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94 Cards in this Set

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Gentile Bellini

Procession in St. Mark's Square

1496

Galleria dell'Accademia
a/t/d/l
Baptistry

c. 1059-1150
t/d
atdl
Nicola Pisano

Pulpit

1260

Pisa Baptistery
Nicola Pisano

1265

Pulpit

Siena Duomo
a/t/d/l
atdl
Nicola Pisano

Fontana Maggiore

1278

Piazza 4 Novembre, Perugia
Siena Cathedral

c. 1196-1260; facade by Giovani Pisano, late 13th century; vaults raised, apse expanded c. 1355-86
t/d; facade a/d; modifications d
atdl
Giovanni Pisano

Pulpit

1301

Sant' Andrea, Pistoia
atdl
Giovanni Pisano

Pulpit

1302-1311

Duomo, Pisa
Palazzo Vecchio

1299-1310

Florence

Arnolfo di Cambio
t/d/l/ commissioned from
Palazzo Publico

begun 1298

Siena
t/d/l
Santa Croce

begun 1294

Florence
t/d/l
Santa Croce, Franciscan church

begun 1294

Florence
t/d/l
Santa Maria Novella (Dominican)

begun 1278, finished 1360, facade (L.B. Alberti) 1470

Florence
t/d- begun, completed, facade/l
Bonaventura Berlinghieri

Altarpiece of Saint Francis

1235

San Francesco, Pescia

*one of the first representations of the life of the saint
a/t/d/l
Cimabue

Crucifix

c. 1270s

San Domenico, Arezzo
a/t/d/l
Cimabue

Enthroned madonna and Child (Maesta')

1280s

Santa Trinita, Florence
a/t/d/l
Duccio

Maesta' (Rucellai Madonna)

1285

Santa Maria Novella, Florence
a/t/d/l
Guido da Siena

Enthroned Madonna and Child

c. 1260

San Domenico, Siena
a/t/d/l
Coppo di Marcovaldo

The Last Judgement

late 13th early 14th
a/t/d
Jacopo Torriti

Coronation of the Virgin

c. 1294

Santa Maria Maggiore, Rome
a/t/d/l
Pietro Cavallini

Birth of the Virgin

1290

Santa Maria in Trastevere, Rome
a/t/d/l
Arnolfo di Cambio

Tabernacle (Baldachin)

1293

Santa Cecilia in Trastevere
a/t/d/l
Cavallini, Pietro

Last Judgement

c.1290

Santa Cecilia in Trastevere, Rome
a/t/d/l
Arnolfo di Cambio

Bust of Pope Boniface VIII

c.1300

Commissioned by the pope for his tomb in Old St. Peter's (Vatican Grotto)
a/t/d/l
Giotto di Bondone

Stefaneschi Altarpiece

early 14th century

Old St. Peter's (Pinacoteca, Vatican)
a/t/d/l
Upper Church, San Francesco

1228-1253

Assisi
t/d begun, finished/l
Cimabue

Crucifixion

after 1279

Upper Church, San Francesco, Assisi
a/t/d/l
so-called Issac Master

Esau Being Cheated of His Birthright

1290s (?)

Upper Church, San Francesco, Assisi
a/t/d/l
-begun 1296 by Arnolfo di Cambio

-Resumed in 1334 under Giotto, assisted by Andrea Pisano. Giotto completes the campanille

-Finished save dome by 1417

-Dome completed in 1436
-date begun, architect
-date construction resumed (w/ names of new architect and assistant)
-date finished save dome
-date dome completed
Scrovegni (Arena Chapel)

1305

Padua

Cycle depicts the life of the Virgin, life of Christ, and the Last Judgement
t/d/l
scenes?
Giotto

The Kiss of Judas

1305

Scrovegni Chapel, Padua

*a significant part of the innovation in subtractive- absence of Byzantine stylistic conventions. Also important is composion and point of view- we look on the figures at eye-level. The figures grouped in a realistic, natural space
a/t/d/l the innovation?
Giotto di Bondone

Madonna and Child (Maesta')

1310-15

Ognissanti Church, Florence
a/t/d/l
Giotto

St. Francis Before the Sultan(Trial by Fire)"Francis's challenge to the Islamic priests of the Egyptian Sultan to prove their faith by walking on fire"

1320s

Bardi Chapel, Santa Croce

-the Bardi Chapel is frescoed with scenes from the life of St. Francis
a/t/d/l
-what do the scenes in this chapel depict?
Giotto

St. Francis Receiving the Stigmata

1320s

Santa Croce, Bardi Chapel
a/t/d/l
Giotto

Ascension of St. John the Evangelist

1320s

Santa Croce, Peruzzi Chapel

Right wall depicts life of John the Evangelist; left wall John the Baptist
a/t/d/l
-what do the scenes of this chapel depict?
Giotto

