Photo Credits

Introduction

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Manuscripts and Archives, Yale University Library

Fig. 4: From: Richard Offner, A Discerning Eye: Essays on Early Italian Painting, ed. Andrew Ladis (University Park, Penn.: Pennsylvania State University Press, 1998), 36, fig. 1

Florentine School, The Crucifixion, One of Three Panels from a Tabernacle Wing

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 3: By permission of the Ministry of Culture

Fig. 4: Boskovits 1993a, pl. XXVI

Fig. 5: Photo courtesy Scala/Art Resource, N.Y.

Florentine School, The Deposition, One of Three Panels from a Tabernacle Wing

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Florentine School, The Lamentation, One of Three Panels from a Tabernacle Wing

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Master of the Yale Dossal, Virgin and Child Enthroned between Saints Leonard and Peter and Scenes from the Life of Saint Peter

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Alinari Archives, Florence

Fig. 4: Photo courtesy The Metropolitan Museum of Art, New York. www.metmuseum.org

Fig. 5: Photo © President and Fellows of Harvard College

Fig. 6: From: Zeri and De Marchi 1997, 205, pls. 87–88

Fig. 7: Photo courtesy Luisa Ricciarini/Bridgeman Images

Follower of Meliore, Triptych

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 4: Photo courtesy Yale University Art Gallery Archives

Fig. 5: Photo courtesy The Metropolitan Museum of Art, New York. www.metmuseum.org

Fig. 6: From: Zeri and De Marchi 1997, 205, pls. 87–88

Master of Varlungo, Virgin and Child Enthroned with Two Angels

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: From: Tartuferi and Scalini 2004, 118, no. 19

Lippo di Benivieni, Virgin and Child with Saints James, John the Baptist, Peter, and Francis

Fig. 1: From: Boskovits 1984, pl. 42.

Fig. 2: The Alana Collection, Delaware, USA

Master of Saint Cecilia, Virgin and Child

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: From: Sciacca 2012, 389. Photo: Nicolò Orsi Battaglinii/IKONA

Jacopo del Casentino, The Coronation of the Virgin

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 5: Photo courtesy Kunstmuseum Bern. @kunstmuseumbern

Fig. 6: Photo courtesy Yale University Art Gallery Archives

Jacopo del Casentino, Virgin and Child

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Bernardo Daddi, Vision of Saint Dominic

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Raczyński Foundation at the National Museum in Poznań

Fig. 4: Photo courtesy © MAD, Paris/Jean Tholance

Fig. 5: Photo courtesy bpk Bildagentur/Gemäldegalerie, Staatliche Museen zu Berlin. Photo: Jörg P. Anders/Art Resource, N.Y.

Fig. 6: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 7: Photo courtesy Vidimages/Alamy Stock Photo

Fig. 8: Photo courtesy © Artcurial

Workshop of Bernardo Daddi, Virgin and Child

Fig. 1: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 2: Photo courtesy Minneapolis Institute of Art

Fig. 3 ART Collection/Alamy Stock Photo

Nardo di Cione, Saint John the Evangelist

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: From: Offner and Steinweg 1969, 28, pl. 4

Fig. 3: From: Richard Offner and Klara Steinweg, A Critical and Historical Corpus of Florentine Painting, sec. 4, vol. 5, Giovanni del Biondo, part 2 (New York: Locust Valley, 1969), 42, pl. 9

Fig. 4: From: Offner and Steinweg 1969, 190, pl. 44

Fig. 5: Photo courtesy Yale University Art Gallery Archives

Fig. 6: Photo courtesy Yale University Art Gallery Archives

Fig. 7: Photo courtesy Minneapolis Institute of Art

Andrea di Cione (called Orcagna), Saint John the Baptist

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 4: Photo courtesy Yale University Art Gallery Archives

Fig. 5: Photo courtesy Yale University Art Gallery Archives

Fig. 7: Photo courtesy Scala/Art Resource, N.Y.

Nardo di Cione, Virgin and Child

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Taddeo Gaddi, Virgin and Child Enthroned

Fig. 1: Photo courtesy Frick Art Reference Library, New York

Fig. 2: Photo courtesy Scala/Art Resource, N.Y.

