Like many Italian Renaissance painters, Piermatteo d’Amelia was concerned with the principles of optical perspective. However, the painting is neither formulaic nor rigidly symmetrical. The architecture varies significantly from left to right, the open courtyard giving way to an arcade, as if to embody the Virgin’s motherly embrace. In the center, a spray of lilies and the dove connect the archangel with the Virgin.
Source: Alan Chong, "The Annunciation," in Eye of the Beholder, edited by Alan Chong et al. (Boston: ISGM and Beacon Press, 2003): 63