Feast of Herod

1320s

Santa Croce, Peruzzi Chapel
a/t/d/l
Taddeo Gaddi

Scenes from the Life of the Virgin

1332-38

Santa Croce, Baroncelli Chapel
a/t/d/l
workshop of Giotto di Bondone

Coronation of the Virgin

1332-38

Santa Croce, Baroncelli Chapel
a*/t/d/l
Taddeo Gaddi

Last Supper, Tree of Life, and Four (food-related)Miracle Scenes

1330-40

Santa Croce, Refectory
a/t/d/l
Andrea Pisano

South Doors

1330-36

Florence, Baptistry
a/t/d/l
Ognissanti Church

1250s, completely rebuilt 1637

Florence
t/d*/l
Santa Maria Maggiore

430s, facade 1743

Rome
t/d/l
Santa Trinita

Founded c. 1050, Facade 1593

Florence
t/d*/l
Andrea Pisano

Weaving (From a series of the Mechanical Arts, commissioned by the Opera del Duomo for the exterior of the Campanile)

c. 1337

Florence, Museo del Opera del Duomo
a/t/d/l
Duccio

Maesta'

1308-11

high altar of the Siena Duomo
a/t/d/l
Duccio

Maesta' (detail)

1308-11

Siena Duomo
a/t/d/l
Duccio

Maesta' (Reverse side)

1308-11

Siena Duomo
a/t/d/l
Duccio

Entry into Jerusalem (from reverse of Maesta')

1308-11

Siena Duomo
a/t/d/l
Simone Martini

Maesta'

1315-1321

Sala del Consiglio (Room of the Council), Palazzo Pubblico, Siena
a/t/d/l
Lippo Memmi

Maesta'

1317-18

Palazzo Pubblico, San Gimignano
a/t/d/l
Ambrogio Lorenzetti

Allegory of Good Government

1338-40

Sala della Pace (a.k.a. Room of the Nine) Palazzo Pubblico, Siena
a/t/d/l
Ambrogio Lorenzetti

Effects of Good Government in the City and the Country (detail)

1338-40

Sala della Pace, Palazzo Pubblico, Siena
a/t/d/l
Ambrogio Lorenzetti

Effects of Good Government in the City and the Country

1338-40

Palazzo Pubblico, Siena
a/t/d/l
Master of the Triumph of Death

Triumph of Death

1330s

Camposanto, Pisa
a/t/d/l
Pietro Lorenzetti

Birth of the Virgin

1335-42

Siena Cathedral, Altar of San Savinus
a/t/d/l
Pietro Lorenzetti

Stigmata of St. Francis

c. 1320

Lower Church, San Francesco
a/t/d/l
Nardo di Cione

Paradise

c.1355

Strozzi Chapel, Santa Maria Novella, Florence
a/t/d/l
Simone Martini

The Investiture (Knighting)of St. Martin

c.1320-1330

Cappella di San Martino, Lower Church, Asissi
a/t/d/l
Simone Martini

Annunciation

1329-33

Siena Duomo (Uffizi)
a/t/d/l
Simone Martini

Altarpiece of Saint Louis of Toulouse

c. 1319

Museo di Capodimonte, Naples

commissioned by Robert of Anjou

The altarpiece was painted for the Angevin, Robert the Wise, King of Sicily. It represents St Louis of Toulouse seated with his brother, Robert the Wise, kneeling before him. The altar is important for its format. It consists of a large upper panel containing the image of the saint; and a predella beneath containing five small scenes showing episodes taken from his life. This is the first altarpiece to survive intact with an historiated predella. (It was certainly not the first to exist.) Simone's altar marks the beginnng of a process whereby this format gradually became the normal one.

The St Louis altar, being a family monument, is also a good example of court art. The comparatively new demands for facial characterization, up to now associated mainly with sculpture, are here extended to painting in the kneeling figure of Robert the Wise. There is a considerable emphasis on costume, Robert kneeling in what are presumably his coronation robes. Both these and St Louis's cope are liberally covered with family heraldry. This extends to the frame, for the border of the whole panel is carved with "fleur-de-lis". Finally, the whole work was given an added sparkle and glitter by the addition of goldsmith's work to parts of St Louis figure; and also by the addition of stones (probably semi-precious) to such objects as the crowns. These are now lost but such additions were regularly made to royal tomb effigies in the north.
a/t/d/l/ commissioned by
Maso di Banco

Miracle of Pope St. Sylvester

c. 1340

Cappella di Bardi di Vernio, Santa Croce, Florence

The scene of the "dragon miracle" takes place in Rome between the ruins of the Forum Romanum. The deep space is divided into three parts. On the left the Pope puts the dragon on chains then he turns toward the dead Magi and raises them from the dead. Emperor Constantine and his accompaniment occupy the right side of the scene in astonishment. The scene is narrative and not dramatic lacking the lively colours and monumentality of Giotto. However, the construction of the composition is remarkable.
a/t/d/l
Maso di Banco

