Photo Credits

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: From: Miklós Boskovits, with Ada Labriola and Angelo Tartuferi, A Critical and Historical Corpus of Florentine Painting, sec. 1, vol. 1, The Origins of Florentine Painting, 1100–1270, trans. Robert Erich Wolf (Florence: Giunti, 1993), 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: Federico Zeri and Andrea G. De Marchi, Dipinti: La Spezia, Museo Civico Amedeo Lia, Cataloghi del Museo Civico Amadeo (Milan: Silvana, 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: Federico Zeri and Andrea G. De Marchi, Dipinti: La Spezia, Museo Civico Amedeo Lia, Cataloghi del Museo Civico Amadeo (Milan: Silvana, 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: Angelo Tartuferi and Mario Scalini, ed., L’arte a Firenze nell’età di Dante (1250–1300), exh. cat. (Florence: Giunti, 2004), 118, no. 19

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

Fig. 1: From: Richard Offner, A Critical and Historical Corpus of Florentine Painting: The Fourteenth Century. Sec. 3, vol. 9, The Painters of the Miniaturist Tendency, ed. Miklós Boskovits (Florence: Giunti, 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: Christine Sciacca, ed., Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350 (Los Angeles: J. Paul Getty Museum, 2012), exh. cat. 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 the Raczyński Foundation at the National Museum in Poznań

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

Fig. 5: Photo courtesy bpk Bildagentur/Gemäldegalerie der Staatliche Museen/Berlin/Germany/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: Scala/Ministero per i Beni e le Attività culturali/Art Resource, N.Y.

Fig. 2: 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: Richard Offner and Klara Steinweg, A Critical and Historical Corpus of Florentine Painting, sec. 4, vol. 4, Giovanni del Biondo, part 2 (New York: Locust Valley, 1969), 28, pl. iv

Fig. 3: Richard Offner and Klara Steinweg, A Critical and Historical Corpus of Florentine Painting, sec. 4, vol. 4, Giovanni del Biondo, part 2 (New York: Locust Valley, 1967), 42, pl. ix

Fig. 4: Richard Offner and Klara Steinweg, A Critical and Historical Corpus of Florentine Painting, sec. 4, vol. 4, Giovanni del Biondo, part 2 (New York: Locust Valley, 1969), 190, pl. xliv

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

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 Staatliche Museen zu Berlin, Gemäldegalerie/Christoph Schmidt; Public Domain Mark 1.0

Fig. 2: Photo courtesy Staatliche Museen zu Berlin, Gemäldegalerie/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, 1250–1480, exh. cat. (London: Matthiesen Fine Art, 1996), 58, no. 5. Proprietá della Fondazione Pisa/Palazzo Blu—Property of the Pisa Foundation/Palazzo Blu

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: Sonia Chiodo, A Critical and Historical Corpus of Florentine Painting. Sec. 4, vol. 9, Painters in Florence after the “Black Death”: The Master of the Misericordia and Matteo di Pacino, ed. Miklós Boskovits (Florence: Giunti, 2011), 309, pl. lii

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

Niccolò di Pietro Gerini, The Annunciation

Fig. 1: Zuri Swimmer/Alamy Stock Photo

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

Fig. 3: Panther Media GmbH/Alamy Stock Photo

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: Hans D. Gronau, “A Dispersed Florentine Altarpiece and Its Possible Origin,” Proporzioni 3 (1950): 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: bpk Bildagentur/Gemäldegalerie, Staatliche Museen zu Berlin/Photo: Jörg P. Anders/Art Resource, N.Y.

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

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

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

Fig. 11: Dillian Gordon, “The Nobili Altarpiece from S. Maria degli Angeli, Florence,” Burlington Magazine 162, no. 1402 (January 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: 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

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

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: Pietro Torriti, La Pinacoteca Nazionale di Siena: I dipinti dal XII al XV secolo (Genoa: Sagep, 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: 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.

Master of Città di Castello, Saint John the Baptist

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

Fig. 2: 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: Luciano Bellosi, ed., La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV, vol. 1, Pittura (Florence: Centro Di, 2009), 71

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

Fig. 1: From: Giacomo De Nicola, “Duccio di Buoninsegna and His School in the Mostra di Duccio at Siena,” Burlington Magazine 22, no. 117 (December 1912): pl. 2/fig. D

Fig. 2: From: Luciano Cateni, “Pittori ducceschi di seconda generazione,” in Duccio: Alle origini della pittura senese, ed. Alessandro Bagnoli et al., exh. cat. (Milan: Silvana, 2003), 319

Fig. 3: From: Walter Angelelli and Andrea G. De Marchi, Pittura dal duecento al primo cinquecento nelle fotografie di Girolamo Bombelli (Milan: Electa, 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

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: Luciano Bellosi, ed., La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV, vol. 1, Pittura (Florence: Centro Di, 2009), 145

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

Fig. 4: © Ashmolean Museum, University of Oxford

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

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

Fig. 1: From: Chiara Frugoni, ed., Pietro e Ambrogio Lorenzetti (Florence: Le Lettere, 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: Photo courtesy 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: Bologna, Federico Zeri Foundation Photo Archive.

Luca di Tommè, The Assumption of the Virgin

Fig. 1: Art Collection 2/Alamy Stock Photo

Fig. 2: Scala/Art Resource

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: Gaudenz Freuler, Bartolo di Fredi Cini: Ein Beitrag zur sienesischen Malerei des 14. Jahrhunderts (Disentis, Switzerland: Desertina, 1994), 249, fig. 228

Taddeo di Bartolo, The Blessing Redeemer

Fig. 1: Frick Art Reference Library Photoarchive

Fig. 2: From: Gail E. Solberg, Taddeo di Bartolo, exh. cat. (Milan: Silvana, 2020), 286

Fig. 3: From: Gail E. Solberg, Taddeo di Bartolo, exh. cat. (Milan: Silvana, 2020), 287

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

Martino di Bartolomeo, The Blessing Redeemer

Fig. 1: Courtesy National Gallery of Art, Washington

Fig. 2: Photo Roberto Testi © Comune di Siena

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

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

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.

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: 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: RealyEasyStar/Claudio Pagliarani/Alamy Stock Photo

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

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: 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/Photo Scala, Florence

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