Similarly, the beautiful iris and fern at lower left in Paris are replaced by less complicated flora not based, as Leonardo’s are, on drawn observation. This artwork is an evidence of the particular reverence Florentine people traditionally paid to the cult of Saint Anne: on the 26th of July in 1343 a city uprising drove out the foreign tyrant, Duke of Athens Gauthier de Brienne, thus gaining back its freedom. 31 gathers instances from elsewhere in Masolino which show a pairing, cradling or coming-together of hands that is similar to the way in which the Virgin’s hands clamp onto the Child’s left leg. This collection, or most of it, is displayed along with the Convent’s Treasury in a long room above the cloister behind the Upper Church of San Francesco. Apart from numerous drawings, the London Cartoon among them, we are left with the five pictures in the Louvre (Madonna of the Rocks,Virgin and Child with Saint Anne, Mona Lisa, La Belle Ferroniere, and Saint John the Baptist);  the Madonna with the Carnation at Munich; the Last Supper fresco at Milan, the unfinished Adoration of the Kings in the Uffizi; and the unfinished Saint Jerome in the Vatican. This cannot have been the only case of a Madonna with St Anne being produced at the time, and there seems to be no cast-iron certainty that the picture with this grouping that was originally in the chapel next to the door that leads to the nuns’ parlour’ in Sant’ Ambrogio in Florence is the Uffizi picture. At Castiglione d’Olona the naked figures of the baptisands are all half-moulds. This is more assertively a portrait, but Leonardo, who was no more interested than Michelangelo was in the individual - and therefore not at heart a portraitist at all -aspires to a more universal and depersonalised image, the sublimated type of Mona Lisa. Hardly a day passed, one imagines, without him drawing and making notes, but months, even years may have passed in which he was not painting, though a painting awaited his return to it. I therefore felt justified in 'putting out there’ an argument that I still think will be hard to refute. An early Cézanne does not look much like a late one. It is generally agreed that Masolino painted the larger part of the surface area of this picture. What begins as one can turn into the other. (837 × 1,224 pixels, file size: 504 KB, MIME type: Birth name: Tommaso di Ser Giovanni di Simone, In the Sainsbury Wing of the National Gallery in London a small picture known as the Madonna of the Pinks now attracts no more attention than most pictures do: a brief perusal, a glance at the label -‘by Raphael’ - then a second look that is more reverential, before a turn to whatever hangs near. Cesare da Sesto - Wilton House. 1b) Masaccio, Head of St Peter in St Peter healing the Cripples, Brancacci Chapel, Carmine church, Florencec) Masaccio, Head of Eve from Expulsion from Paradise scene, Brancacci Chapel, Carmine church, Florenced) Masaccio, Detail of Christ’s robe in Tribute Money fresco, Brancacci Chapel, Carmine church, Florence, 13.Two encaustic heads, probably by the same anonymous painter.a) Early Antonine, c.130-160AD, Egypt provenance unknown, Pushkin Museum, Moscowb) Soldier, Antonine, c138-192AD, encaustic on panel, 40x25cm, Eton College, Windsor, Berks, 14.a) Masaccio, Head of Elderly Man, Bystander in Raising of Son of Theophilus Scene fresco, Brancacci Chapel, Carmine church, Florenceb) Fig. The structure of this work is simple yet extraordinarily monumental. This was the art-historical discovery of the year or the decade, a new early work by the great prodigy of the High Renaissance brought out of the backstairs obscurity of a stately home to be revealed by laboratory examination to be no copy of a lost Raphael but the lost Raphael itself. How to Book Tours », Special Opening Easter Monday, April 22 »April 18, 2019, Free Admission For Everyone on these days in 2019 »February 23, 2019. Look at the lines on the forehead and around the corner of the eye; look at the rather small but deep-set eyes, the modelling of the nose which is narrow and bony till it becomes wide and soft at the tip before returning upwards in the nostril; look at the lips and how the creases to the side of them link the nostrils, jaw and chin in a coherent passage of projection, recession, projection; look at the clear drop from the cheek-bone; look at the fleshy elephant’s ear. I have not seen, nor do I know the location of, this probably small painting - perhaps a fragment, perhaps of the head of the Virgin (below). 