This Madonna painted by Beato Angelico looks like an oriental princess, seated on a red cushion embroidered with gold; covered by a blue cloak, lined with green and edged in gold, with soft and elegant folds, with a delicate gesture she holds the baby Jesus, who seems to be made of porcelain as much as she is, combed with curls in the fashion of the fifteenth century dandy. In this painting, which is the reworked central panel of a polyptych, Angelico blends two traditional but different ways of portraying the Virgin: the humility of Mary, seated on the ground, and her royalty, usually represented by a throne, in this case amplified by the architecture of a room that looks like an ancient temple, sumptuously furnished, illuminated from the front by gold - used in profusion, punched and graffitied -, in the background by natural light, which smears in through a window on the left. Here more than anywhere else, Angelico, who was a Dominican friar, his real name was Giovanni da Fiesole, tries to mediate between the most fashionable painting, which made extensive use of gold and ornamentation, and the luminous and perspective novelties of the Renaissance. .