Artist: Giotto Di Bono

Location: Padua, Italy 1310

Medium: Painting 

style: naturalistic representation 

Artist: Nicola Pisano

Location: Pisa, Italy

date: 1259-1260

stylistic detail: bapistery retains medieval features with trefoil arches and teh lions supporting columns.  Derives from ancient Roman sarcophagus reliefs has classical elements.  Large capitals with Gothic corithian capitals.  

style: Late Medieval 

pulpits: raised platforms from which priests led church services.  

14-5: Saint Francis Altarpiece

Artist: BonaVentura Berlinghieri

Location: Pescia, Italy in the church of San Francesco 

Medium: tempera on wood

Date: 1235

style: Italo- Byzantine style or meniera greca displays the stigmata and use of gold leaf which is teh gold beaten into tissue paper thn sheets, then applied to surfaces which emphasizes the the image's flatness and spiritual nature. 

significance: earliest known representation of Saint Francis of Assis

14-6: Madonna Enthroned with Angels and Prophets

Was a tempera and gold leaf on wood which was 12'7 x 7'4 by the artist Cimabue.  Cimabue was one of the first artist to break from the Italo-Byzantine style.  The Location was Santa Trinita Florence. The art still relies on Byzantine models which is revealed with gold background and the Madonna is depicted on a massive throne as receding into space.  Art has new naturalism.  Was made for the Holy Trinity

14-7: Madonna Enthroned, Florence 

The art was tempera and gold leaf on wood but by Giotto Di BOndone.  Its from a church in Florence called the Church of Ognissanti in 1310.  it 10'8 by 6'8.  Giotto revived classical naturalism. HIs figures have substance, dimension, and bulk giving the illusion they could throw shadows.  Has Gothic archetecture in the art.  Compared to Cimabue's the Virgin is more weighty and queenly.  Unlike Cimabue's the body isn't lost in space and she doesn't have gold in her drapery.  Marks the end of medival art.  

14-8: Lamentation, Arena Chapel

The fresco was done by Giotto di Bondone for the Arena Chapel. Its 6 by 6.  It painted in several sections, each corresponding to one painting sesion.  Giotto  employs the buon fresco technique which is true fresco. Painted in grisaille monochrome grays to resemble sculptures.  bodly foreshortened angels.  The focal point which is dead Jesus is emphasized.  Combination of naturalistic represenetation, com positional complexity, and emotional resonance.  Development of chiaroscuro the use of contrasts of dark and light to produce modeling.  

14-9: Virgin and Child Enthroned, (Maesta Altarpiece), Siena

A tempera and gold leaf on wood done in 1308 by Duccio Di Buoninsegna.  Part of the Maesta altarpiece from Siena Cathedral in Siena Italy.  Duccio derived the formality and symmetry of his composition from Byzantine paitning, but relaxed the rigidity and frontality of the figures softened the drapery and individualized the faces.  In Sinese culture the Virgin Mary was teh focus in religion subjects. 

14-13: Annunciation, Florence 

A Tempera and gold leaf on wood that 10 by 8 by Simone MArtini and Lippo Memmi.  From Siena Cathedral in 1333  in Italy.  Features elegant shapes and radiant color fluttering line, and weightless figures in a spaceless setting.  Done in the International Style using brilliant colors lavish costumes intricating ornaments and themes involving splendid processions.  Lily's symbolize purity.  

14-14 Birth of Virgin

By Pietro Lorenzetti from the altar of Saint Savinus at Siena Cathedra in Siena Italy in 1342,  It's tempera on wood and is 6 by 5. It's a triptch in which Lorenzetti revived teh pictorial illusion of ancient Roman murals and painted the architectual members dividing the panel as if they extended back into the painted space.  Was a student of Duccio. Saint Anne is in the center of an occuring episode in an upper class Italian house of the period.  An everyday life settting with a religious theme.  

14-15: Palazzo Pubblico, Siena Cathedral

Built in 1288 and completed in 1309 part of Sinese art.  Has a concave facade and a gigantic tower visible for miles around.  The tower seved as both a dfensive lookout over the countryside and a symbol on the city-state's power.  Was secular in character and a civic commission for a community center for the city.   Served as a civic pride as the city's cathedral.  

14-16, 14-17: Allegory of Good and Bad Government, Siena 

A frescoe done in 1338 by Ambrogio Lorenzetti in the Palazzo Pubblico in Siena Italy.  IT was a detail from the Effects of Good Government in the City and in the County.  The city is an illusionistic panorama of the bustling city.  Served as an allegory of good government in the Sinese republic.  The county is a sweeping view of the countryside is one the first instances of landscape painting in the Western art since antiquity.  The winged figure of Security promises saftety to all who live under Sienese law.  Both frescoes included civic concers.  

14-18: Florence Cathedral 

Architected by Anolfo Di Cambio and designed by Giotto Di BOndone in 1334.  Medium is marble carries on the Tuscan Romanesque architectural tradtion linking this basiclican church more closely to Early Christian Italy than to Gothic France.  Translated Florence pride into their city.  Building is called the Santa Maria del Fiore.  Its purpose is the site for important religious observances in the city.  Showed the cities competiveness.