Siena’s leading artist was Duccio di Buoninsegna, one of the most innovative figures in Western art who in 1311 completed the city’s most famous altarpiece, the 'Maestà', for Siena Cathedral. While several of its panels were later dispersed, a number have been reunited in the current exhibition, including three which are now in the National Gallery’s collection. 

We will study the history of this and other altarpieces made for the cathedral, as well as more intimate Sienese paintings and sculptures made for private devotion, such as Duccio’s ‘The Virgin and Child with Saints Dominic and Aurea’.  

We will also explore the history of the cathedral itself and discover why plans for its extension were dramatically curtailed.

Between 1287 and 1355, Siena was governed by the Council of Nine who ruled wisely, democratically and peacefully. Their meeting room was located in the Palazzo Pubblico, Siena’s town hall. The room is decorated with frescoes by Ambrogio Lorenzetti, depicting allegories of good and bad government. These were part of a programme of powerful visual propaganda designed to reflect the Council’s ideals and positive attributes and the well-ordered society which flourished under their rule. 

We examine these and other works commissioned by the government, from a famous equestrian portrait of Guidoriccio da Fogliano, traditionally attributed to Simone Martini, to decorative 'biccherne' (account book covers). 

After the break, enjoy a room-by-room tour of the exhibition.

In our final session, we see how the artists of the 1300s had a profound impact on those of the early Renaissance, such as Sano di Pietro, Sassetta and Matteo di Giovanni. Devotional images continued to be produced in large numbers during the 15th century, as elsewhere in Italy, but many Sienese examples deliberately rejected the naturalism found in Florentine examples, preferring to hark back to the mysticism of trecento prototypes, with their sinuous lines, flowing forms and decorative gold backgrounds.