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. ...

Create your own bespoke print of The Virgin & Child with Flowers from our collection. About this painting The Virgin & Child with Flowers, after 1642 © The National Gallery, London This painting joined our collection in 1876 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 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. ...

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. ...

This painting was the central panel of a triptych in S. Maria della Scala, Verona. The dead dragon at the feet of the Virgin & the olive branch held by the Christ Child may refer to the ending of the 1516 siege of Verona. The commission of this work was ...

The Christ Child reaches across to his grandmother Saint Anne who has an open book in her lap. Saint Anne appears also to be offering him a fruit, which may be a symbol of his future sacrifice. On the right is a village scene, behind an open vista typical of Bruges landscape painting of the early 16th century. The subject of the Virgin & Child with Saint Anne was popular in both Netherlandish painting & sculpture. ...