“We already see him merging a few key traditions and influences,” the Morgan’s curator John Marciari said over email. “Thus forging the modern manner for which he is still famous.” The half-length is drawn from the tradition of Byzantine icon painting, the sculptural elements taken from Bellini’s study of Donatello, and his sense of classical form likely gleaned from his brother-in-law Andrea Mantegna.

The painting, which remained at Migliorati’s memorial from his death in 1499 until the end of the 18th century, was in need of serious treatment. Humidity had long ago caused the panel to shift and split, resulting in a loss of paint and a large crack running across the middle of the painting. In celebration of its rejuvenation, Pietà will travel to Ca’ d’Oro in Venice ahead of its stateside showing.