Virgin and Child Enthroned

Cimabue remains influenced by Byzantine models, but his adaptation of these models introduced novel elements. For instance, the gilding of the Virgin's robe is achieved by using a traditional Byzantine technique called agèmina: the inlaying of different metals into one another. Yet, the treatment of the robe also deviates from Byzantine tradition. It drapes loosely over the body with its delicate folds and reveals more of the Virgin's undergarment. The Virgin's veil falls vertically from the top of the head, creating a sense of movement caused by the folds. The throne, meanwhile, is incredibly intricate, covered as it is with wooden carvings and gems. Indeed, an important difference emerges in the presentation of the throne: it is no longer drawn sideways as in other depictions of the Maestà by Cimabue. Instead, it is seen from a frontal position, following the rules of centralized perspective, which were adopted by Giotto, Duccio and other 14th century artists. The rendering of the throne, especially the carefully carved steps, enhance the spatial depth of the composition. 

Cimabue painted several versions of the Virgin and Child enthroned (also known the Maestà ("majesty")). The image is set against a gold background that symbolizes the divine light and suggests an otherworldly dimension in which the scene occurs. Seated on a lavish throne, the Virgin holds Christ on her lap, with eight angels holding up the throne. Their halos are decorated using punches (tools used to create indentations) for gemstones. The Virgin gestures toward her son with her right hand thus following the Byzantine model of the Virgin Hodegetria, indicating that Christ will lead the way to salvation. 

This work of tempera on panel is in The Uffizi Gallery, Florence, Italy.