From the point of view of the development of art the ideal Christ has been of little importance compared with the ideal Madonna, though here also the Italians aimed for a particular instead of a general type. They wanted a living woman with the form and features of a pulsating mother; a woman of ordinary life in fact, but infinitely superior in physical beauty, and endowed with the highest grace that their imaginations could conceive and their hands execute. This ideal seemed to germinate with Cimabue, but an immense advance upon him was made by Giotto who was unsurpassed in the representation of the Holy Mother for more than a century. But the ideal was yet purely formal and continued so till past the middle of the fifteenth century, both in Italy and Flanders. Giotto was then excelled by many artists, but the Madonnas they produced, though often very beautiful, are not humanly attractive. They are on the side of the Angels; have never been women evidently, and are far, far away from the human type with tingling veins and heaving breath. Filippo Lippi marked the border line between this type of Madonna, and the advanced pattern produced by the series of great artists of the latter part of the fifteenth century. But with Lionardo, Ghirlandaio, Botticelli, and the rest, the Madonna was scarcely an ideal woman. Living persons were commonly taken as models, and although the portraits were no doubt "improved," they have little connection with the ideal which the artists evidently had in mind. The very life which the artist transfers to canvas in a portrait is destructive of the ideal, for it is a particular life with evidence of particular emotions and passions from which the Madonna should be free. A mighty barrier must be passed before a woman is translated on canvas into the type of Madonna sought by the first Renaissance artists. She must be a woman of the earth; a woman who has grown up amidst human surroundings from infancy to girlhood, and from girlhood to womanhood; with human aspirations and sympathies, and experience of joys and trials: she must have all these, and as well have become a mother; and yet with human beauty, her countenance must be such that by no stretch of the imagination can the possibility of desire be suggested. This was the problem, and certainly only a genius of the highest order could arrive at a solution, for the task appears on the face of it to be almost superhuman. But Raphael succeeded in accomplishing it, and his achievement will stand for all time as one of the greatest epoch-making events in history. Even Michelangelo, who created so many superb forms, never succeeded with an ideal suitable for a Madonna.[39]