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