Who was represented by Raphael in Sistine Madonna`s image?
According to church legends, the first Luke the Evangelist pictured the Virgin`s face at her mortal life. Centuries developed canons on which the image of the Virgin could be recognized, the equipment of the letter was improved, there were new ideas, disputes of theologians made the changes to the existing rules of depiction.
In Catholic church religious painting was allowed, in Orthodoxy the iconography with even more rigid framework of the image was recognized.
In Catholic art often appearance of any woman was a starting point for creation of the image of the Virgin. Also “Sistine Madonna“ of Raphael in whose features the image of the Mother of God esteemed by Christians, how many Margareta Luti depicted on a cloth is learned not so much did not become an exception here (Lyuti, Lyuchchi).
Nearly for the first time for history of the fine arts of Renaissance the Mother of God was represented not in the divine shape. Full discrepancy with the standard images of the Madonna - emphasized simplicity of a pose, figure, the person, clothes, hairdresses, lack of footwear is found.
It seems that even represented near Madonna the father Sikst of II in whose legs there is a papal tiara, a symbol of the spiritual power, and the Saint Varvara dressed far more elegantly and more magnificently than the Mother of God are a little surprised with her human vulnerability, openness and absolutely terrestrial type of the country girl. There is on the Sistine Madonna neither imperial wreath, nor magnificent clothes, she does not sit majestically on a throne; even childly open eyes of Madonna as if are opposed to a wise look of the Baby Christ.
The ready cloth generated many disputes in the church environment, customers refused to accept “Sistine Madonna“, finding a picture nearly heretical. From the point of view of Catholic priests, the similar image was sinful inherently that, certainly, did not belittle its art value.
The information about Margarete Luti which reached up to now is very poor and is more similar to legends. Her father was a baker, he moved from Siena to Rome together with the family. And in Rima Raphael Santi met Margareta. During acquaintance Margareta gave the consent to pose for the artist for creation of a fresco “Cupid and Psikhey“. Young people fell in love each other, but her father was against their meetings. Then Raphael redeemed from the baker Margareta, having paid three thousand gold coins for the beautiful beloved.
Twelve years in a row (on other sources - six years) Raphael and Margareta lived together, she accompanied it on all trips and was a model for many cloths of the great painter, helping to create it images of Madonnas, Saints and mythical beauties. Contemporaries emphasized that Raphael did not leave it to the most death, could not work if it was not near.
Opinions of researchers on Margareta Luti`s biography are absolutely opposite. One claim that it did not differ in fidelity and often paid attention both to customers of works of Raphael, and to his pupils. One of the known gossips also says that Raphael died in a bed of the incorrect beloved of heart attack.
Others among which there is Pavel Muratov indicate that it were the sublime love relations. Marriage of the artist and daughter of the baker forbade Vatican and in hope to make Raphael the court painter organized his marriage with the niece of one of cardinals, however it was rejected by Raphael. Also the fact that the sobbing Margareta was removed from the room of the dying Raphael when to him there came a papal envoy is known.
Margareta Luti`s destiny after death of her beloved and the patron is also not clear. Evil tongues claim that she inherited a large sum of money from Raphael and became known to all Rima the courtesan. Muratov claims that Margareta Luti left the monastery what the corresponding record saying about taking the veil of “Raphael`s widow“ testifies to.
But what would be Margareta Luti`s destiny in centuries there was her image created by Raphael and admiring with the simplicity and beauty all new and new generations.