With far more of doubt and diffidence, yet not less trust in the benevolence and candour of my critics, do I present this volume to the public. I hope it will be distinctly understood, that the general plan of the work is merely artistic; that it really aims at nothing more than to render the various subjects intelligible. For this reason it has been thought advisable to set aside, in a great measure, individual preferences, and all predilections for particular schools and particular periods of Art,--to take, in short, the widest possible range as regards examples,--and then to leave the reader, when thus guided to the meaning of what he sees, to select, compare, admire, according to his own discrimination, taste, and requirements. The great difficulty has been to keep within reasonable limits. Though the subject has a unity not found in the other volumes, it is really boundless as regards variety and complexity. I may have been superficial from mere superabundance of materials; sometimes mistaken as to facts and dates; the tastes, the feelings, and the faith of my readers may not always go along with me; but if attention and interest have been exited--if the sphere of enjoyment in works of Art have been enlarged and enlightened, I have done all I ever wished--all I ever hoped, to do. With regard to a point of infinitely greater importance, I may be allowed to plead,--that it has been impossible to treat of the representations of the Blessed Virgin without touching on doctrines such as constitute the principal differences between the creeds of Christendom. I have had to ascend most perilous heights, to dive into terribly obscure depths. Not for worlds would I be guilty of a scoffing allusion to any belief or any object held sacred by sincere and earnest hearts; but neither has it been possible for me to write in a tone of acquiescence, where I altogether differ in feeling and opinion. On this point I shall need, and feel sure that I shall obtain, the generous construction of readers of all persuasions. INTRODUCTION I. ORIGIN AND HISTORY OF THE EFFIGIES OF THE MADONNA. Through all the most beautiful and precious productions of human genius and human skill which the middle ages and the _renaissance_ have bequeathed to us, we trace, more or less developed, more or less apparent, present in shape before us, or suggested through inevitable associations, one prevailing idea: it is that of an impersonation in the feminine character of beneficence, purity, and power, standing between an offended Deity and poor, sinning, suffering humanity, and clothed in the visible form of Mary, the Mother of our Lord.