In the light of Heidegger s remarks in his text On the Sistine Madonna, I intend to defend that the singularity of the Sistine Madonna as a sui generis Bild essencing (Bildwesen) is related to an enowning (Ereignis) that is brought forth in this painting. I will argue that it is possible to trace this enowning through the investigation of Heidegger s specification of his use of the term Bild as meaning Antlitz (countenance), and of his characterization of this Bild as being an Altar-Bild. According to the philosopher, the bringing into emergence brings into emergence (das Bild bildet) both: a window and a site (Ort). In the first chapter, I will relate the meaning of Antlitz as an Entgegenblick (encountering glance) as arrival to the window character as an outlook (Ausblick) of arrival. The aim is to suggest that what singularizes this Bild is its reference to a disclosure of appropriation (Ereignis) of the mutual belonging of concealment and unconcealment. In the second chapter, I will relate the altar character of the Bild to the bringing into emergence of a site. My purpose is to link the Sistine s belonging to a site to a mutual belonging of sites, that is: a belonging together of the altar and the church. Supposing that they are both related to the memory of the sacred, they could be related to thinking as the safeguard of the sacred. According to Heidegger, the thinking is the thinking of being. This means that it belongs to being and that it listens to being. It is an enowning (Ereignis).