La Madonna del Latte, S.Francesco e S.Antonio (detail) 

Editor: Here we have a detail from "La Madonna del Latte, S. Francesco e S. Antonio" attributed to Antoniazzo Romano, likely tempera on panel. The figure gazes upward, and the gold background gives off this… reverent, otherworldly quality. What do you see when you look at this? Curator: Well, first, I’m struck by the quiet drama of it. That angel delivering what appears to be stigmata—almost violently—into the hands of St. Francis. I see this as a visual poem about faith, you know? The gold isn't just decoration. It is a symbolic light that seems to pierce right through the ordinary. What about you, does it feel ordinary to you? Editor: No, definitely not ordinary! It's hard to ignore. The way Francis's robes are painted – so heavy and textured – grounds him, while the rest feels so ethereal. Do you think that's intentional, that contrast? Curator: Absolutely! Antoniazzo is playing with earthly versus divine, substance versus spirit. And there’s something so raw about Francis’s expression, like he’s both accepting and questioning at the same time. He looks almost afraid. Almost human, dare I say. Don't you think the early Renaissance artists excelled at grounding their religious figures this way? Editor: Yes, absolutely. It’s a more human and empathetic way to engage with religious art. It kind of hits harder than the art that came before it. Curator: Precisely. So, it's not just pretty pictures—it's about connecting to something bigger, which may also be hard, awkward and full of feelings. I think Antoniazzo captured that beautifully. What a find, eh? Editor: Totally. It makes me want to spend more time with early Renaissance art and explore those raw emotions!