The Child is blessing with his right hand & holds a small scroll in his left h&. This panel & The Man of Sorrows had been separated since at least 1926, & probably many centuries before that. They were recently recognised as having originally formed a diptych. They were painted by an unknown artist, probably Umbrian, in about 1260. Together with The Man of Sorrows (formerly Stoclet Collection, Brussels), this is probably one of the earliest surviving examples of that combination in Italian painting. ...

The inscription beside the Virgin's left hand (A.A.P.) has been taken to mean ' Andrea di Aloigi [or Andrea da Assisi] painted this'. Andrea di Aloigi from Assisi, also known as 'L' Ingegno' was one of the most accomplished of Perugino's pupils who, according to Vasari, became blind & had to abandon his art in 1501. This work probably dates from the 1490s. The composition is perhaps derived from an altarpiece or other painting in which Christ would have been looking at a saint or donor to his right. ...

The Christ Child holds the Virgin's breast & tugs at her veil. There are several versions of this design by Morales, & from his studio. Morales worked mainly in Badajoz & its neighbourhood in Spain. He was much influenced by Flemish painting &, at second h&, by Leonardo da Vinci. ...

The Christ Child holds a rosary. The book on the parapet is inscribed with passages in Latin from Psalms 51 & 70 used in the morning service, such as 'O Lord open Thou my lips; & my mouth shall show forth Thy praise' & ' Make haste, O God, to deliver me; make haste to help me, O Lord'. The Virgin's halo is inscribed with the words of the prayer ' Ave Maria Gratia Plena Domin[us Tecum].. .' (Hail Mary, full of Grace, the Lord [is with thee]). In the background to the right, the Charterhouse at Pavia is seen in the course of construction which suggests the dating for this picture. Bergognone was one of the leading painters in Milan at the time, & made several paintings for Pavia. ...

The design is based on two Leonardo paintings, the ' Litta Madonna' (St Petersburg, Hermitage) & the ' Madonna of the Yarn-Winder' (known in several versions). The artist's late style is reflected in the draperies & colouring. The figure of the Child is similar to that in Giovanni Antonio Boltraffio's ' Virgin & Child'; both derive from a Leonardo design. ...

This fresco fragment is traditionally thought to come from the church at Magrè, near Schio, Vicenza. This information is recorded in an inscription on the frame which appears to have been made for the painting when it belonged to Layard & may reflect some evidence which is now no longer extant (or known). The attribution to Montagna has not been confirmed. ...

The Virgin rests a hand on the parapet in the foreground. The view seen through the window is unlikely to be of a specific place. The painting, although much damaged, is important because it is a rare signed work. Alvise was the youngest member of a family of painters. ...

The artist's composition of the Virgin seated on the ground reflects the tradition of the Madonna of Humility. The rocky setting is similar to those which Leonardo favoured for his paintings. A pricked drawing, apparently for the head of the Virgin, is in the Victoria & Albert Museum, London. ...

Create your own bespoke print of the workshop of Bernardino Luini’s The Virgin & Child from our collection. About this painting The Virgin & Child, early 16th century © The National Gallery, London This painting joined our collection in 1916 With our custom print service, you can order your own fully customised reproduction from the National Gallery Collection & exhibitions. Choose your own size, print material & frames & have your masterpiece delivered straight to your door. ...

This painting reflects the influence of Giovanni Bellini, by whom Montagna was probably trained. The sombre colours (now darker than was intended), the severe geometry of the setting, & the sharp definition of the drapery are typical of his work. ...