painters by their early twenties. Both di Giovanni and Giovanni di Paolo placed emphasis on more of the linear and emotive qualities of drawing, whereas di Bartolo conceived of forms in rounded masses. Madonna of Humility (1433) Domenico di Bartolo's Madonna of Humility of 1433 is recorded to be the artist's first ever commissioned piece of artwork. Renaissance Scholar Bruce Cole refers to Domenico's Madonna of Humility with Angels as "one of the loveliest works of the early Sienese Quattrocento". When observed comparatively, the painting traces back to hints of Masaccio as well as sculptor Jacopo della Quercia. Jacopo was likely to have influenced Domenico's painting more directly, for the practical reason that the two artists were in closer proximity to each other, and in addition they had the experience of working together for the Opera of Duomo. It is hence also entirely possible that Jacopo della Quercia could have even provided some guidance in the creation of Domenico di Bartolo's work. This type of mentorship is comparable to that of Lorenzo Ghiberti in Florence, who, as stated in the Commentary, provided the same kind of assistance to the painters in that city during his time. Another situation that can attest to Jacopo and Domenico's professional relationship comes from the written record that after Jacopo was elected to be the overseeing operator of the Cathedral of Siena's works, Domenico di Bartolo secured himself works to paint in the sacristy. Scholars such as Bruce Cole commend Domenico's Madonna of Humility, because it is unlike any Sienese painting of its time. This is for several technical and stylistic reasons, all of which give insight into Domenico di Bartolo's keen eye for adaptation and observation from fellow artists. In particular, much of the art critiques give recognition to Domenico's painting because of its strong sculptural references, many of which align with Jacopo della Quercia's style. The composition of the painting is centered with a very volumetrically and triangularly depicted Madonna. Behind her are five angels, who form a semicircle that gives further movement and depth into the painted space. Referring back to several of the Madonna panels by Masaccio that have survived until today, a similarity between them and Domenico's Madonna is that the large figures created dominating geometrical forms that give the overall image a strong sense of sculptural stability and gravity. Art historians also mention that the color palette of the