the two proposed in the following
pages, forming, respectively, Part I. and Part II. of our little
volume.

The first is based on the style of composition in which the picture is
painted; the second, on the subject which it treats. The first
examines the mechanical arrangement of the figures; the second asks,
what is the real relation between them? The first deals with external
characteristics; the second, with the inner significance.

Proceeding by the first, we ask, what are the general styles of
treatment in which Madonna pictures have been rendered? The answer
names the following five classes:

1. The Portrait Madonna, the figures in half-length against an
indefinite background.

2. The Madonna Enthroned, where the setting is some sort of a throne
or dais.

3. The Madonna in the Sky or the "Madonna in Gloria," where the
figures are set in the heavens, as represented by a glory of light, by
clouds, by a company of cherubs, or by simple elevation above the
earth's surface.

4. The Pastoral Madonna, with a landscape background.

5. The Madonna in a Home Environment, where the setting is an
interior.

The foregoing subjects are arranged in the order of historical
development, so far as is possible. The first and last of the classes
enumerated are so small, compared with the others, that they are
somewhat insignificant in the whole number of Madonna pictures. Yet,
in all probability, it is along these lines that future art is most
likely to develop the subject, choosing the portrait Madonna because
of its universal adaptability, and representing the Madonna in her
home, in an effort to realize, historically, the New Testament scenes.
Of the remaining three, the enthroned Madonna is, doubtless, the
largest class, historically considered, because of the long period
through which it has been represented. The pastoral and enskied
Madonnas were in high favor in the first period of their perfection.

Our next question is concerned with the aspects of motherhood
displayed in Madonna pictures: in what relation to her child has the
Madonna been represented? The answer includes the following three
subjects:

1. The Madonna of Love (The Mater Amabilis), in which the relation is
purely maternal. The emphasis is upon a mother's natural affection as
displayed towards her child.

2. The Madonna in Adoration (The Madre Pia), in which the mother's
attitude is one of humility, contemplating her child with awe.

3. The M