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the "Deposition" and "Crucifixion," and the mountains in the background are similar to the mountains portrayed in previous and subsequent panels. These mountains lead the viewer's eye to Mary, who is accompanying him, and then to Christ's face. This scene also elicits an intense emotional response from its viewers and you can see the close connection that the burial party has to Christ, and especially to the Virgin Mary.
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Immediately following the "Deposition" is the depiction of Christ as he is prepared for burial, surrounded by his mourning followers. His mother leans in close to him and kisses him one last time and Mary
Magdalene throws her arms towards the sky in anguish. The background retains the gold setting of
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The altarpiece remained in place until 1771, when it was dismantled in order to distribute the pieces between two altars. The 5-metre-high (16 ft) construction was dismantled and sawn up, and the paintings damaged in the process. Partial restoration took place in 1956. The dismantling also led
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Creating this altarpiece assembled from many wood panels bonded together before painting was an arduous undertaking. The work was not only large, the central panel was 7 by 13 feet, but it had to be painted on both sides since it could be seen from all directions when installed on the main altar at
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And on that day when it was brought into the cathedral, all workshops remained closed, and the bishop commanded a great host of devoted priests and monks to file past in solemn procession. This was accompanied by all the high officers of the
Commune and by all the people; all honorable citizens of
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holds his arm, and all have painful expressions as they tend to the dead Christ. The background has the same gold texture as in the "Crucifixion" and the cross that held Christ has blood running onto the ground, increasing the sense of realism in the scene. This panel aroused the emotions of its
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in a total of forty-three small scenes; several panels are now dispersed or lost. The base of the panel has an inscription that reads (in translation): "Holy Mother of God, be thou the cause of peace for Siena and life to Duccio because he painted thee thus." Though it took a generation for its
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into the very cathedral; and all this out of reverence for the costly panel… The poor received many alms, and we prayed to the Holy Mother of God, our patron saint, that she might in her infinite mercy preserve this our city of Siena from every misfortune, traitor or
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was originally composed with a front and back side that relied on each other to encompass the full knowledge of the altarpiece. This was the first altarpiece to contain both a front and back side. The front panels make up a large enthroned
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Siena surrounded said panel with candles held in their hands, and women and children followed humbly behind. They accompanied the panel amidst the glorious pealing of bells after a solemn procession on the
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to pieces going astray, either being sold or simply unaccounted for. Extant remains of the altarpiece not at Siena are divided among several other museums in Europe and the United States.
276:. The painting was installed in the cathedral on 9 June 1311 after a procession of the work in a loop around the city. One person who witnessed this event wrote:
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Tempera and gold on wood. The work, consisting of 26 episodes on 14 panels, was originally the reverse surface of the
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adjacent to the Duomo di Siena. The central panel, lower panels, and rear are displayed separately in the same room.
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Duccio di
Buoninsegna painted the work with assistants in a studio located on Via Stalloreggi, very close to
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set
Italian painting on a course leading away from the hieratic representations of the
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Stubblebine, James H. (1973). "Duccio and His
Collaborators on the Cathedral Maestà".
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Besides the Virgin Mary and the Baby Jesus, saints depicted in the painting include
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style towards more direct presentations of reality, as developed in the rest of the
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removes nails from his feet. The Virgin Mary looks into his closed eyes while
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The Mother of God
Enthroned with the Christ Child Amidst Angels and Saints
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213 cm × 396 cm (84 in × 156 in)
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16:
Altarpiece by Duccio for Siena
Cathedral, dismembered and partially lost
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audiences and the story helped to symbolize the birth of
Christianity.
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Christ's followers, Joseph and John, remove him from the cross while
676:(Samuel H. Kress Collection, National Gallery of Art, Washington DC)
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composed of many individual paintings commissioned by the city of
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Article giving diagrams of the structure and images of the pieces
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Archangel by the
Workshop of Duccio di Buoninsegna (cat. 88),"
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1034:
The John G. Johnson
Catalogue: A History and Selected Works
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1038:
a Philadelphia Museum of Art free digital publication.
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The Maestà by Duccio di Buoninsegna – Olga's Gallery
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The reverse has the rest of a combined cycle of the
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The Massacre of the Innocents; the prophet Jeremiah
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The Presentation in the Temple; the prophet Malachi
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The Appearance of Christ on the Mountain in Galilee
49:. Unsourced material may be challenged and removed.
845:Art History: Fourteenth to Seventeenth Century Art
493:The Appearance of Christ to the Apostles at Supper
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866:
864:
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394:
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861:
819:"Duccio Doctus: New Readings for the Maestà"
468:The Appearance of Christ behind closed doors
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219:and is his most famous work. Duccio's the
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483:The Appearance of Christ on Lake Tiberias
109:Learn how and when to remove this message
1201:Paintings of the Resurrection of Lazarus
816:
513:The Flight into Egypt; the prophet Hosea
433:The Temptation of Christ atop the Temple
411:
403:
318:. In the foreground are Siena's various
180:Museo dell'Opera Metropolitana del Duomo
1128:Madonna and Child with Saints Polyptych
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438:The Annunciation of the Virgin's death
354:The panels in Siena are housed in the
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448:The Virgin's Farewell to the Apostles
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664:Temptation of Christ on the Mountain
47:adding citations to reliable sources
18:
817:Deuchler, Florens (December 1979).
