In the late eighteenth century men with saws got to work on one of the masterpieces of medieval art. The Maestà of Duccio di Buoninsegna (usually, just plain Duccio) had for once been the high altarpiece of Siena Cathedral. It was a dizzying collection of panels centred on a huge image of the Virgin enthroned with Christ on her lap, around which were arranged dozens of scenes from her life and His.
Now the Maestà was hewn into pieces - some to be put in new positions in the cathedral, others to be sold. Today Duccio’s dazzling work - a bright, golden triumph of unified storytelling; a sublime graphic novel in paint and gilt - is scattered in thirty pieces held by ten different collections across the world.
If you go to the National Gallery in London, however, a good many of the panels are now back together for the first time in a long time, including many from the ‘predella’ which once sat at its base. They’re just one part of a literally glittering show: Siena: The Rise of Painting 1300-1350.
The show just transferred to London from the Met in New York. The reviews have been glowing. It has been sold out for its opening days, but I managed to wheedle my way in this morning. (Thanks, nice people at the National Gallery!)
Here are some of my highlights - I urge you, if you can, to see it for yourself.
Duccio’s Temptation of Christ on the Mountain (c.1308-11)
One of several dozen panels which once adorned the back face of Duccio’s Maestà, in Siena Cathedral, Christ stands on the mountain-top and gives the devil a really stern talking-to for offering him all the kingdoms of the world if he will bow down and worship his diabolical toes. The angels playing wingmen (pun intended) are later additions, painted over the gold. Notice how the finest cities the devil has to offer Christ bear a passing resemblance to, erm, Siena.
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