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Madonna and Child

Madonna and Child

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

A woman sitting on a throne supports a baby as twelve winged angels look on, all framed in a carved, gilded pointed arch in this vertical panel. It is the center of a three-panel triptych. The background behind all the people is gold, and the top of the panel comes to a rounded, pointed arch under a second taller, sharper point. Trios of spiraling columns frame the left and right sides. The woman, child, and angels all have pale skin tinged faintly with green, and rosy cheeks. They all have blond hair except for the woman, whose hair is covered, and all have plate-like gold halos that overlap, sometimes obscuring the bodies of others. The woman, Mary, faces us from her ivory-white, carved stone throne. She looks slightly above us with brown eyes under delicate brows. She has a small, straight nose, and her narrow pink lips are closed. The lapis-blue robe that covers her head and body is bordered with gold patterns, and has a starburst on her right shoulder, to our left. The pea-green underside of the mantle is visible where it turns over on the sleeves and down the front, and the robe is worn over an ivory-white dress patterned with gold. The child she holds with both hands, Jesus, stands on her lap and wraps one arm around her neck. His other hand grips the high neckline of her dress. He looks up with dark, close-set eyes. He has curly blond hair, a double chin, and rounded cheeks. Two tiny teeth are barely visible below his pink upper lip. Despite the rounded cheeks, his face looks more like that of an adult, and the proportions of his body are also adult-like. He wears a gold-trimmed, pale pink robe over a blue garment, which stops just short of his bare feet. The twelve angels surrounding the throne are grouped in trios, with three looking on to our upper left, three to our upper right, and then two trios gathered in each lower corner. Their wings and robes are painted in tones of celery green, ruby red, butter yellow, and pale rose pink. Each has a triangular diadem above their foreheads. The floor beneath is patterned with gold against a burgundy-red background. Above Mary and Jesus, a bearded man is shown from the chest up in a shape made of three lobes alternating with three points. That man faces us and holds up his right hand, to our left, with the first two fingers raised. He wears a shell-pink garment under a green robe, and holds up an open book with Latin text with his other hand. The frame around Mary, Jesus, and the gable above is carved and gilded. Barely discernable, the panel is inscribed across the bottom below the throne, “AVE MARIA GRATIA PNELA DOMINUS.” The pages of the books read, “EGO SUM A O PRINCI PIU FINIS EGO SUM VI A. VERITAS VITA.”

Madonna and Child with Donors

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

A woman, Mary, sitting on a throne made of clouds is surrounded by ten winged angels, floating above a landscape with twelve people gathered closely around a long, rectangular, stone box filled with flowers, all set against a gold background in this tall, vertical painting. Mary and the angels have pale, peachy skin and the men below have more tan complexions. Each person’s head is surrounded by a flat, gold halo. In the upper half of the composition, Mary’s blond hair is covered by a veil, and her white robe is decorated with a pattern of starburst-like, gold shapes and edged in gold. She holds her hands together in prayer and looks up. She sits on a light blue, cloud-like form, which is held up by two angels. The other eight angels look on, four to each side. Six of them each play a different musical instrument, and the top two cross hands across their chests. The angels all have blond hair and wear flowing robes in cranberry red, steel gray, cream white, or pale sky blue. In the bottom half of the painting, the people kneeling or bending over the coffin-sized, stone box wear gold-trimmed robes in azure blue, lilac purple, raspberry pink, marigold orange, sage green, or coral red. All but one is bearded, though the face of one, opposite us, is half-hidden behind the outstretched arm of his neighbor. One man, to our left, points into the box, which is filled with white and red flowers and pine-green leaves, and others look into the box, up, or at each other. The box is inlaid with teal-green panels on the side we can see. Grass and flowers grow below. Beyond the box and people, and between them and Mary above, a person kneels on an olive-green, rocky outcropping with hands raised. The angels around Mary line the inner edge of an arch at the top of the panel. The roundels at the top corners above the arch are occupied by a person wearing a mauve-pink robe over a gold garment to our left and a blue robe over a white and gold garment to our left. The entire panel is surrounded by a gold frame carved with steps and moldings.

