I have satisfied myself by close inspection that such is the case, and the half dozen or so other panels associated with this Madonna stylistically all seem to belong to the first half of the 13th century. Footnote 16: Sirén, _Burlington Magazine_, XXXII (1918) p. 45, ascribes this panel to Cavallini. Berenson in _Dedalo_, Vol. II, fasc. v, allots it to Constantinople at the end of the 12th century. Neither view is even plausible to me. Footnote 17: _Duccio._ A. Lisini, _Notizie di Duccio_ &c. Siena, 1898. Curt Weigelt, _Duccio di Buoninsegna_, Leipzig, 1911, the standard monograph, well illustrated. Footnote 18: The whole matter of the Rucellai Madonna is well discussed by Douglas in his edition of _C. & C._, Vol. I. Appendix to chapter VI. Andreas Aubert, _Cimabue_, p. 138 ff., and Curt Weigelt, _Duccio_, both agree that the Rucellai Madonna is the picture called for by the contract of 1285, hence is by Duccio. Aside from many stylistic similarities to Duccio’s early Madonna with Franciscans in the Siena Academy, the exquisitely drawn bare feet of the Angels in the Rucellai Madonna amount almost to a signature for Siena’s greatest painter. H. Thode and O. Sirén hold that a picture designed and begun by Duccio was finished by Cimabue, _Toskanische Maler_, pp. 308–9, and note 41 to latter page. The hypothesis that Duccio was strongly influenced by Cimabue in this work seems simpler. Footnote 19: The contract is worth quoting in part from G. Fontana, _Due documenti inediti riguardanti Cimabue_, Pisa, 1878; it is reprinted in Strzygowski, _Cimabue und Rom_, Wien, 1888. The papers were recovered from a grocer who was about to use them for wrappers. “Which picture of the Majesty of Divine and Blessed Virgin Mary and of the Apostles and other saints is to be made in columns and in the predella and [main] spaces of the picture good and pure florin gold shall be used; the other pictures which are to be made in the aforesaid panel above the columns in tabernacles, gables, and frames shall be made ... of good silver gilt.” The picture apparently was a polyptych of three, five, or seven panels with columns and round arches, with an upper order of gables and tabernacles. It seems to have been the first well-peopled Madonna in Majesty, and it probably served as Duccio’s exemplar. Cimabue died before finishing it, but since in Nov. 1302 he received a large installment of 40 Pisan _lire_, he must at least have fully drawn the composition on the panel. Footnote 20: _Simone Martini._ See the standard work by Raimond van Marle, _Simone Martini_, Strasbourg, 1920.