their figures to stand up in a stiff manner, those of Domenico di Bartolo possess a certain "Gothic flexibility". Hennessy observes a certain fluid quality in Bartolo's paintings. For example, the Madonna's knee is bent and the angels to the left of the Madonna have curved bodies. As a result, it is infinitely more likely that Domenico drew stronger influences for the painting's details from Jacopo della Quercia. Domenico di Bartolo was praised for capitalizing on Florentine elements, and was considered an incredibly talented Sienese painter because of how early on in his career he had managed to adopt the Florentine Renaissance style. Giorgio Vasari notes that sometime in his career, Domenico di Bartolo painted altarpieces for Florentine churches, which confirms such appraisals and evaluations that Domenico was competent enough to analyze and infer from the Florence aspects of Renaissance art. Yet, many Sienese and general Renaissance art critics consider Domenico to still be a Sienese painter, with acquired Florentine tastes, and not a progressive Florentine painter. His work of the Madonna of Humility is ultimately considered Sienese, and many art historians conclude that at this time Domenico himself was a young artist who was attracted and eagerly open to new ideas, but perhaps had not yet assimilated such ideas to a profound meaning. The Theology that seems to have influenced the Madonna of Humility aligns with preacher and proclaimed saint Bernardino Albizzeschi, otherwise referred to as Bernardino da Siena (1380–1444, canonized 1450 ). Albizzeschi is considered to be one of the major religious and political figures to have shaped the outcomes of Domenico di Bartolo's artworks and to have influenced the overall success of Domenico as an artist. During his time, Bernardino Albizzeschi was considered to be one of the most followed, loved and vilified men in Italy. He himself was not unfamiliar with the art world during his time, and was known to favor canonized artistic images from the Sienese Trecento, and therefore influenced the subsequent production of many Sienese artworks. In Domenico's Madonna of Humility, the common salutation on the painting – "Ave Maria"- is replaced by the term "Ave Stella Maris", which means "Hail Star of the Sea". Although this ancient attribute originated early on in Christian etymology for the name Mary, there is no existing record of an author before Bernardino who had written so intricately about the term's meaning. In regards to who actually