would indeed be difficult. Some of its chief gems are in one room. Entering this, we are at once commanded and awed by the “Madonna di San Sisto,” the Virgin bearing the Infant God in her arms, by Raphael. As a painting, technically speaking, I believe there are faults found with it: worst of all, it has been retouched and restored; but no criticism can check the solemn impression it inspires. The Madonna is not the lowly wife of Joseph the carpenter: she is the Queen of Heaven; she advances surrounded by celestial rays, all formed of innumerable cherubim, from whose countenances beam the glory that surrounds her. The majesty of her countenance, “severe in youthful beauty,” demands worship for her as the mother of the Infant Saviour, whom she holds in her arms. And he, the Godhead (as well as feeble mortals can conceive the inconceivable, and yet which once it is believed was visible) sits enthroned on his brow, and looks out from eyes full of lofty command and conscious power. With one hand, he makes the sign of blessing, as in Catholic countries this is bestowed. Below are two angels—both lovely; one inexpressibly so—who are looking up. I have seen copies and engravings from this picture; I have seen these angels well imitated, but never the mother and child. In some, the angelic beauty is sacrificed in the endeavour to portray the majestic
