There was nothing else quite like the Madonna of the Rocks anywhere in Europe at the time. It may have been too new for the Confraternity that commissioned it. Surviving records indicate that they were not happy with the painting. Leonardo made The Madonna of the Rocks the most complete expression to date of the revolution he created in painting, a revolution that would start the High Renaissance. Leonardo believed that the Italian Renaissance revolution begun by Brunelleschi, Donatello, Alberti, and Masaccio had run its course. The revolution became the establishment. Instead of opening new possibilities, it had become a cul-de-sac of self-reference instead of finding new inspiration in experience. Leonardo was not alone in this view. Botticelli came to the same conclusion but found a different solution in archaism, in going back to the pre-Renaissance late Gothic past of artifice and romance. Leonardo decided to make a different future for art and for so much human enterprise. We can see the contrast between convention and Leonardo's invention when we look at a painting that is almost exactly contemporary with the Madonna of the Rocks. Domenico Ghirlandaio painted this altarpiece of the Madonna and Child with Saints in 1483 for the church of San Giusto, the same year Leonardo began painting the Madonna of the Rocks.