This painting shows a woman sitting and cradling an infant on her lap. The woman faces slightly left and looks down at the child with a slight smile. She has pale skin and golden hair covered by a semi-translucent white veil. She wears a red garment with gold embroidery and a dark blue cloak with gold trim and a star-shaped brooch on her shoulder. The infant has curly golden hair and is dressed in a sheer garment, looking up towards the woman. Surrounding these two people are more people with wings and cherubic children with the bodies of red-and-gold birds. All of these people have pale skin and golden hair, and they wear colorful robes in shades of red, white, and light blue. Everyone in the painting has a golden halo around their head, and the background is a decorative golden surface with intricate patterns around the edge of the painting.

Coronation of the Virgin

Adorazione dei Magi. Il Redentore, i Profeti Isaia e David (nelle cuspidi) 1420 circa

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

Icon of the Mother of God and Infant Christ (Virgin Eleousa)

La pala fu commissionata per la cappella della villa medicea di Cafaggiolo,ristrutturata da Michelozzo nel 1451. Il Wedgwood Kennedy ipotizza una commissione da parte di Piero il Gottoso, per il quale il Baldovinetti aveva giá lavorato nella cappella della SS. Annunziata e, forse, in quella di S. Croce. Lo studioso suggerisce una datazione per la committenza al 1453, anno di nascita di Giuliano, secondogenito di Piero, avvalorata dalla presenza di San Giuliano insieme agli altri santi "medicei".

A woman sits in the center of this vertical panel painting and gazes down at a baby lying across her lap while two winged angels hold up a red, gold, and black brocade-like patterned cloth behind her. All the people have pale skin, pink cheeks, blond hair, and flat, gold halos. The woman’s body is angled slightly to our right, and she holds her hands crossed over her chest as she gazes down at the baby. The woman has a straight, pointed nose and a small, pink-lipped mouth. Her azure-blue robe covers her head and drapes over much of the crimson-red dress beneath. The edge of the robe and cuff of her dress are trimmed in gold. The baby lies with his arms slightly raised, and he looks up at the woman. His hips and legs are wrapped with sheer white cloth. The angels in the upper corners of the panel both wear robes in the same azure blue of the woman, and the garments have a gold band around the high waist and gold around the neckline. They look at the woman and hold up the cloth that falls behind and under her and the baby.

Against a shiny gold background, a man with peach-colored skin nearly fills this tall, narrow, vertical panel above a row of twelve people, significantly smaller in scale, kneeling by his feet and looking up at the man, their hands together in prayer. The top of the panel comes to a point above the man’s head. His body faces us, and he looks at us with brown eyes under furrowed, dark eyebrows. His nose is long and straight, and his mouth is small with a rosy lower lip. He has a brown, trimmed beard, and his hair is receding. He holds up a gold-handled sword with a slate-gray blade in his right hand, on our left, while in his other hand, he cradles a thick black book with a gold-edged pages against his chest. The man wears a floor-length, celery-green tunic with a flowing, rose-pink robe over his left shoulder, on our right, and around his body. The robe is lined with tangerine orange and has a faint, patterned border. The toes of his sandaled feet stick out. On a smaller scale, along the bottom of the painting, six pairs of people kneel facing the center, three couples to each side. Eleven of the people gaze with heads tipped back, up at the man with their hands folded in prayer. To our right, one woman turns and gestures, mouth open, to her neighbor. Their long robes are painted in shades of shell pink, indigo blue, scarlet red, butter yellow, sage green, and chestnut brown. Some wear white fabric over their hair while others are bareheaded. The gold background is incised around the man’s head to create a halo. Molding and a band of alternating strips of slate blue and brick red enclose the pointed panel. Three shapes, like small banners, are painted in red with gold lettering around the man’s head, with an “S” at the top center, “PAU” over his shoulder to our left, and “LUS” to our right. In the blue and red band set into the frame at the lower center, an inscription reads, “NI.MCCCXXXIII M II.ESPLETUM FUIT HC OPUS.” There is a noticeable network of cracks across the painting’s surface, especially on the gold background behind the man.

