·Giotto

 
List of Plates                                
Lecture 2, 9/8/03: “God’s Minstrels” and the “Watchdogs of the Lord”: The Franciscans and Dominicans and Their Architecture and Art

1. Bonaventura Berlinghieri, St. Francis Altarpiece, for the church of San Francesco, Pescia, ca. 1235
2. St. Francis Master, St. Francis Altarpiece, Bardi Chapel, Sta. Croce, Florence, 1250s
3. Plan, Sta. Croce, Florence, founded 1294, designed by Arnolfo di Cambio; nave completed end of 14thc.
4. Nave of Sta. Croce, Florence, interior, looking toward the façade
5. Nave of Sta. Croce, Florence, interior, looking toward the apse
6. Interior, apse and transept, Sta. Croce, Florence
7. Plan, Sta. Maria Novella, Florence, founded ca. 1246, nave begun after 1279, façade begun ca. 1300 but not completed until the 15thc
8. Nave of Sta. Maria Novella, Florence, interior, looking toward the apse
9. Cimabue, Crucifix, for the church of San Domenico, Arezzo, 1270s
Lecture 3, 9/10/03: “Of Pulpits and Tombs I: Nicola Pisano.”
10. Nicola Pisano, Pisa Baptistery Pulpit, commissioned by Archbishop Federigo Visconti, marble, ca. 1260
11. . Nicola Pisano, Annunciation, Nativity, Annunciation to the Shepherds, from the Pisa Baptistery Pulpit
12. Nicola Pisano, Presentation of Christ in the Temple, from the Pisa Baptistery Pulpit
13. Nicola Pisano, Adoration of the Magi, from the Pisa Baptistery Pulpit
14. Nicola Pisano, Hercules/Fortitude? Daniel?, from the Pisa Baptistery Pulpit
15. Nicola Pisano and workshop (Giovanni Pisano, Arnolfo di Cambio, and others), Siena Cathedral Pulpit, commissioned by the Opera of Siena Cathedral, marble, ca. 1265-68
16. Nicola Pisano and workshop, Massacre of the Innocents, Siena Cathedral Pulpit
17. Nicola Pisano and workshop, Virgin and Child, Siena Cathedral Pulpit
18. Nicola Pisano and workshop, Last Judgment: Resurrected Christ Displaying His Wounds, and Angels Holding Instruments of the Passion/ The Damned, Siena Cathedral Pulpit.
19. Nicola Pisano and workshop, Arca di San Domenico, San Domenico, Bologna, marble, ca. 1264-67
20. Nicola Pisano and workshop, Friars, caryatid group from the Arca di San Domenico
21. Nicola and Giovanni Pisano, Fontana Maggiore, Perugia, marble and bronze, ca. 1277-78
Lecture 4, 9/15/03: “Of Pulpits and Tombs II: Giovanni Pisano and Arnolfo di Cambio.”
22. Giovanni Pisano, Crucified Christ, ivory, perhaps for Pisa Cathedral, ca. 1300
23. Giovanni Pisano, Pulpit for St. Andrea, Pistoia, marble, ca. 1298-1301
24. Giovanni Pisano, Annunciation, Nativity, Annunciation to the Shepherds, from the Pistoia Pulpit
25. Giovanni Pisano, The Crucifixion, from the Pistoia Pulpit
26. Giovanni Pisano, Sybil, from the Pistoia Pulpit
27. Arnolfo di Cambio. Cardinal Guillaume de Braye in Effigy. From the tomb of Cardinal Guillaume de Braye, San Domenico, Orvieto, marble, after 1282. (For the whole tomb see D. Norman, Siena, Florence and Padua vol. II, pl. 124.)
28. Arnolfo di Cambio. Acolyte. From the tomb of Cardinal Guillaume de Braye
29. Arnofo di Cambio. Acolyte. From the tomb of Cardinal Guillaume de Braye
Lecture 5, 9/17/03: “A Tale of Three Duomos: Florence, Siena and Orvieto.”
***For some views and plans of Florence, Siena, and Orvieto cathedrals, and for images of some of the façade sculpture, see Norman, Vol. 1, pls. 13, 22, 24,100, 107 and 108; and Vol. 2, pls. 156, 159-66 and174.
