Nothing can be more beautiful than the serene grace and the mingled majesty and humility in the figure of the Virgin, and in her countenance, as she looks up adoring to the Fountain of _all_ light, _all_ wisdom, and _all_ goodness. Above the principal group, is the emblematical image of the FATHER; below is the holy Dove, in the act of descending to the earth.[1] [Footnote 1: For a detailed description of this fresco, see Passavant's Raphael, i. 140, and Kugler's Handbook, 2d edit., where a minute and beautiful reduction of the whole composition will give and idea of the general design.] The Virgin alone, separate from her Son, standing or enthroned before us, simply as the _Virgine Dea_ or _Regina Coeli_, is rarely met with in modern art, either in sculpture or painting. I will give, however, one signal example. In an altar-piece painted by Cosimo Rosselli, for the Serviti at Florence, she stands alone, and in a majestic attitude, on a raised pedestal. She holds a book, and looks upward, to the Holy Dove, hovering over her head; she is here again the _Virgo Sapientiæ_. (Fl. Gal.) On one side is St. John the Evangelist and St. Antonino of Florence (see Legends of the Monastic Orders); on the other, St. Peter and St. Philip Benozzi; in front kneel St. Margaret and St. Catherine: all appear to contemplate with rapturous devotion the vision of the Madonna. The heads and attitudes in this picture have that character of elegance which distinguished the Florentine school at this period, without any of those extravagances and peculiarities into which Piero often fell; for the man had evidently a touch of madness, and was as eccentric in his works as in his life and conversation. The order of the Serviti, for whom he painted this picture, was instituted in honour of the Virgin, and for her particular service, which will account for the unusual treatment. * * * * *