Miracle of Pope St. Sylvester (detail)

c. 1340

Cappella di Bardi di Vernio, Santa Croce, Florence

The scene of the "dragon miracle" takes place in Rome between the ruins of the Forum Romanum. The deep space is divided into three parts. On the left the Pope puts the dragon on chains then he turns toward the dead Magi and raises them from the dead. Emperor Constantine and his accompaniment occupy the right side of the scene in astonishment. The scene is narrative and not dramatic lacking the lively colours and monumentality of Giotto. However, the construction of the composition is remarkable.
a/t/d/l
Bernardo Daddi

Martyrdom of St. Steven

1324

Santa Croce, Florence
a/t/d/l
Andrea di Cione (Orcagna)

Strozzi Altarpiece

c. 1355

Strozzi Chapel, Santa Maria Novella

The Strozzi Altarpiece incorporates iconography related to the Dominican order. It is a richly decorative painting, with tooled gold background, gold punchwork imitating embroidered fabric, and large areas of expensive lapis lasuli blue. The sheer opulence of the painting indicates its importance. At the centre of the altarpiece is a figure of God, seated rigidly and frontally in a radiant mandorla of cherubim, suspended in a light-filled heaven which defies specific spatial description. On his right he is flanked by a crowned Virgin in a Dominican habit who presents her protégé St Thomas Aquinas to him. St Thomas kneels before God in a typical donor pose. To God's left St Peter kneels to receive to keys that symbolize his office - and his power - as pope. Behind Peter is St john the Baptist, The saints in the outermost compartments of the altarpiece include St Michael the Archangel, St Catherine of Alexandria, St Lawrence and St Paul.
a/t/d/l
Giovanni del Biondo

Altarpiece of St. John the Baptist

1360s

Uffizi, Florence

Giovanni del Biondo was active for a short time in Siena where he was influenced by Bartolo di Fredi. Then he went to Florence and followed the style of Jacopo di Cione and Orcagna.

The somewhat archaic composition of the Altarpiece of the Baptist is based on the example of the Master of St Cecilia Altarpiece: the large central figure is surrounded by small scenes.
a/t/d/l
Andrea di Cione (Orcagna)Panel by Bernardo Daddi

Tabernacle

1359

Orsanmichele, Florence

Orcagna - a painter, sculptor and architect - was commissioned to execute the only significant, large-scale sculpture of the time in Florence, the mammoth tabernacle for Orsanmichele. This Gothic marble structure, rather like a miniature church, was a religious and civic edifice built to house Bernardo Daddi's repainting of a lost image of the Virgin and Child. Hexagonal reliefs of the virtues and octagonal reliefs of the Life of the Virgin alternate on its base. The programme culminates in the large relief on the back, the Dormition and Assumption of the Virgin, where the work is signed and dated 1359.

The tabernacle is encrusted with precious lapis, gold and glass inlay that creates a brilliant, shining polychromy; it is especially dense in the celestial realm, rendering the area still flatter. The elaborate decoration is equivalent to the rich brocades in contemporary painting, a taste which blossomed with the International Gothic style.
artist of tabernacle and panel/t/d/l
Agnolo Gaddi

Discovery and Proving of the True Cross

before 1387

choir, Santa Croce, Florence

Agnolo Gaddi's portrayal of the Legend of the True Cross was derived from a collection of the thirteenth-century religious writings by Jacopo da Voragine known as the Golden Legend. The frescoes provided the pictorial model which the Franciscans followed for the next century (see the fresco cycle of Piero della Francesca in Arezzo).

The narrative tells the story of Christ's cross which, according to tradition, was made from a tree planted over Adam's grave by his son Seth. (See the story in detail in Guided Tour #5.)

Agnolo's figures derive their essentially static style from Taddeo Gaddi's (his father's)frescoes in the Baroncelli Chapel, although his own hand is evident in their elongated,elegant poses, their grouping to suggest volumes in the landscape, and their placement in full, open spaces. Throughout the frescoes there are examples of compellingly individualized facial features which suggest that they were drawn from life. The individual scenes are suffused with light which enhances the solidity of buildings and landscape features against the dark background. The colours of the costumes are lighter than in earlier frescoes, lending the entire cycle a vivacity commensurate with the animation of its figures. These frescoes mark the end of a long development of fourteenth-century painting in Santa Croce which, beginning with Giotto's frescoes for the Bardi Chapel, established new ways of realizing narrative.
a/t/d/l
Giovanni da Milano

1365

Scenes from the Life of mary Magdalene

Rinuccini Chapel, Santa Croce, Florence
a/t/d/l
Giovanni da Milano

Pieta'

