e human baby, and
the Madonna is the poet's ideal of "a creature not too bright or good
for human nature's daily food."[31]

The bas-relief is one of the famous works in enamelled terra-cotta,
known as "Della Robbia ware." The idea of overlaying clay with a
glazing was not original with Luca della Robbia, but he seems to have
been the first to apply it to sculpture. In his own day he was looked
upon as a great inventor, and his works were very popular. The
material was inexpensive, and lent itself readily to all sorts of
decorative purposes. Its beauty, moreover, was of a lasting quality.
While paintings fade, the Della Robbia ware, "gem like, shall as very
gems endure."[32] The only injury to which it is liable is the
breaking off of some projecting portions. In our picture we see that a
fragment is broken out of the child's wrist. Fortunately, however,
there are no defects in the important parts of the work.

The figures are in the centre of a lunette or semi-circular
composition, with an adoring angel on each side holding a jar of
lilies. The piece is set up over a doorway on the outside of a
building in a narrow street in Florence. The location explains the
attitude of the mother and child. If they looked directly out of the
picture as in an altar-piece, there would be but one place, on the
opposite side of the street, where the passer-by could meet their
eyes. As it is, they turn their faces toward the vista of the street
as if to welcome the approaching wayfarer. While still a long way off
one feels the cheerful influence of their gaze. Even when coming from
the opposite direction it is pleasant, after passing the door, to know
that the friendly eyes follow us on our way.

The workmanship of Luca is seen in the artistic qualities of the
sculpture. There was a severe simplicity in his drawing of the outline
and draperies which contrasted with the more elaborate work of his
followers. Luca was also a close student of nature, and drew his
materials from the world about him.

[Footnote 28: At the Marriage of Cana, St. John, chapter ii., verses
3-5.]

[Footnote 29: St. John ii., verse 12, and St. Matthew, chapter xii.,
verse 46.]

[Footnote 30: St. John, chapter xix., verse 25.]

[Footnote 31: Wordsworth's "She was a Phantom of Delight."]

[Footnote 32: From some verses by Edith M. Thomas, "A Della Robbia
Garland," printed in _The Critic_, December, 1901.]

VIII

THE MEETING OF ST. FRANCIS AND ST. D