In the context of this artwork, analyze the Dating of the Style.
Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details.
The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi of c. 1288–1292, where the figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà, Virgin and Child with Two Angels, or the Maestà of Santa Maria dei Servi. A more recent, similar painting is the Maestà di Assisi of c. 1288. In the Santa Trinita Maestà, Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others.
The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels, but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi.
Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà.
But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the aureola: it is adorned with dark punches in the external margins, a style of the 1290s that is also in the Assisi halos. 
A dating after the Maestà di Assisi in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this Maestà.
Virgin and Child with Two Angels apse Cimabue Maestà Duccio flight feather left Maestà of Santa Maria dei Servi Giotto aureola Santa Trinita Maestà di Assisi Basilica superiore di San Francesco d'Assisi