DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0258
242
LIVES OF THE ARTISTS.
the Byzantine manner, but partly also in the manner of the
moderns. And as the high altar of this church was entirely
isolated, the picture was painted on both sides, the artist
having represented all the principal events related in the
New Testament on the back part, a work which he executed
with infinite care in small figures, which are very beautiful.*
I have endeavoured to ascertain where this picture now is,
but with all the efforts I have made, I have never been able
to discover it.f Nor can I find any one who knows what
Francesco di Giorgio, the sculptor, did with it when he re-
stored the tabernacle in bronze, together with the marble
ornaments by which it is decorated.
Duccio painted many pictures on gold grounds for the city
of Siena, and one for the church of Santa Trinita in Florence;
this last is an Annunciation.^ He also executed various
works for different churches in Pisa, Lucca, and Pistoja,
which were all highly praised, and which gained him great
renown as well as large profits. When Duccio ultimately
died, what relations, disciples, or property he left, are circum-
* Kohler has given a circumstantial description of this remarkable
picture, in the Kunstblatt for 1827. No. xlix. See also Della Valle,
Letters Satiesi, ii, 75-6.
f This work is said to have been carried in triumph from the house
of the artist to its place in the cathedral; nor is it less admired in our
own times. When removed, as above related, from the high altar, it
remained in a room of the chapter-house until the succeeding century,
when evil counsels prevailed so far, that the picture was cut in two, and
the heads were appended—the one to the altar of Sant’ Ansano, the other
to the altar of the Sacrament.—Masselli, and the Flor. Ed. 1846.
J The Roman edition of 1759 declared this Annunciation to be still
in good preservation, and in its original place. Ludwig Schorn repeats
this in 1832 ; but the latest commentators inform us, that the only well
authenticated work of Duccio now in Italy, is that in the cathedral of
Siena. Of another precious work of this master, which the connoisseurs
affirm to be of indubitable authenticity, we have the following notice:—
“ This picture is a triptych, the height of it is about one braccio. In
the central picture is Christ on the Cross, with the Virgin and St. John
on each side, and two angels weeping above. On the right-hand leaf or
panel, and in the upper part, is the Annunciation; while beneath is the
Madonna seated, holding the Divine Infant, with angels in adoration
around her throne. On the lower part of the opposite panel are Christ
and the Virgin seated, with angels around them ; and above is St. Francis,
receiving the Stigmata. The work is of extraordinary beauty. It was
purchased in Siena by Giovanni Metzger of Florence, many years since,
and was sold in 1845, for a large sum, to Prince Albert, when it was
brought to England.
LIVES OF THE ARTISTS.
the Byzantine manner, but partly also in the manner of the
moderns. And as the high altar of this church was entirely
isolated, the picture was painted on both sides, the artist
having represented all the principal events related in the
New Testament on the back part, a work which he executed
with infinite care in small figures, which are very beautiful.*
I have endeavoured to ascertain where this picture now is,
but with all the efforts I have made, I have never been able
to discover it.f Nor can I find any one who knows what
Francesco di Giorgio, the sculptor, did with it when he re-
stored the tabernacle in bronze, together with the marble
ornaments by which it is decorated.
Duccio painted many pictures on gold grounds for the city
of Siena, and one for the church of Santa Trinita in Florence;
this last is an Annunciation.^ He also executed various
works for different churches in Pisa, Lucca, and Pistoja,
which were all highly praised, and which gained him great
renown as well as large profits. When Duccio ultimately
died, what relations, disciples, or property he left, are circum-
* Kohler has given a circumstantial description of this remarkable
picture, in the Kunstblatt for 1827. No. xlix. See also Della Valle,
Letters Satiesi, ii, 75-6.
f This work is said to have been carried in triumph from the house
of the artist to its place in the cathedral; nor is it less admired in our
own times. When removed, as above related, from the high altar, it
remained in a room of the chapter-house until the succeeding century,
when evil counsels prevailed so far, that the picture was cut in two, and
the heads were appended—the one to the altar of Sant’ Ansano, the other
to the altar of the Sacrament.—Masselli, and the Flor. Ed. 1846.
J The Roman edition of 1759 declared this Annunciation to be still
in good preservation, and in its original place. Ludwig Schorn repeats
this in 1832 ; but the latest commentators inform us, that the only well
authenticated work of Duccio now in Italy, is that in the cathedral of
Siena. Of another precious work of this master, which the connoisseurs
affirm to be of indubitable authenticity, we have the following notice:—
“ This picture is a triptych, the height of it is about one braccio. In
the central picture is Christ on the Cross, with the Virgin and St. John
on each side, and two angels weeping above. On the right-hand leaf or
panel, and in the upper part, is the Annunciation; while beneath is the
Madonna seated, holding the Divine Infant, with angels in adoration
around her throne. On the lower part of the opposite panel are Christ
and the Virgin seated, with angels around them ; and above is St. Francis,
receiving the Stigmata. The work is of extraordinary beauty. It was
purchased in Siena by Giovanni Metzger of Florence, many years since,
and was sold in 1845, for a large sum, to Prince Albert, when it was
brought to England.