
The Virgin and Child (Ugolino)
The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

Elizabeth sinks down and clasps the pregnant Mary. Ghirlandaio ran the busiest workshop in Florence, and a boy named Michelangelo apprenticed there.

The shepherd carries the twins home to his wife with the she-wolf still nearby. Rome's founding myth as a foundling story.

Christ in vivid red is hauled by a rope through the gate of a white, many-towered Jerusalem while children scamper at the edge.

Only the Virgin and Saint John below the cross, and a river winding past a walled town. Early Bellini, carrying feeling in the light.

A head of pears and pomegranates crowned with grapes, sitting in a split wooden barrel bound with willow hoops. The season of the wine harvest.

Rosebud lips, a lily for a nose, and hair made of tulips and peonies. The freshest and most delicate of the four seasons.

Lotto crops the Passion down to one tear-streaked head at the surface, with soldiers' hands coming in from the edges of the frame.

Caught mid-strum with his cap askew and his mouth open, painted so fast the brushstrokes still seem to be moving.

The same story at miniature scale, squeezed into a predella panel, and Giotto loses none of the plainness that made it convincing.

Every hair, every glassy tear, every bead of blood, pushed hard against the front of the picture and made to carry feeling rather than skill.

She reads his palm and takes the ring off his finger while she does it, and he is too busy looking at her to notice.

The Muses dance to Apollo's lyre while Venus's cuckolded husband fumes at his forge off to the left. Painted for Isabella d'Este's study.

A monk and a nun bawl a song over a lute while somebody vomits over the side. The boat has no rudder, which is the point.

The angels crowd in like inquisitive children. One of the first paintings to put the Virgin and saints in a single shared space.

Soldiers throw dice for Christ's robe on a paved Golgotha. This panel was sawn off an altarpiece by Napoleon's looters and never returned.

She sits in profile against a hedge of carnations with butterflies going past, a sprig of juniper on her sleeve punning on her name.

Oedipus leans in close to answer the riddle, and a previous contestant's foot is lying at the bottom edge as a warning.

Golden rays come off a winged crucified figure in the sky and strike Francis in the hands, feet and side. Giotto signed this one.

Christ crowns his mother at the top of a flight of steps that recede convincingly into depth, which is the new thing here.