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

Saint in Red Cloak

Le Couronnement de la Vierge

A woman holding a nude baby boy sits on a blue patterned pillow on the floor in front of a brick-red curtain held up by two angels in this vertical painting. The people all have pale, almost gold-colored skin with a green cast, though their cheeks are flushed with pale pink. The woman sits facing us and looks slightly off to our right. She has almond-shaped eyes, a straight nose, and her lips are closed. She wears a blue cloak with a white hood over a shell-pink dress. Her right arm, on our left, rests in her lap and she supports the baby with her other arm. The baby’s nude body is pudgy like a baby but his face and head are proportioned more like an adult. His body turns toward the woman and he reaches up to her neck, and he looks into the distance to our left. Both have flat, plate-like gold halos. The winged angels holding up the red curtain also have halos and they wear blue robes. The curtain falls in gentle folds behind the mother and child, and fabric of the same color underneath the blue pillow on which they sit suggests that the curtain extends onto the floor. A dove, also haloed, floats at the top center of the painting. The gold background around the curtain and behind the angels and dove is painted into an arch over the people, and the upper corners of the panel are dark. A Latin inscription is painted with capital gray letters against a white band along the bottom edge of the panel: “AVE: MARIA: GRATIA: PLENA: DO.”

Three men with crowns and wearing gold-trimmed robes stand and kneel before a woman sitting on a wooden, box-like seat holding a baby to our right, in front of a rocky cave and landscape, in this horizontal painting. A balding man with a gray beard and hair, Joseph, and two younger people with blond hair stand around the woman, Mary, to our right, while a group of five young men or boys and three horses gather near the left edge. All the people have pale skin. Mary, the baby Jesus, Joseph, and the three men closest to them all have shimmering gold halos. One balding man with a long white beard kneels and kisses the baby’s feet. He wears a gold and crimson-red brocade-like robe over a burgundy-red garment, and he holds a pointed gold crown in his right hand, which rests on the ground. Behind him and to our left, a younger man with curly blond hair and goatee, wearing a wine-red tunic belted with gold and a gold crown on his head, holds his hands in prayer as he kneels down on one knee. The third stands to our left, cleanshaven with long blond hair. He wears a fur-lined, thigh-length scarlet-red robe and a gold crown, and he holds up a gold vessel in one hand. To our right, Mary wears a lapis-blue robe that covers her head and falls to her feet. The baby is covered only by a white cloth across his hips, and he has short blond hair. He touches the kneeling man’s head with one hand. His body is pudgy but his face has more adult-like, delicate features. Joseph stands at the woman’s far shoulder, wearing a butter-yellow robe over a rose-pink garment. His hands are gathered on a walking stick in front of his chest and his brows are furrowed with deep lines. One of the two younger people behind Mary, to our right, holds a lidded gold vessel. The group of five attendants to our left gather around cream-white, gray, or chestnut-brown horses. These blond people wear garments of dark olive-green, coral-red, royal-blue, or rose-pink tunics over black stockings. The rocky, brown cave behind Mary and Jesus, to our right of center, is occupied by a donkey and an ox behind a wooden trough. The landscape beyond is segmented into quilt-like squares of stylized crops. The horizon line comes almost to the top edge of the panel beneath a narrow strip of vivid, cobalt-blue sky. A gold star like a sunburst with rays of light hovers over the woman and child.

Shown from the waist up, a pale-skinned man with long, honey-blond hair and beard faces us in front of a gold background in this vertical painting. The man has a long face and nose, with closed peach-colored lips, which turn slightly down at the corners. Almond-shaped, hazel-brown eyes under arched brows stare over our left shoulder. His rose-pink robe is covered by a spruce-blue mantle that drapes over the left shoulder, on our right, and wraps around the waist. The robe and mantle are trimmed with gold. His right hand, on our left, is raised with the index and middle fingers extended up. The other hand holds an open book so the pages face us. The top edge of the pages is burnt orange, and the left and right edges are moss green. The side facing us is inscribed in gold letters, “ECO SUM LUX MUNDI.” A halo incised into the gold background surrounds the man’s head, and clusters of five dots in dark red, blue, and black are placed at the top and to either side within the halo. The panel on which this is painted has a five-sided, angular arch on top that frames the man’s head. A border within the frame has a pattern of gray circles and scarlet-red diamonds against a navy-blue band. The border follows the contours of the panel but runs behind the man’s body, as if he stands in front of it. The panel is framed with dark wood.

