09/06/2025
The Sistine Madonna,
Painting by Raffaello Sanzio da Urbino (1483-1520), Painted in 1513-1514,
Oil on canvas
© Gemäldegalerie Alte Meister, Dresden
Mary, Mother of the Church
John 19:25-34
Scroll down to read the Gospel & Art Reflection or click this link to read on the Christian.art website
🔗https://christian.art/daily-gospel-reading/john-19-25-34-2025/
At that time: Standing by the cross of Jesus were his mother and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother and the disciple whom he loved standing nearby, he said to his mother, ‘Woman, behold, your son!’ Then he said to the disciple, ‘Behold, your mother!’ And from that hour the disciple took her to his own home.
After this, Jesus, knowing that all was now finished, said (to fulfil the Scripture), ‘I thirst.’ A jar full of sour wine stood there, so they put a sponge full of the sour wine on a hyssop branch and held it to his mouth. When Jesus had received the sour wine, he said, ‘It is finished’, and he bowed his head and gave up his spirit.
Since it was the day of Preparation, and so that the bodies would not remain on the cross on the Sabbath (for that Sabbath was a high day), the Jews asked Pilate that their legs might be broken and that they might be taken away. So the soldiers came and broke the legs of the first, and of the other who had been crucified with him. But when they came to Jesus and saw that he was already dead, they did not break his legs. But one of the soldiers pierced his side with a spear, and at once there came out blood and water.
Reflection on the painting
Today is the Feast day of the Blessed Virgin Mary, Mother of the Church. This feast was established in 2018 by Pope Francis, to be celebrated every year on the Monday following Pentecost. Although the feast day is relatively new, devotion to the Blessed Virgin Mary, under the title of ‘Mother of the Church’, is of course very ancient. The title of Mary as the Mother of the Church is found already in the writings of early Church Fathers, such as St. Ambrose (4th century), who spoke of Mary as the type and model of the Church. When he created the feast, Pope Francis said he wished to “encourage the growth of the maternal sense of the Church in the pastors, religious and faithful”.
Our painting, The Sistine Madonna by Raphael, painted around 1512–1513, is one of the most iconic masterpieces of the Italian High Renaissance. Commissioned by Pope Julius II for the Benedictine monastery of San Sisto in Piacenza, the painting was originally intended to adorn the high altar. At the centre of the composition stands the Virgin Mary, holding the Christ Child, who looks out solemnly at the viewer. Mary steps forward on a bank of clouds, framed by billowing green curtains, and is surrounded by a host of cherub-like angelic faces emerging from the mist, creating a sense that she is entering the earthly realm from heaven. On either side of her are Saint Sixtus (the pope-martyr for whom the church is named) pointing outward toward the faithful, and Saint Barbara, looking downward in silent adoration. The painting conveys not only divine majesty, but a sense of profound accessibility: the Madonna, barefoot and gentle, is a bridge between heaven and earth, coming toward us with quiet gravity.
Perhaps even more famous than the Madonna herself are the two cherubs at the bottom of the painting — reclining, dreamy angels resting their chins on their hands, gazing upward with a mix of boredom, wonder, and affection. They are so sweet! These “putti”, detached from the main heavenly scene above, have taken on a cultural life of their own: reproduced endlessly on posters, mugs, postcards, and Christmas cards. Yet despite their popularity, their presence is deeply symbolic. Their grounded posture contrasts the celestial realm above, inviting the viewer to contemplate the mystery of the Incarnation with a childlike gaze.
