15th C. Paintings
A Judgment Scene
Attributed to a follower of Andrea di Giusto?
(Sienese Workshop, mid-15th century)
A Judgment Scene is possibly a fragment of an Italian cassone (similar to a modern-day hope chest). Cassones were often given as wedding gifts. Highly decorated on the outside, the different scenes depicting love and marriage were meant to bring luck and happiness to the new couple.
This particular fragment portrays an enthroned king seated in judgment over a woman and man kneeling before him. The king holds a small pouch in his left hand and, in his right, he raises an orb above his subjects. At the king's foot lays a dead man and surrounding his throne are men conversing among themselves. Behind the king is a wall flanked with stalks of wheat and angels that hover above the king's head, holding garland.
The subject matter of this narrative scene is questionable, as both secular and religious inspirations are plausible. One possibility is that the cassone represents a scene taken from Giovanni Boccaccio's Decameron, A Fictional Account of Days, in which each day includes a different love story. It is thought that this scene represents the second story of the fifth novel, the story of Martuccio and Constance. If this is indeed the subject of this painting, Constance and Martuccio are kneeling at the King of Tunis' feet. The man who lies dead at his feet is the Lord of Granada, whom Martuccio helped the king to defeat. This representation is the pinnacle of the story, in which the young couple is denounced by the King of Tunis.
Another possible subject of the painting is a scene from the Biblical Book of Esther, in which, after the hanging of Haman, Esther kneels before the king and his Eunuchs, asking him to use his power to alleviate all evil from the Jews. The Book of Esther is suggested as an inspiration because of the unique costumes of the figures in the scene. The costume design is oriental and resembles that of Jews of the fifteenth century. However, dress of the high court in fifteenth century Europe often resembled that of the orient, as unique foreign dress was a status symbol, and thus could simply reflect the wealth of the court represented in The Decameron.
A Judgment Scene has been previously attributed to two different artists, Andrea di Giusto and Lorenzo Vecchietta. Both artists are from the fifteenth century and follow the style of the Sienese school. It appears, however, that the painting better reflects the style of Andrea di Giusto, as he worked in a more miniaturist style with fine details similar to those found in A Judgment Scene.1
In general, the painting has a flat and nondimensional quality. The figures' faces resemble those of marionettes, pale skin with brightly painted delicate features. The paleness of the skin creates a unique contrast with the bright red background, brilliant robes, and gold gilding. Despite the dramatic scene, the figures lack any emotion. The Sienese school, known for its production of miniatures, reflects a sense of delicacy and a quiet non-emotion, characteristics certainly found in A Judgment Scene.2
A Judgment Scene is structurally sound, but prior to restoration, a heavy varnish covered the painting, creating a grimy surface. Due to the natural aging process, the varnish had oxidized and disfigured the scene. While restoration resulted in photo documentation and a thorough cleaning of the painting, some damage is still visible.
Sarah Lutz
1 Nicolson, Benedict, "Current and Forthcoming Exhibitions," The Burlington Magazine 112 (1970): 766.
Depicted in this article is a painting by Andrea di Giusto entitled Scene in a Temple, which portrays similar qualities to that of A Judgment Scene.
2 Christiansen, Keith, "Notes on 'Painting in Renaissance Siena,'" The Burlington Magazine 132 (1990): 205-212.
Visual analysis of the illustrations included in the text showed this style. Also used as a source for visual analysis is: Hood, William, "New York Metropolitan Museum Sienese Quattrocento Painting," The Burlington Magazine 131 (1989): 241-244.
Provenance
Vatican, Rome (?)
Giulio Sterbini, Rome
Contini Bonacossi, Florence, from whom acquired by Kress in 1933
Exhibited
San Francisco, Calif., Italian Paintings lent by Mr. Samuel H. Kress, Jan. 1934-June 1935 (continuing exhibition to Charlotte, N.C., p. 15, as by Andrea di Giusto)
Washington, D.C., National Gallery of Art, 1941-53 |
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