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14th c renaissance
- 1. Beginning the Renaissance • Renaissance = rebirth • Emergence of Humanism • Transition from medieval to early modern: – Increasing urbanization – Increasing international trade – Growing internal economies – Rise of secular powers
- 2. • City-states (local areas governed by aristocratic families) rather than ‘nations’ • Important city-states: Florence, Venice, Milan, Siena, Rome • Political alignment with the Pope (papal states) or with other aristocrats • Mixture of Secular and Sacred Italy ca. 1300
- 4. European society ca. 1300 • Mixture of secular and religious governments (papal states) • Emergence of trade guilds (like unions) regulating industries, crafts, art • Upheaval & change: “Black Death,” fracturing of papal authority, rising economic power of merchants
- 5. Humanism • The focus on the world of human beings; the idea that the human is important, and interest in ways of investigating the human world (philosophy, history, science, the arts, the body, medicine, etc.)
- 6. • Bonaventura Berlinghieri, St. Francis altarpiece, 1235 – Gilding and tempera on wood panel – ‘Greek’ or Byzantine style • Flat picture space • Emphasis on line • Decorative patterning • Otherworldly • Emphasis on clear storytelling
- 8. Egg tempera • Egg temperaa
- 9. • Details, St. Francis Altar • L: St. Francis heals a lame man • R: St. Francis gives alms to the poor
- 10. Duccio, Maesta (Virgin Enthroned), 1308-11
- 11. • Cathedral of Siena
- 12. • Measurements: over 12 by 12 feet • Media – tempera (egg) – Gilding (gold leaf) • Altarpiece made from wood panels • Function: to stand behind altar (most sacred spot in church)
- 13. • Details of altarpiece, in restoration process
- 14. Duccio’s Maesta • Secular (for town of Siena) • Sacred (altarpiece for church) • Virgin is patron saint of Siena • Altarpiece celebrates victory over Florence
- 18. • Back panels of altarpiece
- 19. • Duccio, Betrayal • Continuous narrative
- 20. • Lamentation, back of altarpiece
- 22. • Siena (city- state), Town Hall
- 23. • Public meeting room of Town Hall • Good Government in the City & Country, Lorenzetti Bros
- 25. • Lorenzetti Brothers, Effects of Good Government in the City
- 30. • Cimabue, Madonna Enthroned, (aka Maesta), 1270-80 • Modeling, chiarascuro (light and dark)
- 34. • Giotto
- 35. • R: Berlingheri, c. 1270 • L: Giotto, c. 1310 • Medium = tempera w/gilding
- 36. Arena Chapel, aka Scrovegni Chapel, Padua, Italy • Enrico Scrovegni = donor • Arena = area of town next to Roman ruins where chapel was built • Built for private patron, to help save soul of his money-lending dad • A merchant, not an aristocrat
- 37. • (Enrico giving the chapel to the Virgin, det. Of Last Judgment)
- 38. • Interior, toward Altar
- 39. • Interior, toward entry/exit (last judgment)
- 40. • Medium = Fresco (fresh plaster) • cycle or program: lives of Mary’s parents, Mary, Christ • Narrative plan
- 43. • Betrayal of Christ (peter cuts off ear, judas’ kiss)
- 44. • Contrast Giotto and 13th Century version of same scene
- 45. • Contrast Duccio w/Giotto (both about 1310)
- 49. • Lamentation, det. Mary w/body of Christ
- 51. • Foreshortening
- 52. Sculpture in 14th C Italy • Same trends: toward humanism, new patrons, etc. • Looking at classical Greek & Roman models • Trying to blend classical antiquity & contemporary piety
- 53. • Nicola Pisano (“Nick from Pisa”) • Baptistery pulpit, 1260 (late Gothic) • Shape based on classical geometry of ‘proportional harmonics’ • Style: quoting from classical sarcophagi
- 55. • Presentation at the Temple (old priest = Dionysus)
- 56. • Christian Fortitude (adapted from Hercules)
- 57. Hercules, Roman copy of Greek original (125 CE)
- 58. • Christian Fortitude (adapted from Hercules) Saint Peter, from Moissac (12th C)
Editor's Notes
- Discussion: Art is a product of culture & reflects the values of the time it comes from: McDonald’s example. In class we’ll be paying attention to all of these questions: money, patronage, style, materials, artist training, function of art in society. What is an artist? How does an artist make money? What does an artist produce? Who is his/her audience? Subject matter? Who makes decisions about what an artist creates? Who are some ‘great artists’ and how do they exemplify the idea of artist? [2 minutes to discuss; then on overhead or board as class] – Van Gogh self portrait. Changing of artist’s role over time: lone genius is v. different than historical precedents. Workshop system in medieval & Ren: training from bottom up. Collaborative nature of art productions. Guild systems. Patronage. Which brings us to the late Gothic- the beginning of the story for the purposes of this class. Middle ages (between Rome and modern world) dates vary depending on historian & country but generally 5th to 13th century. DATES!!! We begin our story in Italy, where things are heating up and a bunch of political & social changes are going to change the direction of art. Big picture: moving away from purely spiritual & religious art, towards more human-centered philosophies. The Re-birth of humanism (renaissance) [more on this later]
