Giotto,
Madonna with Child

The work by the Master of Figline is compared with an early work by Giotto, Madonna with Child and Angels, also known as “Madonna of San Giorgio alla Costa”, kept today in the Church of Santo Stefano in Ponte in Florence. It “stylistically” dates between the works in the Scrovegni Chapel in Padua (1303-1305) and the Cross of Santa Maria Novella (1312) . A young Giotto therefore, but already master of a clear style which will be characteristic of his entire production. The materiality of the figures stands out; they seem to come out of the flat background and come alive through the play of chiaroscuro.

The choice of depicting the Madonna in an oblique position in contrast with the frontal position of the child gives the work a three-dimensional depth that, through the various planes, pushes the figures to a direct and touching impact towards the onlookers.

The robes as well, owing to their forms and drapes overlapped by crossed bands, become alive in an artifice of movement and naturalness. The depth is accentuated by the throne that, forming a kind of architectural niche, confers further perspective concreteness to the whole.

Greatly damaged on 27 May 1993, by the fragments and splinters from the attack which struck the Uffizi Gallery, the Accademia dei Georgofili and partly also the Church of Santo Stefano a Ponte Vecchio, which housed it, the Madonna of San Giorgio alla Costa underwent a long and careful restoration at the laboratories of the Opificio delle Pietre Dure.

Besides allowing an in-depth study of the work, the restoration returned it to its original size, which had been spoiled by a cut carried out to better adapt it to a niche for which it had been destined in times past.

Giotto, Madonna with Child; 1295 circa; painting on a wooden panel; 180 x 90 cm; Florence, Diocesan Museum of Santo Stefano a Ponte