The figure composition is taken from a painting by Filippo Lippi (Florence, Uffizi) & much of the detail (the elaborate veiled headdress of the Virgin & the curls of the infant Christ) is painted in his style. There are also affinities, especially in ...

The Christ Child, held by the Virgin, reaches out to an angel who worships him. The very poor condition of this picture makes attribution impossible; however, it is now clear that it is not a fake as previously believed & probably dates from the 15th ce ...

This altarpiece comes from a chapel in the Certosa di Pavia, a Carthusian monastery near Milan. The central Virgin & Child are flanked by the Archangel Saint Michael on the left, standing on Satan. Raphael & the young Tobias are on the right. The Virgin's robe is ultramarine of exceptional quality. The church was consecrated in May 1497. In 1499 Ludovico il Moro, ruler of Milan & the Certosa's most important supporter, applied pressure to get it completed. The Certosa had a large number of chapels. The original altarpiece had an upper tier with God the Father flanked by the Virgin Annunciate & the Archangel Gabriel. The two top side-panels were supplied by another Florentine artist, Albertinelli, after Perugino had failed to paint them. Originally these three panels formed the lower tier of a six-panel altarpiece. They have been cut down at the bottom. Central panel 113.7 x 63.8 cm; wings each approx. 113 x 56 cm. ...

The Virgin & Child are under a canopy ornamented with shields; an angel gives the Christ Child a goldfinch, symbol of the Passion. The flowering hedgerows behind are echoed in the fringed tapestry covering the marble step. Clearly influenced by Fra Angel ...

In the left background can be seen the Nativity with Saint Joseph & the Annunciation to the Shepherds. In the right background are shown the cavalcade of the three kings & their followers. The same design of the Virgin & Child was used several times, with variations, by Perugino. ...

This small panel of about 1305 may once have been attached to another (perhaps depicting the Crucifixion) to form a diptych. The Virgin & Child enthroned in majesty among angels is known as a Maestà & is also found in monumental altarpieces (see also the Maestà attributed to the Master of the Casole Fresco). The frame is original but has been regilded. ...

The four saints are not identifiable, although, the one on the left with a book is probably a Franciscan. The group of the Virgin & Child is derived in reverse, except for the hands, from an engraving by Mantegna. The frieze-like composition is probably ...

On the left of the Virgin's throne is James the Greater & a deacon martyr who may be either Saint Lawrence or Stephen. On the right is a Franciscan, who is probably Saint Bernardino, with another unidentified saint. The donors have not been identified. ...

Infra-red photographs reveal highly methodical & elaborate underdrawings, with areas of cross-hatching more characteristic of an engraving. The flowers in the painting are symbolic. On the left grows a columbine, so called because of its appearance (like ...

The Virgin is seated in front of a laurel bush (hence the French title ' La Vierge aux Lauriers'), which was associated with distinction, & here acts as a halo. A rose bush surrounds the Child Jesus; its flowers were associated with purity & suffering. ...