Mary lovingly cradles the infant Christ; she wraps around him as he nestles into her warmth. The baby is delightfully plump, perhaps suggesting this moment is weeks after his birth—but his tightly closed eyes, softly curled form and tiny furrowed brow show he is still a newborn.
The sleeping child looks slightly distressed. This is a realistic portrayal of an infant—babies often display animated expressions while slumbering—but it also alludes to his future. She cannot see his face, but the mother intuitively comforts her child’s unrest, pulling him closer and resting her cheek on him. Mary’s expression is solemn but peaceful. Since before her son’s birth, she knew his divine purpose and weighty fate. An exemplary agent of God’s perfect will, Mary’s unwavering faith and devotion to God allow this mother to accept the unimaginable. For now, he is enfolded in her love and tenderness, protected.
The Madonna and Child subject is a central motif in Christian art. Images appear as narrative episodes or as devotional representations. A sleeping Christ child is more typically found in Nativity or Adoration scenes, where onlookers gaze upon the newborn babe. Here, Jesus is shown asleep in his mother’s arms. The hint of sorrow on Mary’s face here recalls Pietà imagery. The Pietà devotional motif portrays Mary mourning her crucified son. Like the Pietà, Madonna and Child in the Round depicts a solitary, poignant moment between Mary and Christ.
Italian prints are known for their beauty, elegance and visual splendor. This etching highlights the aesthetic grace and delicacy of line that is particular to Italian prints of the era. Reni’s lyrical flowing and broken lines create a shimmering effect that contributes warmth to the already tender composition.
Here, the Virgin’s simple halo of etched lines denotes her saintly status. Her nimbus is echoed by the circular composition, adding elegance and intentionality to the overall design. Even without additional details that might establish a specific setting, there can be no doubt the artist considered his composition complete. The finished state is further evidenced by the signature at the bottom left, which proclaims, Guid’. Rhen’. In, et fe. (“Guido Reni invented and made this.”)
Though these figures are regarded by many as divine, the image is universally relatable. It reflects a uniquely intimate relationship between mother and child, which is built on a love that is singular in its power and reveals God’s love for humanity.
Joanna Reiling Lindell is vice president of Audience & Experiential Engagement at Thrivent and chief curator of the
