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stokstad_ch18_assets.pptAmbrogio Lorenzetti FRESCOS OF THE SALA DEI NOVE (OR SALA DELLA PACE)
Palazzo Pubblico, Siena, Italy. 1338-1339.
Length of long wall about 46' (14 m). [Fig. 18-01]
Inscriptions on the Frescoes in the Palazzo Pubblico, Siena
Ambrogio Lorenzetti FRESCOS OF THE SALA DEI NOVE (OR SALA DELLA PACE)
Palazzo Pubblico, Siena, Italy. 1338-1339.
Length of long wall about 46' (14 m). [Fig. 18-01]
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Petrarch, Sonnet from the Rime Sparse, n. 77
Giovanni Boccaccio, Decameron, from “The First Day”
Dante Alighieri, The Divine Comedy: Purgatory, from Canto X
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Andrea Pisano LIFE OF ST. JOHN THE BAPTIST
South doors, baptistery of San Giovanni, Florence. 1330-1336. Gilded bronze, each panel 19-1/4" × 17" (48 × 43 cm). Frame, Ghiberti workshop, mid 15th century. The bronze vine scrolls filled with flowers, fruits, and birds on the lintel and jambs framing the door were added in the
mid fifteenth century. [Fig. 18-03]
Scale Comparison: Life of St. John the Baptist
Andrea Pisano LIFE OF ST. JOHN THE BAPTIST
South doors, baptistery of San Giovanni, Florence. 1330-1336. Gilded bronze, each panel 19-1/4" × 17" (48 × 43 cm). Frame, Ghiberti workshop, mid 15th century.
The bronze vine scrolls filled with flowers, fruits, and birds on the lintel and jambs framing the door were added in the mid fifteenth century. [Fig. 18-03]
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Andrea Pisano THE BAPTISM OF THE MULTITUDE
Detail of the south doors, baptistery of San Giovanni, Florence. 1330-1336. Gilded bronze, 19-1/4" × 17" (48 × 43 cm).
[Fig. 18-04]
Scale Comparison: The Baptism of the Multitude
Andrea Pisano THE BAPTISM OF THE MULTITUDE
Detail of the south doors, baptistery of San Giovanni, Florence. 1330-1336.
Gilded bronze, 19-1/4" × 17" (48 × 43 cm). [Fig. 18-04]
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Cimabue VIRGIN AND CHILD ENTHRONED
Most likely painted for the high altar of the church of Santa Trinità, Florence. c. 1280. Tempera and gold on wood panel, 12'7" × 7'4" (3.53 × 2.2 m). Galleria degli Uffizi, Florence. [Fig. 18-05]
Scale Comparison: Cimabue, Virgin and Child Enthroned
Video: Studio Technique: Egg Tempera
Cimabue VIRGIN AND CHILD ENTHRONED
Most likely painted for the high altar of the church of Santa Trinità, Florence. c. 1280. Tempera and gold on wood panel, 12'7" × 7'4" (3.53 × 2.2 m).
Galleria degli Uffizi, Florence. [Fig. 18-05]
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Giotto di Bondone VIRGIN AND CHILD ENTHRONED
Most likely painted for the high altar of the church of the Ognissanti (All Saints), Florence. 1305-1310.
Tempera and gold on wood panel, 10'8" × 6'8-1/4" (3.53 × 2.05 m). Galleria degli Uffizi, Florence. [Fig. 18-06]
Scale Comparison: Giotto di Bondone, Virgin and Child Enthroned
Giotto di Bondone VIRGIN AND CHILD ENTHRONED
Most likely painted for the high altar of the church of the Ognissanti (All Saints), Florence. 1305-1310.
Tempera and gold on wood panel, 10'8" × 6'8-1/4" (3.53 × 2.05 m).
Galleria degli Uffizi, Florence. [Fig. 18-06]
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TECHNIQUE: Buon Fresco
Closer Look: Technique: Fresco
TECHNIQUE: Buon Fresco
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Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL
Padua. 1305-1306. Frescos. [Fig. 18-07]
Closer Look: Giotto di Bondone, Scrovegni (Arena) Chapel
Video: Students on Site: Exterior of the Arena Chapel
Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL
Padua. 1305-1306. Frescos. [Fig. 18-07]
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Giotto di Bondone MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION, AND RESURRECTION/NOLI ME TANGERE
North wall of Scrovegni (Arena) Chapel, Padua. 1305-1306.
Fresco, each scene approx. 6'5" × 6' (2 × 1.85 m).
