Virgin and Child with Saint Jerome, Saint Anthony of Padua and Two Angels

Executed on a wooden panel, the painting employs a muted, earth‑toned background that resembles cracked soil, creating a stark contrast with the vivid reds of the Virgin’s garment and the luminous flesh tones. Di Giorgio’s handling of drapery shows careful attention to folds, and the figures are rendered with a restrained linearity characteristic of mid‑15th‑century Italian art.

Francesco di Giorgio completed the work in 1469, likely for a private devotional setting. It entered the collection of the Museum of Fine Arts, Boston, through acquisition in the early 20th century, where it has remained a representative example of the artist’s religious output.

The inclusion of both Jerome and Anthony reflects a common practice of pairing saints associated with scholarship and preaching, appealing to patrons interested in theological learning. The painting’s composition aligns with contemporary trends in Florentine and Umbrian workshops, where intimate saintly groupings were favored for personal contemplation.