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Wikimedia Commons · Public domain · Hover to magnify, click for fullscreen
Original fileThe Virgin looks down at the Christ child, who gazes back at her while leaning against her knee and holding her hand. To the right, the young John the Baptist kneels in profile, holding a reed cross and wearing a camel-skin tunic. The figures are arranged in a balanced triangular group set against a serene landscape of rolling hills and a distant town.
This work reflects the High Renaissance synthesis of Christian devotion and Neoplatonic philosophy, where geometric harmony and proportion symbolize divine order. The idealized beauty of the figures follows the Neoplatonic belief, popularized in the circles of Marsilio Ficino, that physical beauty serves as a bridge to the contemplation of the divine.
RAPHAELLO VRB. MDVII
Translation
Raphael of Urbino, 1507
Marsilio Ficino
Raphael's idealized figures and harmonious compositions embody Ficino's Neoplatonic theories regarding the relationship between earthly beauty and spiritual truth.
De Amore
The painting captures the concept of 'Divine Love' as an elevating force, a central theme in Ficino's commentary on Plato's Symposium.
Object
Oil on panel
religious
Digital Source
Wikimedia Commons · Public domain
Web Gallery of Art: Image Info about artworkwga QS:P11807,"/r/raphael/2firenze/2/34ardin"
820 × 1255 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.