Fig. 3: Photo courtesy Peter Horree/Alamy Stock Photo

Taddeo Gaddi, The Entombment of Christ

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: © The National Gallery, London

Fig. 4: © Ghigo G. Roli/Art Resource, N.Y.

Niccolò di Tommaso, Saint Bridget’s Vision of the Nativity

Fig. 1: Photo courtesy the John G. Johnson Collection, Philadelphia Museum of Art, cat. 120

Fig. 2: Photo courtesy Scala/Art Resource, N.Y.

Fig. 3: Photo © Governorate scv - museum management

Fig. 4: Photo © Governorate scv - museum management

Matteo di Pacino, The Nativity and the Resurrection of Christ

Fig. 1: Photo courtesy Gemäldegalerie, Staatliche Museen zu Berlin. Photo: Christoph Schmidt; Public Domain Mark 1.0

Fig. 2: Photo courtesy Gemäldegalerie, Staatliche Museen zu Berlin. Photo: Christoph Schmidt; Public Domain Mark 1.0

Florentine School(?), ca. 1360–70, The Crucifixion

Fig. 1: From: Stefan Weppelman, Geschichten auf Gold: Bilderzählungen in der frühen italienischen Malerei, exh. cat. (Berlin: Dumont, 2005), 197, no. 12

Fig. 2: From: Gold Backs 1996, 58, no. 5. Proprietá della Fondazione Pisa/Palazzo Blu—Property of the Pisa Foundation/Palazzo Blu

Giovanni del Biondo, Christ and the Virgin Enthroned with Angels; Allegories of the New (Ecclesia) and Old (Synagoga) Dispensation

Fig. 3: ART Collection/Alamy Stock Photo

Fig. 4: ART Collection/Alamy Stock Photo

Fig. 4: © Worcester Art Museum, Massachusetts, USA/Bridgeman Images

Fig. 5: © Worcester Art Museum, Massachusetts, USA/Bridgeman Images

Attributed to Giovanni del Biondo, Scene from the Legend of Saint John Gualbert

Fig. 1: By permission of the Ministry of Culture. Opificio delle Pietre Dure Archive, Restoration and Photographic Fund, Section Photo Library, GR5756_01_LV_01_OTT2006_CPR

Fig. 2: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Cenni di Francesco di Ser Cenni, The Adoration of the Magi, One of Three Fragments from a Folding Triptych

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 4: Photo courtesy Zvonimir Atletić/Alamy Stock Photo

Fig. 5: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 6: Creative Commons License Attribution 2.5

Fig. 7: By permission of the Minister of Culture

Master of the Misericordia(?), Virgin and Child Enthroned between Saints Nicholas, Margaret of Antioch(?), Dorothy, and John the Baptist; The Crucifixion

Fig. 1: From: Chiodo 2011, 309, pl. 52

Fig. 2: Photo courtesy Royal Collection Trust/© Her Majesty Queen Elizabeth II 2022

Niccolò di Pietro Gerini, The Annunciation

Fig. 1: Photo courtesy Zuri Swimmer/Alamy Stock Photo

Fig. 2: Photo courtesy Heritage Image Partnership Ltd/Alamy Stock Photo

Fig. 3: Photo courtesy Panther Media GmbH/Alamy Stock Photo

Niccolò di Pietro Gerini, The Coronation of the Virgin with Saint Anthony Abbot, Saint James the Greater, and Four Angels

Fig. 2: © The National Gallery, London

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 4: Frick Art Reference Library Photoarchive

Niccolò di Pietro Gerini, Madonna of Humility, One of Three Panels from a Triptych

Fig. 1: Frick Art Reference Library Photoarchive

Fig. 2: Bridgeman Images

Fig. 3: Photo courtesy Kunstmuseum Bern. @kunstmuseumbern

Fig. 4: Frick Art Reference Library Photoarchive

Fig: 5: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Agnolo Gaddi or Lorenzo Monaco, Saints Julian, James, and Michael

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: By permission of the Ministry of Culture. From: Gronau 1950a, pl. 23/fig. 1

