Saint Ursula with Angels and Donor, 1455, 47x28.6 Benozzo (Benozzo di Lese) Gozzoli (c.1420-1497)

The composition presents a central female figure standing in frontal view, dominating the visual field. She holds aloft a banner inscribed with a Latin phrase, its lettering rendered in gold against a white background. The woman is draped in a green gown beneath a lavish red mantle, both garments meticulously detailed to suggest rich fabric and precise tailoring. A golden halo encircles her head, signifying sanctity. Flanking her are two winged figures, presumably angels, positioned on either side within an elaborate dark blue curtain adorned with floral motifs.
Below the central figure stands a smaller woman in modest attire, hands clasped in what appears to be prayer or supplication. Her posture and gaze direct attention towards the elevated female figure, establishing a hierarchical relationship between them. A small dog rests at her feet, adding a touch of domesticity to the otherwise solemn scene.
The artist employs a limited palette, relying heavily on gold, red, green, and blue hues. The use of gold is particularly significant, highlighting both the central figure’s divinity and the banner she carries. Light falls primarily upon the main subject, creating a sense of luminosity that separates her from the darker background.
The arrangement suggests a devotional context. The woman at the bottom likely represents a donor, commissioning the work as an act of piety or remembrance. Her inclusion signifies a personal connection to the depicted saint and reinforces the painting’s function as a private object of veneration. The angels serve not only as celestial attendants but also as intermediaries between the earthly realm represented by the donor and the divine figure above.
The overall effect is one of solemnity and reverence, characteristic of early Renaissance devotional art. The rigid posture of the figures, the stylized drapery, and the hierarchical arrangement all contribute to a sense of formality and spiritual gravity. The painting’s small scale suggests it was intended for private contemplation rather than public display.