30. Florence Cathedral (Sta. Maria del Fiore), interior, original plan and façade begun late 13thc by Arnolfo di Cambio; nave after 1357 by Francesco Talenti and others; dome 15thc.
31. Arnolfo di Cambio, Virgin of the Nativity, from the north portal of the original west façade of Florence Cathedral, ca. 1296-1300.
32. Arnolfo di Cambio, Dead Virgin and Mourning Apostle, from the south portal of the original west façade of Florence Cathedral, end 13thc.
33. Siena Cathedral, interior of nave including dome on hexagonal base completed by ca. 1270; vaults raised late 13th? After 1355?. Commissioned by the Operai of Siena Cathedral.
34. Giovanni Pisano, The Prophet Isaiah, ca. 1284-97, for the façade of Siena Cathedral, commissioned by the Operai of Siena Cathedral.
35. Orvieto Cathedral, plan and exterior elevation, founded 1290 and begun on a design by Fra Bevignate; buttresses ca. 1308 and façade begun ca. 1310 by Lorenzo Maitani; enlarged apse and transepts ca. 1350-1450.
36. Orvieto Cathedral, plan showing original round apse and contained transept, and buttresses of ca. 1308.
37. Orvieto Cathedral, exterior.
37a. Orvieto Cathedral, interior of nave.
38. Lorenzo Maitani, Virgin and Child Enthroned, marble, ca. 1320-30, from the central portal of the west façade of Orvieto Cathedral.
39. Lorenzo Maitani and workshop, Creation of Eve, marble ca. 1320-30, from the west façade of Orvieto Cathedral.
40. Lorenzo Maitani and workshop, Two Angels, marble, ca. 1320-30, from the west façade of Orvieto Cathedral.
41. Lorenzo Maitani and workshop, The Damned, marble, ca. 1320-30, from the west façade of Orvieto Cathedral.
Lecture 6, 9/22/03: “The Development of the Painted Altarpiece in the Thirteenth Century/Duccio I.”
***For some of the altarpieces shown in this lecture, see Norman Vol. 1, pls. 42, 50, 55, 56, 61, 63, and 65; and Norman, Vol. 2, pls. 71 and 72.
42. Anonymous, The Madonna of the Vow (“Madonna degli occhi grossi”), tempera on panel, part of the dossal made ca. 1215 for the high altar of Siena Cathedral.
43. Anonymous, Christ in Majesty with Scenes of the Legend of the Cross, tempera on panel, ca. 1215.
44. Guido da Siena, The Madonna of Thanks (“Madonna delle Grazie”), tempera on panel, made in the 1270s for the high altar of Siena Cathedral.
45. Guido da Siena, Virgin and Child Enthroned with Angels (“The Palazzo Pubblico Madonna”), ca. 1260-70, originally commissioned for the high altar of San Domenico, Siena; faces repainted in the early 14th century.
Lecture 7: For images for lecture 7, 9/24/03, “Duccio II: The Maestà Altarpiece,” see Norman II, pp. 55-81 (all relevant plates) and Norman I, plates 54, 64.
Lecture 8, 9/29/03: “Roman Renovatio: Art in the Holy City in the Thirteenth Century.”
46. Boniface VIII’s benedictional loggia, on the exterior of the Lateran Palace, Rome, late 13thc, as seen in a 17th-century drawing
47. Anonymous sculptor, statues of Peter and Paul, marble, from the canopy of Boniface VIII’s benedictional loggia, late 13thc
48. Anonymous Roman painter, Boniface VIII addressing the people of Rome, portion of the fresco in Boniface VIII’s benedictional loggia, late 13thc
49. 17thc painting recording the fresco in Boniface VIII’s benedictional loggia
50. View of the interior of the Sancta Sanctorum, Rome, built by Master Cosmatus for Pope Nicholas III, ca. 1278
51. Dedication image, Nicholas III, assisted by SS Peter and Paul, presenting a model of the Sancta Sanctorum to Christ, fresco on the East wall of the Sancta Sanctorum, ca. 1278
52. Wreathed image of Christ Blessing, borne in heaven by angels, ceiling mosaic above the altar, East wall, Sancta Sanctorum, ca. 1278
53. Coronation of the Virgin (and scenes from her Life), apse mosaic, Santa Maria Maggiore, Rome, commissioned by Pope Nicholas IV by Jacopo Torriti, ca. 1294
54. Detail of Coronation of the Virgin mosaic by Jacopo Torriti in Sta. Maria Maggiore, showing Nicholas IV kneeling before the Virgin and Christ, and SS Peter, Paul, and Francis
55. Dormition of the Virgin, one of the scenes from the Life of the Virgin by Jacopo Torriti, Sta. Maria Maggiore
56. Arnolfo di Cambio, Adoration of the Magi, Oratory of the Crib, Sta. Maria Maggiore, Rome, marble, made under Pope Nicholas IV, ca. 1291
57. Pietro Cavallini, Last Judgment and Apostles, on the West wall (right side) of Sta. Cecilia in Trastevere, Rome, commissioned ca. 1290 by Cardinal Jean Cholet
58. Pietro Cavallini, Virgin and Apostles, from the Last Judgment on the West wall (left side) of Sta. Cecilia in Trastevere by Pietro Cavallini
Lecture 9, 10/1/03: “Cimabue and the Decoration of the Upper Church of San Francesco, Assisi I.”
