Luca Signorelli, The Holy Family

The Virgin Mary holds her clothing out the way as Christ leans towards her to breastfeed, and Saint Joseph dotes upon him. The image of Christ breastfeeding emphasised his humanity and was common in Italian painting, particularly in the late medieval period (see, for example, The Madonna of Humility with Saints Mark and John the Baptist). Signorelli has updated the theme, introducing Joseph and showing the figures without haloes as though they are an ordinary family.

By using a plain dark background and a tightly cropped close-up view, Signorelli invites us into the scene. The holy figures themselves are completely engaged with one another: the Virgin and Joseph both gaze at Christ, who looks towards his mother. Christ holds a strawberry plant, which symbolises his fruitful and righteous life but also adds a familiar element – possibly evoking memories of the fruit’s texture and smell – to a holy scene. The elaborately decorated shawls worn by Mary and Joseph are Signorelli’s way of showing their middle eastern origins. Textiles like this would have been known through imported goods, and the looping pattern on the Virgin’s mantle might be intended to evoke an ancient script.

While the Virgin Mary is an idealised young woman with a profile resembling a classical statue of a goddess, Joseph is more individualised, with a tanned complexion, tufty grey hair and bushy eyebrows. He was probably drawn from life. Signorelli was known for his ability to paint the human body convincingly. Joseph’s skull is well defined beneath his skin, his prominent cheekbone catching the imaginary light source coming from the left. Christ’s torso is sturdy and his stocky little body has chubby folds of baby fat around his armpits and inner thighs.

The picture was heavily restored before entering the National Gallery’s collection, and discoloured paint from the restoration remains near the Virgin’s ear, in Christ’s left shoulder and Joseph’s face, as well as in the draperies.