“Angel Gabriel” and “The Virgin Annunciate” from the Orsini Polytypch, 1326-24, Simone Martini, Collection KMSKA, Flemish Community.
Four panels of poplar wood, each about the size of an A4 page, all painted on both sides and hinged together so that they could open and close like a concertina, form the Orsini Polyptych. This is just one of the exquisites treasures on show in the National Gallery of London Exhibition: “Siena, the Rise of Painting 1300-50”. These four panels have long been separated but have been reunited for the Exhibition. On one side are four scenes from the Passion. Their expected sequence is confirmed by the signature that runs along the base of those panels: HOC OPUS SYMON PINXIT. This is the work of Simone Martini (c.1284 – 1344), who trained as an artist in Siena under the great Duccio, but often worked elsewhere and spent the last decade of his life at Avignon where a group of Sienese artists were gathered around the Papal Court. On the other side of the four panels there is the Angel Gabriel and the Virgin Annunciate, flanked by the Orsini crest: hence the polyptych’s name. (See the reconstruction below). This ensemble was designed to be moveable and, given its small size, was probably for private use. The juxtaposition of the conception of Jesus following the Virgin’s consent with the suffering and death of Jesus freely undertaken is powerful. Martini fills his passion scenes with people. The intensity of their feelings is clearly expressed. There panels are busy and rather noisy, full of exquisite details and innovations that subsequent artists would copy. But just walk around the display case, and the noise quickly fades, for neither the Angel nor the Virgin speak. They don’t even look at each other. They may not even share quite the same space, but between them there is clear communication. Their downcast eyes speak to us of a silence which is as deep as it is pregnant. The juxtaposition has a liturgical dimension too, because the Annunciation has long been celebrated on the 25th March and so it almost always falls during Lent. If it falls in Holy Week it gets moved to the first appropriate day after the Easter Octave. The Virgin seems to fall back into her seat. Her body language is hard to interpret. Perhaps she is bewildered, or perhaps she has moved from bewilderment to an understanding of the suffering that will unfold and which the panels on the other side describe so vividly. If you can go down to London and visit the exhibition. If you can’t, watch some of the videos now freely available online. Ponder how the word of an angel announced the great mystery of His Incarnation and of His love.
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