Salaino, and Mündler to Cesare da Sesto. Engraved by Forster.—Heaton, 76, 238; Rigollot, Hist. des Arts, etc., i. 274; Mündler, Essai, 114; Ch. Blanc, École florentine; Kugler (Eastlake), ii. 356.
MADONNA DE BELEN, Murillo, Seville
Museum; canvas, H. 3 ft. 11 in. × 3 ft. 2 in.
The Virgin, seated, holds the Child, who
lies across her lap on a white cloth; with
his right hand he seizes the neck of her
dress; his left hangs down in front. From
Capuchin Convent, Seville. Probably painted
about 1676.—Curtis, 155.
MADONNA OF THE BELL. See Madonna
del Campanello.
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Belle Jardinière Madonna, Raphael, Louvre.
MADONNA, BELLE JARDINIÈRE (Bella Giardiniera), Raphael, Louvre; wood, arched at top, H. 4 ft. × 2 ft. 8 in.; dated 1507 or 1508. The Virgin is seated in a meadow with landscape in background; Jesus, with his hand in her lap, stands by one knee, and St. John, holding a cross, kneels at the other. Supposed to be the picture ordered by Filippo Segardi of Siena; left incomplete in Florence by Raphael, when summoned to Rome, and finished by Ridolfo Ghirlandajo, who painted the blue mantle of the Virgin. Segardi sold it to Francis I., from whose collection it passed to the Louvre. Passavant notes many copies; the best one is in the Townshend Collection, Kensington Museum, London. Another belongs to Lord Ashburton, Bath House, London. Engraved by E. Rousselet (1656); Chereau; N. Poilly; B. Desnoyers; Audouin; Laugier; G. Levy; J. Bal; Massard; Sasso; N. Aurelio.—Vasari, ed. Mil., iv. 328; C. & C., Raphael, i. 361; Passavant, ii. 67; Müntz, 185; Cab. Crozat, i. Pl. 6; Filhol, vi. Pl. 427; Kellogg, Researches in the History, etc., of La Belle Jardinière (London, 1860); Gruyer, Vierges de Raphael, iii. 155; Landon, Musée, iv. Pl. 13; Musée français, i.; Perkins, 73; Lübke, Raphael, 34, 101.
MADONNA DEL BELVEDERE, Ottaviano
Nelli, S. M. Nuova, Gubbio; tempera
on wall, now under glass; dated 1403.
Virgin, seated, holding Jesus on her lap,
surrounded by saints and angels of different
sizes arranged symmetrically against a blue
diaper ground. Their faces are sweet,
though neither mystic nor elevated in character.
The system of highly contrasted
colours, abundant ornament, and minute
design is characteristic of the earlier Umbrian
school, which developed on a Sienese
basis. Chromo-lithograph in collection of
Arundel Society.—C. & C., Italy, iii. 88.
MADONNA, BLENHEIM. See Madonna
di Ansidei.
MADONNA DEL BORDONE. See
Coppo di Marcovaldo.
MADONNA, BORGHESE. See Madonna
dei Candelabri.
MADONNA, BRIDGEWATER, Raphael,
Bridgewater House, London; wood, transferred
to canvas, H. 2 ft. 7 in. × 1 ft. 10 in.
The Virgin sitting, with Jesus lying on her
knees grasping her veil. Painted in Rome
in 1511-12; passed from Seignelay Collec-
