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.
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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-
