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Around 1475 a Sicilian painter named Antonello da Messina arrived in Venice and showed the local workshops what oil paint could do, deeper shadows and a glow that tempera could not reach. Bellini would soon carry that lesson further than anyone. Not yet here. This small panel is still built the old way, in egg tempera laid on in fine dry strokes. Mary bends over her child, who is not reaching or playing but asleep, stretched across her lap. Venetian painters chose that sleep on purpose. A baby this still, arms loose, reads as the grown Christ taken down from the cross, and a mother watching him already seems to know how the story ends. The distant hills behind them were built up the slow way the old technique asked, one thin layer at a time.