Abstract
One of Raphael's early Madonnas has recently come into public view in the collection of the Norton Simon Museum of Art.1 Any new work by Raphael would be interesting, but this one is particularly so because it contains a rare iconographic detail — a strategically placed inscription — that reflects a fundamental trait of the piety of its day. The stylistic value of this detail is also considerable since, as I propose to demonstrate, the preparatory drawings show that it inspired the artist to fuse his highly interesting visual sources into the final work. The picture embodies the thought of the Middle Ages in the style of the Renaissance.
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