PROVENANCE: Painted for the Church of St. Augustine at Forli, 1470; Collection of the Counts Lovatelli, Ravenna; R. T. Crawshay, England; bought by the London dealer Frank T. Sabin at Sotheby's, February 18, 1953 (No. 89); Hallsborough, London, 1957; BJU, 1957; M&G, 2004.

This important painting is the only existing work with Guidaccio's signature. The Latin inscription on the cartouche below the Virgin is translated, "This was done by Antonius alias Gauidacius Imoplatus. Finished in 1470 the ninth day of the month of October. Thanks be to God."

The painting typifies the spiritual focus of the medieval Catholic church. Christ was increasingly seen as an awe-inspiring supreme and universal ruler and judge of sin. Fear of death and judgment increased as the Black Death (which some saw as a punishment for sin) ran rampant through Europe . People began turning to Mary as a mediator to the mercy of Christ. As a woman and mother, she was seen as approachable, merciful, and kind. In reality, then, a lack of knowledge of the character of a loving and merciful Christ fueled the veneration of Mary. Such a lesson from history should not go unheeded-the best way to combat error is through a knowledge of the truth.