The subject forms either the final and Culminating scene in the narrative cycle of the life of the Virgin when it follows the Death of the Virgin and her Assumption, or, more usually, it portrays her as a devotional, non-narrative figure, the personification of the Church itself. The latter type of Coronation originated in Gothic art of the 13th century and is seen particularly in the sculptured portals of French cathedrals. It occurs later in paintings made for the altars of churches dedicated to the Virgin or belonging to the monastic Orders under her tutelage. Its most usual form shows the Virgin seated beside Christ who is in the act of placing a crown on her head. She may alternatively be kneeling before him. Or she may be crowned by God the Father, a common type in 15th century Italian painting, or by the Trinity. In the last instance Christ, God the Father and the dove, the symbol of the Holy Ghost, are all present, the crown usually being placed on her head by Christ. Christ may hold in one hand a book inscribed "Veni, electa mea, et ponam te in thronum meum," "Come my chosen one, and I will place you upon my throne." The Virgin is generally richly robed, fitting to her role as "Regina Coeli," Queen of Heaven. The central group is often surrounded by choirs of angels, perhaps with musical instruments. There may be many attendant figures: the patriarchs, Fathers of the Church, martyrs and other saints of Christendom. The latter, especially when accompanied by kneeling donors, have the same function as in a "Sacra Conversazione" with the Virgin and Child. In the art of the Counter-Reformation the theme tended to be replaced by the Immaculate Conception. As a narrative subject it is accompanied by the scene of the apostles below, standing round the Virgin's empty tomb.

______________________________________________________________________________________________________________________
James Hall, Dictionary of Subjects and Symbols in Art, New York: Harper & Row, rev. ed. 1979