When Giotto painted murals, such as San Francesco's deeds (preserved in San Francesco Cathedral in assisi), he had the help of several assistants. When he created these paintings, he went to Rome again and left his works in Rome. Unfortunately, Giotto's hand-drawn drawings left so far are not enough to further prove these facts.

There are some doubts about how much of this "Virgin on the Throne" (also known as "Glory of the Virgin") is his own handwriting. However, many historians believe that this altar painting was Giotto's original work in 13 10. Giotto was commissioned by the church to paint the statue of the Virgin Mary on the throne. However, this painting is by no means unique. In 1328, he also painted a painting of the same nature. There are also religious figures such as St. Peter, St. Galle, St. Michael, and St. Paul (this painting is in the National Gallery of Bologna, originally stored on the altar of santamaria Dele Angelli Church, and signed by Opus magistri loctide Florentia, which is somewhat similar to the above situation). It can be seen that studying Giotto's original paintings has always been the task of archaeologists in the history of art.

This altar painting belongs to Giotto's early religious paintings. Although it seems that many medieval brushwork still exists. The arrangement of the characters in the painting is almost exactly the same as that of the Virgin Mary on the throne he painted in 1328: angels are kneeling on the left and right sides in front of the throne, and the Virgin Mary is sitting on the throne with her baby in her arms, looking dull. On the side of the chair are also traditional figures such as Sao Paulo, San Gabriel and San Michael. The whole composition is completely symmetrical. In order to show the female body of the Virgin Mary, some light and shade were added to the clothes. This is a rare successful attempt in medieval religious murals.

In addition, the spatial relationship is also noted. From the figures, the steps inlaid with patterns, etc. We can see that the painter is trying his best to express a spatial structure. Giotto's efforts were carried out in the process of breaking with Byzantine traditional art for a long time. The greatest achievement in this period is his color treatment in light and shade performance. During the period of Padua, Giotto was able to get rid of the planarization of assisi murals, and the coloring gradually enriched the levels.