floor beside her. Long, waving hair falls over her shoulders; a snowy
kerchief is folded primly in the neck of her dress; she is the
impersonation of virgin modesty. Her baby boy stands on her lap,
nestling against his mother; his eyes fixed on the fruit, his eager
little face glowing with pleasure. Beyond are seen the cattle, which
Joseph is feeding. He pauses at the door, a bundle of hay in his arms,
to look in with fond pride at his young wife and her child.

Schongauer's work belongs to the latter part of the fifteenth century,
and there was nothing similar to it in Italy at the same period. It is
true that Madonnas in domestic settings have been attributed to
contemporaneous Italians, but they were probably by some Flemish hand.

[Illustration: RAPHAEL.--MADONNA DELL' IMPANNATA.]

Giulio Romano, a pupil of Raphael, was perhaps the first of the
Italians to give any domestic touch to the subject of the Madonna and
child. His Madonna della Catina of the Dresden Gallery is well known.
It is so called from the basin in which the Christ-child stands while
the little St. John pours in water from a pitcher for the bath.
Another picture by the same artist shows the Madonna seated with her
child in the interior of a bedchamber. This was one of the
"discoveries" of the late Senator Giovanni Morelli, the critic, and is
in a private collection in Dresden.

To Giulio Romano also, according to recent criticism, is due the
domestic Madonna known as the "Impannata," and usually attributed to
Raphael. It is probable that both artists had a hand in it, the master
in the arrangement of the composition, the pupil in its execution. A
bed at one side is concealed by a green curtain. In the rear is the