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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
The Chair of the Bar reports back
By Kem Kemal, CEO, Henry Dannell
By BSK Financial Planning
Mário Barroso, Head of R&D and Method Development at AlphaBiolabs
Susie Griffin on the admin that keeps barristers from billable work
Clement Cowley, Partner at The Penny Group, explains how global events can influence the performance of pensions and ISAs, and why taking a long-term approach to investing is often the most effective strategy
Kick off your career at the Bar Council’s Pupillage Fair this October – it’s one of the most valuable opportunities for aspiring barristers, says Amelia Clegg
The golden age of advocacy? David Langwallner pays homage to the filmic if contentious barrister Sir Edward Carson and some of his contemporaries
Henry Fingerhut outlines what the Bar Standards Board AI guidance means for early career barristers
The Ministry of Justice will match-fund up to 100 criminal pupillages, with grants available to criminal chambers across England and Wales. Similar to the COIC scheme, the grants will match-fund pupillages additional to those otherwise offered without government funding
Not yet, says Jacob Turner. Regulation, unlike the technology itself, is a domain the legal profession can still control