- Map of Italy Historical thumbnail: Politics: At this time Italy was a country, not unified, but a compilation of small city-states with surrounding territories. These areas were dominated by a city, for example the Duchy of Milan, the Republic of Venice, and the Republic of Florence. The political character of these cities or governments was an oligarchy, ruled by selected aristocrats. Rome existed as a papal state and as a secular state. The Pope was not only the spiritual leader of Europe; he was also a secular ruler. The special nature of Italy at this time allowed these small independent city-states to evolve into very powerful commercial and trading giants. Genoa, Pisa and Venice controlled the maritime lanes between Europe and the very rich East. As the guilds emerged in twelfth century France as powerful entities, so the same occurred in Italy. The guilds became major patrons of the arts as well as setting regulations, which controlled the operations within the guilds. As a consequence humanism became a focus of interest. This interest lead to a resurgence of interest in the writings of Antiquity, and this, in turn, lead to recognition of scholarship. Petrarch and Boccaccio were famous and highly sought poets and scholars of the fourteenth century and they became exemplars of the importance of creative individuals. This is fourteenth century Italy, these changes and upheavals allowed for the artistic development that went into new channels, different from the Gothic world of the rest of Europe. Scholars today differ on the exact reference for 14th century Italy, some call this period Late Gothic while others refer to this century as the “Proto-Renaissance” using the definitions stemming from France and Italy and both meaning “rebirth.” There existed in Italy at this time a duality of meanings, Late Gothic and Proto-Renaissance conventions co-existed, but the Italian artist was making definitive attempts to break away from the medieval protocols. Sum up: Medieval society was characterized by: feudal lords & peasants, rule of Church. Church as dominant form of government. During the Renaissance this changes, brought on by social crises (black death), religious crises (schism), and changes to society in which guilds, merchants, traders become more powerful in society. Shifts in patronage, rebirth of intellectual curiousity, turning away from next world to focus on this: humanism.
- This is the area to focus on for Renaissance…today is really about Siena. (Point out Assisi though)
- Society in crisis: This is the century that saw the Black Death devastate Europe, estimations of the death toll range from 25% to 50% of population died as a result of this disease which now historians say originated in China and came to Europe as a consequence of trade. The peripheral disasters that the Black Death (bubonic plague) caused may have been responsible for the malnutrition, which was pervasive. The devastating loss of population and a calamitous series of weather conditions caused a wide spread famine. The disease was non-discriminatory; no segment of the population was exempt. From the very poorest peasant to the highest aristocrat to the highly placed Churchmen, no one was safe from this virulent infection and deadly killer. The response in Italy was a commissioning of devotional works and images. Religious orders became major health benefactors, constructing hospitals and caring for the sick and dying. Another consequence of this plague was an economic one; lack of population lead to a labor shortage and an already tense and frightened society exacerbated the tensions between the aristocracy and the peasants. Into this strained atmosphere another dilemma occurred, the College of Cardinals elected a French pope and he moved the papacy from Rome to Avignon and caused a schism. The conflict between the Italians and the French even lead to the election of two popes at the same time. This situation was resolved by an election of a pope (Martin V) acceptable to all. In spite of this upheaval Italy was developing, in fact, the rise of the vernacular language (Latin remained the official language) allowed for the further and rapid evolution of philosophy and intellectual conceptual thinking to be disseminated to a broader base.
