in Order, the cord of St. Francis
is in most instances dispensed with. He is exact with regard to the
colours of the drapery, but not always in the colour of the hair. On
the other hand, the beauty and expression of the face and attitude,
the mingled loveliness, dignity, and purity, are given with exquisite
feeling; and we are never, as in his other representations of the
Madonna, reminded of commonplace homely, often peasant, portraiture;
here all is spotless grace, ethereal delicacy, benignity, refinement,
repose,--the very apotheosis of womanhood.

I must go back to observe, that previous to the promulgation of
the famous bull of Pope Paul V., the popular ideas concerning the
Immaculate Conception had left their impress on art. Before the
subject had taken an express and authorized form, we find pictures
which, if they do not represent it, relate to it, I remember two which
cannot be otherwise interpreted, and there are probably others.

The first Is a curious picture of the early Florentine School. (Berlin
Gal.) In the centre is original sin, represented by Eve and the
Serpent; on the right stand St. Ambrose, St. Hilarius, St. Anselm,
and St. Bernard; on the left St. Cyril, Origen, St. Augustine, and St.
Cyprian; and below are inscribed passages from the writings of these
fathers relating to the immaculate Conception of the Virgin: all of
them had given to her in their works the title of Immaculate, most
pure; but they differed as to the period of her sanctification, as to
whether it was in the moment of conception or at the moment of birth.

The other picture is in the Dresden Gallery, and one of the finest
productions of that extraordinary Ferrarese painter Dosso Dossi. In
the lower part of the picture are the four Latin Fathers, turning over
their great books, or in deep meditation; behind them, the Franciscan
Bernardino of Siena. Above, in a glory of light, the Virgin, clothed,
not in spotless white, but a richly embroidered regal mantle, "wrought
about with divers colours," kneels at the feet of the Almighty, who
extends his hand in benediction. I find no account in the catalogue
whence this picture was taken, but it was evidently painted for the
Franciscans.

* * * * *

In 1617, when the Bull of Paul V. was formally expedited, Guido was
attached to the papal court in quality of painter and an especial
favourite with his Holiness. Among the earliest accredited pictures of
th