This fine painting depicts a tranquil composition stylistically in keeping with the Raphaelesque classicism that was a typical mode of expression in a specific cultural period in late 16th century Florence, following the completion of the Gallerie degli Uffizi in 1584. This architectural treasure trove gathered paintings by Pontormo, Bronzino, Andrea del Sarto and Raphael. The artists who witnessed the museification of these masters absorbed a purist and classicist style in those few years, consistent with the dictates of the Counter-Reformation. The champions of this revival were Santi di Tito and Jacopo Chimenti da Empoli. This painting can therefore be compared to a series of small allegorical figures that were once attributed to Santi di Tito, but have now been recognized as the work of Empoli in the forthcoming catalogue for the Fesch Museum in Ajaccio. The stylistic unity of the entire group leads us to consider the paintings as a whole, although a slight chronological progression seems to differentiate some paintings from others. The five Fesch paintings, and a sixth in a private collection, like this Madonna and Child, present some general similarities with the work of Santi di Tito at first glance, but upon careful observation, we notice that all the figures have similar features, such as a rounded nose with a sloping tip, oval eyes, and hands with graceful fingers and small almond-shaped nails. The combination of these elements, along with the statuesque presence of the figures, the delicacy of the color combinations and the atmospheric nature of the landscape in the background, which we also find in the painting under consideration here, are clear evidence that the author of this work is an artist who manages to outshine Santi di Tito. If we look at a painting like the Glaucus and Scylla at the Museo Civico di Sansepolcro, which was previously attributed to Santi di Tito but then rightly ascribed to Jacopo Chimenti, we discover the key to demonstrating that the latter is the creator of this set of exquisite purist works. In the five Fesch paintings, as in this Madonna and Child, the figures stand alone in an atmospheric landscape that reflects the taste for restrained and harmonious landscape backgrounds so common to the artists of the early sixteenth century. In Empoli’s work, this was almost a conscious reutilization of the Leonardism of the young Andrea del Sarto and the Florentine Raphael. Looking at the 1609 Annunciation by Jacopo Chimenti in the church of the Santa Trinita from 1609 and the face of Frascione Madonna, the similarity is clear. This comparison allows us to confidently date this work between the end of the 16th century and the first years of the 17th.