The date of the Landscape is augmented by a reference to an anniversary, the festival dedicated to the Madonna delle Nevi. This devotion to Mary was particularly appreciated by the population of this corner of Montalbano, especially in Monsummano and Montevettolini, where the cult has been documented since the Middle Ages. Leonardo's Landscape is certainly the result of the memory of familiar places he had left only a few years before. Even the reference to the feast of the Madonna, so popular, does nothing other than recall the idea of a specific memory linked to the environs of Vinci. One cannot but imagine the years of Leonardo's childhood, cadenced by the rhythms of daily life, as also by the periodic popular recurrences that gave rhythm to the life of every inhabitant of those communities. We know, for example, from the research of Renzo Cianchi, the first librarian of the Biblioteca Leonardiana, that Leonardo’s own stepfather, the kilnman Antonio Buti, called Accattabriga, was at the feast of the Madonna di Massarella on 8 September 1470. The festivity of local church, the parish church of Santa Maria di Massa Piscatoria, must have attracted people from all over the district if the people who were with the Accattabriga at the feast of Our Lady on September 8th came from Vinci, Orbignano, Empoli, and Pontorme. The road that led from Vinci to the Accattabriga house, in Campo Zeppi, in the community of San Pantaleo, continued toward the west, until reaching the banks of the Marsh, a few kilometers away. Massa Piscatoria was on the opposite side, reachable either by crossing the effluent rivulet of the lake (from which the ancient name of the church, called Ultrario), or by using the characteristic marsh boats. The banks were dotted with landings, such as Le Morette, the small historic port enhanced by the Centro di Ricerca Documentazione e Promozione del Padule di Fucecchio (Research Center for Documentation and Promotion of the Fucecchio Marsh), where today you can still see specimens of noccoli, the typical flat-bottomed barges. The largest boats used for the transport of goods and people, the navicelli (small ships), glided through the marshes until the last century and today can be seen only in vintage photos kept at the Center. Nonetheless, if we examine Leonardo's 1473 Landscape, we can glimpse the characteristic profiles of the curved bows of the navicelli on the calm waters of the marsh. On the other hand, Fucecchio panel from the 15th-century depicting the Madonna con il Bambino in gloria e santi (Madonna with Child in Glory and Saints)—painted by commission from the women’s Confraternita della Vergine Annunciata, yet another testimony of the devotion to Mary by of the people of the Marsh—represents an image, toward the lower part of the painting, of a barchino, a typical flat-bottomed boat entirely similar to specimens from the marsh. The panel, created by Giovanni di ser Giovanni, called Lo Scheggia, brother of Masaccio, is conserved in the Pinacoteca of the Museo Civico of Fucecchio. The Vergine col Bambino (Virgin and Child), framed by the violent red of the cherubs, is flanked by four figures. On the left side, San Sebastiano is positioned on a spur of dry land, while San Lazzaro and Saints Marta and Magdalene are standing on the barchino of the Marsh. This is an allusion to the journey of the three saints who, according to a tradition spread in the Middle Ages through the Legenda Aurea by Jacopo da Varagine, supposedly arrived in Provence from Palestine. The Museo Civico of Fucecchio also conserves a very rich ornithological collection dedicated to the local fauna, both fossil and contemporary, of the Fucecchio Marsh.