\paperw19995 \margr0\margl0 \plain \fs20 \f1 Raphael painted this work for his friend Taddeo Taddei. He was inspired by the cartoon of LeonardoÆs \i Saint Anne\i0 , whi
ch the young painter saw in the Florentine church of the Santissima Annunziata.\par
Raphael derived the pyramidal structure of the composition from the older artist, placing the Virgin at the center and extending the base by the long form of her partial
ly revealed foot.\par
A minor composition, based on the relationship between the two children, is concealed within the overall composition, creating a smaller triangle whose vertex lies in the cross that Jesus is pointing out.\par
The rosy flesh tones
of JesusÆ figure, along with those of the infant St. John, are enhanced by the VirginÆs dark blue clothing and the green meadow. The painterÆs desire to create an effect of contemplation is evident in the VirginÆs expression, tinged with sadness. Her p
erfect oval face is mirrored in the one formed by her arms cradling Jesus, who is playing with the symbol of the Passion, offered to him by the unknowing and light-hearted St. John.\par
The three figures stand out in monumental fashion against the surro
unding landscape, stretching evenly and placidly into the distance. The Leonardesque backdrop emerges from the mist, and the red strawberries and poppies in the foreground symbolize the Incarnation and Passion of Christ.\par
Raphael set the date of the
work, MDVI, or 1506, on the hem of the VirginÆs dress.