***For some images from this lecture, including the Isaac Master’s Isaac Rejecting Esau, ca. 1290-95?, see Norman I, pls. 27, 46, 76 and 79.
59. View of the North transept, Upper Church, San Francesco, Assisi, decorated by Cimabue and his workshop ca. 1278-80
60. Cimabue and workshop, Vault of the Evangelists, vault of the crossing, Upper Church, San Francesco, Assisi, ca. 1278-80
61. Cimabue and workshop, detail of Italia, from the St. Mark panel of the Vault of the Evangelists, vault of the crossing
62. Cimabue and workshop, The Great Crucifixion, ca. 1278-80, from the East wall of the South transept, Upper Church, San Francesco, Assisi
63. Cimabue and workshop, Apocalyptic Christ, ca. 1278-80, from the South transept, Upper Church, San Francesco, Assisi
64. Jacopo Torriti and workshop, The Creation of the World, 1280s, from the North wall of the nave, Upper Church, San Francesco, Assisi
Lecture10, 10/6/03: “The Decoration of the Upper Church of San Francesco, Assisi II”
***For some images from this lecture, see Norman I, pls. 81-84, 87-89, 91
65. San Francesco, Assisi, view of North wall of nave showing Old Testament scenes on the upper wall and “Legend of St. Francis” scenes on the lower wall
66. San Francesco, Assisi, view of one bay of South wall of nave showing New Testament scenes (Life and Passion of Christ) on the upper wall and “Legend of St. Francis” scenes on the lower wall
67. San Francesco, Assisi, view of the inner wall of the façade showing New Testament scenes (the Pentecost, the Ascension of Christ) on the upper wall and scenes from the “Legend of St. Francis” (the Miracle of the Spring, Francis Preaching to the Birds) on the lower wall
68. San Francesco, Assisi, three scenes from the “Legend of St. Francis” (the beginning of the cycle on the North wall), with illusionistic drapery below, ca. 1290-1308(?)
69. Master of the Legend of St. Francis, Miracle of the Crucifix of San Damiano, ca. 1290-1308(?)
70. Master of the Legend of St. Francis, The Dream of Pope Innocent III, ca. 1290-1308(?)
71. Master of the Legend of St. Francis, The Vision of the Thrones, ca. 1290-1308(?)
72. Master of the Legend of St. Francis, The Miracle of the Spring, ca. 1290-1308(?)
73. Artist 3, Verification of the Stigmata, ca. 1290-1308(?)
Lecture 11, 10/8/03: “Giotto I: The Arena Chapel Frescos.”
***For some of the images for this lecture see the plates in Norman II, pp. 83-103 (especially plates 99, 100, 102, 104, 105, 109, 110, 117, 121 and 122) and Norman I, plate 68.
74. View of the chancel arch showing God the Father (later 14thc-century panel) in Heaven and the Annunciation, Arena Chapel, Padua, painted ca. 1304-13 by Giotto and his workshop for Enrico Scrovegni.
75. The Archangel Gabriel, from the chancel arch, Arena Chapel, Padua, painted ca. 1304-13 by Giotto and his workshop for Enrico Scrovegni.
