The present article investigates the early activity of Antonio di Benedetto Aquili, Antoniazzo Romano (doc. 1452-†1508), discussing his catalogue of works from the 1460s, from the 'Madonna del Latte' of Rieti to the 'Madonna della Consolazione' of Rome, reference to which can be found in a poem by Paolo Spinoso unknown to studies on the artist. Aquili's stylistic development has been more precisely defined through the recovery of various suggested attributions (the 'Madonna and Child', or 'Madonna del Popolo', of Santa Maria Porta Paradisi in Rome) and through the attribution to him of the panel representing the 'Madonna and Child' from the convent of Santa Maria delle Grazie in Zagarolo. The latter's iconographic connection with the 'Madonna del Buon Consiglio' of Genazzano prompts us to advance the proposal of a reconstruction of a triptych for Zagarolo of which the panel was the central part. Various rereadings of documentary records provide a clearer picture of Antoniazzo's family, particularly regarding his brother Nardo, also a painter, who in around 1485 was entrusted with the decoration of the chapel of the Ospedale del Salvatore of the Sancta Sanctorum in the Lateran.