se convent it was a commission. The Baldacchino
Madonna of the Pitti, at Florence, is closely akin to Bartolommeo's
composition in the same gallery.

Glancing, briefly, at these scattered examples, we learn that the
enthroned Madonna belongs to every school of Italian art, and
exhibits an astonishing variety of forms. Probably it was in the North
of Italy that it flourished most. The Paduan School has its fine
representation in Mantegna's picture, already referred to; the
Brescian, in Moretto's Madonna of S. Clemente; the Veronese, in
Girolamo dai Libri's splendid altar piece in San Giorgio Maggiore; the
Bergamesque, in Lotto's Madonna of S. Bartolommeo. Above all, it was
in Venice, the Queen City of the Adriatic, that the enthroned Madonna
reached the greatest popularity: the spirit of the composition was
peculiarly adapted to the Venetian love of pomp and ceremony.

To understand Venetian art aright, we must distinguish the character
of the earlier and later periods. With Vivarini, Bellini, and Cima,
the Madonna in Trono was the expression of a devout religious feeling.
With Titian, Tintoretto, and Veronese, it was merely one among many
popular art subjects. Thus arose two different general types. The
earlier Madonna was a somewhat cold type of beauty; the faultless
regularity of her features and the imperturbable calm of her
expression make her rather unapproachable; but she shows a strong,
sweet purity of character, worthy of profound respect.

One of Cima's most important works is the Madonna of this type in the
Venice Academy. High on a marble throne, she sits under a pillared
portico, behind which stretches a pleasant landscape. Three saints
stand on each side,--an old man, a youth, and a maiden. On the steps
sit two choristers playing the violin and mandolin.

Palma's great altar-piece, at Vicenza, is another splendid enthroned
Madonna. Attended by St. George and St. Lucy, and entertained by a
musical angel seated at her feet, the Virgin supports her beautiful
boy, as he gives his blessing.

Bellini's enthroned Madonnas are known throughout the world. The
picture by which he established his fame was one of this class,
originally painted for a chapel in San Giobbe, but now hanging in the
Venice Academy. Ruskin has pronounced it "one of the greatest pictures
ever painted in Christendom in her central art power." It is a large
composition, with three saints at each side, and three choristers
below.

The Fra