76. The Annunciate Virgin, from the chancel arch, Arena Chapel, Padua, painted ca. 1304-13 by Giotto and his workshop for Enrico Scrovegni.
77. The Visitation, from the chancel arch, Arena chapel, Padua, painted ca. 1304-13 by Giotto and his workshop for Enrico Scrovegni.
78. The Marriage at Cana, from the North wall, Arena Chapel, Padua, painted ca. 1304-13 by Giotto and his workshop for Enrico Scrovegni.
Lecture 12, 10/13/03, “Giotto II: The Bardi and Peruzzi Chapels and Other Works.”
For some of the images for this lecture see Norman I, plates 67, 69, 72, 73, 90, 92 and 93.
79. Interior of Santa Croce, Florence, showing the Bardi Chapel immediately to the south of the apse.
80. View of the Bardi and Peruzzi Chapels, Santa Croce, Florence.
81. Giotto and workshop, The Confirmation of the Rule, fresco from the Legend of St. Francis in the Bardi Chapel executed ca. 1315-20?, commissioned by Ridolfo de’ Bardi.
82. Giotto and workshop, Death of St. Francis and the Proof of the Stigmata, fresco from the Legend of St. Francis in the Bardi Chapel executed ca. 1315-20?, commissioned by Ridolfo de’ Bardi. NOTE: This image shows losses to the fresco which occurred when a marble tomb was removed from the wall; the view shown in class (and in the slide drawer) shows the same scene after restoration of the lost portions of the painting.
83. Giotto and workshop, The Feast of Herod (and The Dance of Salome), fresco from the Life of St. John the Baptist in the Peruzzi Chapel, executed in the 1320s?; chapel founded by Donato Peruzzi, frescoes commissioned by Giovanni di Rinieri Peruzzi.
84. Giotto and workshop, The Ascension of John the Evangelist, fresco from the Life of St. John the Evangelist in the Peruzzi Chapel, executed in the 1320s?; chapel founded by Donato Peruzzi, frescoes commissioned by Giovanni di Rinieri Peruzzi.
Lecture 13, 10/15/03: “The Communal Palace and the Palazzo Vecchio, Florence.”
For images associated with this lecture, please see Norman II, pls. 28, 31, 33, 36, 40, and 49-53, 55, 56, and 58.
Lecture 14, 10/20/03: “The Palazzo Pubblico and the Duomo Nuovo, Siena."
For relevant images see Norman I, pl. 11, and Norman II, pls. 1, 41-48, 160-70 and pl. 178.
Lecture 15, 10/27/03: “Simone Martini in Siena and Beyond.”
For other images relevant to this lecture see Norman I, pl. 42, and Norman II, pls. 38, 139-43, 145
85. Simone Martini, Frontispiece to a manuscript of Servius’ Commentary on Virgil owned by the poet Petrarch, illumination on parchment, ca. 1340-44
86. Simone Martini, Madonna of Mercy, tempera on panel, ca. 1310
87. Lippo Memmi, The Maestà, fresco, Sala del Consiglio, Palazzo Comunale, San Gimignano; Nello Tolomei, the Sienese podestà of San Gimignano, was a patron of the work
Lecture 16, 10/29/03: “Simone Redux/ Pietro and Ambrogio Lorenzetti I.”
For images associated with this lecture see Norman II, pls. 240, 242, 243; and Norman I, pls. 1 and 2, pls. 29, 31
88. Simone Martini, The Road to Calvary, from the Orsini Polyptych, tempera on panel, ca. 1342?, commissioned by Cardinal Napoleone Orsini while in Avignon
89. Simone Martini, The Crucifixion, from the Orsini Polyptych, tempera on panel, ca. 1342?, commissioned by Cardinal Napoleone Orsini while in Avignon
90. Plan of the St. Martin Chapel in the Lower Church, San Francesco, Assisi; painted ca. 1315-20 by Simone Martini for the Franciscan Cardinal Gentile da Montefiore; diagram showing the layout of the stained glass windows and frescos.
91. Interior of the St. Martin Chapel, Lower Church, San Francesco, Assisi; frescos painted ca. 1315-20 by Simone Martini for Cardinal Gentile da Montefiore.
