The infinite variety which painters have given to this most simple _motif_, the Mother and the Child only, without accessories or accompaniments of any kind, exceeds all possibility of classification, either as to attitude or sentiment. Here Raphael shone supreme: the simplicity, the tenderness, the halo of purity and virginal dignity, which he threw round the _Mater Amabilis_ have, never been surpassed--in his best pictures, never equalled. The "Madonna del Gran-Duca," where the Virgin holds the Child seated on her arm; the "Madonna Tempi," where she so fondly presses her check to his,--are perhaps the most remarkable for simplicity. The Madonna of the Bridgewater Gallery, where the Infant lies on her knees, and the Mother and Son look into each other's eyes; the little "Madonna Conestabile," where she holds the book, and the infant Christ, with a serious yet perfectly childish grace, bends to turn over the leaf,--are the most remarkable for sentiment. Other Madonnas by Raphael, containing three or more figures, do not belong to this class of pictures. They are not strictly devotional, but are properly Holy Families, groups and scenes from the domestic life of the Virgin. With regard, to other painters before or since his time, the examples of the _Mater Amabilis_ so abound la public and private galleries, and have been so multiplied in prints, that comparison is within the reach of every observer. I will content myself with noticing a few of the most remarkable for beauty or characteristic treatment. Two painters, who eminently excelled in simplicity and purity of sentiment, are Gian Bellini of Venice, and Bernardino Luini of Milan. Squarcione, though often fantastic, has painted one or two of these Madonnas, remarkable for simplicity and dignity, as also his pupil Mantegna; though in both the style of execution is somewhat hard and cold. In the one by Fra Bartolomeo, there is such a depth of maternal tenderness in the expression and attitude, we wonder where the good monk found his model. In his own heart? in his dreams? A _Mater Amabilis_ by one of the Caracci or by Vandyck is generally more elegant and dignified than tender. The Madonna, for instance, by Annibal, has something of the majestic sentiment of an enthroned Madonna. Murillo excelled in this subject; although most of his Virgins have a portrait air of common life, they are redeemed by the expression. In one of these, the Child, looking out of the picture with extended arms and eyes full of divinity, seems about to spring forth to fulfil his mission. In another he folds his little hands, and looks up to Heaven, as if devoting himself to his appointed suffering, while the Mother looks down upon him with a tender resignation. (Leuchtenberg Gal.) In a noble Madonna by Vandyck (Bridgewater Gal.), it is she herself who devotes him to do his Father's will; and I still remember a picture of this class, by Carlo Cignani (Belvedere Gal., Vienna), which made