The Garvagh Madonna (also known as the Aldobrandini Madonna) is an oil painting by the Italian Renaissance artist Raphael, dating to . It depicts the Virgin, the Christ Child and the infant John the Baptist, and is one of many paintings by Raphael with this trio. It is from early in the artist's third, or Roman period, in which distinctive changes are seen from his Umbrian or Florentine period in style and use of colour, with the introduction of more natural subjects and settings. Owned for centuries by the aristocratic Roman Aldobrandini family, the painting has been in the collection of the National Gallery in London since 1865. It was sold to the National Gallery in 1865 after about five decades of ownership by Lord and Lady Garvagh. Description One of several small and mid-size Madonnas painted by Raphael in Rome, the Garvagh Madonna is likely to have been something Raphael worked on in his spare time when he was engaged on projects for the Pope or members of his court. During this period, Raphael was painting the Stanza della Segnatura, the first room in the Vatican Palace to receive Raphael and his workshop's frescoes. Exploratory sketches of this and other Madonnas from 1509 to 1511 are found in Raphael's "pink sketch-book". The Garvagh Madonna is one of several Madonnas by Raphael with a pyramidal composition. The scene takes place within a room, with a backdrop of the Roman landscape through the windows. The dark pillar between the windows sets off the bright face of the Virgin, who is seated on a bench. The Christ Child sits naturally in the lap of the Virgin and is handed a carnation, a symbol of his future Passion, by Saint John. The painting has been highly regarded for its sweetness, grace, beauty and technical skill. Only the discreet ring haloes imply anything other than a very human scene. It has been observed that the drapery around the Virgin's lap does not seem to indicate sufficient room for her legs. Relationship of the Christ Child and John the Baptist Raphael appears to have a special affinity for the relationship between the infant Jesus and his similarly aged cousin John. This was probably due to the special relationship that they would enjoy as they went through adulthood. Raphael clothes the infant John here, and other paintings of the trio, in a little skin garment, like