Поклонение волхвов

This is one of the great survivors of a style that was already fading: International Gothic, the courtly, densely detailed manner that had spread across Europe around 1400. Stefano da Verona signed and dated it in gold at the foot of the panel, somewhere in the mid-1430s, though the inscription is worn enough that scholars still argue over the exact year. It teems with incident. The Magi and their long train wind down from the top of the panel, past shepherds and a guiding comet, to kneel at last before the Virgin and Child at the lower left. Stefano leaned on an earlier Adoration by the painter Gentile da Fabriano for some of it, but filled every corner with his own crowd of faces, horses and flowers.