Heaven on earth, Duccio's Rucellai Madonna

Summary

This discussion at the Uffizi Gallery explores Duccio's 'Rucellai Madonna,' a towering depiction of the Virgin Mary and Christ. The narrators examine the painting's origins, created for the Laudesi confraternity, and its rich symbolism, including lapis lazuli and gold used to represent divine splendor. The painting reflects Byzantine influences, with pseudo-script mimicking Eastern alphabets, and the angels appear to carry the throne down to Earth. As Duccio introduces a sense of spatial realism, we see the shift toward more naturalistic representations of divine figures, anticipating later innovations in art.

Takeaways

• 🖼️ The 'Rucellai Madonna' is a large panel painting by Duccio, depicting the Virgin Mary and Child, originally commissioned for a confraternity known as the Laudesi in Florence.
• 🏰 The painting's name comes from its later location in the Rucellai Chapel of Santa Maria Novella, although its original placement within the church is uncertain.
• 👥 The Laudesi confraternity, for whom the painting was made, was a group engaged in charitable works and devoted to singing hymns in honor of the Virgin Mary.
• 🤲 The painting was intended to serve as a focal point for prayer, with the Virgin and Child made accessible to the laity through the depiction of angels bringing the throne down to Earth.
• 💎 The use of lapis lazuli in Mary's cloak signifies the extraordinary wealth of the time, as the material was mined only in Afghanistan and imported at great cost.
• 👼 The angels in the painting are portrayed with delicate colors against a gold background, suggesting the light of heaven and their role in bringing the divine to the human world.
• 📿 The painting reflects the influence of Eastern icon painting, with elements like pseudo-script and the form of the image itself hinting at Byzantine traditions.
• 🏛️ The painting's vertical alignment and the positioning of saints in roundels in the frame differ from the typical horizontal altarpieces of the time.
• 🎨 Duccio's work foreshadows the innovations in space and illusionism that would be developed by later artists like Giotto, making divine figures appear more human and relatable.
• 🌏 The painting is a testament to the mercantile culture of late 13th century Florence, where wealth generated by trade allowed for such lavish commissions.

Q & A

What is the 'Rucellai Madonna,' and who painted it?

The 'Rucellai Madonna' is a large panel painting created by Duccio. It is named after the Rucellai Chapel in Santa Maria Novella, where it was later placed, though this is not its original name.

Who commissioned the 'Rucellai Madonna' and why?

The 'Rucellai Madonna' was commissioned by the Laudesi, a religious brotherhood in Florence, who were devoted to singing hymns in honor of the Virgin Mary. They wanted a painting to focus their prayer and devotion.

Where was the painting originally located?

The original location of the painting within the church is uncertain, but recent scholarship suggests it might have been placed between two chapels in the Dominican church of Santa Maria Novella.

What role did the Dominicans play in the creation of the painting?

The Dominicans, a mendicant order devoted to poverty and spirituality, were associated with the church where the painting was displayed. The wealth generated by Florence's merchants, many of whom followed the Dominicans, helped fund religious art like the 'Rucellai Madonna.'

How is the 'Rucellai Madonna' connected to the mercantile culture of Florence?

The painting is an example of the wealth generated by Florence’s mercantile culture in the late 13th century. Wealthy patrons, often merchants, supported religious orders and their commissions, leading to the creation of opulent religious artworks.

What elements make the painting feel accessible to the laity?

The angels in the painting seem to be lowering the Virgin and child’s throne into the earthly realm, making the spiritual figures more accessible to ordinary people for prayer and devotion.

What materials and techniques give the painting its divine appearance?

The painting incorporates expensive materials like lapis lazuli for Mary's cloak and gold leaf for various decorative elements, symbolizing the divine. The intricate detailing and pseudo-script on the Virgin’s hem further reflect wealth and divinity.

What is the significance of the 'pseudo-script' in the painting?

