A figure of the Virgin, a Madonna with a body, is the one that welcomes the visitor in Room N.2 of the Uffizi Gallery.

The figure created by Giotto, the first modern painter according to artistic historiography, is mixed with a terracotta color that recalls the ochre nuances of the stone houses of Florence, molded in a solid volume that emerges – sweet but firm – from the first throne properly perspective, a refined gothic architecture conceived by the florentine painter looking at the of color and lights effects that Arnolfo di Cambio made, almost in the same years, with mosaic tesserae on the lunette of the central portal of the Duomo. Right there, another Madonna with an irrepressible body, the Madonna con gli occhi di vetro (glass-eyed), welcomed the faithfuls in the new city cathedral.



After Giotto, the history of painting in the West would not have been the same. The Maestà di Ognissanti (Majesty of All Saints) reminds it to us every time we visit the Uffizi and we are attracted by that procession of saints who, by superimposed plans, converge their attention towards her.