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How did French Gothic manuscript art influence Duccio’s style?

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Duccio: The Virgin Enthroned with the Child, Surrounded by the Patrons of Siena, Angels, and Saints — Duccio *The Virgin Enthroned with the Child, Surrounded by the Patrons of Siena, Angels, and Saints*, central panel of the *Maestà*, tempera on wood panel by Duccio, 1308–11; in the Siena Opera della Metropolitana, Italy.

Duccio di Buoninsegna’s style was significantly shaped by his ability to synthesize diverse artistic traditions, including the integration of elements from contemporary French Gothic miniatures.1

These French influences provided Duccio with a source for "lively tone" and "lyrical, animated stylizations" of both gesture and clothing. This infusion of French Gothic aesthetics contributed to the "animated sweetness and spirituality" that began to emerge in his work, such as in the Madonna Rucellai (1285).1

By incorporating these qualities, Duccio moved beyond the rigid formality of the traditional Italo-Byzantine style, blending it with the new, more expressive spirituality characteristic of the Gothic period. This stylistic evolution allowed him to create figures with greater elegance and subtle lines, marking a departure from purely stylized postures toward a more refined and lyrical artistic language.21