Virgin Adoring the Christ Child with Saint John the Baptist (recto); The Holy Family with Saint John the Baptist (verso). ca. 1500–1515 Master of Santo Spirito Italian Acquired by the Metropolitan Museum of Art in 2001, a double-sided sheet of quickly drawn 'Madonna' composition sketches was convincingly attributed by George R. Goldner to the Master of Santo Spirito ("Maestro di Santo Spirito") who is to be identified with either Agnolo, or less probably Donnino di Domenico del Mazziere. The exhibition "Maestri e botteghe. Pittura a Firenze alla fine del Quattrocento" held in 1992 at the Palaz
Virgin Adoring the Christ Child with Saint John the Baptist (recto); The Holy Family with Saint John the Baptist (verso). ca. 1500–1515 Master of Santo Spirito Italian Acquired by the Metropolitan Museum of Art in 2001, a double-sided sheet of quickly drawn 'Madonna' composition sketches was convincingly attributed by George R. Goldner to the Master of Santo Spirito ("Maestro di Santo Spirito") who is to be identified with either Agnolo, or less probably Donnino di Domenico del Mazziere. The exhibition "Maestri e botteghe. Pittura a Firenze alla fine del Quattrocento" held in 1992 at the Palazzo Strozzi (a project that presented singular contributions by Lisa Venturini and her extraordinary colleagues) was of crucial significance in advancing the state of connoisseurship of Florentine Renaissance paintings and drawings, not the least because it published new archival research on some under-studied artists, and among them the brothers Del Mazziere, Agnolo (1466-1513) and Donnino di Domenico del Mazziere (1460-after 1515). Due to the precise documentary research by Anna Padoa Rizzo, the oeuvre of the so-called Master of Santo Spirito can be generally identified with that of the brothers Del Mazziere; while the evidence seems to favor Agnolo as the more innovative artist and presumably also the better draftsman, over his older brother, caution nevertheless dictates that presently both artists names be retained at least regarding cases in which attributions can only be made on the basis of style. A corpus of drawings can now also be connected to the Master of Santo Spirito (whose graphic techniques demonstrate the influence of Fillipino Lippi, Piero di Cosimo, Lorenzo Credi, fra' Bartolomeo, Leonardo, and the young Michelangelo), based on some of the proposals by Catherine Monbeig Goguel in 1992-1994. The comparisons securing the attribution of the Metropolitan drawing are most apparent in four sheets that can be unquestionably accepted to be by the Master of Santo Sp
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