Standing Saint

Madonna and Child with Two Angels

Lamentation of Christ

St. Catherine of Siena and the Beggar

Leaf from Book of Hours

Crucifix with Scenes of the Passion

Icon of the Virgin and Child

This painting depicts a man with light skin, white hair, and a white beard wearing an orange cloth draped over a dark-blue garment with gold embroidery around the shoulder and neckline. He holds two large red keys in his left hand, and a thin, red, cross-topped rod in his right hand. There is a faint outline of a halo around the man's head, which is slightly turned to the right. The background is gold, enclosed within a red, white, and black patterned border.

The Adoration of the Magi

Adoration of the Christ child with the young St. John the baptist,St. Romuald,angels,the hands of God the Father and the Holy Ghost as a dove - Filippo Lippi

A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”

The Holy Family

The Triumph of Fame

Annunciation

A man, woman, and four winged angels gather and kneel around a nude infant lying on the ground under a stone arched opening set in front of a landscape in this vertical painting. All of the people have pale white or lightly tanned skin. To our left, the woman wears gold-edged, royal-blue robes and has long, curly brown hair. The baby lies on the hem of her robe, his body facing her. An older, balding and bearded man kneels to the right, leaning on a walking stick. He wears a red garment under a green robe, and he holds a hat in his hands as he gazes at the baby. About a third the size of the man and woman, two of the angels kneel between the man and woman and another pair kneel to our left of the woman, seeming close to us. The angels wear colorful gold, pink, red, or yellow robes and all have long wavy blond hair. Their hands touch in prayer and all look down toward the baby. The people are sheltered in front of a crumbling stone wall under a wooden structure. To our left, a cow and donkey are penned in a stable. Two pairs of men stand near or lean on the other side of the rock wall that encloses the scene. A landscape with green rolling hills and a distant town with towers and buildings fills the background beneath a clear blue sky. A triangular structure made of wood beams is framed within the carved archway, which seems to separate us from the space of the painting. The face of the arch looks like it is carved with a nude man atop a column to the left and a similar woman to the right, and with miniature scenes stacked on tiny platforms curving upward to the apex of the arch.

On a tiled courtyard between buildings with arches and columns, a winged angel kneels and looks up at a woman standing to our right in this vertical painting. Both people have pale skin, blond hair, and plate-like gold halos at the back of their heads. To our left, the angel wears a silvery-white tunic under a scarlet-red cloak lined with cobalt blue. The wings are fawn brown on the underside, closer to the body, and aquamarine blue on the outside. Gold lines delineate feathers. The angel holds a white lily with two blooms and four buds on a long stem in the hand farther from us, which rests on a bent knee. The other hand is raised in front of the chest. The woman, Mary, stands along the right edge of the painting, her body angled toward the angel. Mary’s long, wavy hair falls to her shoulders, and she wears a lapis-blue robe with a pine-green lining over a red dress. She holds her right hand, farther from us, to her chest and touches the fabric of her cloak with the other, by her hip. The tip of one red shoe peeks out under her voluminous robe. Between the angel and Mary is a stone-white urn with scrolled handles, holding a bouquet of pink and white roses with dark green foliage. The ground is tiled with squares marbled in pale pink, sky blue, rust red, charcoal gray, and brown. Narrow, white panels between the tiles create a grid. The buildings around the pair are fog gray, parchment white, shell pink, or coral red, and are trimmed in black, red, or pink. Rows of arches recede into the square behind the angel and woman, ending at a coral-red wall that encloses the courtyard. An arched doorway in that wall opens onto a pathway leading over a small brook and into a hilly forest. A narrow, conical tree outside the courtyard reaches over the wall, into the vibrant blue sky above. A white dove descends from among the few scattered clouds with golden beams projecting toward the woman to our right.

