On “Maestà” by Duccio di Buoninsegna

8/11/2019 On Maest by Duccio di Buoninsegna

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On Parade: Maest (1311) by Duccio di Buoninsegna

Joseph Nechvatal

(All photographs taken by the author)

Duccio di Buoninsegna, Maest (1311), 213 x 396 cm, Tempera and gold on wood, in the Museo dell'Opera Metropolitana del

Duomo

I am not religious in a traditional sense, but I find religious art sometimes

extremely moving. It is the passionate intensity behind its creation and

display that is so powerful to me.

Definitely, one need not be Christian to be touched deeply by the social


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characteristics surrounding art in Italy when found riding on a current of

solemn collective significance. Such was the case with my encounter with

Duccio di Buoninsegnas masterpiece Maest (Majesty) (1311) that I

studied closely a few times at the Museo dell'Opera Metropolitana in Siena.

For me, that huge painting is all about the big deep-blue field of Prussian

blue where the eye swims around and the mind floats free. We can see

placed around that blue field of color many kneeling figures: the four patron

saints of Siena (S. Ansano, S. Savino, S. Crescenzio and S. Vittore) and to

the sides we have the two female patron saints who are depicted standing (S.

Agnese and S. Catherine of Alessandria). In the background we have another

four saints depicted standing (S. Paul and S. John the Evangelist to the left

and to the right, S. Peter and John the Baptist). But I love how the

Madonnas left knee ties everything in the painting down at a central point in

the field of Prussian blue where the eye returns again and again - and rests in

pleasure.

This powerfully beautiful painting was first installed in the city's cathedral

(Duomo) on June 9, 1311. I encountered it again few days later on June 9,

2011 (in reproduction and re-enactment) on route to the Duomo in Siena in

celebration of its 700th anniversary.

It was a marvelous performance art event, tinged with communal

magnificence. I felt very fortunate to have viewed the arrival by oxen and

took the accompanying photographs. Keep in mind that except for the first

photograph, we are seeing a full-scale reproduction of Maest (I looked

closely and I think it is digitally painted on canvas). The original egg

tempera on wood stayed next door in the Museo dell'Opera Metropolitana


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del Duomo.


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Maest (1311), 213 x 396 cm, reproduction (rear) showing episodes from the life of Christ, focusing on his Passion


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Maest (1311), 213 x 396 cm, reproduction (rear detail)

Duccio (c. 1255-1260 c. 1318-1319), as he is called for short, bridged the

artistic gap between the Byzantine age and the start of the Renaissance. On

June 9, 1311, the Governor of the Council of Nine Elders, together with the

Bishop and the inhabitants of the city went to Duccios workshop in

procession and with votive candles and song, they accompanied the painting

to the main alter of the Duomo. This procession passed through the Piazza

del Campo, which in those days represented the epitome of political power.

This procession was a sign of the incredible devotion of the city for the

Madonna.


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Faade of the Duomo in Siena

In 1506, the Maest was removed from the high altar in the reform-minded

years leading up to the Council of Trent. It was first placed on a sidewall,

which meant that only one side of it was visible. The frame was taken apart

and the panels separated, so that both sides could be seen on the wall.

The altarpiece remained in place until 1711, when it was dismantled in order


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to distribute the pieces between two altars. The five-meter high construction

was dismantled and sawn up, and the paintings damaged in the process.

Partial restoration took place in 1956. The dismantling also led 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.

After shooting the arrival outside, I participated in the church procession;

walking directly behind the massive reproduction as it was carried all theway up the main church isle; bells tolling intensely. It was placed at the alter

for a religious ceremony, and I left the church.

Documents

On “Maestà” by Duccio di Buoninsegna