Fig. 4: Courtesy National Gallery of Art, Washington

Lorenzo Monaco, Portrait of Bernardo di Cino Bartolini Benvenuti de’ Nobili and Four of His Sons: Bartolomeo, Carlo, Benedetto, and Alamanno

Fig. 1: © RMN-Grand Palais/Art Resource, N.Y. Photo: Tony Querrec

Fig. 2: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot

Fig. 3: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot

Fig. 4: © The National Gallery, London

Fig. 5: The Alana Collection, Delaware, USA

Fig. 6: The Alana Collection, Delaware, USA

Fig. 7: Photo courtesy bpk Bildagentur/Gemäldegalerie, Staatliche Museen zu Berlin/Photo: Jörg P. Anders/Art Resource, N.Y.

Fig. 8: Christie’s Images, London/Scala

Fig. 9: Courtesy of Indianapolis Museum of Art at Newfields

Fig. 10: Photo courtesy bpk Bildagentur/Gemäldegalerie, Staatliche Museen zu Berlin/Photo: Volker-H. Schneider/Art Resource, N.Y.

Fig. 11: From: Gordon 2020, 15

Lorenzo Monaco, The Crucifixion

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Yale University Art Gallery Archives

Fig. 4: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Probably Florentine School, ca. 1400, The Crucifixion with the Penitent Magdalen and Saints

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Lorenzo Ghiberti, The Stigmatization of Saint Francis

Fig. 1: Photo: Adélaïde Beaudoin. © RMN-Grand Palais/Art Resource, N.Y.

Fig. 2: Photo: Adélaïde Beaudoin. © RMN-Grand Palais/Art Resource, N.Y.

Fig. 3: Wawel Royal Castle, phot. Mariusz Mikolajczyk, 3D, Pawel Klak

Fig. 4: Allen Memorial Art Museum, Oberlin College, Ohio

Fig. 5: Photo by Leemage/Corbis via Getty Images

Fig. 6: Photo by Index/Heritage Images via Getty Images

Fig. 7: Photo courtesy Scala/Art Resource, N.Y.

Mariotto di Nardo, Scenes from the Legend of Saints Cosmas and Damian

Fig. 1: Photo courtesy Luisa Ricciarini/Bridgeman Images

Lippo d’Andrea, Two Scenes from the Legend of Saint Michael

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo: https://commons.wikimedia.org/wiki/File:Pseudo_ambrogio_di_baldese,_s.michele,_1420,_da_s.domenico,_02.JPG

Fig. 3: Courtesy Sotheby’s, New York

Fig. 4: Photo courtesy © Musée des Beaux-Arts/photo François Jay

Lippo d’Andrea, Virgin and Child Enthroned between Saints Albert of Trapani and Peter and Saints Paul and Anthony Abbot; The Annunciation

Fig. 2: From: Ciardi et al. 2013, 3:87

Fig. 3: Photo: Kunsthistorisches Institut in Florenz—Max-Planck-Institut, Photographer: Roberto Sigismondi

Fig. 4: Photo: Kunsthistorisches Institut in Florenz—Max-Planck-Institut, Photographer: Roberto Sigismondi

Florentine School(?), ca. 1410, Desco da Parto

Fig. 1: © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Florentine School, The Story of Rinaldo da Montalbano, or the Four Sons of Aymon

Fig. 1: Bowdoin College Museum of Art, Brunswick, Maine

Fig. 2: Federico Zeri Foundation Photo Archive

Florentine School, ca. 1420–25, The Agony in the Garden

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: The Walters Art Museum, Baltimore

Fig. 3: Smithsonian American Art Museum

Fig. 4: Berenson Library, Villa I Tatti, Harvard University Center for Italian Renaissance Studies, Settignano

Fig. 5: Gabinetto Fotografico delle Gallerie degli Uffizi

Fig. 6: Gabinetto Fotografico delle Gallerie degli Uffizi—Foto Roberto Palermo

Bicci di Lorenzo, The Crucifixion with Saints and the Penitent Magdalen

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Frick Art Reference Library Photoarchive

