rt saw the possibility of
uniting, with the religious conception of previous centuries, a more
natural ideal of motherhood. Thus, while the Madonna continues to be
preeminently a witness of her son's greatness, it is not at the
sacrifice of motherly tenderness.

In Venetian art-history, Giovanni Bellini stands at the period when
the old was just merging into the new. We have already seen how
greatly he and his contemporaries differed from the painters of a
later time. Taking advantage of all the progressive methods of the
day, they did not relinquish the religious spirit of their
predecessors, hence their work embodies the best elements of the old
and new. As we examine the Bellini Madonnas, one after another, we
can not fail to notice how delicately they interpret the relation of
the mother to her child.

Loving and gracious as she is, she is not the Mater Amabilis: she is
too preoccupied, though not too cold for caresses. Neither is she the
Madre Pia, though by no means lacking in humility. Her thoughts are of
the future, rather than of the present. True to a mother's instinct,
she encircles her child with a protecting arm, but her face is turned,
not to his, but to the world. Both are looking steadfastly forward to
the great work before them. Their eyes have the far-seeing look of
those absorbed in noble dreams. Their faces are full of sweet
earnestness, not of the ascetic sort, but joyful, with a calm,
tranquil gladness.

This description applies almost equally well to a half-dozen or more
of Bellini's Madonnas, in various styles of composition. For the sake
of definiteness, we may specify the Madonna between St. Paul and St.
George in the Venice Academy. The Virgin is in half-length, against a
scarlet curtain, supporting the child, who stands on the coping of a
balcony. In technical qualities alone, the picture is a notable one
for precision of drawing, breadth of light and shade, and brilliant
color. In Christian sentiment it is among the rare treasures of
Italian art. The National Gallery and the Brera contain others which
are very similar in style and conception.

The three enthroned Madonnas which have already been noticed are not
less remarkable for religious significance. There is a peculiar
freshness and vivacity in the San Giobbe picture. Both Virgin and
child are alert and eager, welcoming the future with smiling and
youthful enthusiasm. The Frari Madonna is of a more subdued type,
but is not less tr