Through his choices in composition Simone Martini is draws the viewer's eye to the smaller figure of Christ. Though it is an unusual story, the figures are easy to identify; the Virgin in her ultramarine drapery, the elderly figure of Joseph and Christ himself. There is no sense of a 'temple' here as in other depictions (for instance Giotto's fresco of the same subject in the Scrovegni Chapel, usually titled Christ Among Doctors), but instead a background of gold mostly likely produced from water gilding. Martini advances his textural choices in the relief arch that frames the family, but also using shell gold for the trimmings of draperies, and sgraffito for halos. Very much in the tradition of the early Renaissance, the halos are solid and two dimensional, recalling Byzantine prototypes. There is a strong propensity for jewel-like, mimetic qualities to Martini's panels. His signature and dating in Latin along the bottom of the frame signals his pride at the finished product.
Due to expense of materials and the choice of an unusual subject, it can be speculated that this panel was produced for a wealthy patron. The dating of 1342 shows that it was was painted in Avignon when the Papal court moved there from Rome. According to fellow artist Ghiberti, Martini was in Avignon at this time, and Vasari corroborates this in his Lives. Despite a fairly prolific output by Martini while in Sienna, only five documented works survive from the eight or nine years of activity in Avignon, before his death in 1444. It is entirely possible he was instructed by a member of the papal curia to travel to Avignon, according to Emma Capron. With this substantial flow of money, he would not necessarily need to run a large workshop to maintain a steady income, and so it is also possible that this panel shows the true hand of the artist most clearly.
Certainly it is a unique and well put together piece - at this point Martini was a well established panel painter. He had already produced a Madonna of Humility for instance, a form that reappears here in the seated figure of the Virgin. His use of a verdaccio underpaint for the faces of the figures is particularly apparent in the Virgin which has faded to show the green pigment, possible terre verte. Much of our knowledge of early Renaissance fresco and tempera techniques comes from the blueprints offered by Cennino Cennini. In addition, there are clear Sienese qualities to the panel - the folds of the draperies across Joseph recall the work of Giotto, as do the gesticulations. Mary and Joseph direct the viewer's eye to each other with elegant, elongated fingers. Joseph offers a comforting, fatherly hand on the figure of Christ. But it is Christ who stamps his authority over the scene. His folded arms highlights his resolute attitude, the affirmation of his divinity. Physically higher than the Virgin, she rescinds her position in favour of this higher spiritual source. Although only twelve years old at the time of this narrative, Christ already wields his omnipotent divinity.
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