Madonna in adorazione del Bambin Gesù, San Giovannino e due angeli

The motif of the cloak doubly pinned on the Virgin’s head reveals the influence of Donatello, an innovation that coexists with the angular definition of the figures and the analytical but spatially inexact rendering of the landscape, indications of the painter’s late Gothic training. While the presence of the child Saint John the Baptist in the foreground indicates that the painting probably came from the monastery of the same name in Bologna, the reduced format suggests that the work was intended for private worship.