
The Virgin and Child (Ugolino)
The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

The Child reaches up to grasp the edge of his mother's veil. Ugolino followed Duccio more closely than anyone else did.

No bigger than a page, and one of very few works securely given to Cimabue, whom Dante named the best painter of his day.

Christ turns up dressed as a pilgrim with a staff and a traveler's pouch, and the two disciples still have no idea who he is.

Christ strides into the cave to pull Adam out by the hand, treading on a chained Satan as he goes.

Christ kneels with the basin and Peter, flustered, raises a hand to his own head. Some of the others are already loosening their sandals.

The brothers pause with the net still trailing fish through green water, caught between the work and the man on the shore.

Servants stoop over the great stone jars in the foreground to draw out wine that was water a moment ago.

A soldier drags Christ out through the city gate by his robe, the diagonal of the cross cutting against a bristling line of lances.

Six angels lean in along the throne with their heads tilted, which turns a rigid Byzantine formula into something nearly intimate.

The Devil offers all the kingdoms of the world, rendered as tiny gold-edged walled towns scattered down the slopes, and is refused.

Duccio and Giotto painted this same entry within a year of each other. Duccio's is the crowded one, full of towers, incident and color.

This is the largest scene on the back of the Maesta, the Virgin fainting on one side and the crowd arguing on the other.

Four prophets peer from arches under the throne holding scrolls that foretell the Virgin Birth, and the throne is angled to suggest depth.

The Arno flood of 1966 stripped most of the paint off it, and the ruined cross became the emblem of the whole disaster.

Christ reaches up to push his mother's veil aside. Scorch marks on the original frame record centuries of candles set before it.

Four and a half meters tall, the largest panel painted in its century, with six angels kneeling to steady a throne that seems to float.

Six angels stack up the sides of the throne against gold. Cimabue taught Giotto, and the throne here is just beginning to recede into space.

Cover one half of the face, then the other, and two expressions emerge, merciful and severe. Sinai was too remote for the iconoclasts to reach.

Justinian carries the bread for the Eucharist in gold and purple, flanked by men who cast no shadow and stand on no ground.

When Duccio finished it in 1311 the whole of Siena walked it to the cathedral in procession, with the bells going the entire way.

Three angels bend into a closed circle around a single cup. In 2024 the icon left the Tretyakov for a monastery, over conservators' objections.