When David was released from the Luxembourg prison at the end of December 1794, he became ill and so requested permission from the Convention to visit his wife's sister and her husband, Emilie and Pierre Sériziat, at their country house in Saint Ouen, near Tournan-en-Brie, about 32 km (20 miles) east of Paris. This visit was cut short by the accusations of May 1795 and arrest, but he returned there, accompanied by a guard, to recuperate after his second and final release in August. He then painted the portraits of his hosts. Madame Sériziat is shown in an interior setting with her young son, having just returned from a walk. Her cheeks are ruddy and she carries a recently picked bunch of wild flowers which are painted in a lively but meticulous manner.
These two portraits were testaments of friendship and, by showing them at the 1795 Salon, he could prove that he was still able to paint after his ordeals.
Some panel paintings of the Madonna by Botticelli remain from the years around 1470 which are striking expressions of Botticelli's stylistic development. Two full figure pictures of the Madonna - the Madonna in Glory and the Madonna of the Rosegarden - are in the Uffizi. They represent monumental seated figures filling the entire picture.
Mary is enthroned on clouds in a glory of seraphim. The Christ Child, with the cruciform nimbus, is looking towards the observer and raising his hand in blessing. Botticelli has succeeded in expressing the tensions in this theme with sensitivity: the mother, who is fully aware of the Passion her son will suffer, is holding him protectively in her arms.