- As the guilds emerged in twelfth century France as powerful entities, so the same occurred in Italy. The guilds became major patrons of the arts as well as setting regulations, which controlled the operations within the guilds. As a consequence humanism became a focus of interest. This interest lead to a resurgence of interest in the writings of Antiquity, and this, in turn, lead to recognition of scholarship. Petrarch and Boccaccio were famous and highly sought poets and scholars of the fourteenth century and they became exemplars of the importance of creative individuals. This is fourteenth century Italy, these changes and upheavals allowed for the artistic development that went into new channels, different from the Gothic world of the rest of Europe. Scholars today differ on the exact reference for 14th century Italy, some call this period Late Gothic while others refer to this century as the “Proto-Renaissance” using the definitions stemming from France and Italy and both meaning “rebirth.” There existed in Italy at this time a duality of meanings, Late Gothic and Proto-Renaissance conventions co-existed, but the Italian artist was making definitive attempts to break away from the medieval protocols. Sum up: Medieval society was characterized by: feudal lords & peasants, rule of Church. Church as dominant form of government. During the Renaissance this changes, brought on by social crises (black death), religious crises (schism), and changes to society in which guilds, merchants, traders become more powerful in society. Shifts in patronage, rebirth of intellectual curiousity, turning away from next world to focus on this: humanism.
- The late Gothic sense can be seen in the Berlinghieri’s St. Francis Altarpiece 1235 (19–1) 5 feet tall by 4 feet wide. the monumental figure of Francis centers the panel. He is surrounded by scenes from his life. Berlinghieri has presented the saint flanked by two angels in the maniera greca or Byzantine style. (Turkey &Greece) An elongated figure placed on a gold background, reminiscent of Justinian and Attendants ca. 547 A.D. (12–9) or Style points: flat background of gold leaf. Flat, patterend drapery. Buildings are flat, stylized, hint of shadow but not ‘real’ space. Gilded background for effect in church. Also b/c it signifies wealth of patron. Size of Francis is part of hieratic scale: biggest guy is most important (a symbolic rather than literal way of representation). Physical notes: wooden panel. Altarpiece is a backdrop to church altar- in Catholic church this is holiest place, Eucharist. (Every church as relic in altar- altarpiece is meant to crown the church’s most holy spot. Subject: Francis’s life. Dies in 1226, canonized 1228, altarpiece is 1235. Altar is not long after his death. The presentation of Francis displaying the stigmata, a sign of God’s love for Francis, and holding a gospel in his left hand is similar to Peter displaying his epistles. The gospel and the epistles reference the “spreading of the Word” a function of the Franciscans. Francis is shown in side scenes preaching to the birds, healing a lame man, giving mass, having vision from angel. All important parts of his message (service to poor, peace & justice, caring for nature). . The scenes depicted emphasize the ministry Francis preached. The Franciscans served the poor, spreading the God’s word and ministering to the sick and dying Stories told in a way we can easily understand: the lame man walks away carrying his crutches- two moments from same story told on one stage = simultaneous narration. Pilgrim shows up 2x in scene at bottom left. Altar was created for the Church of St. Francis in Pescia, Italy. (Patron saint of church). Purpose: to reinforce and enhance the spiritual message/purpose of the church. Celebrate Francis’s life. Some interest in making the space “illusionistic” but not much: the important thing is to tell the story, not to trick your eyes into seeing 3 dimensional space. (Byzantine art is deliberately non-illusionistic to avoid heresy.
- Close ups of two important scenes: the life of Francis
- A later work by the Sienese artist Duccio the Virgin and Child Enthroned with Saints from the Maestà 1308–11 (19–5) 7 ft tall by 13 ft wide (center panel) Medium: tempera on panel: Wood panel, covered by gesso (plaster like) ground. Egg white used as base for pigment. The commission of the work itself is also a political statement. The Sienese victory over the Florentines (1260). Florence = papal state, Siena is a secular state. The Virgin was credited with this victory and the population, by way of thanksgiving commissioned the altarpiece. The political overtone was the fact that now the other city-states, also understood this relationship between Siena and the Queen of Heaven, she made a powerful patron and a symbol to be reckoned with, enemies, perhaps would have second thoughts before they invaded Siena. Some aspects are very much like the greek style St. Francis Symmetrical. Scale Gilded background Central scene w/flanking narrative (side panels are now separated) Depth achieved by stacking figures. What’s different: Yet a change can bee seen in the presentation of the theme itself. Even with the gold backgrounds and gold halos, the figures are more substantive than the earlier Berlinghieri St. Francis is. Duccio is moving toward a more natural presentation of the physicality of the body. The figures are occupying space more clearly. No longer do they float in space. Drapery- graphic patterns vs. falume. Faces. Human individuation. RECEPTION of this work: “On the day that it was carried to the cathedral, the shops were shut, and the bishop conducted a great and devaout company of priests and friars in solemn procession, accompanied by all the officers of the commune, and all the people, and one after another the worthiest with lighted candles in their hands took places near the picture, and behind came the women and children with great devotion. And they accompanied said picture up to the cathedral, making the procession around the square, as is the custom, all the bells ringing joyously, out of reverence for so noble a picture as this.”
