The three enthroned Madonnas which have already been noticed are not less remarkable for religious significance. There is a peculiar freshness and vivacity in the San Giobbe picture. Both Virgin and child are alert and eager, welcoming the future with smiling and youthful enthusiasm.
Giovanni Bellini.—Madonna between St. George and St. Paul. (Detail.)
The Frari Madonna is of a more subdued type, but is not less true to her ideal. The Virgin of San Zaccaria is more thoughtful and reflective, but she holds her child up bravely, that he may give his blessing to mankind.
It will have been noticed that the throne is an especially appropriate setting for the Madonna as Witness. It is one of the functions of royalty that the queen should show the prince to his people. We therefore turn naturally to this class of pictures for examples. To those of Bellini just cited we may add, from the others mentioned in the second chapter, the Madonnas by Cima, by Palma, and by Montagna in Venetian Art; and by Luini and by Botticelli in the Lombard and Florentine schools respectively. Luini's picture is one which readily touches the heart. The Virgin unites the sweetness of fresh, young motherhood with womanly dignity of character. Her smile has nothing of mystery in it; it is simply sweet and winning. The Christ-child is a lovely boy, steadying himself against his mother's breast, and yet with an air of self-reliance. The two understand each other well.
