See Nos. 639, 1106, 1381. "One of the choicest pictures in the National Gallery," exquisite alike in sentiment, in drawing, and in purity of colour. "Being in an admirable state of preservation, it enables us to become acquainted with all the characteristics of Mantegna's style, and above all to enjoy the refinement in his rendering of the human forms, the accuracy in his drawing, the conscientiousness in the rendering of the smallest details" (_Richter_). For the latter point notice especially the herbage in the foreground. Mantegna, says Mr. Ruskin, is "the greatest leaf-painter of Lombardy," and the "exquisite outlines" here show "the symmetry and precision of his design" (_Catalogue of Educational Series_, p. 52). The draperies also are "of extraordinary beauty in design and colour. The rose-coloured dress of the Virgin is most delicately heightened with gold, and the draperies of the two saints are of materials shot with changing colours of exquisite harmonies" (_Poynter_). Very sweet is the expression of mingled humility and tenderness in the mother of the Divine Child. On her right stands St. John the Baptist, the great preacher of repentance; on her left Mary Magdalen, the woman who repented. The Baptist bears a cross and on the scroll attached to it are written the words (in Latin), "Behold the Lamb of God, which taketh away the sins of the world." The Magdalen carries the vase of ointment--the symbol at once of her conversion and her love ("She brought an alabaster box of ointment, and began to wash his feet with tears.... And he said unto her, Thy sins are forgiven"). "Mantegna combines with the most inexhaustible imagination and invention and power, which include the whole range of art, from the most playful fantasy to the profoundest and most passionate tragedy, a skill of workmanship so minutely and marvellously delicate as to defy imitation. Look at the refinement with which the drapery is drawn, the wonderful delicacy of handling with which the gold-lights are laid on, the beautiful and loving spirit which has presided over the execution of the foliage in the background, and indeed of every detail in the picture, and you will begin to have an understanding of what I mean by workmanship as such, and how an artist proceeds whose hand has been thoroughly trained, and who is truly in love with his art" (Poynter's _Lectures on Art_, p. 127). 275. VIRGIN AND CHILD, ST. JOHN AND AN ANGEL. _Sandro Botticelli_ (Florentine: 1447-1510). _See 1034._