John 1:14 And the Word became flesh and lived among us….
Commentary by Hovak Najarian
(Previously Hovak has commented on works from the Maesta:
Christ’s Appearance to the Apostles and Solomon)
The Nativity (with the Prophets Isaiah and Ezekiel), 1308-1311, egg tempera, Duccio di Buoninsegna, c. 1255-1319
Duccio’s “Nativity” was once part of the Maesta (Majesty) which served as an altarpiece for the Cathedral of Siena, Italy. When the painting was completed in 1311, it was composed of a very large panel of the Madonna and Child surrounded by saints and angels. Its base – called a “predella” (Italian for “foot stool” which it resembled) – was below the main panel. It served physically to support the altarpiece and visually to depict seven scenes of the birth and early life of Christ. In its original form, an Old Testament prophet stood to the right of each event holding a scroll on which a passage written by him pertained to the scene.
Duccio’s “Nativity,” the second scene in the predella, takes place in a grotto with Mary reclining on a red cushion in a royal robe of blue. In keeping with the practice of increasing a person’s size in accordance with their importance, she is much larger than the other figures. In the manger, the baby Jesus is being watched over by an ox and an ass and many angels have gathered above them; some are looking heavenward in praise and others are leaning over for an adoring glance at the baby. A small star is at the peak of the cave entrance with its rays shining onto the face of Jesus. Below the figure of Mary are two related scenes. On the left, two midwives are bathing the new born Jesus and on the right, angels are announcing Jesus’ birth to the shepherds as they stand with a sheepdog and their flock. On the left side, Joseph is sitting outside of the grotto in a pink robe, To the right of this scene is a painting of Ezekiel holding a scroll with his words; “This gate shall be kept shut: it shall not be opened, and no man may pass through it.”
In the early eighteenth century, the Maesta altarpiece was taken apart in order to divide it between the two altars of the Cathedral of Siena. During this process, damage was caused and some parts of the painting became separated and lost. Other sections were purchased and placed in museums. One of the results is Isaiah now is not with the scene to which he and his words belong. The scroll he is holding states; “Behold a young woman shall conceive and bear a son and shall call his name Immanuel” and he was placed originally at the immediate right of the “Annunciation,” (the first scene of the predella). He was separated from it and is now at the National Gallery of Art, Washington, DC standing next to the “Nativity.” Isaiah is not looking toward the birth of Jesus because in the original he was looking toward the archangel Gabriel’s visit to Mary. The painting of the “Annunciation,” to which his words of prophecy apply is an ocean away in the National Gallery of London without its accompanying prophet, Isaiah.
Hovak Najarian © 2013