\paperw5100 \margr0\margl0 \plain \fs20 \f1 In the \i Ognissanti Maestα\i0 , named after the church in which it was originally located, Giotto places a Gothic throne in the form of a
shrine at the center of the composition. The pointed top of the throne is slightly offset from that of the pentagonal panel, so as to avoid an effect of rigidity.\par
The Madonna is seated a little to the left within her sacred space, with her torso twi
sted slightly to the right in order to have a better view of the Child, who is seated on her left knee giving his blessing.\par
The clothing emphasizes the monumentality of the central group by the way it is draped over their bodies and emphasizes their
forms. The absorbed expressions on their faces, which is softened by the use of chiaroscuro, conveys a new image of the sacred.\par
The angels and saints huddled around the throne, forming a sort of sacred court, appear almost crushed by the severe arc
hitecture, whose slender structures, decorated with polychrome inlays, seem to break through the golden wall of the background and protrude beyond the frame of the picture.\par
The gold ground and hierarchical proportions represent a link with the medie
val tradition, although a realistic effect is produced by the arrangement of the figures on staggered planes and the use of foreshortening in the faces that can be glimpsed through the architecture.