Fig. 3: Frick Art Reference Library Photoarchive

Fig. 4: From: Torriti 1977, fig. 494

Rossello di Jacopo Franchi, Pilaster Fragment with Saint Catherine of Alexandria

Fig. 2: © Galleria Nazionale dell’Umbria, Perugia, Italy/Bridgeman Images

Rossello di Jacopo Franchi, Virgin and Child in Glory with Saint John the Baptist, Saint Peter, and Two Angels

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 4: Gabinetto Fotografico delle Gallerie degli Uffizi

Fig. 5: © Museu Nacional d’Art de Catalunya, Barcelona, 2023

“Pseudo-Dietisalvi di Speme,” Crucifixion with the Penitent Magdalen

Fig. 1: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 2: Photo courtesy Heritage Image Partnership Ltd/Alamy Stock Photo

Fig. 3: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Attributed to Ugolino di Nerio, Virgin and Child Enthroned with Four Saints

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo © 2024 Museum of Fine Arts, Boston

Fig. 3: From: Bagnoli, Bartalini, and Seidel 2017, 157

Fig. 4: Photo courtesy Yale University Art Gallery Archives

Fig. 5: From: Luciano Cateni, “Pittori ducceschi di seconda generazione,” in Bagnoli et al. 2003, 199, no. 30

Master of Città di Castello, Saint John the Baptist

Fig. 1: Wawel Royal Castle, photo: Mariusz Mikolajczyk, 3D, Pawel Klak

Fig. 2: Photo courtesy RealyEasyStar/Claudio Pagliarani/Alamy Stock Photo

Fig. 3: Staatliche Museen für Kunst, National Gallery of Denmark. Photographer: SMK Photo/Jacob Schou-Hansen

Fig. 4: From: Bellosi 2009, 71

Master of the Gondi Maestà (Goodhart Ducciesque Master), Virgin and Child

Fig. 1: From: De Nicola 1912b, pl. 2/fig. D

Fig. 2: From: Luciano Cateni, “Pittori ducceschi di seconda generazione,” in Bagnoli et al. 2003, 319

Fig. 3: From: Angelelli and De Marchi 1991, 255, no. 538

Fig. 4: Photo courtesy Yale University Art Gallery Archives

Fig. 5: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 6: From: Isabella Droandi, “Pittori ‘Forestieri’ ad Arezzo,” in Arte in terra d’Arezzo: Il trecento, ed. Aldo Galli and Paola Refice (Florence: Edifir, 2005), 46, no. 40

Fig. 7: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Lippo Memmi, Saint John the Evangelist

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 3: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot

Fig. 4: Courtesy National Gallery of Art, Washington, D.C.

Fig. 5: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 6: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 7: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 8: © Museo Poldi Pezzoli

Fig. 9: Frick Art & Historical Center, Pittsburgh

Fig. 10: Courtesy of the RISD Museum, Providence, R.I.

Fig. 11: From: Bellosi 2009, 145

Fig. 12: Photo courtesy Gemäldegalerie, Staatliche Museen zu Berlin. Photo: Jörg P. Anders; Public Domain Mark 1.0

Fig. 13: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 15: © Lindenau-Museum Altenberg/Photo: Bertram Kober/Punctum; CC BY-NC-SA 4.0

Fig. 16: Digital image courtesy of Getty’s Open Content Program

Lippo Memmi, Saint John the Evangelist

Fig. 1: © The Museum of Fine Arts, Houston; Thomas R. DuBrock

Fig. 2: © Worcester Art Museum, Massachusetts, USA/Bridgeman Images

Fig. 3: Photo courtesy Gemäldegalerie, Staatliche Museen zu Berlin. Photo: Jörg P. Anders; Public Domain Mark 1.0

Fig. 4: © Ashmolean Museum, University of Oxford

Fig. 5: Photo © 2023 Museum of Fine Arts, Boston

Pietro Lorenzetti, Saints Andrew and James the Greater, and a Prophet

Fig. 1: From: Frugoni 2002, 64

Fig. 2: Frick Art Reference Library Photoarchive

Ambrogio Lorenzetti, The Charity of Saint Martin

Fig. 1: Erich Lessing/Art Resource, N.Y.

