The great Italian writer and art historian Roberto Longhi filed a photograph of this work together with those by Central Italian painters, nicknaming its author a “Familiare del Boccati” as he saw in this hand echoes of the work of Giovanni Boccati, active in the Marches and Umbria in the third quarter of the fifteenth century. More recent studies have superseded that view, and Prof. Andrea De Marchi believes that a group of similar paintings could be associated with Baldassare di Biagio, a Florentine painter active in Lucca in the 1460s until his death in the early 1480s. In our case, beyond the obvious compositional prototype of Lippi, there are certainly features such as the snub-nosed Christ Child that reflect the manner of Baldassare di Biagio. Ongoing scholarship by Dr. Christopher Daly on Tuscan painting in that period is shifting away from a traditional approach of “centre vs. periphery” (that is, Florentine vs. provincial) in the study and appreciation of local artistic movements, and it is precisely works such as this Virgin and Child that prompt us to take a more balanced view of individual masters, challenging as it may be to pin down their names.