In 1512 Sansovino sculpted the Madonna and Child with St Anne in Sant’Agostino, reworking an ancient model in a sacred context, confronting the language of Raphael, who painted a fresco of the prophet Isaiah on the next pillar. Sansovino’s sculpture had an antique air – the face of the Virgin recalls a young Roman matron in the Flavian era – that does not, however, exclude a more austere religious inspiration. This was praised by Vasari as “the only example among modern figures that one can believe divine.”