The pseudo-script on the Virgin Mary’s hem is meant to evoke exotic, Eastern writing, such as Arabic or Hebrew, reflecting Florence’s awareness of Eastern cultures and suggesting a divine connection to the East.

How does Duccio’s use of space and perspective reflect artistic innovation?

Duccio incorporates some early elements of spatial awareness, such as the visible textiles through the throne’s openings and the modeling of light and shadow. These innovations hint at the increasing naturalism that later artists like Giotto would fully develop.

In what ways does the painting reflect both Byzantine and Western traditions?

The 'Rucellai Madonna' blends Byzantine iconography, such as the golden background and stylized figures, with Western attempts at spatial depth and humanized divine figures. This combination reflects the cultural influences of the Eastern Mediterranean on Tuscan art.

Outlines

00:00

🖼️ Duccio's Rucellai Madonna and Its Origins

The video introduces Duccio's large panel painting, the 'Rucellai Madonna,' displayed in the Uffizi. Originally created for a confraternity, it was later moved to the Rucellai Chapel in Santa Maria Novella. The painting depicts the Virgin Mary, who would tower three times the height of a normal person. This artwork served as a spiritual focus for the religious brotherhood devoted to singing hymns to the Virgin Mary.

05:02

🎵 The Role of Confraternities and Religious Orders

The video delves into the Laudesi confraternity, a group of laypeople who commissioned Duccio's painting. Dedicated to the Virgin Mary, they sang hymns both in church and on the streets of Florence. The painting was used to focus their prayers. Recent scholarship suggests that the piece was originally displayed between two chapels in the Dominican church of Santa Maria Novella, where monks of the Dominican order, followers of St. Dominic, resided.

💰 Wealth and Influence of Mendicant Orders

The narrators discuss how the Dominicans, a mendicant order devoted to living in poverty, paradoxically grew wealthy due to donations from merchants in Florence. These donations gave the merchants access to prime burial spaces and religious benefits, such as prayers to shorten their time in purgatory. The creation of the Rucellai Madonna is seen as a product of the wealth and religious devotion in late 13th-century Florence.

🕊️ Spiritual Atmosphere of Churches

The video contrasts the sacred environment of churches like Santa Maria Novella with the bustling atmosphere of the Uffizi gallery. The church would have been filled with prayers, incense, and the symbolism of heavenly architecture. Laypeople, including the confraternity members who commissioned the painting, could only access the nave, while priests and the wealthy had closer access to the altar, separated by a choir screen (tramezzo).

👼 Angelic Figures Supporting the Throne

The video examines the depiction of six angels surrounding the Virgin and Child. These angels, while kneeling, seem to be holding and lowering the throne to Earth, symbolizing how divine figures were made accessible to laypeople. The narrators note the individual ways the angels hold the throne, further emphasizing their role in bringing this sacred image down to the viewer's world.

🎨 The Delicacy of Colors and Materials

The narrators highlight the delicate colors worn by the angels, like greens, blues, and violets, set against a golden background that represents heavenly light. The richly decorated throne, with gold lines suggesting volume, is described as a wooden structure that could realistically be built by a carpenter. The throne serves as both a spiritual and physical object in the composition.

👑 Mary's Majesty and the Cloth of Honor

The cloth draped behind Mary, supported by finials and arches, is described as a traditional element of honor for enthroned figures. Mary is portrayed as impossibly tall and elegant, holding the Christ child who raises two fingers in a gesture of blessing. The contrast between Mary's ethereal grandeur and her accessibility to worshippers is emphasized.

💎 The Splendor of Lapis Lazuli and Gold

The video details the rich symbolism and expense of the materials used in the painting, such as Mary's cloak made of lapis lazuli, an expensive stone imported from Afghanistan. The extensive use of gold in the throne, halos, and drapery symbolizes divine glory, contrasting with the everyday life of Florentines in the 13th century.

