A history of Italian painting

by Frank Jewett Mather

Fig. 35. Sienese about 1275. Altar-front of St. Peter.—Siena.

A little earlier than the year 1225, when Florence called in strangers to adorn the Baptistery with mosaics in the Greek style, Guido of Siena signed and dated 1221 the most famous of his madonnas. Unhappily the enthroned Virgin of the Palazzo Pubblico was repainted some fifty years later, a fact which has led many critics unnecessarily to doubt the date.[^[15]] But from half a dozen other pictures by Guido we may learn that he was a diligent and rather heavy-handed imitator of the current Greek formulas, Figure [34]. At the battle of Montaperti the Sienese captured an excellent Florentine painter, Coppo di Marcovaldo, and in 1261 he painted the admirable madonna which is still in the church of the Servi. It shows a sensitive use of the Byzantine conventions. There is pensiveness and almost shyness in the face and posture of the Virgin, and loving intentness in that of the Child. Their relation is to each other and not as in earlier madonnas to the devout public. These intimate qualities have been ascribed, I think wrongly, to restoration. But they appear even more emphatically in the entirely unrestored Madonna, Figure [3], in the collection of Mr. Otto Kahn, which I think may be a Coppo[^[16]], and is in any case of similar date and feeling.

The same process of sweetening the old style while accepting it, is shown in the famous altar-piece of St. Peter in the Academy at Siena, Figure [35]. The gaunt figure of the Saint is completely traditional, the little stories of the Annunciation and Nativity at the side show a new vivacity and a new grace. Siena met the innovating painter more than half way, for the indignant citizens soon marred with their knives the crucifiers of the head of the Christian Church. The date of the panel will not be far from 1275, and already the painter of genius who was to create the sweet, new style was learning his trade.

Fig. 36. Duccio Purcellai Madonna.—Santa Maria Novella, Florence.

Of Duccio di Buoninsegna, the father of the Sienese school, and everything considered its greatest master, we have numerous records,[^[17]] and by no means all to his credit. He must have had the artistic temperament in a degree then unusual. The court records show half a dozen fines against him, and he was not scrupulous about paying his debts. One forgets these foibles before those Madonnas which are a consummate expression of taste and those narratives which are a triumph of tact and ingenuity. Duccio’s mind does not grasp the harsher and more heroic emotions, but within the realm of the tender and pathetic he is supreme. His elegance appears in his first important work, the famous Rucellai Madonna, Figure [36], in Santa Maria Novella at Florence, which tradition erroneously ascribes to Cimabue. It is presumably the great panel which Duccio contracted to paint in 1285.[^[18]] He was probably young and unconsidered, for he took all the risks, agreeing that the picture might be rejected at the will of the patrons. The Society of Saint Mary the Virgin would have been foolish indeed to reject the most gracious Madonna the world had then seen. Characteristic of Duccio are the swaying curves of the contours and especially of the draperies, the thin, delicately folded robes of the Child and the attendant angels and the sensitively drawn bare feet. Working in Florence and doubtless impressed by Cimabue, Duccio has retained in this early work a certain austerity which gives way in his later work to a more feminine sweetness. For that very reason the Rucellai Madonna is perhaps the greatest Madonna of the century, since without loss of the stately Byzantine qualities, she gains the new attributes of grace. It was no wonder that when the name of Duccio had faded out of the Florentine memory, Florence ascribed this noble Madonna to the venerated founder of her native school, Cimabue. Recent criticism has righted the unconscious wrong thus done to Siena.

Fig. 37. Duccio. Madonna in Majesty.—Opera del Duomo, Siena.

To mature his style Duccio needed only to intensify the qualities of sweetness and grace which are evident already in the Rucellai Madonna. The stages of his growth are represented in minor works at Siena and in British and Roman collections. But his fame, for the layman, is associated with the magnificent altar-piece which he executed for the Cathedral of Siena, and only the special student need look beyond it. On the 9th of October, 1309, Duccio contracted with the trustees of the Cathedral to do a great altar-piece wholly with his own hands, at the rate of sixteen soldi a day and expenses. He promised to take no other work during the painting. It was finished in June of 1311 and carried in solemn procession from the bottega outside the Porta a Stalloreggi to the Cathedral. A chronicler describes the cortege “parading about the Campo, as is usual, all the bells pealing a glory in devotion for so noble a picture as this is.... And all that day they kept praying with many alms which were given to poor folk, praying to God and His Mother, who is our advocate, that she defend us in her infinite mercy from every adversity and every ill, and save us from the hands of traitors and foes of Siena.” Most characteristic of the febrile patriotism of Siena is this constant dread of the traitor.

About a year before this ceremony the trustees enlarged the scheme for the picture, making an additional contract for thirty-eight stories to be paid at the rate of two florins and a half each. These were put on the back of the altar-piece, covering very fully the life of Christ and that of the Virgin. Thus the front of the altar-piece represents the decorative and monumental ideals of Sienese painting while the back exemplifies its feeling for narrative. Everything that Sienese painting was to be is already in germ in this marvellous work.