- Narrative side panels: On the reverse side of the altarpiece, are depictions of the life of Christ. The main panel depicts the Passion. In the Betrayal (19–6), the gradual change from the formal presentation so favored by the Byzantine tradition is more evident. The scene shows the betrayal of Christ by Judas and the subsequent actions of the players. Duccio has created a small narrative of the event showing the viewer the moment of importance centralized by the clustering soldiers and apostles in the background and the important figures in the foreground, Christ and Judas. Christ stands face forward and Judas appears in profile offering the kiss of betrayal. To the left and right of the principal drama, the central scene, is Peter cutting the servant’s ear in anger and the terrified apostles fleeing from the soldiers. Duccio has shown human emotions and the drama the event had. This is a change from late Gothic conventions; the artist is presenting a human drama fraught with violence and fear, yet depicted in a real and believable fashion. The religious figures are taking on a more real and human character. This does reflect the teachings of St. Francis, he defined God as a truly loving God. This work does present kinder and more convincing image for the people to see. The narrative value of this scene is more persuasive in spreading the teachings of the Church. The late Gothic period sought to change the focus of the teachings from damnation to salvation and this period emphasized the humanity of the religion more precisely.
- Two important themes of the burgeoning renaissance are: observation of the natural world and interest in classical past. These trends in art reflect what’s happening in society. The first of these trends- observation of the natural world- is evident in the work of one of the most important artists of this period: Giotto. Renaissance literally means rebirth.
- Growing secularism and humanism in art: Lorenzettis: Good gov’t in city & country, frescoes for Palazzo Publico (town hall- still in use) in Siena (Gardner 19-21 & 22) L: City, R: Country. Secular commissions. In response to the growing power of the city-states, the ruling bodies were commissioning works, which would and could present their cities in the best possible light. Duccio’s Maestà was a public commission, but the theme was one of thanksgiving and possibly also a warning to other city-states. The Virgin was designated official patroness of Siena. The commercial success of Siena rivaled Florence. The city fathers now wanted that success to be memorialized and they commissioned Ambrogio Lorenzetti to create in the town hall such a tribute to the city. This fresco was a secular work not aligned to any religious imagery.
- Peaceful City and Peaceful Country both from the Effects of Good Government in the City and the Country 1338–39 (19–21 & 19–22) create visual representations of the function of civic government. Landscape is actual town of Siena (hills, architecture are easily recognizable). Landscape is one of the first large scale, naturally observed ones: part of the scientific observation that characterizes the Renaissance. Interest in Natural World. City activities. We see bustling activity in the city: commercial enterprise, social activity, the dancing maidens, and successful markets overflowing with goods. The countryside is peaceful and productive. Merchants go forth without armed guards, farmers are working their fields unhindered by soldiers or robbers. The countryside is a calm and restful place peopled by industrious workers, intent on productive labor, this atmosphere is created by the flowing curve of the road in the upper foreground and the rounded slops the hills. Lorenzetti has also attempted to give the viewer a look at the Tuscan landscape around Siena and Siena itself. It is noteworthy to point out that this commission appeared in city hall. It was a visual document that pointed out to the population and to the city fathers the benefits to be realized from good government minus violent party struggles for power and equally the civic obligations of its citizenry. This work details what an effective administration can do and how the citizens can also perform their roles. This work also focuses on the slowly changing perception of Italian society. They are seeing themselves as individuals working within a community. The role of the artist assisted in presenting this view, the artist created works that reflected the religious fervor but also now mirrored the growing need of the period to reconcile its humanity with this fervor.
