The "Transfiguration" is only one among the many masterpieces of the extraordinary young artist (who died at age 37). Commissioned in 1517, it was Raphael's last major work, and was displayed at his funeral Mass. Today the painting is in the Vatican Art Museum (the Pinacoteca); a mosaic version can be found in St. Peter's Basilica.

Raphael gives us two perspectives on one Gospel story. Above the Mountain, Christ floats in divine glory. Moses and Elijah hover on either side of Jesus. These men were the two most outstanding witnesses of God's glory among the Chosen People. Moses had seen God's glory on the mountain of the Ten Commandments; Elijah had encountered God's presence in the "tiny whispering sound." On the mountain itself, Peter, James and John (presented as if roused from sleep in the twilight or dawn of the day) shield their eyes. It was well-established in the Bible that "no one can look on the Lord and live" (see Ex. 33:20) but God's glory is now (and for all times) manifest in Jesus Christ.

The mountain-top is not the whole story, however. A chaotic scene in the lower half of the painting shows that, in Jesus' absence, the remaining apostles have failed to heal an epileptic boy. Hands are pointing in all directions: toward the boy, toward the viewer, toward the group of apostles on the mountain. The boy's own right hand reaches straight up toward Christ, while his left hand, fingers splayed, faces downward in a gesture of repudiation against the forces of darkness that hold him in thrall. The desperate father is at a loss, as are the disciples, who had worked miraculous cures while on mission, but find themselves powerless in this case.

Jesus will come down the mountain and bring peace, healing and instruction to this corner of earth, but his glory will once again be hidden "until the Son of Man had risen from the dead" (cf. Mk. 9:9).