This library is built in the open.
If you spot an error, have a suggestion, or just want to say hello — we’d love to hear from you.
Wikimedia Commons · CC BY 2.0 · Hover to magnify, click for fullscreen
Original fileThe figures are arranged within a circular frame, creating a sense of physical and emotional closeness as Mary presses her face against her son. Mary wears a distinctive striped headdress and a patterned shawl, while the Christ Child looks directly at the viewer. To the right, the child John the Baptist holds his hands in prayer, partially obscured in the shadows.
As a pinnacle of High Renaissance art, this work reflects the period's synthesis of Christian devotion with Neoplatonic ideals of harmony and physical perfection. The circular composition (tondo) was frequently used in the Renaissance to symbolize the divine and the infinite, concepts central to the philosophical circles of Raphael's patrons.
RAFFAELLO SANZIO N. AD URBINO 6 APRILE 1483 M. A ROMA 6 APRILE 1520 MADONNA DELLA SEGGIOLA
Translation
Raffaello Sanzio Born in Urbino April 6, 1483 Died in Rome April 6, 1520 Madonna of the Chair
Marsilio Ficino
Ficino's Neoplatonic theories on 'Divine Beauty' as a reflection of spiritual truth influenced the High Renaissance approach to depicting sacred figures with idealized physical forms.
Object
Oil on panel
religious
Digital Source
Wikimedia Commons · CC BY 2.0
Madonna della seggiola (Madonna della sedia), Galleria Palatina, Palazzo Pitti, Florence
3456 × 4608 px
Linked Data
AI AI-cataloged fields generated by gemini-3-flash-preview on April 2, 2026. Getty identifiers are AI-inferred and may require verification.