1. Ambrogio Lorenzetti FRESCOS OF THE SALA DEI NOVE (OR SALA DELLA PACE) Palazzo Pubblico, Siena, Italy Length of long wall about 46' (14 m). [Fig ]
Ambrogio Lorenzetti FRESCOS OF THE SALA DEI NOVE (OR SALA DELLA PACE) Palazzo Pubblico, Siena, Italy Length of long wall about 46' (14 m). [Fig ]

2. EUROPE IN THE FOURTEENTH CENTURY [Map 18-01]

3. PIAZZA DELLA SIGNORIA WITH PALAZZO DELLA SIGNORIA (TOWN HALL) , AND LOGGIA DEI LANZI (LOGGIA OF THE LANCERS), Florence. [Fig ]
PIAZZA DELLA SIGNORIA WITH PALAZZO DELLA SIGNORIA (TOWN HALL) , AND LOGGIA DEI LANZI (LOGGIA OF THE LANCERS), Florence. [Fig ]

4. Andrea Pisano LIFE OF ST
Andrea Pisano LIFE OF ST. JOHN THE BAPTIST South doors, baptistery of San Giovanni, Florence 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 ]
Andrea Pisano LIFE OF ST. JOHN THE BAPTIST South doors, baptistery of San Giovanni, Florence 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 ]

5. Andrea Pisano THE BAPTISM OF THE MULTITUDE Detail of the south doors, baptistery of San Giovanni, Florence Gilded bronze, 19-1/4" × 17" (48 × 43 cm). [Fig ]
Andrea Pisano THE BAPTISM OF THE MULTITUDE Detail of the south doors, baptistery of San Giovanni, Florence Gilded bronze, 19-1/4" × 17" (48 × 43 cm). [Fig ]

6. Cimabue VIRGIN AND CHILD ENTHRONED Most likely painted for the high altar of the church of Santa Trinità, Florence. c Tempera and gold on wood panel, 12'7" × 7'4" (3.53 × 2.2 m). Galleria degli Uffizi, Florence. [Fig ]
Cimabue VIRGIN AND CHILD ENTHRONED Most likely painted for the high altar of the church of Santa Trinità, Florence. c Tempera and gold on wood panel, 12'7" × 7'4" (3.53 × 2.2 m). Galleria degli Uffizi, Florence. [Fig ]

7. Giotto di Bondone VIRGIN AND CHILD ENTHRONED Most likely painted for the high altar of the church of the Ognissanti (All Saints), Florence Tempera and gold on wood panel, 10'8" × 6'8-1/4" (3.53 × 2.05 m). Galleria degli Uffizi, Florence. [Fig ]
Giotto di Bondone VIRGIN AND CHILD ENTHRONED Most likely painted for the high altar of the church of the Ognissanti (All Saints), Florence Tempera and gold on wood panel, 10'8" × 6'8-1/4" (3.53 × 2.05 m). Galleria degli Uffizi, Florence. [Fig ]

8. TECHNIQUE: Buon Fresco

9. Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL Padua Frescos. [Fig ]
Giotto di Bondone SCROVEGNI (ARENA) CHAPEL, VIEW TOWARD EAST WALL Padua Frescos. [Fig ]

10. Giotto di Bondone MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION, AND RESURRECTION/NOLI ME TANGERE North wall of Scrovegni (Arena) Chapel, Padua Fresco, each scene approx. 6'5" × 6' (2 × 1.85 m). [Fig ]
Giotto di Bondone MARRIAGE AT CANA, RAISING OF LAZARUS, LAMENTATION, AND RESURRECTION/NOLI ME TANGERE North wall of Scrovegni (Arena) Chapel, Padua Fresco, each scene approx. 6'5" × 6' (2 × 1.85 m). [Fig ]

11. Giotto di Bondone KISS OF JUDAS South wall of Scrovegni (Arena) Chapel, Padua Fresco, 6'6-3/4" × 6' 7/8" (2 × 1.85 m). [Fig ]
Giotto di Bondone KISS OF JUDAS South wall of Scrovegni (Arena) Chapel, Padua Fresco, 6'6-3/4" × 6' 7/8" (2 × 1.85 m). [Fig ]

12. Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE Made for Siena Cathedral Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig a]
Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE Made for Siena Cathedral Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig a]

13. Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE Made for Siena Cathedral Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig b]
Duccio di Buoninsegna CONJECTURAL RECONSTRUCTION OF THE FRONT (A) AND BACK (B) OF THE MAESTÀ ALTARPIECE Made for Siena Cathedral Tempera and gold on wood, main front panel 7' × 13' (2.13 × 4.12 m). [Fig b]