🏛️ Rival Cities: Siena and Florence

The painting, though created for Florence’s Santa Maria Novella, was painted by Duccio, a Sienese artist. The video notes that Florence and Siena were rival cities, both wealthy but frequently at war. The unique vertical composition of the painting contrasts with the more common horizontal layouts of altarpieces, with saints appearing in roundels in the frame rather than beside the Virgin and Child.

🖋️ Pseudo-Script and Eastern Influence

The narrators discuss how the luxurious textiles depicted in the painting, like the gold-embroidered cloth on the throne, reflect Eastern influences. The hem of the Virgin’s garment contains pseudo-script, a decorative imitation of Eastern languages like Arabic or Hebrew. This suggests Florence's connection to the East, particularly Jerusalem and the Byzantine Empire.

🔮 Innovations in Space and Humanism

Duccio’s innovations in depicting space and illusionism are highlighted, particularly in the way viewers can see through the throne to the textile behind it. The video links this approach to a growing trend toward making divine figures more human and relatable, with subtle shifts in body posture and light modeling suggesting depth. This progression would later be fully realized by artists like Giotto.

🌍 The Transition from Divine to Human

As divine figures like Mary and Christ begin to occupy more naturalistic spaces, the video notes a shift toward empathizing with these holy beings. Although Mary remains impossibly large, she and the angels seem to bridge the gap between heaven and Earth, making the divine feel more accessible to human understanding.

Keywords

💡Rucellai Madonna

The 'Rucellai Madonna' is the name given to the painting by Duccio, which is the main focus of the video. It is a panel painting depicting the Virgin Mary and the Christ child, surrounded by angels. The name was given later when the painting was moved to the Rucellai Chapel in Santa Maria Novella. The artwork is significant as it was commissioned by a confraternity known as the Laudesi, who were devoted to singing hymns in honor of the Virgin Mary. This painting is a central element in the video's exploration of religious art and its cultural context in late 13th century Florence.

💡Confraternity

A confraternity is defined as a group of people, typically not priests, who come together for religious purposes. In the context of the video, the Laudesi confraternity commissioned the 'Rucellai Madonna' to focus their prayers. They were a religious brotherhood engaged in charitable works, and their commissioning of the painting exemplifies the role of confraternities in the patronage of religious art, which is a key theme in the video.

💡Mendicants

Mendicants, as mentioned in the script, are members of religious orders who renounce worldly possessions to lead a life more aligned with the teachings of Christ. The Dominicans, followers of St. Dominic, are referred to as mendicants. The video discusses how these orders, despite their vow of poverty, became wealthy due to the patronage of wealthy Florentine merchants, which is ironic and highlights the complex relationship between religion and wealth in the period.

💡Mercantile Culture

The mercantile culture refers to the commercial and trading activities that were prevalent in late 13th century Florence. The video explains how this culture generated extraordinary wealth, which in turn funded the creation of religious artworks like the 'Rucellai Madonna'. The wealth from the mercantile culture allowed for the patronage of art and the use of expensive materials, which is a central theme in the video.

💡Laudesi

The Laudesi were a specific confraternity in Florence that commissioned the 'Rucellai Madonna'. They were devoted to singing hymns in honor of the Virgin Mary. The Laudesi's commissioning of the painting illustrates the active role of confraternities in the creation of religious art and their desire to have a visual focus for their prayers, which is a key point in the video's narrative.

💡Duccio

Duccio is the artist who painted the 'Rucellai Madonna'. He was a Sienese painter, which is significant as it highlights the cultural and artistic exchanges between rival cities Siena and Florence. Duccio's work on the painting is discussed in the video as an example of the artistic styles and techniques of the time, including the use of expensive materials and the beginnings of spatial representation in religious art.

