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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileThe Virgin Mary sits centrally in a red dress and blue cloak, cradling the Christ Child on her lap. To the left, a young Saint John the Baptist holds a reed cross and a scroll, which he shares with Jesus, while a third holy child watches from the right. The group is framed within a tondo and set against a soft landscape featuring a distant town and rocky hills.
Raphael's use of the tondo format reflects the Renaissance Neoplatonic fascination with the circle as a symbol of divine perfection and the cosmic order. The painting embodies the Florentine pursuit of 'venustas' (beauty), where harmonious proportions were believed to lead the viewer toward the contemplation of spiritual and divine truths.
AGNVS
Translation
Lamb
Marsilio Ficino
Ficino's Neoplatonic theories on the relationship between physical beauty and divine grace influenced the aesthetic ideals of Raphael's Florentine period.
Leon Battista Alberti
Alberti’s architectural and artistic theories emphasized the circle as the most perfect and natural form, reflecting the harmony of the universe.
Object
Oil on panel
religious
Digital Source
Wikimedia Commons · Public domain
The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202.
2024 × 2077 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.