1, 8.a) Masaccio, Head of St Peter in Distribution of Arms fresco, Brancacci Chapel, Carmine church, Florenceb) Detail of Fig. The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States. You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. 21b) Masolino, detail of Philosophers from Alexandria listening to St Catherine fresco, San Clemente, Romec) Masolino, detail of Marriage of the Virgin fresco, Baptistery Castiglione d’Olona, 31.a) Masolino, Detail of Beheading of St John the Baptist fresco, Baptistery Castiglione d’Olonab) Detail of Fig. 1401, San Giovanni Valdarno, d. 1428, Roma). What we do see is now, necessarily, an independent portrait which, if I am right, is the only one by Masaccio that we possess. Were I a supporter of the Leonardo attribution for the London picture, this omission would worry me greatly. Evidence of this empathetic humanist imagination recurs over and over in Masaccio’s work. Yet in 1991 the little picture was the focus of a great deal of attention, from scholars, critics, journalists, pundits of many kinds, all because of that name on the label: Raphael. The Virgin among the Rocks - Musée du Louvre Paris. The arm of the infant Saint John, pressing for balance  on a ledge of rock, is like an arm in Caravaggio, lit dramatically with warm shadow. Madonna and Child. Originally painted for the Sant’Ambrogio Church in Florence, as specified in the “Lives” by Giorgio Vasari, the altarpiece was commissioned by Nofri Del Brutto Buonamici, from a family of weavers who was very devoted to the Virgin and whose coat of arms was visible before on the two sides of the panel’s lower portion. Other articles where Virgin and Child with St. Anne is discussed: Masolino: …of Masaccio is a “Virgin and Child with St. Anne” (c. 1420; Uffizi, Florence). This already militates against Masaccio’s intervention: he is famous for the naturalism with which he represents babies and young children as exactly that. The head, too, is like a face-mask with holes where the eyes are. Virgin Mary and Christ Child or Tickling Madonna (Madonna del solletico, Madonna Casini, Madonna col bambino), by Masaccio, 1426-1427, 15th Century, tempera on board, 24,50 x 18,20 cm Italy, Tuscany, Florence, Uffizi Gallery. As for the upper angel to our right with the long arm and crudely contrasted red and green dress (with no attempt at modelling) it beggars belief that this could have been painted by Masaccio, but Masolino resorted to just that crude red and green in one of his frescoes at Castiglione d'Olona. 16). Masolino painted the monastic and stern Saint Anne blessing her daughter both with her hand and with her sturdy body, as a watchful guard of Mary and her herculean Baby, both painted by Masaccio by stressing solid and full volumes. Ginevra de Benci’s tight curls as compared with those from works by Ambrogio - there is a further connection between the painting (bottom left) of St John the Baptist and the inscription on the reverse of Ginevra’s portrait. The evidence of our eyes points the other way: the two are all of a piece and clearly by the same hand. This Uffizi picture exemplifies his problem. 16.a) Masaccio, Madonna enthroned with Four Angels, Central panel of Pisa Altarpiece, 135x73cm, National Gallery London, (NG3046)b) Detail of Mother holding Child in Masaccio’s fresco of St Peter distributing Arms, Brancacci Chapel, Carmine church, Florence, 17.a) Fra Angelico or Assistant, Left hand section of St Nicholas addressing an Imperial Emissary, predella panel, Pinacoteca Vaticana, Romeb) The Casini Madonna, Verso: Casini Coat of Arms, Panel 24x18cm, Presently attributed to Masaccio, Uffizi Gallery Florence.c) Detail of Fig.