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The painting was commissioned for the Palace of the Magnificent Camera of L’Aquila, the highest municipal magistracy, and the archaising use of gold background can be attributed to a specific request from the patron. The artwork reveals, in the breadth of its forms, a clear influence of Piero della Francesca, mediated through Antoniazzo Romano. The portrayal of the Child also reflects the attention Saturnino gave to Antoniazzo’s painting at the beginning of the 16th century.
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