3. Italian Painting (13-18th c.)

The mild-faced, reddish-blond Virgin turns toward her peacefully sleeping Child in quiet adoration. The motif of sleeping refers to the Passion, the future death of Christ. The white cloth laid on the parapet under the Child also emphasizes his role as a sacrifice: he, the “living bread” lies on the cloth as the host is laid on the corporal during Mass. A landscape punctuated by northern-style, Gothic buildings stretches behind the baldachin. The city gate is decorated with the fresco of the Annunciation and two peacocks sit on it, symbolizing eternal life. Tiny figurines enliven the background: a rider accompanied by his dog, a woman who enters the gate carrying baskets, and a wanderer walking in the fields. The painstakingly painted embroidered and gem-studded rim of the Virgin’s dress recalls Netherlandish painting in its decorativeness and richness of details. Besides the northern and Venetian elements, it features characteristic of the Lombard school dominate in the style of the painting. It was earlier ascribed to a follower of Vincenzo Foppa of Brescia (ca. 1430 – 1515/16); recently, however, several scholars proposed that it may be youthful work of Bernardino Luini (mentioned from 1501 – died 1532).