[Fig. 18-08]
Scale Comparison: Giotto di Bondone, North Wall of Scrovegni Chapel
Giotto di Bondone MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION, AND RESURRECTION/NOLI ME TANGERE
North wall of Scrovegni (Arena) Chapel, Padua. 1305-1306.
Fresco, each scene approx. 6'5" × 6' (2 × 1.85 m). [Fig. 18-08]
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Giotto di Bondone KISS OF JUDAS
South wall of Scrovegni (Arena) Chapel, Padua. 1305-1306.
Fresco, 6'6-3/4" × 6' 7/8" (2 × 1.85 m). [Fig. 18-09]
Scale Comparison: Giotto di Bondone, Kiss of Judas
Giotto di Bondone KISS OF JUDAS
South wall of Scrovegni (Arena) Chapel, Padua. 1305-1306.
Fresco, 6'6-3/4" × 6' 7/8" (2 × 1.85 m). [Fig. 18-09]
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Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE
Made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, main front panel 7' × 13'
(2.13 × 4.12 m). [Fig. 18-10a]
Scale Comparison: Conjectural Reconstruction of the Maestà Altarpiece (Front)
Anolo di Tura del Grasso, from His Chronicle
Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE
Made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig. 18-10a]
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Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE
Made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig. 18-10b]
Scale Comparison: Conjectural Reconstruction of the Maestà Altarpiece (Back)
Closer Look: Duccio di Buoninsegna, Maestà
Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE
Made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig. 18-10b]
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Duccio di Buoninsegna RAISING OF LAZARUS
From the predella of the back of the Maestà altarpiece (lower right corner of FIG. 18-10b), made for Siena Cathedral. 1308-1311. Tempera and gold on wood,
17-1/8" × 18-1/4" (43.5 × 46.4 cm). Kimbell Art Museum, Fort Worth, Texas. [Fig. 18-11]
Scale Comparison: Raising Lazarus
Duccio di Buoninsegna RAISING OF LAZARUS
From the predella of the back of the Maestà altarpiece (lower right corner of FIG. 18-10b), made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, 17-1/8" × 18-1/4" (43.5 × 46.4 cm).
Kimbell Art Museum, Fort Worth, Texas. [Fig. 18-11]
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Duccio di Buoninsegna BETRAYAL OF JESUS
From the back of the Maestà altarpiece (lower center of FIG. 18-10b), made for Siena Cathedral. 1308-1311. Tempera and gold on wood, 22-1/2" × 40" (57.2 × 101.6 cm).
Museo dell'Opera del Duomo, Siena. [Fig. 18-12]
Scale Comparison: Betrayal of Jesus
Duccio di Buoninsegna BETRAYAL OF JESUS
From the back of the Maestà altarpiece (lower center of FIG. 18-10b), made for Siena Cathedral. 1308-1311.
Tempera and gold on wood, 22-1/2" × 40" (57.2 × 101.6 cm).
Museo dell'Opera del Duomo, Siena. [Fig. 18-12]
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Simone Martini and Lippo Memmi ANNUNCIATION
Made for Siena Cathedral. 1333. Tempera and gold on wood, 10' × 8'9" (3 × 2.67 m). Galleria degli Uffizi, Florence.
[Fig. 18-13]
Cennino Cennini, On Painting
Video: Studio Technique: Egg Tempera
Scale Comparison: Martini and Memmi, Annunciation
Simone Martini and Lippo Memmi ANNUNCIATION
Made for Siena Cathedral. 1333. Tempera and gold on wood, 10' × 8'9" (3 × 2.67 m). Galleria degli Uffizi, Florence. [Fig. 18-13]
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AERIAL VIEW OF THE CAMPO IN SIENA WITH THE PALAZZO PUBBLICO (CITY HALL INCLUDING ITS TOWER) FACING ITS STRAIGHT SIDE
Siena. Palazzo Pubblico 1297-c. 1315; tower 1320s-1340s. [Fig. 18-14]
Video: Students on Site: Palazzo Pubblico, Siena
Inscriptions on the Frescoes in the Palazzo Pubblico, Siena
AERIAL VIEW OF THE CAMPO IN SIENA WITH THE PALAZZO PUBBLICO (CITY HALL INCLUDING ITS TOWER) FACING ITS STRAIGHT SIDE
Siena. Palazzo Pubblico 1297-c. 1315; tower 1320s-1340s. [Fig. 18-14]
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Ambrogio Lorenzetti THE EFFECTS OF GOOD GOVERNMENT IN THE CITY AND IN THE COUNTRY
Sala dei Nove (also known as Sala della Pace), Palazzo Pubblico, Siena, Italy. 1338-1339. Fresco, total length about 46' (14 m). [Fig. 18-15a]
Scale Comparison: The Effects of Good Government in the City and in the Country
Ambrogio Lorenzetti THE EFFECTS OF GOOD GOVERNMENT IN THE CITY AND IN THE COUNTRY
Sala dei Nove (also known as Sala della Pace), Palazzo Pubblico, Siena, Italy. 1338-1339. Fresco, total length about 46' (14 m). [Fig. 18-15a]
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Andrea di Cione (nicknamed Orcagna) ENTHRONED CHRIST WITH SAINTS, FROM THE STROZZI ALTARPIECE
Strozzi Chapel, Santa Maria Novella, Florence. 1354-1357.
