It is freely based on Leonardo da Vinci’s Benois Madonna (State Hermitage Museum, St Petersburg). The painting, which is in excellent condition, is not much bigger than a Book of Hours (a personal prayer book), with the refinement of a manuscript illumination, and may have been intended to be held in the hand for prayer and contemplation. In 2002 the Duke announced his intention to sell the picture and the National Gallery mounted a campaign to acquire it. In the early 19th century, the painting was one of the highlights of the Camuccini collection in Rome. Christ gazes at the delicate flowers offered by his mother – the pinks or carnations after which the painting is named. The remarkably free underdrawing revealed by the infrared reflectogram bore close resemblance to his graphic work, as well as to the underdrawing of his Florentine works such as the ‘Small Cowper Madonna’ in the National Gallery of Art, Washington, D.C. Some controversy has arisen over the question as to whether the work is actually by Raphael. The image file is 800 pixels on the longest side. Luckily, however, the panel was small enough to be examined under the microscope, so certain pigments could be identified and related to Raphael’s known work. The figures are not lit with light from the window but from an artificial light source at the upper left. The main panel of the altarpiece, ‘The Ansidei Madonna’, is also in the National Gallery’s collection. The green curtain in ‘The Madonna of the Pinks’ was observed to have originally been painted as mauve (a change that would not have been made in a copy). This altarpiece is one of Raphael’s earliest works. These types of changes – a well-recognised part of the creative process – would not be present in a copy because a copyist would be working from the final version. In this little picture Raphael depicts the moment when the Christ Child takes a carnation, traditionally symbolic of divine love and the Passion (Christ’s torture and crucifixion), from his cousin John the Baptist’s hand. Through the arched window is a sunny view with fortified ruins clinging to a rocky hill. The process of Giclée print technology imparts to the Art Print a vivid clear color, an incredible level of detail, and the authentic charm as from a museum original. The picture had a distinct chance of being by Raphael. While resting in the shade of a bay tree, the young soldier Scipio has a vision of Virtue and her adversary Pleasure. The colours are repeated in the clothes of the Virgin and this seems to have been entirely Raphael's idea. Later copyists would not have been able to obtain many of the pigments he used, and would have had to employ later pigments, unknown in Renaissance Italy. Finally, we will solve this crossword puzzle clue and get the correct word. In secular portraits the dianthus symbolised friendship and often betrothal, which would also be appropriate here, as the Virgin was venerated as both the mother and bride of Christ. All these features and evidence mean that The Madonna of the Pinks cannot be attributed to another artist of Raphael’s time, or one at a later date.

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