The best known Madonnas of Raphael's Roman period are the "Aldobrandini (Garvagh) 'Madon na" (National Gallery) ; the "Madonna col divin amo•e" (Naples) ; the "Madonna with the Diadem" (Louvre), in which the crowned Vir gin lifts a veil from the body of the sleeping Child. revealing him to the enthusiastic Baptist.
Of the circular type the best known are the "Madonna della candelabra" (National Gallery), executed by a pupil; the beautiful Al ba" (St. Petersburg), and. chief of all, the "Madonna della sedia" or "seggiola," vying with the Sistine in-popularity. (See RAPHAEL.) He also found time to paint three large altarpieces. the "Madonna di Foligno" (Vatican), in which the Virgin is enthroned in the.elouds, with saints and the donor below, while the background is filled with the representation of Foligno struck by a thunderbolt. Another famous example is the "Madonna del pesee" (Madrid), so called from the fish which Tobias, escorted by the Angel, presents to the Madonna. But grand est of all, the culmination of Raphael's Madon nas, and the most perfect representation of the Queen of Heaven in art, is the Sistine Madonna. See RAPHAEL.
Many of Raphael's Madonnas during this period were only designed and exe euted by his pupils. especially by Giulio Romano: as. for example, the "Madonna del impannata" (window-pane),in the Pitti Palace,the "Madonna del passeggio," in Bridgewater House (London). and the "Madonna della gatta" (cat), in the Museum of Naples. Besides the works executed after the designs of Raphael, Giulio Romano designed Madonnas of his own, the best known of which, the "Madonna della catina" (Dresden), is so called because of the basin in which the Christ-child is being bathed. In general. the Madonnas of the Mannerist and Eleetie schools are of little interest. on account of the lack of real depth of feeling.
In Northern Europe fewer examples of "Ma donnas" survive, owing in part to the Iconoclas tic storms which devastated the churches. Though realistic in type, those of the Early Flemish and German schools do not endeavor to repre sent the subject as a mere family scene, but retain much of the medieval dignity. Among the best examples by Jan van Eyek are the "Ma donna of the Canon van der Poel" (Bruges) ; the "Virgin in a Gothic Chapel"—reputed part of a traveling altar of Charles V., at Dresden: the "Lucca Madonna." suckling her Child (Frank fort), and the famous "Madonna" of Chancel lor Rollin (Louvre).
Stephan Lochner's "Virgin in the Arbor of Roses" (Cologne Museum) is a gem among the works of the early German school, soft and idyllic in eharaeter. while the same subject by
Scbongauer. in the church of Saint Martin. Col mar, is more solemn and grandiose. Dfirer's "Madonna with the Pear" (Imperial Gallery. Vienna) is his chief representation of the sub ject. First in rank among all German Madon nas. as the Sistine among Italian. i. the "Ma donna of Burgomaster Meyer" at Darmstadt. (For description and illustration see Hor.nEtx.) The great Dutchmen of the seventeenth century were little concerned with Madonnas. the Flem ings somewhat more so. The best example by Rubens is the beautiful "Madonna of the Inno cents" (Louvre), in which she is portrayed as surrounded by crowds of innocent children: while in Van Dyke's "Madonna of the Rosary" (Campania del Rosario. Palermo). cherubim and saints surround the Virgin, holding the rosary to Saint Dominic.
Among Spanish painters Murillo's Madonnas are of rare coloristic charm and deep religious feeling. Perhaps the finest examples, represent ing only the Virgin and Child, are in the Pitti ( Florence) and Corsini (Rome) palaces, while in the grand example of the Louvre Saint Eliza beth and John are also represented. Madonnas in contemporary art are of less interest. because they are no longer the highest expression of the religious spirit of the day. Prominent among German examples are those by Overbeek (New Pinakothek, Munich), a reflection of the old Umbrian type; of Bodenhau.en, Defregger. and Max (Leipzig Museum). The best known among the French are Bouguereau's "3ladonna of the Angels" and "La Vierge eonsolatrice" (Paris, Luxembourg), and Dagnan.Bouveret's "Virgin in the Carpenter Shop." Although the subject was often carved in stone, especially during the Got/tie period, when it might be seen upon wellnigh every cathedral por these representations are not sufficiently im portant to require especial mention in this brief enumeration. A celebrated example is Andrea Pisano's relief over the side portal of Florence Cathedral. The exquisite terra-cotta reliefs of Luea della Robbia (see illustration) and his followers. of which there are numerous examples in the Museo Nationale and elsewhere in Flor ence. often represented the Madonna. The most celebrated example of a sculptured Madonna is Michelangelo's "Madonna of Bruges," in the cathedral of that city—a beautiful example of his early or realistic period. See MICHELAN GELO.