"Fair shines the gilded aureole
In which our highest painters place
Some living woman's simple face."

sings Rossetti; and the "highest painter," pious monk, as in the case
of Fra Angelico, and stately courtier, as was Peter Paul Rubens,
meet, extremes though they are, on the same ground when they approach
this sacred subject. The pictures reproduced here, it may safely be
said, are all celebrated, and yet they represent but a small part of
the pictures of the same subject which are known to be by men of
importance, and of which every museum in the world has a goodly
number. If we add to these the pictures in private collections, and
then take into account the tens of thousands of pictures of the same
subject which, everywhere throughout the world, especially in Europe,
are to be found in the churches, it is safe to say that no other
subject has so often given its inspiration to the painter.

[Illustration: MOTHER AND CHILD. TITIAN (ITALIAN: BORN 1477; DIED
1576).]

Nor in any other case has a subject given such variety of inspiration.
The elements are few and simple, and though occasionally there are
accessory figures, the concentration of interest, the reason for the
existence of the picture, is centred on the Mother and Child. A survey
of these pages will suffice to show that of these two principal
elements a great variety of pictorial effect, of expression, of
sentiment, of composition of line, and of light and shade, is
possible. We can go back to the splendid Byzantine churches, with
their wealth of mosaic, their subdued splendor of dulled gold covering