St. Sixtus is seen on the right in profile, his head is raised towards
the Infant Jesus, his left hand is placed devoutly on his breast while
his right is foreshortened and points towards the spectator. He wears a
white rochet tied by a girdle with golden tassels, a white amice around
his neck, a magnificent pallium woven with gold falling to his feet, and
a long chasuble embroidered with gold and lined with red enveloping his
shoulders and arms, the wide folds of which are lost amid the clouds.
His head is bare, and his white tiara, adorned with the triple crown, is
placed on the balustrade that runs horizontally across the base of the
picture. It is impossible to find a representation of pontifical
sovereignty of greater fervour, grandeur, and truth. His cranium is bald
and has only a crown of grey hair remaining. His emaciated face is full
of ardour and power: his eyes penetrate straight into the splendour of
God; and his mouth, although partially hidden by the grey beard that
covers the lower part of his face, is praying with extraordinary
fervour. His gesture, so resolute and respectful, is in itself an act of
love and charity, and his very hands, so true in drawing and so bold in
action, have their special eloquence. It seems impossible that the
divine justice will not allow itself to be swayed by such intercession.

St. Barbara is opposite St. Sixtus. Her body is in left profile, towards
the Virgin, while her head, turned over her left shoulder towards the
spectator, appears almost in full face. Only her left arm and hand are
visible, pressed against her breast. Her left knee, directly resting
upon the cloud, sustains the weight of her body; her right leg, which
is raised, only touches the clouds with the foot. Her head is as
beautiful, youthful, and fresh as the action of her whole figure is
easy, elegant, and noble. Then where did Raphael find this serenity if
not in himself? The saint, gently bending towards the earth, seems to
want to receive our hopes and vows to bear them to Heaven. She is one of