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Original fileMadonna della Seggiola
Madonna della Seggiolalabel QS:Les,"Virgen de la silla"label QS:Lfr,"La Vierge à la chaise"label QS:Lde,"Madonna della Seggiola"label QS:Lsv,"Madonna della seggiola"label QS:Lmk,"Мадона дела сеџола"label QS:Lhy,"Տիրամայրը բազկաթոռին"label QS:Lzh,"坐在椅子上的聖母"label QS:Lsr,"Мадона дела Седија"label QS:Ltr,"Madonna della Seggiola"label QS:Lja,"小椅子の聖母"label QS:Lsl,"Madona na stolu"label QS:Lnl,"Madonna met de stoel"label QS:Lsk,"Madona della Seggiola"label QS:Lpl,"Madonna della seggiola"label QS:Luk,"Мадонна у кріслі"label QS:Lla,"Virgo sedeculae"label QS:Lhe,"מדונה דלה סגג'ולה"label QS:Larz,"مادونا ديلا سيجيولا"label QS:Lit,"Madonna della Seggiola"label QS:Lml,"മഡോണ ഡെല്ല സെഗിയോള"label QS:Len,"Madonna della Seggiola"label QS:Lru,"Мадонна в кресле"label QS:Lcs,"Madona della Seggiola"label QS:Lca,"Verge de la cadira"
About This Work
This circular painting depicts an intimate, close-up view of the Madonna and Child, emphasizing their physical bond through their interlocking limbs and the curve of their bodies. Mary wears a distinctive striped headdress and a colorful patterned shawl, while the Christ Child gazes directly at the viewer. To the right, a young John the Baptist is visible in the shadows, holding a small reed cross and clasping his hands.
The choice of the tondo (circular) format represents the Renaissance Neoplatonic concept of the circle as the perfect geometric form, symbolizing the divine and the cosmos. It reflects the High Renaissance effort to reconcile the physical beauty of the human form with spiritual ideals, a central theme in the humanist circles of 16th-century Rome.