Fig. 2: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 3: Photo © President and Fellows of Harvard College

Fig. 4: Isabella Stewart Gardner Museum, Boston

Fig. 5: The Alana Collection, Delaware, USA

Bartolomeo Bulgarini, Virgin and Child Enthroned with Two Angels

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: By permission of Ministry of Culture—Regional Directorate of Museums of Tuscany—Florence

Fig. 6: rita guglielmi/Alamy Stock Photo

Luca di Tommè, Predella: Saint Francis, the Mourning Virgin Mary, Christ on the Cross, the Mourning Saint John the Evangelist, and Saint Dominic

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Svintage Archive/Alamy Stock Photo

Fig. 3: The Alana Collection, Delaware, USA

Fig. 4: Photo courtesy the J. Paul Getty Museum, Los Angeles

Fig. 5: Photo courtesy Svintage Archive/Alamy Stock Photo

Fig. 6: Photo courtesy © Firenze, Fondazione di Studi di Storia dell’Arte Roberto Longhi

Fig. 7: Photo courtesy North Carolina Museum of Art, Raleigh

Fig. 8: Federico Zeri Foundation Photo Archive

Luca di Tommè, The Assumption of the Virgin

Fig. 1: ART Collection 2/Alamy Stock Photo

Fig. 2: Photo courtesy Scala/Art Resource, N.Y.

Luca di Tommè, Virgin and Child with a Goldfinch

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy the Rector and Scholars of Exeter College, Oxford

Fig. 4: Photo courtesy the Rector and Scholars of Exeter College, Oxford

Master of Panzano (with Luca di Tommè?), Virgin and Child with Saints Ansanus and Victor

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Moretti Fine Art

Fig. 3: Photo: http://www.SDMArt.org

Bartolo di Fredi, Virgin Annunciate

Fig. 2: Photo courtesy Museo Civico, Lucignano

Taddeo di Bartolo, Saint John the Baptist, One of Two Panels from a Dismembered Altarpiece

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Taddeo di Bartolo, Saint Jerome, One of Two Panels from a Dismembered Altarpiece

Fig. 2: Photo © Josse/Bridgeman Images

Fig. 3: © RMN-Grand Palais/Art Resource, N.Y. Photo: René-Gabriel Ojéda

Fig. 4: Tibbut Archive/Alamy Stock Photo

Fig. 5: From: Freuler 1994, 249, fig. 228

Taddeo di Bartolo, The Blessing Redeemer

Fig. 1: Frick Art Reference Library Photoarchive

Fig. 2: From: Solberg 2020, 286

Fig. 3: From: Solberg 2020, 287

Fig. 4: © Galleria Nazionale dell’Umbria/Bridgeman Images

Martino di Bartolomeo, The Lamentation over the Dead Christ

Fig. 2: © The Fitzwilliam Museum, Cambridge

Martino di Bartolomeo, The Blessing Redeemer

Fig. 1: Courtesy National Gallery of Art, Washington, D.C.

Fig. 2: Photo Roberto Testi © Comune di Siena

Fig. 3: By permission of the Minister of Culture—National Picture Gallery of Siena

Benedetto di Bindo(?), Bust of a Deacon Saint

Fig. 1: Opera della Metropolitana Aut. N. 281/2024

Giuntesque Painter, Saint Mary Magdalen

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: By permission of the Minister of Culture—National Picture Gallery of Siena

Fig. 3: Jimlop collection/Alamy Stock Photo

Master of Saints Flora and Lucilla, Saint Lucilla, One of Two Panels from an Altarpiece

Fig. 1: Musei Civici Fiorentini

Fig. 2: © Archivio fotografico del Sacro Convento di S. Francesco in Assisi, Italia

Fig. 3: © Archivio fotografico del Sacro Convento di S. Francesco in Assisi, Italia

Fig. 4: © Archivio fotografico del Sacro Convento di S. Francesco in Assisi, Italia

Fig. 5: © Alinari Archive/Photo: Fratelli Alinari/Art Resource, N.Y.

