Later commissions of Duccio

Traces of Duccio’s association with Cimabue remain in the large round stained-glass window of the choir of the Siena cathedral, for which Duccio made the designs. This work was commissioned between 1287 and 1288 and is the earliest known example of stained glass produced by an Italian.

Numerous documents attest to Duccio’s action in Siena during the 20 years following the creation of the Madonna Rucellai. He was by now the leading painter of the city and as such executed in 1302 an altarpiece, now lost, for the altar of the chapel of the Palazzo Pubblico, the city hall. During this period, some unsigned and undocumented altarpieces appeared, and some of these are certainly Duccio’s work; the most significant of these is a small altarpiece representing the Virgin enthroned with angels and called The Madonna of the Franciscans because of the three monks kneeling at the foot of the throne. In this work a developed Gothic style appears in the curving outlines, which give an exquisite decorative effect.

The work in which the genius of Duccio unfolds in all its brilliant fullness and the one to which the painter owes his greatest fame, however, is the Maestà, the altarpiece for the main altar of the cathedral of Siena. He was commissioned to do this work on Oct. 9, 1308, for a payment of 3,000 gold florins, the highest figure paid to an artist up to that time. On June 9, 1311, the whole populace of Siena, headed by the clergy and civil administration of the city, gathered at the artist’s workshop to receive the finished masterpiece. They carried it in solemn procession to the accompaniment of drums and trumpets to the cathedral. For three days alms were distributed to the poor, and great feasts were held. Never before had the birth of a work of art been greeted with such public jubilation and never before had there been such immediate awareness that a work was truly a masterpiece and not just a reflection of the religious fervour of the people. Duccio himself was aware of the work’s significance; he signed the throne of the Virgin with an invocation that was devout yet proud for the time: “Holy Mother of God, grant peace to Siena, and life to Duccio because he has painted you thus.”

The Maestà is in the form of a large horizontal rectangle, surmounted by pinnacles, and with a narrow horizontal panel, or predella, as its base. It is painted on both sides. The entire central rectangle of the front side is a single scene showing the Madonna and Child enthroned in the middle of a heavenly court of saints and angels with the four patron saints of Siena kneeling at their feet. The back is subdivided into 26 compartments that illustrate the Passion of Christ. The front and back of the predella contain scenes of the infancy and the ministry of Jesus, and the pinnacles, crowning the entire work, represent events after the Resurrection. In all, there are 59 narrative scenes.

The rigorous symmetry with which the groups of adoring figures at the sides of the Virgin are arranged in the imposing scene of the central panel is inspired by compositions of the Byzantine tradition and gives evidence of Duccio’s keen architectural sensibility by its power to draw attention to the Maestà as the true focal point of the cathedral’s spatial and structural organization. Like elements of a living architecture, the 30 figures, through the slightest of gestures and turnings of the head, are intimately related, their positions repeated to give a feeling of intense lyrical contemplation. The consonance of feeling that arises from this contemplation gives the facial features of each a distinct, spiritual beauty, reminiscent, especially the faces of the angels, of the more idealistic creations of Hellenistic art. The Madonna, slightly larger than the other figures, seated on a magnificent and massive throne of polychrome marbles, inclines her head gently as if trying to hear the prayer of the faithful. Duccio thus succeeds in reconciling perfectly the Byzantine ideal of power and dignity with the underlying tenderness and mysticism of the Sienese spirit. The scenes in the predella, pinnacles, and back are filled with the Byzantine iconographic schemes from which Duccio finds it difficult to detach himself, and they are developed with a deeper concern for their narrative significance. The scenes are not, however, merely descriptions or chronicles. They include many touches from daily life, which provide a lyrical synthesis that harmonizes the character and gestures of the figures with their landscape and architectural surroundings.

Last years

Only scanty bits of information are available about the few years that Duccio lived after the completion of the Maestà. He had a prosperous workshop from which other works emerged, but they seem to have been executed in great part by students. His financial condition must have been quite sound because by 1304 he bought a vineyard in the neighbourhood of Siena. Nevertheless, in 1313 he was once again deep in debt. At death he was survived by his wife, Taviana, and seven children. At least two of his children, Galgano and Giorgio, were painters, but nothing is known about their work or their merits. The identity of one of his direct followers is known, his nephew Segna di Buonaventura.