When the Child is shown distinctly apart from the Virgin, or leaning away from her lap, great care is necessary in avoiding strength in the action, otherwise it will draw attention away from the Virgin. A notable example of this defect is in a picture by Parmigiano, where the Child leans over and has his head brought close to that of a kneeling Saint who is caressing Him, the effect being most disturbing.[a] Bramantino shows the Child in an extraordinary attitude, for He holds His head above His arms without any apparent reason, the action confusing the design.[b] Many artists represent Him in the act of reaching out his hand for flowers, without choosing for the moment of portrayal, an instant of transition from one part of the action to another,[c] a point rarely overlooked by the first masters.[d] Occasionally variety is given in the introduction of nursery duties, as for instance, washing the Child,[e] but these are inappropriate for reasons already indicated, apart from the over strong action necessarily exhibited in such designs. Nor should the Child have an unusual expression, as this will immediately catch the eye of the observer. In one work Del Sarto actually makes Him laugh,[f] and a modern artist gives Him an expression of fear.[g] It is questionable whether Masaccio[h] and others (including A. della Robbia and Rossellino in sculpture) did not go too far in portraying the Child with a finger in its mouth, for although such an incident is common with children, in this case it seems opposed to propriety. Generally the first artists have striven to free the figure of the Virgin as far as possible, and this is in conformity with first principles, for it simplifies the view of the chief figure in the composition. In all cases repose should be the keynote of the design. [a] Madonna and Child with Saints, Bologna Academy. [b] Virgin with a Turban, Brera, Milan. [c] As in B. da Bagnacavallo's Holy Family, Bologna; and Boltraffio's Holy Family, Milan. [d] See Titian's Madonna with SS. Anthony and John, Uffizi Gallery. [e] Giulio Romano's Holy Family, Dresden. [f] Holy Family, Hermitage, Petrograd. [g] Uhde's The Three Magi, Magdeburg Museum. [h] Madonna enthroned, Sutton Coll., England. There are no general ideals in Christian art other than those mentioned. The presumed occupants of the Celestial regions beyond these Personages, are painted as the fancy of the artist may dictate, subject only to the limitations of the accepted Christian doctrines. There are certain conventions in respect of Angels and Saints, but they are by no means strict; and for the Old Testament prophets, Michelangelo's work in the Sistine Chapel is commonly taken as a guide. It is scarcely likely that his examples will ever be exceeded in majestic beauty. CHAPTER VIII EXPRESSION. PART III.--CLASSICAL IDEALS