climb to the quaint old church on the ramparts overhanging the
Arno. If perchance his wanderings lead him, on another occasion, to
the hill rising on the opposite side, he will find, in the Cathedral
of Fiesole, a fitting companion in the altar-piece by Mino da Fiesole.
This is a decidedly unique rendering of the Madre Pia. The Virgin
kneels in a niche, facing the spectator, adoring the Christ-child, who
sits on the steps below her, turning to the little Baptist, who kneels
at one side on a still lower step.

[Footnote 5: C.C. Perkins, in Tuscan Sculptors.]

[Illustration: LORENZO DI CREDI.--NATIVITY.]

Passing from the sculpture of Florence to its painting, it is fitting
that we mention first of all the friend and fellow-pupil of the
Umbrian Perugino, Lorenzo di Credi. The two had much in common.
Trained together in the workshop of the sculptor Verrocchio, in those
days of intense religious stress, they both became followers of the
prophet-prior of San Marco, Savonarola. Their religious earnestness
naturally found expression in the beautiful subject of the Madre Pia.
The Florentine artist, though not less devout than his friend,
introduces into his work an element of joy, characteristic of his
surroundings, and more attractive than the somewhat melancholy types
of Umbria. His Adoration, in the Uffizi, is an admirable example of
his best work. Following the fashion made popular by the Della
Robbias, the artist chose for his composition the round picture, or
_tondo_. By this elimination of unnecessary corners, the attention
centres in the beautiful figure of the Virgin, which occupies a large
portion of the circle. In exquisite keeping with the modest loveliness
of her face, a delicate, transparent veil is knotted over her smooth
hair, and falls over the round curves of her neck. In expression and
attitude she is the perfect impersonation of the spirit of humility,
joyfully submissive to her high calling, reverently acknowledging her
unworthiness.

This picture may be taken as a typical example of the subject in
Florentine painting. Lorenzo himself repeated the composition many
times, and numerous other works could be mentioned, strikingly similar
in treatment, by Ghirlandajo, in the Florence Academy; by Signorelli,
in the National Gallery; by Albertinelli, in the Pitti; by Filippo
Lippi, in the Berlin Gallery; by Filippino Lippi, in the Pitti; and so
on through the list.

In many cases the subject seems to have b