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Many modern pictures could be cited by Bouguereau, Ittenbach, and others of enthroned Madonnas in which is adopted the form, but not the spirit, of the Italian Rennaissance. In such works, the setting is a mere affectation entirely out of taste. If we are to have a throne, let us have a Madonna who is a veritable queen.
It is in the Rennaissance style of architecture, and stands seventy feet high from the sidewalk to the main cornice, crowning which is a Mansard roof of twenty-four feet.
Here, the connection of the ideas with the material conditions of existence become more and more complicated and obscured by reason of the increasing number of links between them, but it exists. As the whole Rennaissance from the middle of the fifteenth century was an actual product of the city, and therefore of the bourgeois domination, so was also the philosophy, since that time newly awakened.
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