- Peaceful City and Peaceful Country both from the Effects of Good Government in the City and the Country 1338–39 (19–21 & 19–22) create visual representations of the function of civic government. Landscape is actual town of Siena (hills, architecture are easily recognizable). Landscape is one of the first large scale, naturally observed ones: part of the scientific observation that characterizes the Renaissance. Interest in Natural World. City activities. We see bustling activity in the city: commercial enterprise, social activity, the dancing maidens, and successful markets overflowing with goods. The countryside is peaceful and productive. Merchants go forth without armed guards, farmers are working their fields unhindered by soldiers or robbers. The countryside is a calm and restful place peopled by industrious workers, intent on productive labor, this atmosphere is created by the flowing curve of the road in the upper foreground and the rounded slops the hills. Lorenzetti has also attempted to give the viewer a look at the Tuscan landscape around Siena and Siena itself. It is noteworthy to point out that this commission appeared in city hall. It was a visual document that pointed out to the population and to the city fathers the benefits to be realized from good government minus violent party struggles for power and equally the civic obligations of its citizenry. This work details what an effective administration can do and how the citizens can also perform their roles. This work also focuses on the slowly changing perception of Italian society. They are seeing themselves as individuals working within a community. The role of the artist assisted in presenting this view, the artist created works that reflected the religious fervor but also now mirrored the growing need of the period to reconcile its humanity with this fervor.
- Peaceful City and Peaceful Country both from the Effects of Good Government in the City and the Country 1338–39 (19–21 & 19–22) create visual representations of the function of civic government. Landscape is actual town of Siena (hills, architecture are easily recognizable). Landscape is one of the first large scale, naturally observed ones: part of the scientific observation that characterizes the Renaissance. Interest in Natural World. City activities. We see bustling activity in the city: commercial enterprise, social activity, the dancing maidens, and successful markets overflowing with goods. The countryside is peaceful and productive. Merchants go forth without armed guards, farmers are working their fields unhindered by soldiers or robbers. The countryside is a calm and restful place peopled by industrious workers, intent on productive labor, this atmosphere is created by the flowing curve of the road in the upper foreground and the rounded slops the hills. Lorenzetti has also attempted to give the viewer a look at the Tuscan landscape around Siena and Siena itself. It is noteworthy to point out that this commission appeared in city hall. It was a visual document that pointed out to the population and to the city fathers the benefits to be realized from good government minus violent party struggles for power and equally the civic obligations of its citizenry. This work details what an effective administration can do and how the citizens can also perform their roles. This work also focuses on the slowly changing perception of Italian society. They are seeing themselves as individuals working within a community. The role of the artist assisted in presenting this view, the artist created works that reflected the religious fervor but also now mirrored the growing need of the period to reconcile its humanity with this fervor.
- Two important themes of the burgeoning renaissance are: observation of the natural world and interest in classical past. These trends in art reflect what’s happening in society. The first of these trends- observation of the natural world- is evident in the work of one of the most important artists of this period: Giotto. Renaissance literally means rebirth. Classic Cimabue vs. Giotto comparison Gardner 19-8 Cimabue 1280-90, 12 ft by 7 feet Gardner 19-9, Giotto 1310 11 by 7 Subject: Maesta (Virgin enthroned in majesty) Vote: which is more gothic, which is more ren (bodies, space, realness, etc) Elucidate Greek Style of Cimabue (patterned drapes, stacked figures, wings, flat space, virgin sliding off chair Elucidate changes of Giotto: volume, realistic space (baby sitting), folds of drapery, architecture
- Giotto is a Florentine artist/trendsetter. Along with Giotto’s interest in revealing nature and presenting a substantive, physical body, he created, perhaps for the first time in the Arena Chapel, a truly integrated narrative of Christian themes. In figure 19–8, the interior of the chapel : program creates in narrative the Lives of the Virgin and Christ and his Passion. Walls were blank when he got there, he had to plan how to lay out the whole thing (influential design- Sistine chapel, etc). Stories on walls start w/Mary’s parents and end with Ascenscion of X- whoe story. Left to R (start to right of altar, to entrance wall, resumes & goes back to altar wall) Three Registers read like a comic book. Altar wall is annunciation (christ’s divine conception); entrance wall is last judgement. Medium: fresco: (fresh) painting onto wet plaster. Point out journati. Working methods. He trained w/Cimabue. Probably students worked with him. The chapel itself represents a private commission and the patronage of the artist by a private individual, Enrico Scrovegni. Both artist and private patron are assuming places of importance. The uniqueness of the Arena Chapel is that it was not connected to a church, but rather, it was an independent structure placed next to the family home (now destroyed). Giotto was well-known in his time & traveled to do commissions like this one (in Padua) outside his home city of Florence; This is a new phenomenon of the Renaissance.
