href="@public@vhost@g@gutenberg@html@files@17373@[email protected]#img_24" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">Nativity
Uffizi Gallery, Florence.

PREFACE.

This little book is intended as a companion volume to "Child-Life in Art," and is a study of Madonna art as a revelation of motherhood. With the historical and legendary incidents in the life of the Virgin it has nothing to do. These subjects have been discussed comprehensively and finally in Mrs. Jameson's splendid work on the "Legends of the Madonna." Out of the great mass of Madonna subjects are selected, here, only the idealized and devotional pictures of the Mother and Babe. The methods of classifying such works are explained in the Introduction.

Great pains have been taken to choose as illustrations, not only the pictures which are universal favorites, but others which are less widely known and not easily accessible.

The cover was designed by Miss Isabelle A. Sinclair, in the various colors appropriate to the Virgin Mary. The lily is the Virgin's flower, la fleur de Marie, the highest symbol of her purity. The gold border surrounding the panel is copied from the ornamentation of the mantle worn by Botticelli's Dresden Madonna.

Estelle M. Hurll.

New Bedford, Mass., May, 1897.

INTRODUCTION.

It is now about fifteen centuries since the Madonna with her Babe was first introduced into art, and it is safe to say that, throughout all this time, the subject has been unrivalled in popularity. It requires no very profound philosophy to discover the reason for this. The Madonna is the universal type of motherhood, a subject which, in its very nature, appeals to all classes and conditions of people. No one is too ignorant to understand it, and none too wise to be superior to its charm. The little child appreciates it as readily as the old man, and both, alike, are drawn to it by an irresistible attraction. Thus, century after century, the artist has poured out his soul in this all-prevailing theme of mother love until we have an accumulation of Madonna pictures so great that no one would dare to estimate their number. It would seem that every conceivable type was long since exhausted; but the end is not yet. So long as we have mothers, art will continue to produce Madonnas.

With so much available material, the student of Madonna art would be discouraged at the outset were it not possible to approach the subject systematically. Even the vast number of Madonna pictures becomes manageable when studied by some method of classification. Several plans are possible. The historical student is naturally guided in his grouping by the periods in which the pictures were produced; the critic, by the technical schools which they represent. Besides these more scholarly methods, are others, founded on simpler and more obvious dividing lines. Such are 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