into a single simple geometric configuration. In regards to sculptor Jacopo della Quercia, Domenico's Madonna of Humility shows hints of adaptation by displaying similarities to Jacopo's Madonna in the Fonte Gaia. Both portray a new kind of gothic flexibility in the draper, which creates soft pockets of shadows that add to a new kind of weightiness to the figure and to the overall image. Domenico's Madonna of Humilityeventually ended up contributing significantly more to Florentine than to Sienese art. During the time that the painting was released to the public, appreciation and recognition from Sienese art critics were minimal. To serve as evidence that there had been some kind of a partnership to exist between Jacopo and Domenico, John Pope-Hennessy's research confirms that the major works of Domenico for the Cathedral of Siena were commissioned at the time when Jacopo was the overseeing operational director of the Opera del Duomo. When Jacopo Quercia left Siena in 1435, he had selected two counsellors to proceed his job. Domenico was one of the two witnesses to approve of Jacopo's nomination decisions. In the painting, the Virgin is also depicted in a way that had been popularized in Siena by Gentile da Fabriano: an Italian painter who was best known for his international gothic painting style. Other artists who depicted the Virgin in a similar manner during this time were Giovanni di Paolo for his Branchini Madonna of 1427 and Andrea di Bartolo for his Madonna of Humility. Yet, there are several artistic elements within Domenico's Madonna of Humility that derive from techniques frequently observed in Florentine works. The frontal view of The Virgin, who is presented in an asymmetric composition, is said to have been inspired by Masaccio's Madonna of Humility. Foreshortened halos and Virgin's crown were rare during the time that Domenico di Bartolo's painting was executed, and can only be found in the Pisa altarpiece executed by Masaccio. There, too, is an illustration of the baby with fingers in his mouth, which strongly recalls back to Masaccio's Pisa altarpiece, which illustrates the Christ child eating grapes. Domenico's Madonna of Humility successfully models lights and darks within the flesh tones, and this too is done in the style of Masaccio. However, renowned British art historian John Pope-Hennessy states in his articles that Domenico di Bartolo cannot be a fully Masacciesque painter. Whilst painters like Filippo Lippi or Andrea di Giusto depict