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In early days an Italian in addressing a lady used the word Madonna, which, like the French word Madame, means My Lady. Now he says Signora; Madonna would have to him an old-fashioned sound. To the rest of the world this word Madonna has come to be applied almost wholly to the Virgin Mary, with or without the child Jesus; and as Raphael painted a great many pictures of the Madonna for churches or other sacred places, a name has been given to each, drawn usually from some circumstance about it.The Madonna of the Chair is so called because in this picture the Virgin is seated. She is sitting in a low chair, holding her child on her knee, and encircling him with her arms. Her head is laid tenderly against the child's, and she looks out of the picture with a tranquil, happy sense of motherly love.The child has the rounded limbs and playful action of the feet of a healthy, warm-blooded infant, and he nestles into his mother's embrace as snugly as a young bird in its nest. But as he leans against the mother's bosom and follows her gaze, there is a serious and even grand expression in his eyes which Raphael and other painters always sought to give to the child Jesus to mark the difference between him and common children.By the side of the Madonna is the child who is to grow up as St. John the Baptist. He carries a reed cross, as if to herald the death of the Saviour; his hands are clasped in prayer, and though the other two look out of the picture at us, he fixes his steadfast look on the child, in ardent worship.Around each of the heads is very faintly seen a nimbus, as it is called; that is, the old painters were wont to distinguish sacred persons by a circle about the head. Sometimes, as here, the circle is a golden line only; sometimes it is a gold band almost like a plate against which the head is set. This circular form took the name Nimbus from the Latin word for a cloud, as if the heads of sacred persons were in an unearthly surrounding. It is also called a halo. Such a representation is a symbol or sign to indicate those higher and more mysterious qualities which are beyond the artist's power to portray.This simple composition is a perfect round, and if one studies it attentively one will see how curved and flowing are all the lines within the circle; even the back of the chair, though perpendicular, swells and curves into roundness. It is by such simple means as this that the painter gives pleasure to the eye. The harmony of the lines of the composition makes a perfect expression of the peaceful group centred thus about the divine child.

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