Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/171

 Munich Gallery. The Virgin, with hands crossed on her breast, standing within a hedge over which roses are trained, looking down at Jesus, who lies on a cloth spread on the ground at her feet; background, a landscape.—W. & W., ii. 316.

MADONNA OF THE ROSE HEDGE (am Rosenhaag), Martin Schongauer, St. Martin's, Colmar; H. 7 ft. × 3 ft. 10 in. The Virgin, with Jesus in her lap, seated on a grass-bank in a bower of roses, among which birds are nestling; above, two angels suspending a crown over her head. His most important picture.—W. & W., ii. 106; Dohme (Keane), 80; Kugler (Crowe), i. 137; Kunstblatt, Aug. 25, 1846; Gontzwiller, Musée de Colmar, 36; Förster, ii.

MADONNA WITH ROSES, Titian, Uffizi, Florence; wood, half-*length, a little less than life-size. The Virgin, seated, with Jesus in her lap; he stoops to take the roses which St. John offers him; at one side, St. Anthony, white-haired and bearded, leans on his staff. Painted about 1508.—C. & C., Titian, i. 108.

MADONNA DE' RUCELLAI, Cimabue, S. M. Novella, Florence; wood, gabled, H. 13 ft. 7 in. × 8 ft. 11 in. The Virgin, with Jesus on her lap, sitting on a chair which is borne by six angels kneeling, three on each side, one above another; frame ornamented with 30 small medallions with heads of saints. Painted about 1267 for the Cappella de' Rucellai, in S. M. Novella. It was the largest altarpiece ever painted, in its time, and was so much admired that it was carried to the church in a festive procession of people and trumpeters. In this picture the faces have a softer expression than we see in the given Byzantine madonnas; the Child is not lifeless, and the adoring angels are devotional. There is also a decided advance in drawing and colour over Greek examples; stippling is practised instead of shading by lines, and there are blending half-tones instead of a sharp contrast between extremes of light and shade. From this picture the Florentine school dates its advance, and it is therefore of great interest.—Vasari, ed. Mil., i. 254; C. & C., Italy, i. 203; Riepenhausen, Gesch. der Malerei, i. 7; D'Agincourt, Peinture, Pl. 108; Etruria Pittrice, i. Pl. 8; Réveil, xiv. 961.

Madonna de' Rucellai, Cimabue, S. M. Novella, Florence.

MADONNA DEL SACCO (of the Sack), Andrea del Sarto, SS. Annunziata de' Servi, Florence; fresco, in a lunette over a door in the cloisters; dated 1525. The Virgin, seated, with Jesus in her arms; beside her, St. Joseph, leaning on a sack, reading from a book. Painted for a lady who had it ex