London. Observe the colors of the angel and the shallow architectural space.
Consider the second predella scene of the Nativity (National Gallery of Art,
Washington, DC). Two saints who prophesied the birth of Christ—Isaiah
and Ezekiel—À ank the striking image of the Nativity. This image shows a
combination of stable (European tradition) and cave (Byzantine tradition).
The Virgin reclines on a Roman-style mattress. As in other Nativities we
have seen, there is a simultaneous narrative, with the Child being bathed in
the foreground while already in the manger
in the background. The chalice-like tub is a
reference to Mass. Observe the Naturalism
of the sheep and the glorious color palette.
We now consider the reconstruction of
the reverse side of the Maestà. Our next
image shows a possible reconstruction,
including the missing works—some works
have been lost and never located. This side
faced the sanctuary; thus, only the clergy and the monks’ choir would have
seen this side, which had some 40 scenes that constitute a kind of scriptural
commentary. Several scenes from Christ’s life are shown in the main section
and the predella. We’ll look at some of these in detail. On the predella is the
Temptation of Christ. According to the Gospels of Matthew and Luke, Satan
tempted Jesus three times. The third time, he took Jesus to a high mountain
and showed him all the kingdoms of the world; these Satan offered to Jesus
“if thou wilt fall down and worship me.” Jesus replied, “Get thee behind me,
Satan: for it is written, Thou shalt worship the Lord thy God, and him only
shalt thou serve.”
Duccio has imagined all the kingdoms of the world as a large handful of
Tuscan walled cities, marvelously detailed miniature constructions. His
Sienese contemporaries must have enjoyed this depiction. Next to this scene
is the Calling of Peter and Andrew. Note the gold ground, the isolation of
Christ’s beckoning hand, and the clarity of the storytelling even from a
distance. The Wedding at Cana is a detailed and busy scene. There are two
noticeable ¿ gures—one pours the water-become-wine into the other’s glass.
Note the contrasts between Giotto’s and Duccio’s depictions of this scene.
Looking at the Maestà
from the front, we see
the Madonna and Child
enthroned with saints
and angels present.