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] 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]

EUROPE IN THE FOURTEENTH CENTURY [Map 18-01]

PIAZZA DELLA SIGNORIA WITH PALAZZO DELLA SIGNORIA (TOWN HALL) 1299-1310, AND LOGGIA DEI LANZI (LOGGIA OF THE LANCERS), 1376-1382 Florence. [Fig. 18-02] PIAZZA DELLA SIGNORIA WITH PALAZZO DELLA SIGNORIA (TOWN HALL) 1299-1310, AND LOGGIA DEI LANZI (LOGGIA OF THE LANCERS), 1376-1382 Florence. [Fig. 18-02]

Andrea Pisano LIFE OF ST 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] 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]

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] 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]

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] 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]

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] 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]

TECHNIQUE: Buon Fresco

Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL Padua. 1305-1306. Frescos. [Fig. 18-07] Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL Padua. 1305-1306. Frescos. [Fig. 18-07]

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] 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]

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] 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]

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] 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]

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] 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]

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] 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]

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] 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]

Simone Martini and Lippo Memmi ANNUNCIATION Made for Siena Cathedral 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] 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]

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] 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]

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] 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]

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. 18-15b] 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. 18-15b]

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] 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]

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. 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.

SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c. 1330-1350. Elephant ivory with modern iron mounts, height 4-1/2" (11.5 cm), width 9-11/16" (24.6 cm), depth 4-7/8" (12.4 cm). The Walters Art Museum, Baltimore. [Fig. 18-17] SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c. 1330-1350. Elephant ivory with modern iron mounts, height 4-1/2" (11.5 cm), width 9-11/16" (24.6 cm), depth 4-7/8" (12.4 cm). The Walters Art Museum, Baltimore. [Fig. 18-17]

ATTACK ON THE CASTLE OF LOVE Top of the chest in FIG. 18-17. [Fig

TRISTAN AND ISEULT AT THE FOUNTAIN; CAPTURE OF THE UNICORN Left short side of the chest in FIG. 18-17. [Fig. 18-19] TRISTAN AND ISEULT AT THE FOUNTAIN; CAPTURE OF THE UNICORN Left short side of the chest in FIG. 18-17. [Fig. 18-19]

VIRGIN AND CHILD c. 1324-1339. Silver gilt and enamel, height 27-1/8" (69 cm). Musée du Louvre, Paris. [Fig. 18-20] VIRGIN AND CHILD c. 1324-1339. Silver gilt and enamel, height 27-1/8" (69 cm). Musée du Louvre, Paris. [Fig. 18-20]

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] 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]

INTERIOR, EXETER CATHEDRAL Devon, England INTERIOR, EXETER CATHEDRAL Devon, England. Thomas of Witney, choir, 14th century and bishop's throne, 1313-1317; Robert Lesyngham, east window, 1389-1390. [Fig. 18-22] INTERIOR, EXETER CATHEDRAL Devon, England. Thomas of Witney, choir, 14th century and bishop's throne, 1313-1317; Robert Lesyngham, east window, 1389-1390. [Fig. 18-22]

VESPERBILD (PIETÀ) From the Middle Rhine region, Germany. c. 1330 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] 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]

ST. HEDWIG OF SILESIA WITH DUKE LUDWIG I OF LIEGNITZ-BRIEG AND DUCHESS AGNES Dedication page of the Hedwig Codex. 1353. Ink and paint on parchment, 13-7/16" × 9-3/4" (34 × 25 cm). The J. Paul Getty Museum, Los Angeles. MS. Ludwig XI 7, fol. 12v [Fig. 18-24] ST. HEDWIG OF SILESIA WITH DUKE LUDWIG I OF LIEGNITZ-BRIEG AND DUCHESS AGNES Dedication page of the Hedwig Codex. 1353. Ink and paint on parchment, 13-7/16" × 9-3/4" (34 × 25 cm). The J. Paul Getty Museum, Los Angeles. MS. Ludwig XI 7, fol. 12v [Fig. 18-24]

Heinrich and Peter Parler PLAN AND INTERIOR OF THE CHURCH OF THE HOLY CROSS, SCHWÄBISCH GMÜND Germany. Begun in 1317 by Heinrich Parler; choir by Peter Parler begun in 1351; vaulting completed 16th century. [Fig. 18-25a] Heinrich and Peter Parler PLAN AND INTERIOR OF THE CHURCH OF THE HOLY CROSS, SCHWÄBISCH GMÜND Germany. Begun in 1317 by Heinrich Parler; choir by Peter Parler begun in 1351; vaulting completed 16th century. [Fig. 18-25a]

Heinrich and Peter Parler PLAN AND INTERIOR OF THE CHURCH OF THE HOLY CROSS, SCHWÄBISCH GMÜND Germany. Begun in 1317 by Heinrich Parler; choir by Peter Parler begun in 1351; vaulting completed 16th century. [Fig. 18-25b] Heinrich and Peter Parler PLAN AND INTERIOR OF THE CHURCH OF THE HOLY CROSS, SCHWÄBISCH GMÜND Germany. Begun in 1317 by Heinrich Parler; choir by Peter Parler begun in 1351; vaulting completed 16th century. [Fig. 18-25b]

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] 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]