing on the tree of Site, holds the Infant: rays
of glory proceed from them on every side. St. Francis, kneeling at the
foot of the tree, looks up in an ecstasy of devotion, while a snake
with a wounded and bleeding head is crawling away. This strange
picture, painted for the Franciscans, by Carducho, about 1625, is a
representation of an abstract dogma (redemption from original sin),
in the most real, most animated form--all over life, earthly breathing
life--and made me start back: in the mingling of mysticism and
materialism, it is quite Spa