Duccio And Devotion To The Virgin's Foot In Early Sienese Painting

In “Duccio and Devotion to the Virgin’s Foot in Early Sienese Painting,” Joanna Canon studies the symbolic representation of the Virgin’s foot (or feet) in artworks from the late 13th century to the early 14th century, as well as its context, implication, and impact. Many cultures interpret that kissing the dominant personage’s foot is an act of submission. The Virgin, according to Christian tradition, is an intercessor. Therefore, in many altarpieces and paintings, her inviting foot under the draperies functions as a bridge between the divine and the spectators. Kissing the Virgin foot is not only a gesture of devotion, but also a pled for blessings. Although artists and commissioners’ interest in presenting the foot did not last long, this theme reflects the development of making interactions beyond the frame. Although Canon’s title entails that the article is about Duccio’s painting and his portrayal of the Virgin’s foot, the evidences she uses in her article come from varies sources and periods. Thus, readers can gain more insights into her discussion of the foot’s significance. In the beginning, she uses Duccio’s Madonna dei Francescani as an introduction to her topic. This painting …show more content…
In the last section of her article, Canon provides evidence of interaction between the painting and spectator. She use the examples of “Virgin and Child Enthroned with Angels and Supplicant,” by Duccio, and “Virgin and Child and Four Saints,” pointing out that there are surface wear in the area of the Virgin and baby Jesus foot, which shows that the devotion to Mary and Jesus also exists outside the painting. As shown above, Canon’s article follows a pattern, from kissing the Virgin’s foot, to duel supplicant, then direct devotion to Christ, and finally, how spectators follow the action of supplicants in the painting, bending down and kissing the Virgin’s foot