14. Duccio di Buoninsegna RAISING OF LAZARUS From the predella of the back of the Maestà altarpiece (lower right corner of FIG b), made for Siena Cathedral Tempera and gold on wood, 17-1/8" × 18-1/4" (43.5 × 46.4 cm). Kimbell Art Museum, Fort Worth, Texas. [Fig ]
Duccio di Buoninsegna RAISING OF LAZARUS From the predella of the back of the Maestà altarpiece (lower right corner of FIG b), made for Siena Cathedral Tempera and gold on wood, 17-1/8" × 18-1/4" (43.5 × 46.4 cm). Kimbell Art Museum, Fort Worth, Texas. [Fig ]

15. Duccio di Buoninsegna BETRAYAL OF JESUS From the back of the Maestà altarpiece (lower center of FIG b), made for Siena Cathedral Tempera and gold on wood, 22-1/2" × 40" (57.2 × cm). Museo dell'Opera del Duomo, Siena. [Fig ]
Duccio di Buoninsegna BETRAYAL OF JESUS From the back of the Maestà altarpiece (lower center of FIG b), made for Siena Cathedral Tempera and gold on wood, 22-1/2" × 40" (57.2 × cm). Museo dell'Opera del Duomo, Siena. [Fig ]

16. Simone Martini and Lippo Memmi ANNUNCIATION Made for Siena Cathedral
Simone Martini and Lippo Memmi ANNUNCIATION Made for Siena Cathedral Tempera and gold on wood, 10' × 8'9" (3 × 2.67 m). Galleria degli Uffizi, Florence. [Fig ]
Simone Martini and Lippo Memmi ANNUNCIATION Made for Siena Cathedral Tempera and gold on wood, 10' × 8'9" (3 × 2.67 m). Galleria degli Uffizi, Florence. [Fig ]

17. 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 ]
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. 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 Fresco, total length about 46' (14 m). [Fig a]
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 Fresco, total length about 46' (14 m). [Fig a]

19. 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 Fresco, total length about 46' (14 m). [Fig b]
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 Fresco, total length about 46' (14 m). [Fig b]

20. Andrea di Cione (nicknamed Orcagna) ENTHRONED CHRIST WITH SAINTS, FROM THE STROZZI ALTARPIECE Strozzi Chapel, Santa Maria Novella, Florence Tempera and gold on wood, 9' × 9'8" (2.74 × 2.95 m). [Fig ]
Andrea di Cione (nicknamed Orcagna) ENTHRONED CHRIST WITH SAINTS, FROM THE STROZZI ALTARPIECE Strozzi Chapel, Santa Maria Novella, Florence Tempera and gold on wood, 9' × 9'8" (2.74 × 2.95 m). [Fig ]

21. 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 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 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.

22. SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c
SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c 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 ]
SMALL IVORY CHEST WITH SCENES FROM COURTLY ROMANCES Made in Paris. c 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 ]

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

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

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

26. LIFE OF THE VIRGIN, BACK OF THE CHICHESTER-CONSTABLE CHASUBLE From a set of vestments embroidered in opus anglicanum from southern England. c 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 ( ) [Fig ]
LIFE OF THE VIRGIN, BACK OF THE CHICHESTER-CONSTABLE CHASUBLE From a set of vestments embroidered in opus anglicanum from southern England. c 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 ( ) [Fig ]

27. INTERIOR, EXETER CATHEDRAL Devon, England
INTERIOR, EXETER CATHEDRAL Devon, England. Thomas of Witney, choir, 14th century and bishop's throne, ; Robert Lesyngham, east window, [Fig ]
INTERIOR, EXETER CATHEDRAL Devon, England. Thomas of Witney, choir, 14th century and bishop's throne, ; Robert Lesyngham, east window, [Fig ]

28. VESPERBILD (PIETÀ) From the Middle Rhine region, Germany. c. 1330
VESPERBILD (PIETÀ) From the Middle Rhine region, Germany. c Wood and polychromy, height 34-1/2" (88.4 cm). Landesmuseum, Bonn. [Fig ]
VESPERBILD (PIETÀ) From the Middle Rhine region, Germany. c Wood and polychromy, height 34-1/2" (88.4 cm). Landesmuseum, Bonn. [Fig ]

29. ST. HEDWIG OF SILESIA WITH DUKE LUDWIG I OF LIEGNITZ-BRIEG AND DUCHESS AGNES Dedication page of the Hedwig Codex 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 ]
ST. HEDWIG OF SILESIA WITH DUKE LUDWIG I OF LIEGNITZ-BRIEG AND DUCHESS AGNES Dedication page of the Hedwig Codex 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 ]

30. 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 a]
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 a]

31. 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 b]
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 b]

32. Master Theodoric ST. LUKE Holy Cross Chapel, Karlstejn Castle, near Prague Paint and gold on panel, 45-1/4" × 37" (115 × 94 cm). [Fig ]
Master Theodoric ST. LUKE Holy Cross Chapel, Karlstejn Castle, near Prague Paint and gold on panel, 45-1/4" × 37" (115 × 94 cm). [Fig ]