Late medieval Italy saw a rejection of medieval artistic values and a growing interest in classical antiquity and the natural world. Artists in places like Siena and Florence developed new techniques like linear perspective to create the illusion of three-dimensional space. Major works included Giotto's frescoes in the Arena Chapel in Padua, which depicted emotionally expressive figures, and Ambrogio Lorenzetti's frescoes of good and bad government for Siena's city hall. Architecture blended Gothic and classical elements, as seen in the cathedrals of Florence and Orvieto. By the 14th century, cities like Florence and Siena competed through civic patronage of the arts that promoted their republican ideals of

1. 1
Chapter 14
Late Medieval Italy
Gardner’s Art Through the Ages,
14e

2. 2
Italy Around 1400

3. 3
Goals
• Understand the influence of the Byzantine and classical worlds on
the art and architecture.
• Understand the rejection of medieval artistic elements and the
growing interest in the natural world.
• Examine the revival of classical values, in particular, the growth
of humanism.
• Examine elements of the patronage system that developed at that
time, and the patronage rivalries among the developing city states.
• Examine the architecture and art as responsive to the growing
European power structures at that time.

4. 4
14.1 Rejection of Medieval
Artistic Values
• Understand the influence of the Byzantine and classical
worlds on the art and architecture.
• Understand the rejection of medieval artistic elements and
the growing interest in the natural world.
• Examine the artistic interest in illusionism, pictorial solidity,
spatial depth, and emotional display in the human figure.

5. 5
Figure 14-2 NICOLA PISANO, pulpit of the baptistery,
Pisa, Italy, 1259–1260. Marble, 15’ high.

6. 6
Figure 14-3 NICOLA PISANO, Annunciation, Nativity, and Adoration of the Shepherds, relief panel on the baptistery pulpit,
Pisa, Italy, 1259–1260. Marble, 2’ 10” x 3’ 9”.

7. 7
Figure 14-4 GIOVANNI PISANO, Annunciation, Nativity, and Adoration of the Shepherds, relief panel on the pulpit of
Sant’Andrea, Pistoia, Italy, 1297–1301. Marble 2’ 10” x 3’ 4”.

8. 8
Figure 14-5 BONAVENTURA
BERLINGHIERI, panel from the Saint
Francis Altarpiece, San Francesco, Pescia, Italy,
1235. Tempera on wood, 5’ x 3’ x 6”.

9. 14-5A Nave (looking west) of the upper church, San Francesco, Assisi, Italy, 1228–1253.
9

10. 14-5B SAINT FRANCIS MASTER, Saint Francis Preaching to the Birds, upper church, San Francesco, Assisi,
Italy, ca. 1290–1300. Fresco, ?’ ?” high.
10

11. 11
The Altered Byzantine Style
• Examine the Byzantine styles and classical style that is seen in
the religious panel painting.
• Understand growing interest in the natural world and the
presentation of more physically solid human figures.

12. 12
Figure 14-6 CIMABUE, Madonna Enthroned with Angels and
Prophets, from Santa Trinità, Florence, Italy, ca. 1280–1290.
Tempera and gold leaf on wood, 12’ 7” x 7’ 4”. Galleria degli
Uffizi, Florence.

13. 13
Figure 14-7 GIOTTO DI BONDONE, Madonna
Enthroned, from the Church of Ognissanti, Florence, Italy,
ca. 1310. Tempera and gold leaf on wood, 10’ 8” x 6’ 8”.
Galleria degli Uffizi, Florence.

14. 14-6B PIETRO CAVALLINI, enthroned apostles, detail of Last Judgment, Santa Cecilia in Trastevere, Rome, Italy, ca. 1290–
1295. Fresco.
14

15. 15
Figure 14-1 Giotto di Bondone, Arena Chapel
(Cappella Scrovegni; interior looking west),
Padua, Italy, 1305–1306.

16. 16
Interest in the Natural World
• Understand the growing interest in the natural world and the
interest in real space.
• View how artists began to depict human emotion in their
work (influence of humanism)
• Explore how these elements are depicted in the art.

17. 17
Figure 14-8 GIOTTO DI BONDONE, Lamentation, Arena Chapel, (Cappella Scrovegni), Padua, Italy, ca. 1305. Fresco, 6’ 6
3/4” x 6’ 3/4”.

18. 14-8A GIOTTO DI BONDONE, Entry into Jerusalem, Arena Chapel (Cappella Scrovegni), Padua, Italy, ca.
1305. Fresco, 6’ 6 3/4" X 6’ 3/4".
18

19. 14-8B GIOTTO DI BONDONE, Betrayal of Jesus, Arena Chapel (Cappella Scrovegni), Padua, Italy, ca. 1305.
Fresco, 6’ 6 3/4" X 6’ 3/4".
19

20. 20
Fresco Painting and Altarpieces
• Comprehend the variety of media used in painting and
decorative religious work in this period.
• Recognize characteristics of the International Style.

21. 21
Figure 14-9 DUCCIO DI BUONINSEGNA, Virgin and Child Enthroned with Saints, principal panel of the Maestà
altarpiece, from the Siena Cathedral, Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 7’ x 13’ (center panel).
Museo dell’Opera del Duomo, Siena.

