 Thus, the "Madonna of Humility", as hypothesized by art historian Daniele Benati, connects all of the above works by the "Master of the Giovaneli Madonna" to none other than Jacobello del Fiore.The year 1401 marks a transition in Jacobello's career from a more archaic, gothic style, utilized in the last decade of the Trecento and captured in the Matthiesen "Crucifixion", to a more modern style concerned with line, as seen in the Giovaneli "Madonna" and "Crucifixion with Mourners and Saints" in a French private collection.The latter, as De Marchi emphasizes, still derives from Altichiero and Jacopo Avanzi but moves beyond the sterner style of the Matthiesen "Crucifixion" by employing a looser Gothic flexibility.