saint, usually St. Catherine. Where the composition includes other
figures, the Virgin is in the centre, with the attendant personages
symmetrically grouped on either side. In the Vienna picture the two
additional figures at the left are the aged St. Celestin and a fine
St. Barbara.

Of all schools of painting, the Venetian is the least translatable
into black and white, so rich in colors is the palette which composed
it. This is especially true of Palma, and to understand aright his
Santa Conversazione, we must read into it the harmony of colors which
it expresses, the chords of blue, red, brown, and green, the
shimmering lights and brilliant atmosphere.

[Illustration: FILIPPINO LIPPI.--MADONNA IN A ROSE
GARDEN.]

The subject of the Santa Conversazione should not be left without a
brief reference to other Venetians, who added to the popularity of
this charming style of picture. Berenson mentions seven by Palma's
pupil, Bonifazio Veronese, and one by his friend, Lorenzo Lotto. Cima,
Cariani, Paris Bordone, and last, but not least, the great Titian,[3]
lent their gifts to the subject, so that we have abundant evidence of
the Venetian love of natural scenery.

It remains to consider one more form of the pastoral Madonna, that
which represents the Virgin and child in "a garden inclosed," in
allusion to the symbolism of Solomon's Song (4:12). The subject is
found among the woodcuts of Albert Dürer, but I have never seen it in
any German painting.