In 1961 the Italian art historian Roberto Longhi recognized it as by Dürer, and, a few years later, the work was acquired by the collection currently owning it.
Roberto Longhi first identified an image of this lost fresco in a later drawing, which does not conform to the lunette's upper curvature, but appears today as a very probable hypothesis.
Roberto Cavalli | Roberto Rossellini | Roberto Carlos | Roberto Durán | Roberto Clemente | Roberto Bolaño | Roberto Faenza | Roberto Calvi | Roberto Matta | Roberto Alagna | Roberto Carlos (singer) | Roberto Mancini | Roberto Carlos (footballer) | Roberto Baggio | Roberto Moreno | Roberto Longhi | Roberto Formigoni | Roberto Di Matteo | Roberto De Vicenzo | Roberto D'Alimonte | Roberto Benigni | :it:Roberto D'Alimonte | Agustín Roberto Radrizzani | Roberto Valera | Roberto Stagno | Roberto Salmeron | Roberto Rodríguez | Roberto Martínez | Roberto Díaz Herrera | Roberto Cassinelli |
He met in Milan Vittorio Sereni, Antonio Porta, Giovanni Testori, Giorgio Strehler and began working for periodical and newspapers, at first in the editorial staff of Aut aut, a magazine edited by Enzo Paci, then writing for Piergiorgio Bellocchio's Quaderni Piacentini and Roberto Longhi's Paragone and finally for Corriere della Sera for which worked several years.
This weekly, a precursor of “L’Espresso”, published work by many of twentieth century Italy’s foremost intellectuals: as well as Briganti himself these included Carlo Lizzani, Michelangelo Antonioni, Enzo Forcella, Giorgio Bassani, Renato Guttuso, Roberto Longhi, Anna Banti, Guido Carli, Arrigo Benedetti and Gastone Manacorda.
Moved to Rome in 1926, he befriended Scipione, Mario Mafai and Raphaël, creating with them an artistic movement called by Italian scholar Roberto Longhi the Scuola di via Cavour or Scuola Romana.
After the war turns, with the help of Roberto Longhi, Barbaro made two short of films dedicated to Carpaccio and Caravaggio.