s
feeling, different, but almost as intense as that of the primitive
Italian painters. Throughout the many Madonnas on which the fame of
Raphael is founded we feel that, through a certain variety of type,
the research was always the same--a desire to realize the maid-mother,
and to presage, in the lineaments of the child, his future character.
This sentiment, everywhere present, is approached reverently, and the
too short-lived painter in his work at least utters a constant prayer.
With Bellini, with Titian, and with Veronese the effort is not
dissimilar, though something of the sumptuosity of Venetian life has
crept in, and it is to a queen of earth as much as of heaven, and to a
prince of the church temporal, that their service is rendered.

[Illustration: MOTHER AND CHILD. N. BARABINO, A LIVING ITALIAN
PAINTER.]

In the Spanish pictures, particularly those of earlier date than any
Spanish picture reproduced here, we feel the strong impress of the
Church. In the picture by Alonso Cano there looks out from the eyes of
the Mother the sentiment of the cloistered nun; and though, with the
Murillos, we catch a glimpse of Spain outside of the Church, even with
him there is a sense of subjection from which the memories of the
Inquisition are not altogether absent.

[Illustration: LA VIERGE AU COUSSIN VERT--MADONNA OF THE GREEN
CUSHION. ANDREA DA SOLARIO (ITALIAN: BORN 1458; DIED 1530).]

[Illustration: LA VIERGE AUX CERISES--MADONNA OF THE CHERRIES.
ANNIBALE CARRACCI (ITALIAN: BORN 1560; DIED 1609).]

[Illustration: JESUS ASLEEP. L. DESCHAMPS, A LIVING FRENCH PAINTER.]

[Illustration: MOTHER AND CHILD. S.H. LYBAERT, A LIVING GERMAN
PAINTER.]

Our modern art has become so complex, the demands on the modern
painter are so different from those which the older masters met, that
our latter-day painting offers fewer examples of the Mother and Child.
Dagnan-Bouveret, in France, however, has treated the subject in such a
way as to show that there yet remains new presentations of the
world-old theme. To-day the painter has to retain the sentiment of his
subject through a network of technical difficulties, and the gracious
virginal figure which Monsieur Dagnan-Bouveret has painted does this
measurably well; while he has triumphed technically in painting a
figure in white, lit by reflected light filtered through a network of
green leaves. Another picture of the Virgin and Child, where the
outline of the Child is seen through t