💡Lapis Lazuli

Lapis lazuli is a semi-precious stone that was used to create the brilliant blue cloak in the 'Rucellai Madonna'. The script mentions that it was mined only in Afghanistan and imported to Italy at great cost, making it the most expensive material in the painting. The use of lapis lazuli in the artwork symbolizes the glory of heaven and the material splendor that was possible due to the wealth generated by the mercantile culture.

💡Pseudo-script

Pseudo-script refers to the decorative lines that resemble writing but are not actual letters of the Latin alphabet. In the video, it is mentioned that the pseudo-script on the hem of the Virgin Mary's garment is meant to reflect Eastern Mediterranean scripts, such as Arabic or Hebrew. This element of the painting indicates the influence of Eastern icon painting and the cultural exchange between East and West, which is a significant aspect of the video's exploration of the artwork.

💡Byzantine Tradition

The Byzantine tradition is referenced in the video in relation to the painting's style, which was influenced by Eastern icon painting. The 'Rucellai Madonna' shows elements of this tradition, such as the vertical alignment and the representation of divine figures. The video discusses how Duccio's work, including its Byzantine influences, laid the groundwork for later artists like Giotto, who further developed the representation of divine figures in space.

💡Spatial Representation

Spatial representation in art refers to the depiction of three-dimensional space and the use of techniques to create a sense of depth and volume. The video notes that Duccio's work on the 'Rucellai Madonna' shows an early interest in spatial representation, such as the suggestion of space behind the throne and the modeling of light and shadow on Mary's knee. This development is significant as it represents a shift towards more naturalistic and humanized depictions of divine figures, which is a key theme in the video.

💡Giotto

Giotto is mentioned in the video as a later artist who built upon the innovations of Duccio, including the representation of divine figures in space. Giotto is known for his naturalistic style and the emotional expressiveness of his figures, which were influenced by artists like Duccio. The video suggests that Duccio's work was a stepping stone towards the more humanized and spatially aware representations of religious figures that became prominent in the early 14th century.

Highlights

The Rucellai Madonna was painted by Duccio and was later moved to the Rucellai Chapel in Santa Maria Novella.

The painting was commissioned by a confraternity known as the Laudesi, a religious brotherhood devoted to singing hymns in honor of the Virgin Mary.

This painting likely hung between two chapels in the Dominican church of Santa Maria Novella.

The Dominicans were a mendicant order, living in poverty like Christ, but the painting reflects the wealth of Florence's mercantile culture.

Mary and the Christ child are surrounded by six angels who appear to be lowering the throne to Earth, making the divine accessible.

The painting's use of rich materials, such as the lapis lazuli in Mary’s cloak and gold leaf, symbolize the glory of heaven.

The pseudo-script on Mary's hem reflects the influence of Eastern cultures and the Byzantine tradition on Italian art.

This large vertical painting contrasts with typical altarpieces of the time, which were more horizontally aligned.

Duccio's interest in space and illusionism is seen in how we can glimpse the textiles behind the throne through its openings.

The angels delicately hold the throne, giving the impression they are physically lowering it into our world.

Material splendor in the painting represents the divine, with gold used extensively on the throne, halos, and other elements.

Duccio, a Sienese painter, reflects both the artistic and political rivalry between Siena and Florence in his work.

This painting reflects innovations in depicting divine figures more naturally, as seen in Mary’s subtle body shift, suggesting movement and space.

The angels' clothing in soft hues of greens, blues, and violets creates a delicate and ethereal aesthetic, set against the golden heavenly backdrop.

Duccio’s innovations, such as modeling and space, were a precursor to the work of later artists like Giotto, helping divine figures feel more human.

The monumental size of the Virgin Mary emphasizes her divine importance, despite her seemingly human qualities and connection to the earthly realm.

Transcripts

(smooth jazz piano music)

- [Male Narrator] We're in the Uffizi

looking at an enormous panel painting.

This is by Duccio, and it's known as the "Rucellai Madonna."

The Virgin Mary, if she were to stand up,

would be three times the height of a normal person.

