Madonna of Foligno
|Type||Oil on wood, transferred to canvas|
|Dimensions||320 cm × 194 cm (130 in × 76 in)|
|Location||Pinacoteca Vaticana, Vatican City|
The painting was executed for Sigismondo de' Conti, chamberlain to Pope Julius II, in 1511. It was placed on a high altar of the church of Santa Maria in Aracoeli on Capitoline Hill (Italian: Campidoglio) in Rome, where Sigismondo was buried in 1512.
In 1799 it was carried to Paris, France by Napoleon. There, in 1802, the painting was transferred from panel to canvas by Hacquin and restored by Roser of Heidelberg. The process to transfer a painting from wood panel to canvas was so rare that special note was made by the restorer: "Rapporto dei cittadini Guijon Vincent Tannay e Berthollet sul ristauro dei quadri di Raffaello conosciuto sotto il nome di Madonna di Foligno." 
The painting is a sacra conversazione, where holy figures seem to be in conversation and draw the audience into their discussion. Rather than sitting under a canopy, of the Umbrian or Florentine style, the Virgin is seated on clouds, embracing Jesus, while surrounded by angels. They look down upon Sigismonde de' Conti, kneeling in a red, fur lined cape. Conti is presented by St. Jerome on the right with his lion, appealing for the Virgin's protection. On the left are the kneeling St. Francis of Assisi and St. John the Baptist, who is standing and wearing a tunic of skins. As St. John points to Jesus, he clearly looks out to us, pulling us in, while St. Francis points to us and looks at the Christ Child. Between the men is an angel, linking the saints of earth to the seraph host of heaven. Behind them are the towers of Foligno.
Painted during Raphael's Roman period, it is a testament to his artist maturity, evidenced in the paintings composition, coloring and form.
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- Masters in Art: A Series of Illustrated Monographs 1. Boston: Bates & Guild Company. 1900. p. 38.
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- Potter, M (1912). The Vatican: Being a Brief History of the Palace, and an account of the Principal Art Treasures within its Walls. Boston: The Botolph Society. p. 308.