92. . Simone Martini, Cardinal Gentile da Montefiore before St. Martin, fresco above the arch, exterior of the St. Martin Chapel
93. Simone Martini, St. Martin Divides his Cloak with a Beggar at the Gate of Amiens, St. Martin Chapel
94. Simone Martini, The Dream of St. Martin, St. Martin Chapel
95. Simone Martini, The Knighting of St. Martin by the Pagan Emperor Julian the Apostate, St. Martin Chapel
96. Simone Martini, St. Martin Renounces his Arms, St. Martin Chapel
97. Simone Martini, Meditation of St. Martin, St. Martin Chapel
98. Simone Martini, The Miracle of the Resurrected Boy, St. Martin Chapel; self-portrait of Simone Martini at right?
99. Simone Martini, SS Louis of France and Louis of Toulouse; SS. Clare and Elizabeth of Hungary, entrance arch, St. Martin Chapel
100. View of the South Transept, Lower Church, San Francesco, Assisi, frescos painted ca. 1320-30 by Pietro Lorenzetti, probably for Cardinal Napoleone Orsini
101. Pietro Lorenzetti, The Entry into Jerusalem, South Transept, Lower Church, San Francesco, Assisi
102. Pietro Lorenzetti, The Last Supper, South Transept, Lower Church, San Francesco, Assisi
103. Pietro Lorenzetti, The Flagellation, South Transept, Lower Church, San Francesco, Assisi
104. Pietro Lorenzetti, The Crucifixion, South Transept, Lower Church, San Francesco, Assisi
105. Pietro Lorenzetti, The Deposition, South Transept, Lower Church, San Francesco, Assisi
106. Pietro Lorenzetti, The Virgin and Child with SS Francis and John the Evangelist, The Crucifixion, and the Donor (Madonna of the Sunsets), South Transept, Lower Church, San Francesco, Assisi
107. Pietro Lorenzetti, Fictive Panels with Half-Length Saints; illusionistic bench, South Transept, Lower Church, San Francesco, Assisi
Lecture 17, 11/3/03: “Pietro and Ambrogio Lorenzetti II and the Altarpieces in the Choir of Siena Duomo.”
For images relevant to this lecture see Norman I, pls. 12, 20, 37, and 189; and Norman II, pl. 250
108. Ambrogio Lorenzetti, The Martyrdom of Seven Franciscans, fresco in San Francesco, Siena, ca. 1325
109. Plan of the altars in Siena Cathedral by the end of the fourteenth century, showing the location of the high altar, the four patronal altars, and other subsidiary altars
110. Reconstruction of the St. Ansanus Altarpiece painted by Simone Martini and Lippo Memmi, tempera on panel, 1333, for the St. Ansanus altar in the choir of Siena Cathedral
111. Reconstruction of the St. Savinus Altarpiece painted by Pietro Lorenzetti, tempera on panel, 1342, for the St. Savinus altar in the choir of Siena Cathedral
112. Pietro Lorenzetti, St. Savinus before the Governor of Tuscany, tempera on panel, ca. 1340, predella panel from the St. Savinus Altarpiece, for the St. Savinus altar in the choir of Siena Cathedral
113. Ambrogio Lorenzetti, The Purification of the Virgin, tempera on panel, 1342, from the St. Crescentius Altarpiece, for the St. Crescentius altar in the choir of Siena Cathedral
114. Reconstruction of the St. Crescentius Altarpiece for the St. Crescentius altar in the choir of Siena Cathedral
115. Ambrogio Lorenzetti, Allegory of Redemption, tempera on panel, ca. 1342, predella panel from the St. Crescentius Altarpiece, for the St. Crescentius altar in the choir of Siena Cathedral
Lecture 18, 11/5/03: “Ambrogio Lorenzetti’s “Good and Bad Government” Frescos in the Palazzo Pubblico, Siena”
For images relevant to this lecture see Norman I, pls. 214-18 and Norman II, pls. 179 and 181-96
Lecture 19, 11/10/03: “More on the Decoration of Sta. Croce, Florence”
For some of the images associated with this lecture see Norman I, pl. 19; and Norman II, pls. 207-19, 298
