page_title: Annunciation with St. Margaret and St. Ansanus
section_title: Description
hierarchical_section_title: Annunciation with St. Margaret and St. Ansanus / Description
context_page_description: The Annunciation with St. Margaret and St. Ansanus is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.
context_section_description: The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus (left), and female saint, generarally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.
  The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: ave gratia plena dominvs tecvm ("Hail, full of grace, the Lord is with thee."). The angel's mantle shows a detailed "tartar cloth" pattern and fine gilt feathers.
  Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern.
  At the sides, the two patrons saints of the cathedral are separated by the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated to the Virgin Mary.
  The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the bi-dimensionality typical of Byzantine art.
caption: Detail of the Annunciation Angel
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