Pisan or Ligurian(?), Saint Nicholas of Bari; Saint Anthony of Padua, One of Two Panels from an Altarpiece

Fig. 1: From: Robert Paolo Ciardi, Il polittico di Agnano: Cecco di Pietro e la pittura pisana del’300 (Pisa: Pacini, 1986), 119

Giovanni di Bartolomeo Cristiani, Saint Lucy Enthroned with Six Angels

Fig. 2: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 3: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 4: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 5: Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, N.Y.

Fig. 6: The Alana Collection, Delaware, USA

Giuliano di Simone, Two Deacon Saints

Fig. 1: Frick Art Reference Library Photoarchive

Fig. 2: Mario Bonotto/Scala/Art Resource, N.Y.

Elemosina di Forte and Marino di Elemosina, Double-Sided Processional Cross

Fig. 1: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 2: Photo courtesy Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 3: Museo Civico Palazzo dei Consoli, Gubbio

Fig. 4: Courtesy Biblioteca Augusta, Perugia

Fig. 5: Courtesy Biblioteca Augusta, Perugia

Fig. 6: © Fondazione Giorgio Cini, Venice

Paolo Veneziano, Saint John the Baptist, One of Two Panels from a Dismembered Altarpiece

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy Scala/Art Resource, N.Y.

Fig. 5: Alinari Archives, Florence

Fig. 6: © Ghigo G. Roli/Art Resource, N.Y.

Follower of Pietro da Rimini, Portable Triptych with Scenes from the Lives of Christ and Saint John the Baptist

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 3: Photo courtesy RealyEasyStar/Claudio Pagliarani/Alamy Stock Photo

Fig. 4: Courtesy Lowe Art Museum, University of Miami

Giovanni Baronzio, The Coronation of the Virgin

Fig. 1: Photo © Electa/Bridgeman Images

Fig. 2: Courtesy National Gallery of Art, Washington, D.C.

Pseudo-Dalmasio, Virgin and Child Enthroned with Four Angels

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Frick Art Reference Library Photoarchive

Fig. 3: Photo courtesy Scala/Art Resource, N.Y.

Fig. 4: Courtesy Seattle Art Museum / photo: Susan Dirk

Simone di Filippo (Simone dei Crocifissi), The Crucifixion; The Coronation of the Virgin; Christ between the Twelve Apostles

Fig. 1: Federico Zeri Foundation Photo Archive

Fig. 2: Mario Bonotto/Scala

Fig. 3: © Marage Photos/Bridgeman Images

Fig. 4: © Ashmolean Museum, University of Oxford

Barnaba da Modena, Mourning Virgin

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fra Angelico, Predella: Two Scenes from the Legend of Saint Michael

Fig. 1: By permission of the Ministry of Culture. From: Gronau 1950a: pl. 23/fig. 1

Fig. 2: © Gabinetto Fotografico delle Gallerie degli Uffizi

Fig. 3: MS Typ 1001, Houghton Library, Harvard University

Fig. 4: From: Chiostrini and Maugeri 2023, 79, no. 5

Fra Angelico, The Annunciation

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Photo courtesy Yale University Art Gallery Archives

Fig. 6: Städel Musuem, Frankfurt

Fra Angelico, The Vision of Pope Innocent III; Saints Peter and Paul Appearing to Saint Dominic

Fig. 1: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot/Hervé Lewandowski

Fig. 2: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot/Hervé Lewandowski

Fig. 3: Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 4: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot/Hervé Lewandowski

Fig. 5: Scala/Art Resource, N.Y.

Fig. 7: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot/Hervé Lewandowski

Fig. 8: Scala/Art Resource, N.Y.

Fig. 9: Photo: bpk Bildagentur/Staatsgalerie/Stuttgart/Germany

Zanobi di Benedetto di Carroccio degli Strozzi, Saints Zenobius, Francis, and Anthony of Padua

Fig. 1: The Hyde Collection Trust

Fig. 2: Photograph © The State Hermitage Museum/photo: Pavel Demidov, Leonard Kheifets, Yuri Molodkovets, Vladimir Terebenin

Fig. 4: © The National Gallery, London

Fig. 5: By permission of the Ministry of Culture, Regional Directorate of Tuscany Museums, and the Museo di San Marco

Zanobi di Migliore(?), Virgin and Child Enthroned with Two Angels

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: © Gabinetto Fotografico delle Gallerie degli Uffizi

