those virgins who are created in the image of the Virgin par excellence.
Nevertheless, here she affects certain worldly appearances which, beside
the severe simplicity of the Mother of the Word, establish a hierarchy
between the two figures and a sort of line of demarcation that cannot be
crossed. The higher we soar the more is grandeur simplified in
everything.

St. Barbara's hair is arranged with a certain elegance; it is very
abundant, of an ash blonde, and forms thick waving bands that are
gathered off the temples and are crossed by two white fillets, one of
which crosses the top of the forehead like a diadem. Her eyes, lowered
towards the earth, are perfectly beautiful; her mouth is calm and sweet;
and purity shines in all her features. Her shoulders are bare, only
covered with a veil of white gauze which falls down her back, passes
under her arm and returns to her breast where her left hand holds it.
Her robe of violet shading into a neutral tint, is only visible where it
covers her leg; for a green mantle, thrown over it, envelops the body,
only revealing the arm, the sleeve of which is blue on the upper arm,
yellow, and slightly puffed at the shoulder, and yellow also on the
forearm. All this is of a grand air and in exquisite taste. Thus draped,
the figure has a charming effect which, without detracting from the
religious idea, leaves room also for a more human sentiment.

Raphael, doubtless, had thought that the figures of the Virgin, the
Infant Jesus, St. Sixtus, and St. Barbara would alone be sufficient for
his picture; but the empty space remaining beneath the feet of the
Madonna was too considerable to be filled up simply by clouds: and
therefore he added that rigid and horizontal supporting bar on which two
angels lean upon their elbows, contemplating the glory of the Virgin
with such rapture. In fact, these angels seem to be painted as an