This became the catalyst for revealing his identity to his brothers and sending for his aged father Jacob, who "set out from Beersheba. "Florentine Paintings in the Metropolitan Museum," June 15–August 15, 1971, no catalogue.
Israel’s sons conveyed their father Jacob, their dependants, and their wives in the wagons which Pharaoh had sent to carry them" (46:5). "Renaissance Paintings," May 2–17, 1964, no catalogue.
These were virtues celebrated by Florentine patricians, with their strong allegiance to kinship.
Joseph had gained a reputation as an interpreter of dreams when in prison, and beneath the loggia Pharaoh listens to him interpret his dream as predicting seven years of plenty and seven of famine (–36). Thereupon Joseph is put in charge of Pharaoh’s household. Zeri and Gardner 1971], attributes this painting and the panel in the J. To the left of the palace he is shown mounted "in his viceroy’s chariot and men cried ‘Make way! In the right background, he stockpiles food during the years of plenty (). Classificazione per epoca dei pittori di cui le opere nella Galleria Borghese. Paul Getty Museum, Los Angeles [see Notes], to Pinturicchio. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 273, attributes the MMA and Getty panels to Benedetto Ghirlandaio. "Tre disegni di Giovan Battista Utili da Faenza." Rivista d'arte 15 (1933), p. 1, observes the similarity of the galloping horse to a drawing by the sculptor Francesco di Simone Ferrucci in the Nationalmuseum, Stockholm, suggesting that Utili and Francesco used the same material.