Fig. 3: © NPL—DeA Picture Library/G. Nimatallah/Bridgeman Images

Fig. 4: © RMN-Grand Palais/Art Resource, N.Y. Photo: Tony Querrec

Fig. 6: Photograph © The State Hermitage Museum/photo: Pavel Demidov, Leonard Kheifets, Yuri Molodkovets, Vladimir Terebenin

Fig. 7: Photograph © The State Hermitage Museum/photo: Pavel Demidov, Leonard Kheifets, Yuri Molodkovets, Vladimir Terebenin

Fig. 8: Federico Zeri Foundation Photo Archive

Fig. 9: bpk Bildagentur/ Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden. Photo: Hans-Peter Klut/Art Resource, N.Y.

Pseudo-Pier Francesco Fiorentino and Desiderio da Settignano, Virgin and Child

Fig. 1: © Victoria and Albert Museum, London

Fig. 2: Skulpturensammlung und Museum für byzantinische Kunst, Staatliche Museen zu Berlin

Fig. 3: Image © Lyon MBA—Photo: Martial Couderette

Fig. 4: © Gabinetto Fotografico delle Gallerie degli Uffizi

Neri di Bicci, The Charity of Saint Nicholas of Bari

Fig. 1: Courtesy the Frick Art Reference Library

Fig. 2: Courtesy the Frick Art Reference Library

Fig. 3: Courtesy Philadelphia Museum of Art

Neri di Bicci, Virgin and Child

Fig. 1: © Victoria and Albert Museum, London

Fig. 2: From: Bellandi 2016, 193, no. 16

Fig. 3: Bridgeman Images

Fig. 4: From: Cavazzini and De Marchi 2021, 111, no.17

Fig. 5: National Gallery of Art, Washington, D.C., Photo Archive, inv. no. DPA 3221582

Fig. 6: Anabel Thomas, The Painter’s Practice in Renaissance Tuscany (Cambridge: Cambridge University Press, 1995), pl. 6

Stefano di Giovanni, called Sassetta, Virgin Annunciate

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 2: Bridgeman Images

Fig. 4: Archivio fotografico Musei Nazionali di Siena

Fig. 5: Scala/Art Resource, N.Y.

Fig. 6: © RMN-Grand Palais/Art Resource, N.Y. Photo: Hervé Lewandowski

Master of the Osservanza, Saint Anthony Abbot Tempted by the Devil in the Guise of a Woman

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Sano di Pietro, Saint Anthony Abbot Tormented by Demons

Fig. 1: Gemäldegalerie, Staatliche Museen zu Berlin

Fig. 7: ART Collection 2/Alamy Stock Photo

Fig. 8: The History Collection/Alamy Stock Photo

Fig. 9: © RMN-Grand Palais/Art Resource, N.Y. Photo: Gérard Blot

Sano di Pietro, The Martyrdom of Saint Donatus

Fig. 1: Courtesy Sotheby’s

Fig. 2: © Foto LENSINI Siena

Fig. 3: Italy Mondador Portfolio/Archivio Lensini/Fabio e Andrea Lensini/Bridgeman Images

Fig. 4: Photo: Sean Pathasema

Fig. 5: Photo: Sean Pathasema

Master 185, Triptych: Virgin and Child Enthroned with Saints Peter and Jerome, Two Angels, and God the Father; Saints Francis and Ansanus with the Annunciatory Angel; Saints Bernardino and a Bishop Saint with the Virgin Annunciate

Fig. 1: Archivio fotografico Musei Nazionali di Siena

Fig. 2: Städel Musuem, Frankfurt

Giovanni di Paolo, Virgin and Child with Saints Bartholomew and Jerome

Fig. 1: Archivio fotografico Musei Nazionali di Siena

Fig. 2: Photograph © 2024 Museum of Fine Arts, Boston

Fig. 3: Frick Art & Historical Center

Benvenuto di Giovanni, Saint Peter Martyr

Fig. 1: Photo courtesy Yale University Art Gallery Archives

Fig. 3: © The Museum of Fine Arts, Houston; Will Michels

Fig. 4: Perter Horree/Alamy Stock Photo