Donatello here captures very human sentiments in: the " Virgin who, alarmed by the unexpected apparition of the Angel, is making a most becoming reverence with a sweet and timid movement of her person" and the three extremely lively pairs of putti "who appear to be holding one another securely with their arms in their fear of the height" (Vasari, 1568). ![]() Restoration by the Opificio delle Pietre Dure in 1994–5 revealed that the monument may originally have been painted white to imitate marble, while the 19th century gilding reflects the original gold highlights. The figures, in high relief, inhabit an ædicula with classicising decoration, including fluted pilasters with masks on their capitals framing the scene, while a winged garland reflects the precepts of Leon Battista Alberti's "winged" eye and a toothed moulding with ovuli runs beneath the arched tympanum. The Virgin, whose head echoes 5th century BC Greek sculpture, leans away from the kneeling angel towards a lectern and a twin door. ![]() Donatello sets his "morality play" in a large tabernacle.
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