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It was a Venetian innovation to place the throne at one side of the picture, and show the Virgin in profile or in the act of turning round. This more scenic disposition became afterwards, in the passion for variety and effect, too palpably artificial, and at length forced and theatrical. The Italians distinguish between the Madonna in Trono and the Madonna in Gloria.
Of the sculptor it was noted that "he always referred with emotion to the gleam of sunshine which encouraged him at this crisis, in the friendship of our late renowned novelist, Cooper." In the Pitti one day they passed before Raphael's Madonna del Trono, and the sculptor pointed out to his companion the fine drawing in the two little angel figures of the foreground, in the act of singing.
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