- [Female Narrator] We have to remember that these names,

like the "Rucellai Madonna," are not the actual names

that these paintings were given when they were made.

This painting was later moved

to the Rucellai Chapel in Santa Maria Novella.

It came to be known as the "Rucellai Madonna."

- [Male Narrator] And we're not precisely sure

of its original location within the church.

We do know that it was made for a confraternity,

that is, a group of people who were not priests.

- [Female Narrator] They were basically

a religious brotherhood.

There were many such confraternities

in Florence at this time,

and they engaged in charitable works.

In the case of this confraternity, the Laudesi,

who commissioned Duccio to paint this Madonna and child,

they were devoted to singing hymns

in honor of The Virgin Mary.

- [Male Narrator] And they would sing those hymns

both within the church and on the streets of Florence.

But they wanted a painting to focus their prayer.

- [Female Narrator] There's some recent scholarship

that suggests where this painting was between two chapels

in the Dominican church of Santa Maria Novella,

that is, a church whose monks

were dedicated to the Dominican order.

- [Male Narrator] Followers of St. Dominic.

The Dominicans, like the Franciscans, are referred to

as mendicants, that is, begging orders.

These are people who gave up their worldly possessions

in order to be more like Christ.

- [Female Narrator] To live in poverty

as Christ had recommended.

- [Male Narrator] Ironically,

these orders became very wealthy,

largely because the merchants of Florence

became followers and would give them gifts,

and this would give them access as well.

Access, for instance, to prime real estate

close to the high altar within the church,

in which they could be buried.

- [Female Narrator] And had prayers said for them

after their death,

prayers that would hopefully

release them sooner from purgatory

and allow them to get to heaven.

- [Male Narrator] This object is something that is possible

really only because of the extraordinary wealth

that is being generated in the mercantile culture

of late 13th century Florence.

- [Female Narrator] It's important to think about

that space of the church,

of entering a sacred space, of the sound of prayers,

of singing the praises to the Virgin Mary.

Very different from the hum of voices here at the Uffizi.

- [Male Narrator] It would've been a relatively dim space,

there would have been incense, and of course,

the sense that you were in architecture

that was representative of heaven.

The people who commissioned this, the confraternity,

would not have had access to much of the church.

They wouldn't have been able to go beyond

what Italians call the tramezzo,

that is, a choir screen that divided the church.

On one side, everyday people in the nave,

and then closer to the high altar,

an area that was reserved for priests

and other people directly involved with the church,

although also perhaps some wealthy

or politically powerful Florentines.

- [Female Narrator] So we're looking at

Mary holding the Christ child.

Those two figures are surrounded by six angels,

and if you look closely at the angels,

although they're each in kneeling positions

and none of them are really on the floor

except for the two bottom angels,

nevertheless there's a feeling

that the angels are carrying this throne,

they're bringing it down to Earth

to be the focus of our prayer and devotion.

- [Male Narrator] Making the Virgin and child,

this important spiritual image, accessible to the laity.

- [Female Narrator] Look at how the angels

are each holding the throne slightly different.

The angel on the left

who delicately holds the column in the back,

but also has her front arm

holding one of the horizontal beams of the throne.

- [Male Narrator] And if you look at the angel

on the lower left, you can see

its fingers just reaching under the throne.

And so, to your point, it seems as if the angel

is just lowering that throne into our world.

What I'm struck by is the delicacy

of the colors that those angels wear.

We see greens and blues and violets,

all against this beautiful, rich, gold background

that is meant to express the light of heaven.

- [Female Narrator] And the throne,

which is so highly decorated,

these gold lines that give us a sense of the volume,

the roundness of these columns that create the throne.

- [Male Narrator] But the throne seems

as if it's made of gilded wood,

it seems as if it could actually be constructed,

this is something that a carpenter could build.

- [Female Narrator] And Mary has behind her a cloth,

which is supported by some finials and arches

at the back of the throne,

and that idea of the cloth of honor,

often something that we see

in the back of the enthroned Virgin Mary.

