Identifier: madonnainart1897hurl (find matches)
Title: The Madonna in art
Year: 1897 (1890s)
Authors: Hurll, Estelle M. (Estelle May), 1863-1924
Subjects: Mary, Blessed Virgin, Saint
Publisher: Boston, L.C. Page and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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le school of art; Bartolommeo andAndrea del Sarto of the Florentines,Francia of the Bolognese, and Belliniand Cima of the Venetians were partic- 42 THE MADONNA IN ART. ularly partial to them. The treatment inNorthern Italy gives them a more definitepurpose in the composition than does thatof Florence, for here they are alwaysmusicians, playing on all sorts of instru-ments,— the violin, the mandolin, or thepipe. Bartolommeo was specially successfulin the subject of the enthroned Madonna,having fine gifts of composition unitedwith profound religious earnestness. Thegreat picture in the Pitti gallery at Flor-ence may serve as a typical example.Andrea del Sartos chef-doeuvre—theMadonna di San Francesco (Ufiizi) — mayalso be assigned to this class, althoughthe arrangement is entirely novel. TheVirgin, holding the babe in her arms,stands on a sort of pedestal, carved atthe corners with a design of harpies, fromwhich the picture is often known as theMadonna of the Harpies. The pedestal
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Perugino. — Madonna and Saints. (Detail.) THE MADONNA ENTHRONED. 45 throne is also seen in two of CorreggiosDresden pictures, but here the Virgin isseated, with the child on her lap. Anexceedingly simple throne Madonna isthat of Luini, in the Brera at Milan,where the Virgin sits on a plain copingnot at all high. A beautiful Madonna enthroned is byPerugino, in the Vatican Gallery at Rome;one of the artists best works in power andvivacity of color. The throne is an archi-tectural structure of elegant simplicity ofdesign, apparently of carved and inlaidmarble. The Virgin sits in quiet dignity,her face bent towards the bishops at herright, St. Costantius and St. Herculanus.On the other side stand the youthful St.Laurence and St. Louis of Toulouse.Although Perugino was an exceedinglyprolific artist, he did not often choose thisparticular subject. On this account thepicture is especially interesting, and also 46 THE MADONNA IN ART. because it is the original model of wellknown works by tw

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