 The interaction between the figures, though quite intense, is far from the domestic affectivity that is so appealing in many Italian Quattrocento Virgins (with Child).On the opposite, the sacredness of the group is highlighted, on the one hand, by the function of the parapet cutting off the viewer from the divine, and, on the other hand, by the boundary line between the sacred space and the profane landscape.This compartmentalization, and conceptual differentiations sensitive to space, or pictorial spaces, demonstrate Bellini's lack of interest in the axiom of unity of space imposed by the Florentine perspective.