A History of European Art

Lecture 8: Duccio and the

Maestà

Our next scene, Trans¿ guration, is an unfamiliar theme to many viewers.

When Jesus went with Peter, James, and John to pray on a mountaintop,

the disciples witnessed Jesus “trans¿ gured before them, and his face did

shine as the sun, and his raiment was white as the light.” Then they saw

Moses and Elijah talking with Jesus. By invoking the Law (Moses) and the

Prophets (Elijah), the Gospels here confer signi¿ cant authority on Jesus.

This is an important work because it has beautiful colors and an impressively

severe design. It is also the sort of visionary theological scene that was best

painted in the more abstract Byzantine style. On the top left pinnacle is

The Incredulity of Thomas, which is still in Siena. This scene shows Jesus

revealing his wounds to “doubting Thomas.”

Finally, we look at the reverse side of the Maestà as it now is. Christ and

Apostles on the Mount of Olives shows Christ praying while the apostles

sleep. The Capture of Christ draws attention to the lances in the center,

Christ’s robe, and the apostles À eeing. Duccio’s Cruci¿ xion is a narrative

scene in contrast to Giotto’s more theological, symbolic treatment of the

subject in the Arena Chapel. All three crosses are shown, amidst a boisterous

crowd scene, with a great variety of expressions, ranging from fear and

hatred to silence and grief. Entombment shows a scene in which Jesus is

tenderly laid in the sarcophagus. The emotion is restrained except for Mary

Magdalene’s up-thrown arms, but all the ¿ gures turn inward and pull our

eyes to Mary’s head as it presses against her son’s. Ŷ

Duccio di Buoninsegna:

Annunciation, 17 x 17 ¼” (43 x 44 cm), from the Maestà, National

Gallery, London, Great Britain.

Madonna and Child, c. 1300, tempera and gold on wood; overall, with

engaged frame: 11 x 8 ¼” (27.9 x 21 cm), painted surface: 9 3/8 x 6

½” (23.8 x 16.5 cm), The Metropolitan Museum of Art, The Cloisters

Collection, New York City, New York, USA.

Maestà, 1308–11, tempera and gold leaf on panel, originally about

7’ x 13’ 6”, Museo dell’Opera del Duomo, Metropolitana, Siena, Italy.

Works Discussed