Mary being declared Theotokos by the Council of Ephesus in 431 made way for the types of altarpieces we see in the 13th century. Cimabue’s altarpiece in particular emphasizes the importance of the Madonna to the church–positioning her both as the physical church, and as the representation of the church as an institution. She is so central because she is the queen of heaven, “Our lady,” a woman chosen by god. It is then practical to depict a woman chosen by god to represent the church–also chosen by god (hopefully).
Cimabue is followed by Giotto, who continues the tradition of the Madonna as the focus of the altarpiece. He pulls directly from Cimabue, but elevates his work, turning figures into 3D, realistic people, and bringing the gothic architecture into Mary’s throne. This type of work–realistic, elevating, is an important development of the 13th century. The Lamentation has so much expression, so much feeling tucked within it, that it poses a stark contrast to Cimabue just a generation before.