Tempera and gold on wood, 9' × 9'8" (2.74 × 2.95 m).
[Fig. 18-16]
Flagellants Attempt to Ward Off the Black Death, Robert of Avesbury
Scale Comparison: Enthroned Christ with Saints, from the Strozzi Altarpiece
Andrea di Cione (nicknamed Orcagna) ENTHRONED CHRIST WITH SAINTS, FROM THE STROZZI ALTARPIECE
Strozzi Chapel, Santa Maria Novella, Florence. 1354-1357.
Tempera and gold on wood, 9' × 9'8" (2.74 × 2.95 m). [Fig. 18-16]
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A CLOSER LOOK: The Hours of Jeanne d'Évreux
by Jean Pucelle, Two-Page Opening with the Kiss of Judas and the Annunciation. Paris. c. 1324-1328. Grisaille and color on vellum, each page 3-5/8" × 2-7/16" (9.2 × 6.2 cm). Metropolitan Museum of Art, New York. The Cloisters Collection (54.1.2), fols. 15v-16r.
Closer Look: The Hours of Jeanne d’Évreux
A CLOSER LOOK: The Hours of Jeanne d'Évreux
by Jean Pucelle, Two-Page Opening with the Kiss of Judas and the Annunciation.
Paris. c. 1324-1328.
Grisaille and color on vellum, each page 3-5/8" × 2-7/16" (9.2 × 6.2 cm).
Metropolitan Museum of Art, New York. The Cloisters Collection (54.1.2), fols. 15v-16r.
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VIRGIN AND CHILD
c. 1324-1339. Silver gilt and enamel, height 27-1/8" (69 cm).
Musée du Louvre, Paris. [Fig. 18-20]
Closer Look: Virgin and Child
VIRGIN AND CHILD
c. 1324-1339. Silver gilt and enamel, height 27-1/8" (69 cm).
Musée du Louvre, Paris. [Fig. 18-20]
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LIFE OF THE VIRGIN, BACK OF THE CHICHESTER-CONSTABLE CHASUBLE
From a set of vestments embroidered in opus anglicanum from southern England. c. 1330-1350. Red velvet with silk and metallic thread and seed pearls, length 4'3” (129.5 cm), width 30" (76 cm). Metropolitan Museum of Art, New York. Fletcher Fund, 1927 (27 162.1) [Fig. 18-21]
Scale Comparison: Life of the Virgin, back of the Chichester-Constable Chasuble
LIFE OF THE VIRGIN, BACK OF THE CHICHESTER-CONSTABLE CHASUBLE
From a set of vestments embroidered in opus anglicanum from southern England.
c. 1330-1350. Red velvet with silk and metallic thread and seed pearls, length 4'3"
(129.5 cm), width 30" (76 cm).
Metropolitan Museum of Art, New York. Fletcher Fund, 1927 (27 162.1) [Fig. 18-21]
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VESPERBILD (PIETÀ)
From the Middle Rhine region, Germany. c. 1330.
Wood and polychromy, height 34-1/2" (88.4 cm).
Landesmuseum, Bonn. [Fig. 18-23]
Closer Look: Vesperbild (Pietà)
Scale Comparison: Vesperbild (Pietà)
VESPERBILD (PIETÀ)
From the Middle Rhine region, Germany. c. 1330.
Wood and polychromy, height 34-1/2" (88.4 cm).
Landesmuseum, Bonn. [Fig. 18-23]
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Master Theodoric ST. LUKE
Holy Cross Chapel, Karlstejn Castle, near Prague. 1360-1364.
Paint and gold on panel, 45-1/4" × 37" (115 × 94 cm).
[Fig. 18-26]
Scale Comparison: St. Luke
Master Theodoric ST. LUKE
Holy Cross Chapel, Karlstejn Castle, near Prague. 1360-1364.
Paint and gold on panel, 45-1/4" × 37" (115 × 94 cm). [Fig. 18-26]
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