The custom of representing the Madonna in costume and surroundings indicating a higher social level than that in which she actually moved, is now firmly established, and cannot be departed from without lowering the ideal. A woman in a lowly position of life, who is compelled to bear all the responsibilities of a home, with the care of a husband and child, is seldom seen except in the performance of household duties. We cannot see her without associating her in our minds with toil and possible privation, and we naturally expect that the effect of these will be indicated in her expression and general bearing. If away from her home her costume would usually declare her position, while habits of mind connected with her daily occupation commonly engender mannerisms in air and gait which support the inference drawn from the character of her attire. It would appear anomalous to paint a woman so situated with such beauty of form and expression that she appears to have never experienced earthly cares of any kind, much less the long repeated daily worries consequent upon the charge of a poor household. Perfect beauty of form being essential in the representation of the Madonna, she must be painted amidst surroundings conformable with the supposition that she is free from earthly responsibilities, and that her mind is entirely occupied with the boundless joy and happiness arising from the contemplation of the divine Mission of her Son.[41] [Illustration: PLATE 10 (See Page 139) Raphael's Holy Family (Madrid), with the Face of Luini's Salome Substituted for that of the Virgin]