Of Leonardo da \'inei's Madonnas but two probable specimens survive: "La Vierge aux rockers," and the "Madonna with Saint Anne," a very unusual, though charming representation, in which Saint Anne sits in the Virgin's lap. (For description of his other Madonnas see Vixci, LEONARDO DA.), Michelangelo twice painted the subject: an unfinished Madonna in the British Museum, and the "Madonna of Angelo Doni," in the Uffizi, remarkable for the novel action of Joseph passing the child to the Madonna over her shoulder, and for the manner in which the background is filled with nude youths. The best known examples of Andrea del Santo's Ma donnas are the del saeco," a fresco over the portal of the cloister of the Annuneiata ( Florence), so called for the sack upon which Joseph leans, and the "Madonna dell' arpie," which derives its name from the harpies on the pedestal, upon which the Virgin leans. See SARTO, ANDREA DEL.
in the Madonnas of the Umbrian school its dreamy sentiment and ecstatic piety arc most strikingly revealed. There are good examples by Perugino in the Uffizi, in the Vienna Gal lery and elsewhere; but the best known is the "Enthroned Madonna and Child," surrounded by the patron saints of Perugia, now in the Vatican. Of the Ferrarese work of the four teenth century it is sufficient to mention the tine altarpiece by Frances() Cossa in the gallery of Bologna, and those of Lorenzo Costa in the Church of San Giovanni in Monte (Bologna) and in the Berlin Museum. The altza.pieee of San Andrea by Dosso Dossi (sixteenth century), now in the Gallery of Ferrara, representing the "Madonna Enthroned." surrounded by saints, with John the Baptist at the foot of the throne, is one of the best works, both in color and treatment, of Italian art. At Bologna Francia produced a number of Madonnas, celebrated for their mild, reproachful expression, of which the best known are in the gallery there: a "Ma donna Enthroned," and the "Virgin in a Rose Garden," adoring the Child. The best known Madonnas of Mantegna are the grand altarpiece of San Zeno, Verona, the example in the .National Gallery (London), and most of all, the "Ma donna della vittoria" in the Louvre. (For descrip tion see MANTEGNA.) Among the Madonnas of Correggio one in the Uffizi, "La zingarella" ( the Madonna as a gipsy), in the Naples Gallery. and the "Vierge all puler," in the National Gal lery, represent domestic scenes; more ambitious attempts are the "Madonna with Saint Francis" (Dresden) and the famous "Giorno" (Day) in the Parma Gallery. See CORREGGIO.
The Madonna; of the Venetian painters of the fifteenth century unite Padnan virility of exe cution with Venetian charm of color. Especially •beautiful are those of Giovanni Bellini, ous in the Venetian Academy, the Berlin Gal lery, and the Brera (Milan). A good example is the "Madonna with a Pomegranate" (National Gallery. London), but perhaps the most re markable is the altarpiece of San Giobhe (Ve netian Academy), in which two angels are rep resented at the foot of the throne of the Virgin, 11110 is surrounded by five saints. Only one
of Giorgione's survives: the "Castelfranco Ma donna," in the cathedral of that town. The head of the Virgin, who is seated upon a high throne, is of the purest and most pathetic beauty. On her right is San Liberale in full armor, an ideal of knighthood, and to the left is Saint Francis. Above a wall in the background may be seen a fair and sunny landscape. Among Titian's Madonnas there are well-known ex amples at Vienna (including the "3ladonna with the Cherries"), at Dresden, in the Louvre, the Uffizi, and the Prado (Madrid). The most cele brated and grandest, however, is the Pesaro Madonna, in the Church of the Frani, Venice. See TITIAN.
The chief of all 'Iadonna painters, the one who developed the subject to its fullest extent, was Raphael. in his early period lie painted a dreamy and sentimental type, the highest development of the Umbrian ideal; in the middle or Florentine period he used the theme to por tray the relation of mother and child, while in the Roman he combined with this motif the nobler concept of the Queen of I-leaven. Of the large number ascribed to him over fifty merit consideration; but some of these are prob ably the work of contemporary painters, and we know that many, especially in the Roman period, were executed by his pupils. Of his earliest period there are two good examples at Berlin, after drawings by Pinturicehio, but the "Connestabile Madonna" (St. Petersburg) is in contestably the finest. The Virgin sits reading in a garden, the Child in her arms; the picture is almost miniature in size and delicate in finish.
An early work of the Florentine period—per haps the best. and certainly the most popular example—is the "Madonna del Gran Duca" (Pitti Palace. Florence), so called because it was the favorite of the Grand Duke. The Virgin stands erect holding the Child, and is statuesque in character and well modeled. Similar ill pose is the "Madonna Tempi" (Munich), while those known as the "Colonna" (at Berlin), "Orleans" (Due d'Aumale), and "Panshartger" Madonnas (at Panshanger), represent the Virgin as seated. All of these have been much damaged by restora tion. Another favorite type represents the Virgin as seated in a meadow landscape with the infant Christ and St. John. of which the best examples are the "Madonna in the Meadow" (Vienna) : the "Madonna del eardellino" (Uffizi), so called because John presents a goldfinch to the Virgin; and most perfect of all, "La belle jardiniere," in the Louvre. (See RAPHAEL.) Of his more am bitious altarpieces the chief are the "Blenheim" or "Ansidei Madonna" (1505, National Gallery, London), one of the best preserved of Raphael's works, in which the enthroned Virgin is repre sented between Saint John and Saint Nicholas of Bart ; and especially the "Madonna del balda chin"." See RAPHAEL.