Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)

ANNA EÖRSI: "...there is One Among You Whom You Do Not Recognise": Some Golden Threads to Miklós Boskovits with Reference to Duccio's Saint John the Baptist

But before John you could not hide yourself." (I. Ragusa and R. B. Green, Meditations on the Life of Christ. An Illustrated Manuscript of the Fourteenth Century, Princeton 1961, 107; Saint Bernartlinus, In epiphania domini sermo 1, PL 183, 145.) T.J. Wengert, Philip Melanchtons Annotationes in Johann em in Relation to its Predecessors and Contemporaries. Genève and Dro/. 1987, 151. White 1979, 86, 122 (both are plausible, the Baptism is more probable); V. I. Stoichitâ, "Duccio e la maniera greca," Revue des études sud-est européennes 12 (1979), 516 (Baptism); Deuchler 1984, 74 (the Baptism is more probable than the Temptation); Davies and Gordon 1988, 21 (Baptism); C. Jannella, Duccio di Buoninsegna. Florence 1991, 36 (probably Baptism); D. Norman, '"A Noble Panel.' Duccio's Maestà," in Siena, Florence and Padua. Art, Society and Religion 1280—1400, vol. 2, ed. D. Norman, Yale University Press, 1995, 73 (Temptation); L. Bellosi, Duccio. La Maestà, Milan 1998, 18 (probably Baptism); V. M. Schmidt, "Duccio di Buoninsegna," in Saur Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und l olker, vol. 30, Munich and Leipzig 2001, 155 (Temptation); Schmidt 2002, 151 (Temptation); Bagnoli et al 2003, 212 (Baptism or Temptation). This time I do not enumerate the authors who, instead of nine, count eleven predella scenes. They include Stubblebine, too, who would place the Budapest painting, or more precisely its supposed original, on the lateral, short end of the predella (Stubblebine 1977, vol. 1, 433-34; Stubblebine 1979, vol. 1, 53-54). Wagner 1998. Lk 24:16. Réau 1956, 439: draws a parallel between the Archangel Gabriel and the Forerunner bearing Witness ("Par son index levé, il [Jean le Baptiste) exprime, comme l'archange Gabriel, sa mission d'Annonciateur.") Seiler 2001, 88. Boskovits 1982, 499: "Grouping of figures in compact masses, the close alignment of the intense profiles to emphasise concentrated attention, the measured but eloquent gestures of the minute hands, the crispness of the drapery patterns, and even the somewhat clumsily foreshortened shoulders of the figures in half profile, seen from the back, recall the great master's scenes on the reverse of the Maestà"; Boskovits 1990, 76; Boskovits' view is shared by M. Leoncini, "Duccio tli Buoninsegna," La pittura in Italia. II Trecento, Milan 1986, 569; L. Bellosi, "Duccio di Buoninsegna," in Encidopedia deWarte médiévale, Istituto della Encidopedia Italiana, dir. A. M. Romanini, vol. 5, Rome 1994, 746; D. Gordon, "Duccio (di Buoninsegna)," The Grove Dictionary of Art, ed. J. Turner, vol. 9, London, 2003, 345.