DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67683#0391
PAINTING IN CENTRAL AND NORTHERN ITALY x6y
the softer tones of the throne; the background and halos are gold.
The flowing line, the gold and jewel-like color, the splendid isola-
tion of the central figure standing out large and patternlike
against the background, the successful appeal to the worshiper’s
adoration — all contribute to produce a sumptuous piece of
decoration and a deep expression of religious emotion. This is
largely Byzantine, yet if we examine the drapery of the Ma-
donna’s robe, we see that the stiff folds are gone and the cloth
hangs naturally. There is a certain amount of modeling, too, in
the figure, and a feeling for life in the body. In the droop of the
heads and in the easy sweep of line there is a stately grace. Thus,
while the picture carries the old Byzantine form, it reveals also
a new feeling for naturalism. It was in the thirteenth century
that the conventional, hieratic kings and queens of the western
portal of Chartres were giving way to the naturalistic figures of
the northern and southern portals (Pl. 8z a and b). The obser-
vation of nature to which Europe was turning afresh was mani-
festing itself in Siena as well as in France and in Florence. It is to
be noticed in Duccio, however, that while this naturalism
softens the hieratic quality, it does not change the essentially
Byzantine character of the work.
The narrative and decorative quality of Duccio’s work is seen
in the Three Marys at the Tomb (Pl. 104 b). The angel is sitting on
the open tomb, his figure framed by the rugged barren hill be-
hind; on the left stand the three Marys who have come with
their jars of ointment and who shrink back, startled at the sight
of the angel and the empty tomb. There are no details here to
detract from the simplicity and the dramatic power with which
the incident is told. The figures, while they show some feeling
for form and naturalistic rendering of drapery, still are quite flat,
the angel being very close to the Good Shepherd mosaic (Pl. 61 a);
the hills of the background are conventional, with no depth,
symbols, as it were, of landscape; the flat background is gold.
Here rhythmic line, pattern, and bright color with a liberal use
of gold have combined to make the panel essentially decorative.
An important follower of Duccio was Simone Martini (c. 1x85-
1344 a.d.). In his Annunciation (Pl. 105 a), at the left, is the
angel Gabriel kneeling. He has just alighted and is eagerly press-
ing forward with the branch of olive to deliver his message to
the Virgin. She sits on an inlaid throne, her finger marking the
place in the book where she was reading when interrupted by the
angel, and she shrinks at his message. Between the two stands a
vase of flowers; above in the central arch is a circle of cherubim
the softer tones of the throne; the background and halos are gold.
The flowing line, the gold and jewel-like color, the splendid isola-
tion of the central figure standing out large and patternlike
against the background, the successful appeal to the worshiper’s
adoration — all contribute to produce a sumptuous piece of
decoration and a deep expression of religious emotion. This is
largely Byzantine, yet if we examine the drapery of the Ma-
donna’s robe, we see that the stiff folds are gone and the cloth
hangs naturally. There is a certain amount of modeling, too, in
the figure, and a feeling for life in the body. In the droop of the
heads and in the easy sweep of line there is a stately grace. Thus,
while the picture carries the old Byzantine form, it reveals also
a new feeling for naturalism. It was in the thirteenth century
that the conventional, hieratic kings and queens of the western
portal of Chartres were giving way to the naturalistic figures of
the northern and southern portals (Pl. 8z a and b). The obser-
vation of nature to which Europe was turning afresh was mani-
festing itself in Siena as well as in France and in Florence. It is to
be noticed in Duccio, however, that while this naturalism
softens the hieratic quality, it does not change the essentially
Byzantine character of the work.
The narrative and decorative quality of Duccio’s work is seen
in the Three Marys at the Tomb (Pl. 104 b). The angel is sitting on
the open tomb, his figure framed by the rugged barren hill be-
hind; on the left stand the three Marys who have come with
their jars of ointment and who shrink back, startled at the sight
of the angel and the empty tomb. There are no details here to
detract from the simplicity and the dramatic power with which
the incident is told. The figures, while they show some feeling
for form and naturalistic rendering of drapery, still are quite flat,
the angel being very close to the Good Shepherd mosaic (Pl. 61 a);
the hills of the background are conventional, with no depth,
symbols, as it were, of landscape; the flat background is gold.
Here rhythmic line, pattern, and bright color with a liberal use
of gold have combined to make the panel essentially decorative.
An important follower of Duccio was Simone Martini (c. 1x85-
1344 a.d.). In his Annunciation (Pl. 105 a), at the left, is the
angel Gabriel kneeling. He has just alighted and is eagerly press-
ing forward with the branch of olive to deliver his message to
the Virgin. She sits on an inlaid throne, her finger marking the
place in the book where she was reading when interrupted by the
angel, and she shrinks at his message. Between the two stands a
vase of flowers; above in the central arch is a circle of cherubim