- Giotto is a Florentine artist/trendsetter. Along with Giotto’s interest in revealing nature and presenting a substantive, physical body, he created, perhaps for the first time in the Arena Chapel, a truly integrated narrative of Christian themes. In figure 19–8, the interior of the chapel : program creates in narrative the Lives of the Virgin and Christ and his Passion. Walls were blank when he got there, he had to plan how to lay out the whole thing (influential design- Sistine chapel, etc). Stories on walls start w/Mary’s parents and end with Ascenscion of X- whoe story. Left to R (start to right of altar, to entrance wall, resumes & goes back to altar wall) Three Registers read like a comic book. Altar wall is annunciation (christ’s divine conception); entrance wall is last judgement. Medium: fresco: (fresh) painting onto wet plaster. Point out journati. Working methods. He trained w/Cimabue. Probably students worked with him. The chapel itself represents a private commission and the patronage of the artist by a private individual, Enrico Scrovegni. Both artist and private patron are assuming places of importance. The uniqueness of the Arena Chapel is that it was not connected to a church, but rather, it was an independent structure placed next to the family home (now destroyed). Giotto was well-known in his time & traveled to do commissions like this one (in Padua) outside his home city of Florence; This is a new phenomenon of the Renaissance.
- Giotto is a Florentine artist/trendsetter. Along with Giotto’s interest in revealing nature and presenting a substantive, physical body, he created, perhaps for the first time in the Arena Chapel, a truly integrated narrative of Christian themes. In figure 19–8, the interior of the chapel : program creates in narrative the Lives of the Virgin and Christ and his Passion. Walls were blank when he got there, he had to plan how to lay out the whole thing (influential design- Sistine chapel, etc). Stories on walls start w/Mary’s parents and end with Ascenscion of X- whoe story. Left to R (start to right of altar, to entrance wall, resumes & goes back to altar wall) Three Registers read like a comic book. Altar wall is annunciation (christ’s divine conception); entrance wall is last judgement. Medium: fresco: (fresh) painting onto wet plaster. Point out journati. Working methods. He trained w/Cimabue. Probably students worked with him. The chapel itself represents a private commission and the patronage of the artist by a private individual, Enrico Scrovegni. Both artist and private patron are assuming places of importance. The uniqueness of the Arena Chapel is that it was not connected to a church, but rather, it was an independent structure placed next to the family home (now destroyed). Giotto was well-known in his time & traveled to do commissions like this one (in Padua) outside his home city of Florence; This is a new phenomenon of the Renaissance.
- Only if time: A second example of humanism in art: Nicola Pisano. The classical past can be considered as a great reservoir of ideas and forms into which later artists continually dipped and reinterpreted according to their own needs. In the great pulpit that Nicola Pisano created for the baptistery of Pisa Cathedral ca. 1259–60 (19–2), the detail (19–3) borrowed heavily from the solid relief tradition of Late Roman sarcophagi and from the late Gothic period as well as the Byzantine tradition. This scene, which combines the Annunciation with the Nativity, presents Mary as a Roman matron. The temple facade in the background hearkens back to Imperial Rome, the baby being bathed by the two mid-wives below is reminiscent of the Byzantine tradition of depicting the First Bath, and the columns themselves, seen in the pulpit is an inheritance from the Gothic. Although Giovanni carried on his father’s interest in naturalistic details, he did not continue the interest in classical forms in his later work. He shifted from heavy classicism to an animated style (19–4) whose slender figures show the influence of the curving line of Gothic art (13–38). This switch does indicate the dialogs between Italy and European partners. There was an interchange between these city-states and the countries outside Italy. This shift also shows the interest in both the classical past and in naturalism.
- Creator: Nicola Pisano and assistants Title: Pulpit Work Type: sculpture Date: 1265-1268 Location: Duomo di Siena, Italy Material: marble Measurements: height 460 cm Collection: Italian and other European Art (Scala Archives) Source: Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Source: http://www.artres.com/c/htm/Home.aspx Source: http://www.scalarchives.com Rights: (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Rights: Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility.