donna, venerated as miraculous, in the Cathedral
of Orvieto, under the title of _La Madonna di San Brizio_, and to
which is attributed a fabulous antiquity. I may be mistaken, but my
impression, on seeing it, was, that it could not be older than the end
of the thirteenth century. The crowns worn by the Virgin and Christ
are even more modern, and out of character with the rest of the
painting. In Italy the pupils of Giotto first began to represent
the Virgin standing on a raised dais. There is an example by Puccio
Capanna, engraved in d'Agincourt's work; but such figures are very
uncommon. In the fifteenth and sixteenth centuries they occur more
frequently in the northern than in the Italian schools.

In the simple enthroned Madonna, variations of attitude and sentiment
were gradually introduced. The Virgin, instead of supporting her
Son with both hands, embraces him with one hand, and with the other
points to him; or raises her right hand to bless the worshipper. Then
the Child caresses his mother,--a charming and natural idea, but a
deviation from the solemnity of the purely religious significance;
better imagined, however, to convey the relation between the mother
and child, than the Virgin suckling her infant, to which I have
already alluded in its early religious, or rather controversial
meaning. It is not often that the enthroned Virgin is thus occupied.
Mr. Rogers had in his collection an exquisite example where the
Virgin, seated in state on a magnificent throne under a Gothic canopy
and crowned as queen of heaven, offers her breast to the divine Infant
Then the Mother adores her Child. This is properly the _Madre Pia_
afterwards so beautifully varied. He lies extended on her knee, and
she looks down upon him with hands folded in prayer: or she places
her hand under his foot, an attitude which originally implied her
acknowledgment of his sovereignty and superiority, but was continued
as a natural _motif_ when the figurative and religious meaning was no
longer considered. Sometimes the Child looks up in his mother's face
with his finger on his lip, expressing the _Verbum sum_, "I am the
Word." Sometimes the Child, bending forwards from his mother's knee,
looks down benignly on the worshippers, who are _supposed_ to be
kneeling at the foot of the altar. Sometimes, but very rarely he
sleeps; never in the earliest examples; for to exhibit the young
Redeemer asleep, where he is an object of worship, was then a species