erugino's
types, drawn by an intuitive delicacy of perception to this spiritual
idealism, while yet too inexperienced to express any originality.
Then, by an inevitable reaction, he threw himself into the creation of
a purely naturalistic Madonna, and carried the Mater Amabilis to its
utmost perfection. Having mastered all the secrets of woman's beauty,
he returned once more to the higher realm of idealism to send forth
his matured conception of the Madonna as the Christ-bearer.

The Sistine Madonna is above all words of praise; all extravagance of
expression is silenced before her simplicity. Hers is the beauty of
symmetrically developed womanhood; the perfect poise of her figure is
not more marked than the perfect poise of her character. Not one
false note, not one exaggerated emphasis, jars upon the harmony of
body, soul, and spirit. Confident, but entirely unassuming; serious,
but without sadness; joyous, but not to mirthfulness; eager, but
without haste; she moves steadily forward with steps timed to the
rhythmic music of the spheres. The child is no burden, but a part of
her very being. The two are one in love, thought, and purpose. Sharing
the secret of his sacred calling, the mother bears her son forth to
meet his glorious destiny.

Art can pay no higher tribute to Mary, the Mother of Jesus, than to
show her in this phase of her motherhood. We sympathize with her
maternal tenderness, lavishing fond caresses upon her child. We go
still deeper into her experience when we see her bowed in sweet
humility before the cares and duties she is called upon to assume.
But we are admitted to the most cherished aspirations of her soul,
when we see her oblivious of self, carrying her child forth to the
service of humanity. It is thus that she becomes one of his "witnesses
unto the people;" it is thus that "all generations shall call her
blessed."

BIBLIOGRAPHY.

MRS. ANNA JAMESON: The Legends of the Madonna. Boston, 1896.

CROWE AND CAVALCASELLE: History of Painting in Italy. London,
1864. History of Painting in North Italy. London, 1871. Titian: His
Life and Times. London, 1877.

KUGLER: Handbook of the Italian Schools, revised by A.H.
Layard. London, 1887. Handbook of the German, Flemish, and Dutch
Schools, revised by J.A. Crowe. London, 1889.

MORELLI: Critical Studies of the Italian Painters. Translated
by Constance Jocelyn Ffoulkes. London, 1892.

J.A. SYMONDS: Renaissance in Italy: The Fine Arts. New