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The theme of the Madonna and Child embracing, which was extremely widespread in the sculpture and painting of the Quattrocento, is derived from a Byzantine pictorial type. What is new here is the motif of the loggia, which still makes a rather flat impression behind the figures, although the even fall of the light is attempting to integrate it properly into the scene.
In this and a series of similar paintings, the young artist was trying out the repertoire of motifs associated with the theme of the Madonna and Child.
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