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Long dismissed as a 19th-century forgery, recent infrared reflectographic (IR) analysis has revealed that this Madonna of Humility is, in fact, a highly refined 15th-century devotional painting, possibly by an unidentified Catalan artist.

The painting presents an intimate portrayal of the Madonna of Humility, or Nostra donna de humilitate, one of the most beloved iconographic themes among medieval artists. The Virgin is shown seated on the ground—a gesture symbolizing humility—holding the Christ Child on her lap within an enclosed garden, a well-known symbol of her virginity. This iconographic type gained widespread popularity during the 14th and early 15th centuries, spreading across Europe from Sicily to Catalonia and the Low Countries. The Madonna of Humility appeared in several variations: the Virgin might be shown nursing the Child or accompanied by symbols of the Woman of the Apocalypse, such as a crown of stars.

In the version housed at the Museo Correr, the Virgin is depicted in an intimate, tender moment with her Child, delicately adjusting what appears to be a garland on his head. Surrounding them are eleven angels—some adoring the Child, others assisting the Virgin in her maternal gesture, while a few play musical instruments or hold scrolls inscribed with musical notation. The Christ Child, dressed in a white gown over a long-sleeved red undergarment—symbolizing his future sacrifice and death—sits playfully on his mother’s lap. In his right hand, he holds a small prayer book, possibly a book of hours. The holy figures are set against a gilded background, finely incised around their heads to suggest halos. The scene is framed by an original low-relief pastiglia decoration, likely modeled in gesso. At the top of the panel, God the Father is shown bestowing his blessing upon the viewer with his right hand, while holding a golden orb in his left—a symbol of his divine sovereignty over the world.

This painting was likely the central panel of a portable triptych—designed to fold shut for easy transport or storage—commonly used at the time for private devotion. It was, therefore, a highly personal object, once deeply cherished by a devotee of the Virgin and used as a private altarpiece for individual prayer and meditation.

Painted in tempera and gold leaf, this panel painting is in a fragile state of preservation, exhibiting significant paint loss and lifting. A prominent vertical crack runs the length of the panel—from God’s left shoulder down through the Virgin’s arms and the Christ Child’s legs. The gilded background shows extensive abrasions, while old pictorial retouchings from previous conservation treatments have altered the original appearance, hindering a full appreciation of the painting.