The work came to the Uffizi in 1867 from the monastery of San Bartolomeo of Monteoliveto, near Florence. It was ascribed to Domenico Ghirlandaio until 1869, when some critics recognised it as a youthful work by Leonardo, executed around 1472-1475, when he was still an apprentice in the workshop of his master, Andrea del Verrocchio. The sacred scene is set in the garden of a Florentine palace; with a landscape on the background which is already peculiarly influenced by Leonardo, for the magic and unreal atmosphere created by mountains, water and sky. Leonardo's personality is pointed out also in the beautiful drapery of the Virgin and the Angel, while the marble table in front of her probably quotes the tomb of Piero and Giovanni dei Medici in the church of San Lorenzo sculpted by Verrocchio in this period.
             This much discussed painting was originally attributed to Ghirlandaio, but a group of influential nineteenth century scholars recognised the hand of the young Da Vinci, on the basis of some newly discovered preparatory sketches of the two figures. As for interpretation, the relatively large distance that separates the Virgin and the heralding Angel might give the impression of two different parts, as if the artist wanted to paint two separate scenes. Unity is demonstrated, however, by the intersecting gaze of the two protagonists and by the light, which partially touches on the divine Messenger and comes to rest full on the face of the Virgin. Da Vinci maintained that an artist should act as a mirror to reflect things, but in order to represent them well he should use reason and should analyse every detail from a scientific point of view, as a scrupulous observer. This can be seen in the meadow covered with flowers, each depicted in minute detail; in the trees in the backgroun!
             d behind the fence (worth remembering on the same subject is the panel painted by Alessio Baldovinetti in the Filippo Lippi Room); and in the lectern rest...