painting is of particular skill and thoughtfulness. The green, pink and blue of the Madonna's robes in contrast with the paleness of the angels' garments and the pale green of the cloth on the infant all come together to display a trait that was peculiar to the Sienese paintings that were produced around the 1400s. Such peculiarity comes from the fact that the mixing of these colors were more definitive to Florentine styled art. Hence, color, geometric orientation, costumes, and faces all come together to suggest that Domenico would have received his early apprentice training from someone in Siena with strong Florentine influences. Two possible candidates that Bruce Cole introduces are Paolo di Giovanni Fei or Taddeo di Bartolo. Logistically, Taddeo would especially be a likely possibility because of his apparent Florentine styles in his art. Having this kind of mentorship would have most definitely have encouraged Domenico to observe and attempt to adapt the latest Florentine artistic styles, techniques, trends and developments. More so than any other Sienese painter of his time, Domenico well understood Masaccio's well recognized realistic and straightforward style of painting. In particular, he was able to incorporate Masaccio's styles into his own paintings without distorting or misrepresenting them. Domenico di Bartolo must have visited Pisa and Florence sometime in the late 1420s, where he would have witnessed paintings executed by Masaccio, who was considered by Giorgio Vasari to be one of the best painters of his time, as well as the first great Italian painter of the Quattrocento Renaissance period. Masaccio was commended for his refined skills in imitating nature, recreating lifelike movements in his subjects, as well as his consistent success in creating a convincing three dimensionality to his paintings. Domenico's observations of Masaccio's painting would have proved to be an educational experience as he later is seen to utilize a type of artistic technique called circular-arc composition within the Madonna of Humility. The five angels are arranged in a semi circle, creating significantly more tangible space for the presentation of the Virgin, without, however, affecting the flat picture plane caused by the isocephalic distribution of the angels' heads. This kind of semi-circular composition was used by Masaccio in works such as the Adoration of the Magi for the Pisa altarpiece. This technique was considered to be an effective way of organizing a large number of figures that exist in a complicated narrative scene,