coursed westward along the pathways of Christianity’s conquests. Like sweet, grateful light then there came to the hearts of men the braver true persuasion, that the woman who not only bore the Christ but won His reverent love must have been morally beautiful and great. In the track of this persuasion, and as its sequence, there came the conviction that the sex, of which Mary was one, had within it possibilities beyond what its sturdier companions had dreamed. After this it came about that the painters, often the interpreters of human feelings, began to represent all goodness under the form of a Madonna. Not knowing the contour of Mary’s face they began gathering here and there, from the women they knew, features of beauty. They combined these in one harmonious presentment. They set out to represent the ideal woman, but had to go to women to find her parts. It became a tribute to womankind to do this. It was like a voyage of discovery, and the artist voyagers depicted not only the best things in womankind, but by putting these things together illustrated what woman could be and should be at her best. It was thus that Guido produced a picture of the Madonna which enravished all that beheld it. Once he had said, “I wish I’d the wings of an angel to behold the beatified spirits, which I might have copied.” After, here and there, he picked out fragments of color and form on earth; then put them into one ideal composition. It was a heart-expanding work; the work of a prophet, since it told of what might be in woman wholly at her best. Then he said, “the beautiful and pure idea must be in the head” of the artist. It was a deep saying. Given the ideal, and the worker will need only proper ambition to present a grand composition, whether on canvas or in the patternings of the inner life. The presentments of the Virgin rose in fineness when priests turned from their exegesis to kneel and paint for men. The great Saint Augustine, held in high honor by Christians of every name, redeemed from a youth of darkest sinning, revered as his guiding star two lovely women, Monica, his mother, and Mary, the mother of Jesus. He argues, in stalwart polemics, that through the acknowledgment of Mary’s pre-eminence all womankind was elevated. Her presentment, so as to be fully comprehended, was in the beginning a blessing to every soul in being an inspiration to purer, sweeter living. So far as such presentment now conserves the same results the work is worthy and profitable. In all times the representations of the Virgin, whether by the historian or the master of the studio, varied; but the piety they awakened always seemed to be of one type, and that lofty. Thus we have “the stern, awful quietude of the old Mosaics, the hard lifelessness of the degenerate Greeks, the pensive sentiment of the Siena, the stately elegance of the Florentine Madonnas, the intellectual Milanese, with their large foreheads and thoughtful eyes, the tender,