Luke Syson. "Fra Carnevale." 147 (February 2005), pp. 136–38, agrees with Carloni [see Ref. 2005] that the Barberini Panels were probably executed by Fra Carnevale for a reliquary cupboard in Santa Maria della Bella at about the same time that he painted the altarpiece, which is now lost.
Exciting in its detectivesque scholarship, From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master rediscovers a long neglected artist. Mentioned by Vasari, Giovanni di Bartolomeo Corradini was born in Urbino where he would later return. Moving to Florence in his twenties, Corradini joined the workshop of Filippo Lippi. The Brera-Metropolitan venture investigates early Renaissance rules of apprenticeship, workshop practices, and patronage. It reaffirms the status of Medicean Florence as a visual arts metropolis. Interestingly, it makes the viewer aware of linguistic diffusion and geographic adaptation. The catalogue, however, does not clearly address the interaction of the artists represented and the Guild of St. Luke (Compagnia di San Luca o dei pittori). It does not study in depth the artistic dialogue between painters and Florentine architects.
The Ideal CityFra Carnevaleca. 1480-1485
In Fra Carnevale's The Birth of the Virgin the foreground is sparingly occupied by idealized looking ladies moving to and fro with quiet dignity. The movement of the figures is gentle, but alert. The slow and unified movement of the figures creates a calming, yet realistic and balanced scene for the viewer. One woman leads a child by the hand and two greet each other with a handclasp. The holding and clasping of each other's hands not only suggests visitation, but also can be seen as a representation of responsibility and the embracement of one another.