THE MADONNA IN ART.

CHAPTER I.

THE PORTRAIT MADONNA.


The first Madonna pictures known to us are of the portrait style, and
are of Byzantine or Greek origin. They were brought to Rome and the
western empire from Constantinople (the ancient Byzantium), the
capital of the eastern empire, where a new school of Christian art had
developed out of that of ancient Greece. Justinian's conquest of Italy
sowed the new art-seed in a fertile field, where it soon took root and
multiplied rapidly. There was, however, little or no improvement in
the type for a long period; it remained practically unchanged till
the thirteenth century. Thus, while a Byzantine Madonna is to be found
in nearly every old church in Italy, to see one is to see all. They
are half-length figures against a background of gold leaf, at first
laid on solidly, or, at a somewhat later date, studded with cherubs.
The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes,
and an almost peevish expression; her head is draped in a heavy, dark
blue veil, falling in stiff folds.

Unattractive as such pictures are to us from an artistic standpoint,
they inspire us with respect if not with reverence. Once objects of
mingled devotion and admiration, they are still regarded with awe by
many who can no longer admire. Their real origin being lost in
obscurity, innumerable legends have arisen, attributing them to
miraculous agencies, and also endowing them with power to work
miracles. There is an early and widespread tradition, imported with