347. _Cosimo Rosselli._ Madonna in an almond-shaped glory (Mandorla) of
red and blue cherubs. L, the Magdalen; R, St. Bernard, to whom she
appeared, writing down his vision; about, adoring angels. A
characteristic example of this harsh Florentine painter.
156. We come at once upon the High Renaissance in _Lorenzo di Credi’s_
beautiful Virgin and Child, flanked by St. Julian and St. Nicholas.
Observe the three balls of gold in the corner by the latter’s feet,
representative of the three purses thrown to the nobleman’s daughters.
Notice also the Renaissance architecture and decorations. In pictures of
this class, the saints to accompany the Madonna were _ordered_ by the
person giving the commission; the artist could only exercise his
discretion as to the grouping. Notice how this varies with the advance
of the Renaissance: at first stiffly placed in pairs, the saints finally
form a group with characteristic action. The execution of this lovely
work shows Lorenzo as one of the finest artists of his period.
70. _Bianchi_, a rare Ferrarese master. Madonna enthroned, with Saints.
The angel on the step is characteristically Ferrarese, as are also the
reliefs and architecture.