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

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

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.

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

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

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.

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

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

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

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

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

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.

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.