- [Male Narrator] Framing her.

And then we have the two primary figures.

Mary, impossibly tall, impossibly elegant,

holding the Christ child,

who raises two fingers in a sign of blessing.

- [Female Narrator] And he looks out his right.

Mary seems to look in the opposite direction,

toward her left, but also out toward us,

as though the divine is being delivered to us here on Earth.

- [Male Narrator] Look at that brilliant blue cloak

that she wears, a cloak that is made of lapis lazuli,

an extraordinarily expensive semi-precious stone

that was at this time mined only in Afghanistan,

imported to Italy at great cost.

This is the most expensive material in this painting.

- [Female Narrator] Here, material splendor

is suggesting, symbolizing the glory of heaven.

The gold on the throne, the gold hem

that meanders in these lovely circular patterns

around the edges of Mary's garment,

the gold on the halos, the gold striations or lines

that we see on the drapery around Christ's legs,

and that rich tapestry behind her,

and even that gold-embroidered pillow that she sits on.

All of this suggests to us a divine world

that must have been so different than the everyday world

of the people of Florence in the late 13th century.

- [Male Narrator] Although this painting was produced

for Santa Maria Novella in Florence,

it was actually painted by Duccio,

who was a Sienese painter.

Siena and Florence were rival cities

in what we now call Tuscany.

Both wealthy republics, but occasionally at war.

- [Female Narrator] Often we think about these paintings

as being altarpieces, as standing on top of altars.

But this is so tall, this is so vertically aligned.

Most altarpieces were horizontally aligned

and would have had the Virgin Mary and child in the center

and angels and saints on either side.

Here, the saints are situated

in roundels in the frame itself.

- [Male Narrator] The representation of wealth

is not only through the materials,

the lapis lazuli, the blue, or the gold leaf,

it's also in the representation, for example,

of that silken cloth that hangs over the seat of the throne

that seems as if it's been embroidered in gold,

and may have been intended to suggest

expensive cloths that had been imported from the East.

In fact, if we look carefully at the hem of the Virgin Mary,

you can see that there's writing in it.

This is fascinating, it's not actual writing.

It's sometimes called pseudo-script.

It's lines that are meant to look like letters,

but not letters of the Latin alphabet.

These are meant to reflect the kinds of letters

that the Italians thought of in the Eastern Mediterranean,

that is, Arabic or Hebrew or some amalgamation of the two.

- [Female Narrator] Jerusalem lies to the east,

the important Byzantine Empire lies to the east.

Europe did not see itself as the center of the world

the way that it will in just a couple of centuries.

- [Male Narrator] And like that cloth,

and like that pseudo-script, the form of this image itself

was clearly influenced by Eastern icon painting,

that is, the painting of the Byzantine tradition.

- [Female Narrator] As we're thinking about

Duccio's interest in space, in illusionism,

we also notice that we can look

through the openings in the throne

to see the textiles that lie behind it.

We look at Duccio, and we think about what's to come.

The way that divine figures

begin to appear more and more human,

and begin to occupy spaces

that are more and more naturalistic.

And so we have this suggestion of space,

and even some modeling, some movement from light to dark,

for example, in Mary's right knee,

that presses through that drapery

as she shifts her body just slightly to one side.

- [Male Narrator] These are innovations

that will be picked up by a later generation of artists,

people like Giotto.

And so we can begin to see at the end of the 13th century,

and then into the early 14th century,

this interest in showing divine figures

as having some sense that they exist in space.

And just as the angels seem to be

bringing this throne down from heaven to Earth,

so the figures begin to seem to occupy

a world that we recognize.

- [Female Narrator] And therefore,

we begin to empathize with these divine figures

who more and more seem very much like us.

- [Male Narrator] Despite the fact

that this figure is three times our height.

(smooth jazz piano music)