The Holy Family with Saint John the Baptist and Saint Margaret

A young, pale-skinned woman with reddish-blond hair sits with a nearly nude, chubby toddler standing in her lap in this vertical painting. She looks down at him, her body and face angled to our left. Thin lines creating a gold halo fan out from the back of her head. An ivory-white scarf wraps around her head and trails down the back of her neck where it is tucked into a dark, teal-blue cloak covering her shoulders and draping across her lap. Under the robe, she wears a loose, cherry-red gown with vertical pleats over her chest. The baby, also with pale skin, reddish blond hair, and a delicate gold halo, looks up at her face with light brown eyes. He stands on the woman’s right thigh, to our left. One of the woman's hands wraps around his body and supports his legs, while she props up his chest with her other. A length of pale gray fabric wraps over one shoulder and around his stomach. The two are situated in front of a column and pillar supporting a horizontal lintel overhead. The view beyond is of a blue sky over a golden field with dark green conical cypress trees in the distance.

In the margins are depicted hybrid angel-musicians, a bear-trainer and musicians, apes trapping a bird, apes at school, a nude man at the far left, and an ape kneeling before a doctor with a urinal.

adoration of the Magi

St Fredianus Diverts the River Serchio

Paradise

The Annunciation

This painting depicts a woman holding a child. The woman is turned towards the left, and she looks down at the child in her lap. She has pale skin, reddish-brown hair, high, arched, eyebrows, and thin, slightly downturned lips. Her hair is put up above her head under a red and brown net with a thin veil hanging over her face. A golden halo is behind her head. Her clothes are ornate, in shades of gold and brown with a collar decorated with pearls and green gems. The child is nude except for a red necklace and red bracelets. They also have pale skin and brown hair, and they are looking up at the woman. The child rests on a green cushion and holds a light pink peach or apple in one hand, and there is a faint golden halo around their head. Next to the woman, on a white marbled surface, is a white bowl of light pink fruit. Behind her is a landscape of green fields, tree-lined, rocky hills, and a light blue body of water. The sky above is a gradient of blue, white towards the horizon and fading into dark blue at the top of the painting. Puffy white clouds drift across the top of the sky.

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.

Madonna and Child

This painting was the central element of an altarpiece that was El Greco’s ﬁrst major Spanish commission and large public work. The Virgin ﬂoats upward on the crescent moon, a symbol of her purity, while the apostles express amazement and concern. El Greco’s broad brushstrokes and bold color made this painting a favorite of modern artists such as Pablo Picasso and Mary Cassatt.

A winged angel, a woman, and a baby are gathered on a terrace that overlooks a softly lit landscape in this vertical painting. The people all have parchment-white skin tinged faintly with green, delicate gold halos, and they are close to us. The baby is round and plump, and faces us as he lies on his side on a carpet of pine-green grass dotted with small white and pink flowers. A band of caramel brown spans the lower edge of the painting. Propped up on one elbow, the baby turns his blond head to look at the woman kneeling beside him to our right. The woman, Mary, towers over the baby with her body angled slightly to our left. A midnight-blue cloak trimmed in gold is wrapped around her coral-red gown. The fingertips of her raised hands lightly touch as she bows her head and lowers her brown eyes to look at the child. A transparent white veil drapes over her blond hair. To our left, the angel also kneels and looks down at the baby with arms crossed over the chest. The angel has curly, copper-red hair and wears a carnation-pink robe over a transparent chemise. Semi-transparent, bronze-colored wings nearly disappear into the background. Just beyond the trio, a low balustrade with an opening near Mary encloses the space. A colonnade with arched openings extends into the distance to our left, behind the angel. A flat, olive-green wall rises the height of the painting behind Mary. Between them, the landscape is carpeted with moss and celery-green grass, and dotted with trees. A river winds toward slate-gray hills in the deep distance.

