o trace every one of these with absolute correctness to its
individual author, the majority seem to be by Andrea, who, as it would
appear, had a special fondness for the subject. It must be
acknowledged that the nephew is inferior to his uncle in his ideal of
the Virgin, less original than Luca in his conceptions, and less noble
in his results. His work, notwithstanding, has many charming
qualities, which are specially appropriate to the character of the
particular subject under consideration. There is, indeed, a peculiar
value in low relief, for purposes of idealization. It has an effect of
spiritualizing the material, and giving the figures an ethereal
appearance. Andrea profited by this advantage, and, in addition,
showed great delicacy of judgment in subduing curves and retaining
simplicity in his lines.

We may see all this in the popular tabernacle which he designed, and
of which there are at least five, and probably more, copies. The
Madonna kneels prayerfully before her babe, who lies on the ground by
some lily stalks. In the sky above are two cherubim and hands holding
a crown. There is a girlish grace in the kneeling figure, and a rare
sweetness in the face, entirely free from sentimentality. A severe
simplicity of drapery, and the absence of all unnecessary accessories,
are points of excellence worth noting. The composition was sometimes
varied by the introduction of different figures in the sky, other
cherubim, or the head of the Almighty, with the Dove. Only second in
popularity to this was Andrea's circular medallion of the Nativity,
with the Virgin and St. John in adoration. There are two copies of
this in the Florentine Academy, one in the Louvre, and one in Berlin.
The effect of crowding so many figures into a small compass is not so
pleasing as the classical simplicity of the former composition.

[Illustration: ANDREA DELLA ROBBIA.--MADONNA IN
ADORATION.]

Contemporary with the Della Robbias was another Florentine family of
artists equally numerous. Of the five Rossellini, Antonio is of
greatest interest to us, as a sculptor who had some qualities in
common with the famous porcelain workers. Like them, he had a special
gift for the Madonna in Adoration. We can see this subject in his best
style of treatment, in the beautiful Nativity in San Miniato, "which
may be regarded as one of the most charming productions of the best
period of Tuscan art."[5] The tourist will consider it a rich reward
for his