Maestà (Duccio)

The ordering of work

Intended for the high altar of the Dome of His, it was ordered from Duccio on October 9th, 1308. The painter stipulates an agreement with the Workman of the Dome to paint a painting intended to be placed on the high altar of the cathedral, according to a particular method of payment: one would remunerate it for his work, while the whole of materials would be the responsibility of the Workman; moreover, it would touch, as paid and not for the value of work, wages of sixteen grounds of Sienan sums of money per day's work. Duccio was to be committed not making, nor to agree other work before to have completed its work. John Pope-Hennessy thinks that the agreement of October 9th, 1308, is not an act of order itself, and that Duccio, at the time, had already undertaken to work in Maestà, because three years seem a time well runs for a work of this scale. Indeed, as of on June 9th, 1311, the large retable is brought in the cathedral during a festival to which share the whole of the population takes.

Significance of the " term; Maestà"

The meaning of this word is given to us by Cennino Cennini in its Treaty on painting: for him, " is known as; in majesté" a figure seen of face. As from the 4th century, one represented Christ thus, but at the 13th century, with the intensification of the worship marial, it is the Virgin who is represented " in majesté" , and which becomes the " Majesté" by antonomasia.

Maestà is thus a representation of the Vierge to the child in Majesty , that is to say of face, with an attitude Hiératique, on a throne, surrounded by angels and saints apostles.

The various places which accommodated Maestà

Maestà was placed on the high altar, which was then directly under the cupola, with the crossing of the transept. It was quickly enriched by baldachins, suspended above it, four cherubs and a red hanging to cover it. In July 1506, Maestà was removed high altar. It was moved in the apse and was fixed on a wall of the transept of left, where it remained during nearly two centuries and half. July 16th, 1771, the large retable was sawn in several parts. A part was placed in the vault Sant' Ansano and the other in the vault San Vittore. In 1878, the principal panels passed to the Museo dell' Opera Metropolitana del Duomo .

Study of painting

The Virgin, with the Jesus Child in the arms, sitting on a large marble throne, is surrounded by her celestial court of saints, holy and angels. On each side of the throne is, on the left, holy Catherine of Alexandria, holy Paul, holy Jean the Evangelist and ten angels distributed out of the three lines. On the right, holy Jean-Baptiste, holy Pierre, holy Agnes and ten angels out of three lines; finally, with knees in the foreground, the four saints protective of His, on the left, Ansanus and Savinus, on the right, Crescentius and Victor. Under the blind arcades top, above the Virgin in majesty, in a private zone of the original framings, ten apostles in half-bust are held. In the arcade of right-hand side, the apostles Matthieu, Jacques the Minor, Barthelemy, Thomas and Mathias; in that of left, Thadée, Simon, Philippe, Jacques the Major one and Andre.

Maestà

Maestà is vêtue of blue, symbol of the royalty. It adopts an attitude of mother with her hand which protects the child. It has a sad glance.

The throne

The large throne of the Virgin, seen according to a central prospect is as an open book. On the estrade of the throne, celebrates it inscription is read, in leonine worms: MATER Sancta dei, located caused senis requiei. Located Ducio vita you quia pinxit ita : Holy mother of God, Would be cause of peace for His; and of life for Duccio because it thus painted you.

Angels

The meeting of angels and saints makes think of Byzantine art. The roots of the art of Duccio plunge in the 13th century and the painting of Cimabue which made modifications to this pictorial tradition. The angels have faces of an extreme beauty, long buckled hair and expressions of a buckled softness of sadness: they think of the destiny of Jesus, promised with an early and terrible death.

Apostles

In the arcade of right-hand side are the apostles Matthieu, Jacques the Minor, Barthélemy, Thomas and Mathias. In that of left, Thadée, Simon, Philippe, Jacques the Major one and Andre are.

The Jesus Child

The child's garments painted by Duccio are sumptuous. It clearly carries a fine white tunic covered with a red cape of color which presents many folds and which is decorated with gilded embroideries.

Conclusion

The Madonna, for His, filling the function of sovereign of the city, one can there admiser this Maestà described and also that of Simone Martini with the Palazzo Pubblico.

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