116. Taddeo Gaddi, Meeting of Anna and Joachim at the Golden Gate, fresco on the East Wall, Baroncelli Chapel, 1328-34, founded and funded by Pietro, Vanni, Salvestro, Bartolo, and Bivigliano Baroncelli
117. Taddeo Gaddi, Presentation of the Virgin in the Temple, fresco on the East Wall of the Baroncelli Chapel, 1328-34
118. Taddeo Gaddi, presentation drawing for the Presentation of the Virgin in the Temple, silverpoint with white highlighting, green and blue pigment on green prepared paper, ca. 1332
119. Maso di Banco, St. Sylvester and the Dragon, fresco in the Bardi di Vernio Chapel, 1330-40, possibly commissioned by Bettino or Andrea de’ Bardi and a female member of the Bardi di Vernio family
120. Maso di Banco, St. Sylvester and the Miracle of the Bull, fresco in the Bardi di Vernio Chapel, 1330-40
121. Jacopo del Casentino, St. Michael and the Fall of the Rebel Angels, fresco in the Velluti Chapel, after 1321, commissioned by Monna Gemma de’ Velluti ( née Monna Gemma de’ Pulci)
122. Jacopo del Casentino, St. Michael and the Miracle of the Bull on Mt. Gargano, fresco in the Velluti Chapel, after 1321
123. Agnolo Gaddi, St. Helena and the Finding of the True Cross/ The Proving of the True Cross, fresco in the apse of Sta. Croce, 1380-87, commissioned by the Alberti family
124. Agnolo Gaddi, The Emperor Heraclius Returns the True Cross to Jerusalem, fresco in the apse of Sta. Croce, 1380-87
Lecture 20, 11/12/03: “Gender and Class in Fourteenth-Century Art and Patronage”
For some images associated with this lecture, see the list of images for the previous lecture as well as Norman I, pls. 127, 194; and Norman II, pls. 134-35, 143-44, 296-97, 300-01, 303, 314, and 316
125. Taddeo Gaddi, The Last Supper/ Arbor Crucis, fresco, ca. 1330-40s, probably commissioned by Madonna Vaggia Manfredi (d. 1345) for the refectory in Sta. Croce, Florence
126. Magadalen Master, Magdalen Altarpiece, tempera on panel, mid-13th century
127. Workshop of Giotto, Bishop Teobaldo Pontano (the patron) in Franciscan Habit before Mary Magdalen, fresco in the Magdalen Chapel, Lower Church, San Francesco, Assisi, ca. 1320
128. Workshop of Giotto, Noli Me Tangere, fresco in the Magdalen Chapel, Lower Church, San Francesco, Assisi, ca. 1320
129. Workshop of Giotto, The Hermit Zozimus Gives a Cloak to the Magdalen, fresco in the Magdalen Chapel, Lower Church, San Francesco, Assisi, ca. 1320
Lecture 21, 11/17/03: “Andrea Pisano: The Baptistery Doors and Giotto’s Campanile.”
For other images associated with this lecture see Norman I, pls. 14, 97, 219-20, 222; and Norman II, pls. 157, 265, 267-70, 286-89
130. Andrea Pisano, The Visitation, gilt bronze, from the Florentine Baptistery Doors, ca. 1330-36, commissioned by the Arte del Calimala
131. Andrea Pisano, John the Baptist Baptizing the Multitudes, gilt bronze, from the Florentine Baptistery Doors, ca. 1330-36
132. Andrea Pisano, The Feast of Herod/Dance of Salome, Beheading of John the Baptist, Salome Presents the Head of the Baptist to Herod, Salome Presents the Head of the Baptist to Herodias, gilt bronze, from the Florentine Baptistery Doors, ca. 1330-36
133. Andrea Pisano, Beheading of John the Baptist, detail
134. Andrea Pisano, Horsemanship, marble, from the Florentine Campanile, 1334-7, commissioned by the Arte della Lana
135. Andrea Pisano, Weaving, marble, from the Florentine Campanile, 1334-7
136. Andrea Pisano, Daedalus (with the wings he made for Icarus), marble, from the Florentine Campanile, 1334-7
Lecture 22, 11/9/03: “The Black Death and Its Impact on Art.”
