The light from above is used in this picture which is a form of celestial light that brings a feeling of brightness and joy in the surrounding. Maesta is a composition that is symmetrical and quite dense.  suggest, however, that preference be given to the date 1269. The iconography of the. Executed for the church of a Benedictine monastery in the area of Arezzo, possibly for the Badia delle Sante Flora e Lucilla near the city walls;[1] probably (art market, Rome); acquired by William Blundell Spence [1814–1900], Florence and London, by 1859;[2] Ralph Nicholson Wornum [1812–1877], London, by 1865. Lionello Venturi, Pitture ita­liane in Ame­rica (Milan, 1931), no. 1, The Origins of Florentine Painting, 1100–1270 (Florence, 1993), 510–523; and Piero Torriti, La Pinacoteca Nazionale di Siena, vol. It consists of an enthroned Madonna holding the Christ Child on her knees. Analysis did not show the presence of any red or blue pigments in the Madonna’s purple robe, indicating that dye-based pigments probably were used. As for the saint facing him on the opposite side, there are no attributes or other features that might help to identify him, other than his youth. The popularity of this attribute probably derives at least in part from the well-known Marian hymn “Ave maris stella”; see Hermann Adalbert Daniel, Thesaurus hymnologicus sive Hymnorum, canticorum, sequentiarum circa annum MD usitatarum collectio amplissima (Halis, 1841), 204–206. View of the frescoes in the left transept, 1280-1283. His identification with the so-called Maestro orna­tista of Anagni still remains a topic of discussion, but the stylistic relationship of those mural cycles is generally recognized. Madonna Enthroned, also known as the Ognissanti Madonna, or just Madonna Ognissanti, is a painting by the Italian late medieval artist Giotto di Bondone, housed in the Uffizi Gallery of Florence, Italy . [1]  [1]The NGA scientific research department analyzed the painting with x-ray fluorescence spectrometry (XRF), and silver was identified in the background, the Madonna’s halo, and the edges of Christ’s halo (see report dated September 28, 2004, in NGA conservation files). Initially, the painting was displayed at the higher alter of Santa Trinita Church in Florida. In an article on the subject, Sonia Chiodo observed that the peculiar type of crown present in Margaritone’s versions of the Madonna corresponds to the imperial type that also appears in some seals of the Holy Roman Emperor Frederick II. (Washington, DC, 1979), 1:301; Ada Labriola, “Ricerche su Margarito e Ristoro d’Arezzo,” Arte cristiana 75 (1987): 148; Miklós Boskovits, A Critical and Historical Corpus of Florentine Painting, sec. Edward B. Garrison, Italian Romanesque Panel Painting: An Illustrated Index (Florence, 1949), 49, conjecturally proposed John the Evangelist for the saint in the upper left and referred to the two female saints in the lower row as two martyr saints. [7] The bill of sale for the Kress Foundation’s purchase of fifteen paintings from the Lehman collection, including NGA 1952.5.12, is dated 11 June 1943; payment was made four days later (copy in NGA curatorial files). While this is an exaggeration, it is true that panel painting had not been common earlier: churches were decorated with fresco and mosaic, and wealthy patrons preferred the luxury of manuscript illumination or precious metals. [5]  [5]The image of Mary as queen was familiar and widespread in Roman art since the sixth century. 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