Jean Hey, known as the Master of Moulins, was a leading painter in 15th-century France. Here, he captured the moment the archangel Gabriel announced to Mary that she would give birth to a son. The painting once formed the right side of an altarpiece, with the left side depicting Mary’s own Immaculate Conception and a central section, now lost, featuring the enthroned Virgin and Child.

In the stone ruins of a building, a woman, Mary, kneels with her hands in prayer over a thin-limbed baby lying in front of her in this vertical painting. There is a man behind Mary, to our left, two more in a field to our right, and a winged angel in the upper right corner. They all have pale skin. Mary’s unbound blond hair falls over her shoulders. She wears a celestial-blue dress, and her teal-blue cloak is edged with gold. Her body is angled to our right, and she looks down her straight nose at the baby near her knees. The nude baby has blond curls and a chubby tummy and cheeks. An ox and an ass look down at the baby from behind a stone trough to our right. The man behind Mary wears a forest-green cap and scarf over a tomato-red robe. One hand rests on a staff, and he looks up at the angel in the top right corner. An owl looks down at the man from atop the stone ruins, near the top left corner. Two men recline and about a dozen white sheep lie on low hills in the near distance to our right. One of those men sleeps and the other holds up both hands as he looks into the sky. The angel in the top right corner emerges from a petal-pink and pale yellow halo against a star-strewn blue sky. The angel wears rose pink and has dark pink wings. A scroll held across both arms reads, “GLO” and “INECELSIS DEO.”

Shown from the waist up, a young woman embraces a baby in this vertical painting. They both have peachy skin, reddish-blond hair, and round faces. The woman is angled to our left and almost takes up the height of the painting. She looks down with gray eyes through lowered lids, under slender, arched brows. She has a straight nose and her pale pink lips are closed. Barely visible, a thin dotted white line spans her brow. A few loose, copper-colored tendrils frame her face under an azure-blue mantle that drapes over her head, shoulders, and arms. Under the mantle she wears a brick-red robe with a stylized, plant-like pattern in gold on the upper bodice and the cuff we can see. Her left elbow, on our right, rests on a sage-green ledge that runs along the bottom edge of the composition, and that hand dangles over the child’s leg. Her other hand curves around the baby’s back. The child is turned to our right to face the woman. He is wrapped in a cloak the same red as the woman's robe, and it has a thin gold border. He sits on a kelly-green cushion resting along the left side of the ledge. His head is turned to gaze off to our right with large hazel eyes under thin brows. He has a button nose and a rosy flush around his small pink mouth, which is slightly open. His right hand dips into the woman’s neckline while the other arm embraces her neck. His right leg stretches out toward her so one pudgy foot peeks out from under the red cloth. The horizon of the landscape behind them comes halfway up the painting. Sloping fields are dotted with trees. Low hills are ice blue in the hazy distance along the horizon, and the sky above is nearly white near the mountains, deepening to pale blue along the top edge.