13:
1206:Paintings of the Madonna and Child
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701:Life of Jesus in the New Testament
498:The Adoration of the Magi; Solomon
252:effect to be truly felt, Duccio's
14:
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1120:Madonna with Child and Six Angels
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443:The Virgin's Farewell to St. John
346:Dismantling and current locations
784:by Christopher Kleinhenz (2003)
748:
728:
714:
619:
131:
23:
1251:Paintings of Thomas the Apostle
979:. New York: Thames and Hudson.
806:Encyclopedia Britannica: Duccio
782:Medieval Italy: An Encyclopedia
674:Calling of SS. Peter and Andrew
518:The Boy Jesus among the Doctors
34:needs additional citations for
968:10.1080/00043079.1973.10789738
810:
775:
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656:(Andrew W. Mellon Collection,
583:Christ and the Samaritan Woman
523:Episodes from Christ's Passion
306:(to the right of the throne);
228:with saints and angels, and a
1:
1226:Paintings of Paul the Apostle
1221:Paintings of John the Baptist
706:
473:The Incredulity of St. Thomas
342:the centre of the sanctuary.
294:(to the left of the throne);
994:Ragioneri, Giovanna (1989).
593:The Coronation of the Virgin
533:
7:
1256:Paintings of Mary Magdalene
829:(4): 545 – via JSTOR.
713:
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648:South Hadley, Massachusetts
399:
395:List of panels in the world
10:
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630:Philadelphia Museum of Art
615:(National Gallery, London)
609:(National Gallery, London)
267:
1157:
1138:
1079:
975:Bellosi, Luciano (1999).
883:"Duccio's Maesta (front)"
843:Marilyn Stokstad (2011).
747:
727:
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654:Isaiah; Nativity; Ezekiel
538:
458:The Funeral of the Virgin
428:The Wedding Feast of Cana
175:
167:
157:
149:
139:
130:
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1231:Paintings of Saint Peter
917:"Duccio's Maesta (back)"
607:Healing of the Blind Man
587:Museo Thyssen-Bornemisza
563:National Gallery, London
463:The Burial of the Virgin
215:in 1308 from the artist
162:Tempera and gold on wood
1024:Carl Brandon Strehlke,
658:National Gallery of Art
595:(Szépmüveszéti Muzeum,
453:The Death of the Virgin
300:Catherine of Alexandria
680:The raising of Lazarus
417:
409:
288:
1241:Gold ground paintings
1216:Christian iconography
998:. Florence: Cantini.
644:Mount Holyoke College
415:
407:
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217:Duccio di Buoninsegna
144:Duccio di Buoninsegna
897:on 24 September 2014
368:Deposition of Christ
58:"Maestà" Duccio
43:improve this article
1191:Paintings by Duccio
613:The Transfiguration
292:John the Evangelist
234:Childhood of Christ
977:Duccio: The Maestà
684:Kimbell Art Museum
579:, The Netherlands)
418:
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362:Stylistic analysis
242:Life of the Virgin
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1112:Madonna and Child
931:on 9 October 2014
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660:, Washington, DC)
569:Archangel Gabriel
547:(formerly in the
332:Saint Crescentius
236:with prophets.
226:Madonna and Child
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1104:Rucellai Madonna
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668:Frick Collection
559:The Annunciation
304:John the Baptist
283:Piazza del Campo
200:Maestà of Duccio
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32:This article
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933:. Retrieved
929:the original
925:Khan Academy
921:Smarthistory
911:
899:. Retrieved
895:the original
891:Khan Academy
887:Smarthistory
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336:Saint Victor
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41:Please help
36:verification
33:
1150:(1308–1311)
1139:Altarpieces
1123:(1300–1305)
1091:(1280–1283)
670:, New York)
316:Saint Agnes
308:Saint Peter
1246:Polyptychs
1185:Categories
935:24 January
901:31 January
794:0415939305
707:References
688:Fort Worth
573:Huis Bergh
296:Saint Paul
205:altarpiece
168:Dimensions
69:newspapers
1115:(c. 1300)
1107:(c. 1286)
1080:Paintings
786:Routledge
754:Duccio's
734:Duccio's
589:, Madrid)
534:Elsewhere
375:Nicodemus
153:1308–1311
99:June 2014
1170:Trecento
695:See also
690:, Texas)
597:Budapest
571:(Castel
553:Brussels
400:In Siena
262:Trecento
245:and the
230:predella
203:, is an
176:Location
1158:Related
738:(front)
549:Stoclet
416:Reverse
268:History
232:of the
213:Tuscany
83:scholar
1147:Maestà
1073:Duccio
1002:
996:Duccio
983:
851:
796:p. 310
792:
758:(back)
756:Maesta
736:Maesta
539:Europe
527:Maestà
386:Burial
334:; and
314:, and
286:enemy.
254:Maestà
221:Maestà
194:Maestà
140:Artist
126:Maestà
85:
78:
71:
64:
56:
640:Angel
626:Angel
601:image
575:, in
545:Angel
408:Front
209:Siena
197:, or
184:Siena
90:JSTOR
76:books
1000:ISBN
981:ISBN
937:2013
903:2013
849:ISBN
790:ISBN
191:The
158:Type
150:Year
62:news
1031:in
964:doi
923:at
889:at
211:in
45:by
1187::
960:55
958:.
919:.
885:.
863:^
835:^
827:61
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632:,
599:–
338:.
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