The serenity of the early Renaissance fills this large circular frame. Five angels clothed in luxuriant red and yellow robes cluster behind the Madonna, who kneels in silent worship before the Christ Child. Sunlight illuminates the folds of the Madonna's delicate veil and the beautiful smooth faces of the young angels. By placing the Madonna and the wingless angels in an outdoor landscape with hills, lake, boat, clouds and wildflowers, Botticelli abandoned the medieval notion of the Madonna as queen of a golden heaven, choosing instead to place her in an idealized earthly realm. Nevertheless, traditional symbolism remains important. The roses are the Madonna's special flower, and the olive branches symbolize the peace that the Christ Child will bring into the world. The Botticelli painting and its Renaissance-style frame have undergone conservation treatment generously funded by Frederick Singley Koontz in memory of Anne Katherine Singley Koontz. In the course of the frame's restoration, extensive testing was undertaken to determine its age. Results suggest it could be dated from the mid-eighteenth century to the early-nineteenth century. The frame was later adjusted insize to accomodate this painting, but it is not known precisely when this occurred and no documentation exists about the painting's original Renaissance period frame. As such, the impresive design of the present frame with its frieze of angel heads, alternating with exotic plants, represents a later interpretation of a Reinassance period style. Many of the Museum's old master paintings were acquired by patrons in the late nineteenth century, and as the painting and frame have been joined since that time, they provide a valuable illustration of how nineteenth-century collectors chose to present the art of the Reinassance.