Of the remaining three, the enthroned Madonna is, doubtless, the
largest class, historically considered, because of the long period
through which it has been represented. The pastoral and enskied
Madonnas were in high favor in the first period of their perfection.

Our next question is concerned with the aspects of motherhood
displayed in Madonna pictures: in what relation to her child has the
Madonna been represented? The answer includes the following three
subjects:

1. The Madonna of Love (The Mater Amabilis), in which the relation is
purely maternal. The emphasis is upon a mother's natural affection as
displayed towards her child.

2. The Madonna in Adoration (The Madre Pia), in which the mother's
attitude is one of humility, contemplating her child with awe.

3. The Madonna as Witness, in which the Mother is preëminently the
Christ-bearer, wearing the honors of her proud position as witness to
her son's great destiny.

These subjects are mentioned in the order of philosophical climax, and
as we go from the first to the second, and from the second to the
third, we advance farther and farther into the experience of
motherhood. At the same time there is an increase in the dignity of
the Madonna and in her importance as an individual. In the Mater
Amabilis she is subordinate to her child, absorbed in him, so to
speak; his infantine charms often overmatch her own beauty. When she
rises to the responsibilities of her high calling, she is, for the
time being, of equal interest and importance. Æsthetically, she is