For images associated with this lecture see Norman I, pls. 156-7, 159, 188-9, 197-8, 205-7; and Norman II, pl. 254
137. The Strozzi Chapel, Sta. Maria Novella, Florence, altarpiece painted 1354-7 by Andrea di Cione (Andrea Orcagna); frescos ca. 1355 by Nardo di Cione, commissioned by Tomasso Strozzi
138. Nardo di Cione, Heaven, fresco of ca. 1355 in the Strozzi Chapel, Sta. Maria Novella, Florence
139. Master of the Triumph of Death, The Triumph of Death, frescos in the Camposanto, Pisa, ca. 1330s (formerly dated to the 1350s and attributed to Francesco Traini)
140. Master of the Triumph of Death, The Last Judgment/ Hell, frescos in the Camposanto, Pisa, ca. 1330s
141. Master of the Triumph of Death, The Triumph of Death, detail showing sensualists in the orange grove
142. Master of the Triumph of Death, The Triumph of Death, detail showing the Three Living and the Three Dead and the hermit monks on the mountain

Lecture 23, 11/24/03: Andrea Bonaiuti: The Chapterhouse of Sta. Maria Novella, Florence

For some of the images associated with this lecture see Norman I, pl. 234; and Norman II, pls. 264, 266, 272-78, 285.
All images on this page are by Andrea Bonaiuti (Andrea da Firenze) and his workshop.
143. Andrea Bonaiuti (Andrea da Firenze) and his workshop, The Way to Calvary; The Crucifixion; The Descent into Limbo, fresco on the North Wall, Chapterhouse of Sta. Maria Novella (the Guidalotti Chapel), painted ca. 1365-67 for Buonamico Guidalotti and the Dominicans of Sta. Maria Novella
144. Andrea Bonaiuti (Andrea da Firenze) and his workshop, St. Peter Martyr preaching in the Piazza outside Sta. Maria Novella, detail of Scenes from the Life of Peter Martyr, fresco on the South Wall, Chapterhouse of Sta. Maria Novella (the Guidalotti Chapel), painted ca. 1365-67 for Buonamico Guidalotti and the Dominicans of Sta. Maria Novella.
145. Andrea Bonaiuti (Andrea da Firenze) and his workshop, Interior of the Chapterhouse of Sta. Maria Novella showing the The Church Militant/Way of Salvation fresco on the East Wall, and the Navicella on the East vault.
146. Andrea Bonaiuti (Andrea da Firenze) and his workshop, The Church Militant/Way of Salvation, fresco on the East Wall, Chapterhouse of Sta. Maria Novella (the Guidalotti chapel), painted ca. 1365-67 for Buonamico Guidalotti and the Dominicans of Sta. Maria Novella.
Lecture 24, 11/26/03: More Fresco Decoration: SacredFor some images associated with this lecture see Norman II, pls. 221-36.
147. Reliquary of the jaw of St. Anthony, gold enamel, jewels, and crystal, 1349, made for and displayed in the Santo, Padua
148. Altichiero da Zevio and assistants, St. George Baptizing King Servius, fresco in the Oratory of St. George, Padua, 1377, painted for Raimondino Lupi
149. Altichiero da Zevio and assistants, St. George Drinking Poison, fresco in the Oratory of St. George, Padua, 1377, painted for Raimondino Lupi
150. Altichiero da Zevio and assistants, detail of St. Lucy Dragged by Bulls, fresco in the Oratory of St. George, Padua, 1377, painted for Raimondino Lupi
151. Altichiero da Zevio and assistants, detail of St. Lucy Dragged by Bulls, fresco in the Oratory of St. George, Padua, 1377, painted for Raimondino Lupi
152. Altichiero da Zevio and assistants, Martyrdom of St. Lucy, fresco in the Oratory of St. George, Padua, 1377, painted for Raimondino Lupi
Lecture 25, 12/1/03: More Fresco Decoration: Profane
For some images associated with this lecture, see Norman I, pls. 160, 184.