The Test of Fire of Moses

adoration of the Magi

A young, pale-skinned woman with long, blond hair and wearing a coral-red gown stands on a pedestal before a landscape filled with people in this vertical painting. The painting has an arched top, and the woman who fills most of the view is Claudia Quinta. Her hair is adorned with strands of pearls, and a larger pearl hangs from a piece of jewelry like a brooch at the top center over her forehead. A sheer veil covers the back of her head. Her body faces us but she turns her head slightly to our right, so she gazes at us from the corners of her light hazel eyes. A pearl necklace with a square gold, sapphire-blue jewel and pearl pendant encircles her neck. The brown sleeves of her dress are flecked densely with short gold lines, and white fabric shows at gaps over the elbows. The red bodice has a high waist tied with a brown belt, which also holds sheer fabric in place so it falls to her knees over the long red skirt. The skirt is bordered with a gold geometric design along the bottom hem, which stops just short of her sandaled feet. In her right hand, on our left, she holds a small, navy-blue boat with a gold figure standing in it. Her other hand rests by her left thigh, to our right. She balances near the front edge of the rectangular pedestal, which is pale violet purple. On the front face, two winged, chubby children are painted white to resemble stone carvings. They brace a panel bordered in gold. The plaque has a teal-blue background, and gold letters read, “CLAVDIA CASTA FVI NEC VVLGVS CREDIDIT AMEN ET TAMEN ID QVOD ERAM TESTIS MIHI PRORA PROBAVIT CONSILIVM ET VIRTVS SVPERANT MATERQVE DEORVM ALMA PLACET POPVLO ET PER ME HVNC ORATA TVETVR.” Beyond Claudia Quinta a river winds in a tight S-curve through dark green hills. Farther back, to our left, a group of people with thin, elongated bodies dressed in blue, light brown, and orange walk in front of a tall dark blue building as they head toward a river on the right side. The building has an arched opening and a tower topped with a taupe-brown spire. To our right of Claudia Quinta, a woman wearing a rose-pink dress holds a rope around the prow of a boat at the edge of the river. Like the boat held by Claudia Quinta, it is navy blue and has the same shape. The pale lavender-purple river continues into the distance, where it meets rocky outcroppings along the horizon, which comes about halfway up the composition. A pale blue sky above is filled with wispy bands of clouds.

Against a deep, hilly landscape, a young woman sits facing us on a rocky ledge with a small child in her lap in this square painting. The woman and child, Mary and Jesus, both have pale skin and blond hair. Mary wears a cobalt-blue gown over a coral-pink undergarment that peeks out from under the bottom hem and at her cuffs. A paler blue mantle is draped over the back of her head and falls to cover her shoulders and body. A sheer white veil covers her hair and forehead. Jesus wears a sheer white, loose, long-sleeved tunic. Both gaze downward to the bunch of green grapes Mary holds delicately in her left hand, to our right. Jesus reaches forward with both hands to pluck some fruit as Mary supports his body with her other hand. An oval shaped, woven basket with a lid sits on the ground next to Mary’s feet. The gray, rocky outcropping on which they sit is blanketed with straw-colored moss or other growth. A small clearing behind the pair is framed by trees on either side. The trees have tall, slender trunks speckled with light gray patches and canopies of olive and celery-green leaves. To our left and beyond the outcropping, a gray donkey stands behind a tree, nibbling on some grasses at the edge of the outcropping. To our right, in the middle distance, a pale-skinned, bearded man stands and arches back with a long stick raised overhead, as if about to strike the tree in front of him. Beyond him and about two-thirds of the way up the panel, a row of dark green shrubbery separates the clearing from rolling blue hills in the distance.

The Flood of Noah (Genesis 7:11-24)

Saint John on Patmos

Virgin and Child

Hebe

The Eighth Plague: Locusts (Exodus 10:12-15)

Charles II of Valois, duke of Orléans.

Ivory Plaque with Enthroned Mother of God ("The Stroganoff Ivory")

Thanka with Buddha

The Assembly of Tejaprabha Buddha

Buddhist Priest's Ceremonial Robe

The great Jewish bride

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

The Birth and Naming of John the Baptist

Bacchante on a Panther

In this horizontal painting, a crowd of more than two dozen men and women gathered shoulder to shoulder at the foot of three men hanging from wooden crosses nearly fill the scene. All the people have pale or ruddy skin. To our left of center, each of the crucified men is tied and nailed to a cross. Blood pours from their hands and feet, and from a gash over the central man’s right ribs. The men’s heads slump and their bodies sag. They are nude except for a red cloth across the central man’s hips and a small white loincloth on the man to our right. Two of the men wear crowns of thorns. The spear piercing the central man’s side is held by a man riding a white horse in the crowd below. At least three additional men in the crowd are on horseback. Many of the men are armed with spears, creating a bristle of vertical and diagonal lines over the group. The men and women wear robes and uniforms in shades of golden yellow, pine green, crimson and rust red, black, and cream white. A few men wear metal helmets, and one wears armor. Near the lower left corner, a woman wearing a navy-blue robe has fainted and is supported by two kneeling women while another woman and cleanshaven man look on, their fingers interlaced and held low. The smooth ground is grass green. A spindly tree with dark green leaves grows up the right side of the composition. Off in the distance beyond the tree, two buildings hint at a city. Blue clouds billow in the blue sky above.

