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 afterthought, for, laid in with a light brush, they scarcely cover the clouds, but allow the underlying pigment to show through.

Little wings of vivid tint complete these aerial creatures, always living around Raphael and always ready to come from his brush.  Although held to nature by the most intimate ties, although perhaps too familiar in attitude and manner, they are yet supernatural by the clearness of their intelligence and by the power of their admiration.  We are enchanted with their candour and beauty.  They are full of zeal and enthusiasm; they possess the grace of the Pagan Loves merged into Christian innocence and chastity.  Their faith is as beautiful as the sky, and in loving them it is almost for God himself that we feel the love.

Such are the various parts of this work; their union forms the most sublime harmony, and each in particular brings a divine note to this celestial concert.  By what process was this picture produced?  We can scarcely say, so greatly does the inspiration predominate over the technique.

Raphael aimed at the sublime; and the rest was given to him as increase.  The colour is just what it should be in such a subject; whilst keeping to a sweet, calm, and peaceful scale, it is resplendent with light, and we ask ourselves whether it is not the hand of an angel rather than that of a man that has been able to realize such a marvel.

The Virgin of St. Sixtus is the most beautiful picture in the world.  To copy this Virgin is to attempt the impossible.  Study it a hundred times and a hundred times it will reveal itself under a new aspect.  It was before this picture, it is said, that Correggio cried:  “And I also, I am a painter.”