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Siena in the early 14th century was a city of intense religious and artistic activity. The city was wealthy and successful. There was a strong belief that Siena was favoured and protected by the Virgin Mary. Religious devotion and worship were such that art needed to reach out and almost touch worshippers; to tell an emotional story and to make the experience as real and immediate as possible.
All these elements are present in the sumptuous exhibition of 14th century Sienese art at the National Gallery, which brings together work from museums around the world. The stars of the show are Simone Martini, Duccio di Buoninsegna and the Lorenzetti brothers (Pietro and Ambrogio), with over a hundred exhibits – all gold leaf, lapis lazuli, guilded glass and illuminated manuscripts – pre-dating the Florentine based Renaissance by almost a century.
The exhibition brings together panels from works rarely seen together, most impressively from Duccio’s Maestà (Mary and Jesus at the centre of the work) that once graced the altar of Siena Cathedral (pictured above). Although mesmerising, the altarpiece is also something almost real and tangible, and part of everyday Sienese life and experience. Panels from Martini’s Orsini polyptych come together for the first time in living memory.
The exhibition links the art to Siena’s civic identity with text explaining how the city-state’s political structure, mercantile wealth and spiritual values fostered a unique visual culture. The technical displays explaining gold leaf application and tempera techniques provide valuable context for appreciating these works’ extraordinary craftsmanship. The city at the time was home to a thriving and close-knit group of artists at the cutting-edge of contemporary painting and creation, encouraging and enhancing personal and public worship. Artists’ workshops would have been open to one another and every new technique developed by one painter was immediately known to other artists.
It has been said that the story of trecento Siena and its art is very much about surplus wealth. The relevant accounts for 1333 show that ‘gold’ took up over half the expenditure for the Duomo in that year. Those who controlled that wealth were committed to spending it on the visual representation of the things that mattered to the city. Not only did images of the Virgin everywhere tell visitors of the city’s dedication and its special devotion, but the commissioning of the art represented by this exhibition provided a general assurance to the citizenry and the governing regime of a collective salvation for those who lived in Siena.
This must-see exhibition succeeds spectacularly in revealing how Siena’s artistic golden age fundamentally transformed European visual culture, and reclaims Siena’s place at the heart of art’s evolutionary journey.
Siena – The Rise in Painting 1300-1350 is at the National Gallery until 22 June 2025
Siena in the early 14th century was a city of intense religious and artistic activity. The city was wealthy and successful. There was a strong belief that Siena was favoured and protected by the Virgin Mary. Religious devotion and worship were such that art needed to reach out and almost touch worshippers; to tell an emotional story and to make the experience as real and immediate as possible.
All these elements are present in the sumptuous exhibition of 14th century Sienese art at the National Gallery, which brings together work from museums around the world. The stars of the show are Simone Martini, Duccio di Buoninsegna and the Lorenzetti brothers (Pietro and Ambrogio), with over a hundred exhibits – all gold leaf, lapis lazuli, guilded glass and illuminated manuscripts – pre-dating the Florentine based Renaissance by almost a century.
The exhibition brings together panels from works rarely seen together, most impressively from Duccio’s Maestà (Mary and Jesus at the centre of the work) that once graced the altar of Siena Cathedral (pictured above). Although mesmerising, the altarpiece is also something almost real and tangible, and part of everyday Sienese life and experience. Panels from Martini’s Orsini polyptych come together for the first time in living memory.
The exhibition links the art to Siena’s civic identity with text explaining how the city-state’s political structure, mercantile wealth and spiritual values fostered a unique visual culture. The technical displays explaining gold leaf application and tempera techniques provide valuable context for appreciating these works’ extraordinary craftsmanship. The city at the time was home to a thriving and close-knit group of artists at the cutting-edge of contemporary painting and creation, encouraging and enhancing personal and public worship. Artists’ workshops would have been open to one another and every new technique developed by one painter was immediately known to other artists.
It has been said that the story of trecento Siena and its art is very much about surplus wealth. The relevant accounts for 1333 show that ‘gold’ took up over half the expenditure for the Duomo in that year. Those who controlled that wealth were committed to spending it on the visual representation of the things that mattered to the city. Not only did images of the Virgin everywhere tell visitors of the city’s dedication and its special devotion, but the commissioning of the art represented by this exhibition provided a general assurance to the citizenry and the governing regime of a collective salvation for those who lived in Siena.
This must-see exhibition succeeds spectacularly in revealing how Siena’s artistic golden age fundamentally transformed European visual culture, and reclaims Siena’s place at the heart of art’s evolutionary journey.
Siena – The Rise in Painting 1300-1350 is at the National Gallery until 22 June 2025
Update from the Chair of the Bar
By David Green
Mário Barroso, Head of R&D and Method Development at AlphaBiolabs, examines the forensic science underpinning hair drug testing, its evidential scope and limitations, and why it remains the gold standard for evidencing patterns of drug use in family proceedings
Unlocking your aged debt to fund your tax in one easy step. By Philip N Bristow
Clement Cowley, Partner at The Penny Group, discusses the upcoming changes to pensions and Inheritance Tax and the potential impact on your financial future
Save the Children UK is the latest charity to benefit from a £500 donation from AlphaBiolabs via the company’s Giving Back initiative
The Chief Legal Officer to the Metropolitan Police, barrister Brett Welch, tells Anthony Inglese CB about his mission and the work to turn the Met around
Barrister apprenticeships – shortly to provide the fourth pathway to the Bar – are an ideal opportunity to support local talent and ‘grow your own’, say Tim Coulson and Dr Jane Dennehy
Born from a grievance, their research project grew into a book and is now challenging the status quo. Emma Price and Emma-Louise Fenelon reveal the key findings – and the critical next steps
Grok around and find out – or not? Mariya Peykova investigates the nudification scandal, what the law has to say about sexually explicit deepfakes, and whether stronger regulation is needed
Oliver Lewis spotlights an overlooked yet rapidly evolving area of law – coercive and controlling behaviour within care contexts