22. 14-10 DUCCIO DI BUONINSEGNA, Life of Jesus, 14 panels from the back of the Maestà altarpiece, from Siena Cathedral,
Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 7’ X 13’. Museo dell’Opera del Duomo, Siena.
22

23. 23
Figure 14-11 DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from Siena
Cathedral, Siena, Italy, 1309–1311. Tempera and gold leaf on wood, detail 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo,
Siena.

24. 14-10A DUCCIO DI BUONINSEGNA, Entry into Jerusalem, panel from the back of the Maestà altarpiece, from Siena Cathedral,
Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 3’ 4 1/2" X 1’ 9 1/8”. Museo dell’Opera del Duomo, Siena.
24

25. Figure 14-12 LORENZO MAITANI, west
facade of Orvieto Cathedral, Orvieto, Italy,
begun 1310
25

26. 14-12A Siena Cathedral (looking northeast), Siena, Italy, begun ca. 1226; nave vaults, ca. 1260–1270; lower west facade designed
by GIOVANNI PISANO, 1284–1299; enlarged and completed, 1355–1386.
26

27. 27
Figure 14-13 SIMONE MARTINI AND LIPPO MEMMI(?), Annunciation, altarpiece, from Siena Cathedral, Siena, Italy, 1333
(frame reconstructed in the19th century). Tempera and gold leaf on wood, center panel 10’ 1” x 8’ 8 3/4”. Galleria degli Uffizi,
Florence.

28. 28
Spatial Illusion
• Examine the artistic interest in illusionism, pictorial solidity,
and spatial depth.

29. 29
Figure 14-14 PIETRO
LORENZETTI, Birth of the
Virgin, from the altar of Saint
Savinus, Siena Cathedral,
Siena, Italy, 1342. Tempera on
wood, 6’ 1” x 5’ 11”. Museo
dell’Opera del Duomo, Siena.

30. 30
14.2 14th
Century Siena and Florence
• Examine elements of the patronage system that developed at
that time, and the patronage rivalries among the developing
city states.
• Examine the architecture and art as responsive to the
growing European power structures at that time.
• Examine the artistic interest in illusion, spatial depth, and
emotional display in the human figure.

31. 31
Siena and Good Government
• Examine the patronage system, the rivalries among the
developing city states, and the effect on art and architecture.
• Examine the growing European power structures and the
development of architecture.

32. 32
Figure 14-15 Aerial view of the Campo with the Palazzo Pubblico, Siena, Italy, 1288–1309.

33. 33
Figure 14-16 Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della
Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

34. 14-16A AMBROGIO LORENZETTI, Allegory of Good Government, north (left) and east (right) walls of the Sala della Pace, Palazzo
Pubblico, Siena, Italy, 1338–1339. Fresco, north wall 25’ 3” wide, east wall 46’ wide.
34

35. 35
Figure 14-17 Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della
Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

36. 36
The Republic of Florence
• Understand the role of Florence in promoting humanism.
• Examine the architecture and art as responsive to the
growing European power structures at that time.

37. 37
Figure 14-18 ARNOLFO DI CAMBIO and others, Florence Cathedral (aerial view looking northeast), Florence, Italy, begun
1296.

38. 14-18B ARNOLFO DI CAMBIO, Palazzo della Signoria (Palazzo Vecchio, looking southeast), Piazza della Signoria, Florence,
Italy, 1299–1310.
38

39. 39
Figure 14-18A Arnolfo di Cambioand others,
interior of Florence Cathedral (looking east),
Florence, Italy, begun 1296.

40. 14-19 ANDREA PISANO, south doors of the
Baptistery, Florence, Italy, 1330–1336. Gilded bronze,
doors 16’ X 9’ 2”; individual panels 1’ 7 1/4" X 1’ 5”.
(The door frames date to the mid-15th century.)
40

41. 14-19A ANDREA ORCAGNA, tabernacle, Or San Michele, Florence, Italy, 1355–1359. Mosaic, gold, marble, lapis lazuli, with
inset painting by BERNARDO DADDI, Madonna and Child Enthroned with Saints, 1346–1347. Tempera and gold on wood.
41

42. Figure 14-6A Nave of Santa Maria Novella,
Florence, Italy, ca. 1246-1470.
42

43. 43
Figure 14-20 FRANCESCO TRAINI
OR BUONAMICO BUFFALMACCO,
two details of Triumph of Death,1330s.
Full fresco,18’ 6” X 49’ 2”. Camposanto,
Pisa.

44. Reinforcing the Characteristics of 14th
Century Italian Architecture
• You have viewed the features of San Giovanni Cathedral and
Santa Maria Novella in Florence
• What Gothic features do those buildings have?
• What are features that indicate the influence of classical
architecture?
• Examine Orvieto Cathedral. What aspects of this building
illustrate Gothic influence? Would you call this a Gothic
cathedral?
44

45. Figure 14-21 Doge’s Palace, Venice, Italy, begun ca. 1340-1345; expanded and remodeled, 1424-1438.
45

46. 46
Discussion Questions
 What spatial and illusionary devices were developed at that
time? How are these examples of humanism?
 Why are classical concepts of art more appealing than the
Byzantine and Medieval examples? In what art do you see
a transition?
 How is the architecture of this period different from both
the earlier Romanesque and Gothic periods?