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The composition is undoubtedly of Botticelli’s design and no other versions of the subject in this configuration survive today. The painting itself was executed by a member of Botticelli’s workshop and, as Professor Andrea De Marchi notes, the approach to the rock face and landscape suggests an artist also familiar with the work of Ghirlandaio.1 Lightbown compared the device of the rock formation used to frame the composition with that in Botticelli’s Holy Trinity Surrounded by Seraphim with Saints Mary Magdalene and John the Baptist and Tobias and the Angel in the Courtauld Gallery, London (inv. no. inv. P.1947.LF.38).
We are grateful to Professors Laurence Kanter and Andrea De Marchi for endorsing the attribution upon firsthand inspection and to Professor Nicoletta Pons on the basis of photographs.
1. Private oral communication with the department, 29 January 2016.
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