The Sacrifice of Isaac

Dozens of light-skinned men and women gather around clusters of columns and sandstone-colored buildings that line a crimson-red river to our right in this horizontal painting. The center of the painting is dominated by a structure made up of three rows of three columns each, which hold up a flat-topped roof. A similar structure angles into the distance along the left edge of the painting. The columns of these two structures are carved with bands showing people separated by rings of vertical lines. The capitals are carved with stylized leaves. Just beyond the columns to our left, a blocky, rose-pink structure is carved with more people, seated or standing singly or in pairs. More rectangular, parchment-brown buildings extend into the distance along the water’s edge. The people gathered along the riverbank wear robes and tunics in deep blue or black, bright white, or saturated tones of cobalt blue, ruby red, or shell pink. Standing within the columns of the central structure, a crowned, bearded man wearing an emerald-green robe under a scarlet-red cloak gestures to our right, toward the red river. A woman nearby, wearing lapis blue and also crowned, watches with hands flung up as a person pours red liquid from a bucket. Most of the other people look or gesture toward the river, which winds in deep S-curves from the horizon line, which comes about two-thirds of the way up the composition, through sage-green fields, to the town. A single, white lightning bolt zigzags down from a white cloud in an otherwise navy-blue sky above.

Madonna of the Cat

The Martyrdom of Saint Justina

Manuscript Cover with Prajnaparamita Attended by Sadakshari Lokeshvara and a Tara

The Merry Family

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.

Manjushri

Buddhist Deities

This intimate devotional panel, an early work by Antonio da Correggio, reveals the young artist's evolving style. The distant landscape demonstrates his awareness of Northern European precedents, and the figural composition references the manner of Raphael, while its soft outlines recall Da Vinci. The gentle sensuousness of the figures and the tenderness they show one another, however, are unique to Correggio.

This painting depicts three people seated side-by-side outdoors. The central person is a young, nude child with curly, reddish hair and a red beaded necklace, sitting on a red cushion. Their head is turned to the right. The woman on the left wears a white head covering, a sheer veil around her neck, a green dress, and a red cloak with floral designs. She holds the torso of the child and drapes a white cloth around its legs. The woman on the right has long, flowing reddish hair and wears a white dress or robe with gold detailing down the front, on the neckline, and on the wrists. She holds an open red book, and the child is turning one of the thin pages. All three people have pale skin. Above them, in the cloudy blue sky, there is a white dove with its wings outstretched, gold lines radiating from it. Above the dove, there is an image of a crowned bearded man with pale skin, wearing red robes and holding an orb. He is against a golden background with red dots that breaks through the pale clouds. The background shows a landscape with green trees, hills, and pale blue buildings.

Green Tara

Pippo Spano from the cycle Famous People

A young, bearded man wearing only a white loincloth stands facing us in a pale blue river with a man to one side and a winged angel to the other in this vertical painting. They all have pale or tanned skin and tawny-brown hair. The man at the center, Jesus, stands knee-deep in the placid water with his hands together in prayer. He looks off to our left, his hollow eyes set above a drooping mouth. To our left, a man kneels on the rocky riverbank and trickles water from his hand onto Jesus’s head. That man wears a fawn-brown robe under a raspberry-red cloak. He is bearded with curly brown hair, and he has dark circles under his eyes and a downturned mouth. The winged angel stands to our right on a flat stone, closer to us. Gold and pink wings rise vertically along the right edge of the composition. The angel wears voluminous white robes and holds a marine-blue garment in both hands. A white dove hovering over Jesus’s head is surrounded by a halo edged with teal, pea-green, and pink rings. A bearded man wearing a tiered, jeweled crown looks down from a round opening in the ice-blue sky above the dove. He holds one hand up in blessing and holds an orb topped by a cross in the other. About ten fish nibble at the rocks near Jesus’s feet in the river, which winds through a pale green field to a town of turrets and towers in the distance.