1365

Galleria dell'Academia, Florence

Giovanni da Milano was, as his name suggests, an outsider from Lombardy working at Florence. His Pietà, which shows the dead Christ upheld by the Virgin, Mary Magdalen, and St John, is one of the earliest representations of this subject painted in Florence. The manner in which Christ's body is raised by the grieving figures is intended to remind the observer of the suffering that Christ endured for humanity.
a/t/d/l
Andrea di Cione (Orcagna)

Saint Matthew and scenes from his Life

c. 1367

Orsanmichele (Uffizi)

Florentine painter, sculptor and architect, Andrea Orcagna was charged in 1367 by the Arte del Cambio to paint a triptych to hang on a pillar of Orsanmichele's church: it had to represent Saint Matthew, the guild's patron. Completed by the artist's brother, Jacopo di Cione, the picture includes four scenes from Saint Matthew's life and the frame is decorated with Gothic patterns reflecting contemporary architecture; in the upper part the coat of arms of the Arte del Cambio, with gold coin on red ground.

The triptych was restored in 1981.
a/t/d/l
Altichiero

Crucifixion

1370s

St. James (Giacomo) Chapel, the Santo, Padua
a/t/d/l
Andrea Bonaiuti (Andrea da Firenze)

Crucifixion

c. 1365-67

Guidalotti Chapel (Spanish Chapel), Santa Maria Novella

-burial chapel of the Guidalotti family, also served as the chapter house for the resident Dominican community
-on left wall of the chapel, St. Thomas, the difiner of orthodoxy for the church, sits enthroned in a Gothic aedicule flaned by figures of Apostles and prophets; below are seated figures, seven representing the divisions of theology and seven of the liberal arts, below each is seated the historical personage who best represents the theological or scholarly concept: the emperor Justinian before Law, St. Augustine before Theology, Pythagoras before Arithmetic, Euclid before Geometry, and Cicero before Rhetoric
-Given the promenent roll that the Dominican order played during this period, it is no surprise to see knowledge personified and codified in ths way with St. Thomas
a/t/d/l
Spinello Aretino

Scenes from the Life of St. Benedict

c. 1387

San Miniato al Monte, Florence
a/t/d/l
Baldasare degli Embriachi

Ivory altarpiece with scenes from the life of Christ, the Virgin, and scenes from the lives and legends of the Three Kings

1390s

Certosa, Pavia
a/t/d/l
Lorenzo Ghiberti

Sacrifice of Isaac

1401-03

Museo Nazionale Del Bargello, Florence
a/t/d/ current location
Filippo Brunelleschi

Sacrifice of Isaac

1401-03

Museo Nazionale Del Bargello, Florence
a/t/d/ current location
Lorenzo Ghiberti

North Doors, scenes from the life of Christ

1403-24

Baptistry, Florence
a/t,subject/d/l
Lorenzo Ghiberti

The Flagellation of Christ from the North doors of the Florence Baptistry

1403-24
a/t/d
Nanni di Banco

Isaiah

1408

Florence Cathedral
a/t/d/l
Donatello

David

1408-09

Florence Cathedral
a/t/d/l
Nanni di Banco

St. Luke

1408-15

Florence Cathedral
a/t/d/l
Niccolo' Lamberti

St. Mark

1408-15

Florence Cathedral
a/t/d/l
Donatello

St. John the Evenagelist

1409-15

Florence Cathedral
a/t/d/l
Donatello

St. George

1410-15 (?)

Or San Michele (Museo Nazionale del Bargello)
a/t/d/l
Donatello

St. Mark

1411-13

Or San Michele
a/t/d/l
Nanni di Banco

Quatro Santi Coronati

c.1414-16

Or San Michele
a/t/d/l
Lorenzo Ghiberti

St. John the Baptist

c. 1412-17

Or San Michele
a/t/d/l
Donatello

St. Louis of Toulouse

c.1423

Or San Michele
a/t/d/l
Filippo Brunelleschi

Foundling Hospital

begun 1421

Florence
a/t/d/l
Ambrogio Lorenzetti

Presentation in the Temple

1342

Uffizi
a/t/d/l
Nardo di Cione

Crucifixion

1350s

Uffizi

The elegant twisted columns have been restored on the basis of the authentic ones
a/t/d/l
Vitale da Bologna

Madonna dei Denti

1345

Galleria Davia Bargellini, Bologna
a/t/d/l
Vitale da Bologna

St. George and the Dragon

c. 1350

Pinacoteca Nazionale, Bologna

One of the three signed paintings by Vitale, originally it belonged to the altarpiece of the church of San Giorgio in Bologna
a/t/d/l
Vitale da Bologna

Crucifixion

c. 1335

Museo Thyssen-Bornemisza, Madrid
a/t/d/l