A crowned Mary is usually seen in Jesse Trees, which stress her earthly royal descent from the House of David, something accorded considerable importance in the Middle Ages.
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The subject seems to first appear in art, unusually, in England, where a tympanum over the door of the church at Quenington in Gloucestershire of perhaps 1140 may be the earliest surviving depiction, and there is another in Reading, Berkshire.
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The Coronation of the Virgin is a common subject in art but the contract for this work specifies the unusual representation of the Father and Son of the Holy Trinity as identical figures (very rare in the 15th century, though there are other examples), but allows Quarton to represent the Virgin as he chooses.
A Coronation of the Virgin in the Casa Morichi is attributed to him; and also a St. Jerome, with the date 1451, in the Fornari Gallery at Fabriano.
His works include frescoes in the Basilica di San Leone Luca, Santa Maria di Gesù, a Coronation of the Virgin for the church of Santa Maria degli Angeli, and a Marriage of St. Joseph for il Gesù.
He painted a Coronation of the Virgin for San Giovanni Battista in Casnigo.
His style has the loose brushstroke and luminosity of some of the northern Caravaggisti, such as Lys, Strozzi, and Fetti, who were active in Venice; however, some of Serodine's canvases show a provincial eccentricity, for example Coronation of the Virgin in Ascona.
28: Chinese-style floral designs are visible in the mantles of Christ and Mary in Coronation of the Virgin by Paolo Veneziano (circa 1350).
Presently it contains a Coronation of the Virgin by Neri di Bicci, a Nativity by Bicci di Lorenzo, an Annunciation by the Master of Stratonice, a Decapitation of St. John the Baptist by Pietro Dandini, vault frescoes by Alessandro Gherardini, a painted cross in the apse by Lorenzo Monaco, and a Last Supper by Palma il Giovane.