Maestà (Duccio) in the context of "Life of Jesus in the New Testament"

In Christianity, a disciple is a dedicated follower of Jesus. This term is found in the New Testament only in the Gospels and Acts. Originating in the ancient Near East, the concept of a disciple is an adherent of a teacher. Discipleship is not the same as being a student in the modern sense; a disciple in the ancient biblical world actively imitated both the life and teaching of the master. It was a deliberate apprenticeship which made the fully formed disciple a living copy of the master.

The New Testament records many followers of Jesus during his ministry. Some disciples were given a mission, such as the Little Commission, the commission of the seventy in Luke's Gospel, the Great Commission after the resurrection of Jesus, or the conversion of Paul, making them apostles, charged with proclaiming the gospel (the Good News) to the world. Jesus emphasised that being his disciples would be costly.

In the New Testament, chapters 14–17 of the Gospel of John are known as the Farewell Discourse given by Jesus to eleven of his disciples immediately after the conclusion of the Last Supper in Jerusalem, the night before his crucifixion.

The discourse is generally seen as having distinct components. First, Jesus tells the disciples that he will be going away to the Father, and that he will send the Holy Spirit to guide the disciples. Jesus bestows peace on the disciples and commands them to love one another. The expression of the unity of love between Jesus and his Father, in the Spirit, as it applies to his disciples in the love of Christ, is a key theme in the discourse, manifested by several reiterations of the New Commandment: "love one another as I have loved you".

The New Commandment is a term used in Christianity to describe Jesus's commandment to "love one another" which, according to the Bible, was given as part of the final instructions to his disciples after the Last Supper had ended, and after Judas Iscariot had departed in John 13:34.

This commandment appears thirteen times in twelve verses in the New Testament. Theologically, this commandment is interpreted as dual to the Love of Christ for his followers. The commandment can also be seen as the last wish in the Farewell Discourse to the disciples.

The Museo dell'Opera del Duomo is an art museum in Siena, in Tuscany in central Italy. It houses works of art and architectural fragments that were formerly in, or a part of, the Duomo of Siena (Siena Cathedral). These include a number of Italian Gothic sculptures by Giovanni Pisano and his school from the façade of the cathedral; the Maestà of Duccio di Boninsegna, which was the cathedral's altarpiece in the crossing beneath the dome from about 1311 until 1505 or 1506;, works by Ambrogio and Pietro Lorenzetti (14th ct.), as well as Donatello's Madonna del Perdono (1457) There are also works moved to the museum from other churches in the area, such as the Madonna of Duccio brought from the Pieve di Santa Cecilia (it) at Crevole in the comune of Murlo.

Maestà [maeˈsta], the Italian word for 'majesty', designates a classification of images of the enthroned Madonna with the child Jesus, the designation generally implying accompaniment by angels, saints, or both. The Maestà is an extension of the "Seat of Wisdom" theme of the seated "Mary Theotokos", "Mary Mother of God", which is a counterpart to the earlier icon of Christ in Majesty, the enthroned Christ that is familiar in Byzantine mosaics. Maria Regina is an art historians' synonym for the iconic image of Mary enthroned, with or without the Child.

In the West, the image seems to have developed from Byzantine precedents such as the coin of Constantine's Empress Fausta, crowned and with their sons on her lap and from literary examples, such as Flavius Cresconius Corippus's celebration of Justin II's coronation in 565. Paintings depicting the Maestà came into the mainstream artistic repertory, especially in Rome, in the late twelfth and early thirteenth centuries, with an increased emphasis on the veneration of Mary. The Maestà was often executed in fresco technique directly on plastered walls or as paintings on gessoed wooden altar panels.