Archangel of Cola is the most exquisitely late Gothic representative among the Cameroonian painters. The relationship with Gentile da Fabriano, who in the twenties of the 1400s was the most famous painter in Italy, constitutes a fundamental node for understanding the artistic personality of Arcangelo. He arrived in Florence in 1420 and remained there until 1424, meeting a surprising fortune, obtaining important commissions, interrupted to rush to Rome in the service of Pope Martin V; in 1425 he returned to his homeland, where he probably died shortly after. The Virgin is seated in a large marble throne, which stands out on a gold background, architected between Gothic and Renaissance forms, finely carved on the sides with the presence of very thin twisted columns. At the base of the throne between the mantle of the Virgin and the angel on the left there are some cosmatesque inlaid decorations, customary among our painters.

The divine Child, half naked, tries to embrace the Mother with both hands, in an affectionate pose, ancient but still in vogue in the fifteenth century, as revealed by the Madonnas of Masolino and Masaccio, masters who conquered and shocked our painter.

One of the angels carries the offering of the vase, filled with flowers, granite and painted on gold; the other, caught still in flight, has exaggeratedly elongated hands, gathered to the chest.