153. Palace of the Popes, Avignon, 14th century and later; built under a series of French architects for a succession of popes in Avignon
154. Matteo Giovannetti?, The Papal Apartment (bedchamber), Palace of the Popes, Avignon, fresco, 1340s, probably painted for Pope Clement VI
155. Matteo Giovannetti?, Vine Scrolls, Birds, and Animals, detail of the walls of the Papal Apartment, Palace of the Popes, Avignon, fresco, 1340s
156. Matteo Giovannetti?, Bird Cages, frescos in the window recesses of the Papal Apartment, Palace of the Popes, Avignon, 1340s
157. Matteo Giovannetti, Fishing, scene in the Chambre du Cerf (Pope’s study), fresco, 1343, Palace of the Popes, Avignon, probably painted for Pope Clement VI
158. Matteo Giovannetti, Falconing, scene in the Chambre du Cerf (Pope’s study), fresco, 1343, Palace of the Popes, Avignon, probably painted for Pope Clement VI
159. Matteo Giovannetti, Snaring Birds, scene in the Chambre du Cerf (Pope’s study), fresco, 1343, Palace of the Popes, Avignon, probably painted for Pope Clement VI
160. Anonymous artist, The Knight and the Duchess Play Chess; The Duchess Accosts the Knight, scene from the story of the “Chatelaine de Vergy,” fresco in the Stanza della Castellana, Palazzo Davanzati, Florence; painted ca. 1395, perhaps to commemorate a marriage between the Davizzi and Alberti families
161. Anonymous artist, The Occupations of the Months, frescos in the Eagle’s Tower, Castello del Buonconsiglio, Trento, commissioned by Prince-Bishop George of Liechtenstein, ca. 1391-1407
162. Anonymous artist, April, scenes of the Occupations of the Months, frescos in the Eagle’s Tower, Castello del Buonconsiglio, Trento, ca. 1391-1407
163. Anonymous artist, May, scenes of the Occupations of the Months, frescos in the Eagle’s Tower, Castello del Buonconsiglio, Trento, ca. 1391-1407
164. Plan of the paintings in the Great Hall, Castello di Manta (in the Piedmont), painted ca. 1415 by an unknown artist for the Saluzzo lords of Manta
165. West wall, Great Hall, Castello di Manta, Mounted Musicians/ patron’s motto and arms/ Hector and Alexander the Great, fresco, ca. 1415
166. The Nine Heroes and Heroines, frescos on the North Wall, Castello di Manta, ca. 1415
167. The Fountain of Youth, frescos on the South Wall, Castello di Manta, ca. 1415
168. The Fountain of Youth, detail of the frescos on the South Wall, Castello di Manta, ca. 1415
169. Quarrelling Old Couple, detail of the frescos on the South Wall, Castello di Manta, ca. 1415
170. The Fountain of Youth, detail of the frescos on the South Wall, Castello di Manta, ca. 1415
Lecture 26, 12/3/03 (and 12/8/03): “Milan, Pavia and the Visconti”
171. Giovanni di Balduccio, Tomb of Azzone Visconti, marble, in San Gottardo, Milan, ca. 1340-42, commissioned by Archbishop Giovanni Visconti (Azzone’s brother)
172. Giovanni di Balduccio, Tomb of St. Peter Martyr, marble, 1330s, in Sant’Eustorgio, Milan, funded by Azzone Visconti, Archbishop Giovanni Visconti, and the Dominican Order
173. Altarpiece of the Magi, marble, commissioned by the Scuola dei Magi for Sant’Eustorgio, Milan, ca. 1347
174. Bonino da Campione, Equestrian Monument of Bernabò Visconti, marble, before 1363 (tomb chest carved in the 1380s), made for the high altar of San Giovanni in Conca, Milan
175. Anonymous Lombard illuminator, scenes from a manuscript of The Legend of Guiron le Courtois, illumination on parchment, executed in the 1380s for Bernabò Visconti
176. Giovannino dei Grassi, King David, illustration for Psalm 118 in the Visconti Hours, made ca. 1395 for Giangaleazzo Visconti
177. Michelino da Besozzo, Giangaleazzo Visconti before the Virgin and Child, in the Eulogy for Giangaleazzo Visconti, illumination on parchment, commissioned by Giovanni Maria Visconti, ca. 1402-3
178. Michelino da Besozzo, Visconti Genealogy, from the Eulogy for Giangaleazzo Visconti, illumination on parchment, commissioned by Giovanni Maria Visconti, ca. 1402-3
179. Anonymous Lombard artist, Spring, page from a manuscript of Tacuinum Sanitatis, probably made for Verde Visconti, illumination on parchment, 1380s
180. Anonymous Lombard artist, Watermelons and Cucumbers, page from a manuscript of Tacuinum Sanitatis, probably made for Verde Visconti, illumination on parchment, 1380s
 

 

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