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List of illustrations

  • The Beheading of Saints Cosmas and Damian
  • St. Luke
  • View of the interior of Siena Cathedral with a photomontage of Duccio's Maestà
  • Reconstruction of the front of the Maestà for the high altar of Siena Cathedral
  • Reconstruction of the back of the Maestà for the high altar of Siena Cathedral
  • Jesus interrogated by Annas the priest; St. Peter denies being one of Jesus' disciples
  • Jesus interrogated by Caiaphas the High Priest and St. Peter's second denial
  • Jesus mocked by order of Caiaphas and St. Peter's third denial
  • Jesus's trial by Pontius Pilate, the Roman governor
  • Pilate tells the Jews that he could find no fault in this man
  • King Herod Interrogates Jesus
  • Pilate examines Jesus after his return from Herod
  • The Flagellation
  • The Mocking of Jesus
  • Pilate washes his hands and Jesus is taken to be crucified
  • Interior of the Scrovegni Chapel
  • Interior of the Scrovegni Chapel
  • Diagram of the Scrovegni Chapel looking east, showing the position of Giotto's frescoes
  • View of a section of the north wall of the Scrovegni Chapel
  • Scenes from the story of Joachim and Anna
  • Scenes from the story of Joachim and Anna
  • Joachim's Expulsion from the Temple in Jerusalem
  • Joachim in the Wilderness
  • The Angel's Annunciation to Anna
  • The Meeting of Joachim and Anna at the Golden Gate of the Temple in Jerusalem
  • The Betrothal of the Virgin Mary
  • The Virgin's Procession Home, detail of the musicians
  • Resurrection of Lazarus
  • The Last Supper
  • The Betrayal of Jesus
  • View of the south wall of the Scrovegni Chapel from the main door
  • St. Luke, above, and St. Jerome, below
  • The Death Sentence
  • The Death Sentence
  • Jesus Interrogated by the Priests
  • The Massacre of the Innocents
  • The Massacre of the Innocents
  • The Lamentation
  • View of a section of the north wall of the Scrovegni Chapel
  • Southwest corner of the Scrovegni Chapel, showing the figure of Hope
  • Justice
  • Commutative Justice (or criminal law)
  • Temperance
  • Pulpit
  • Diagram showing the depth of an excavated block of marble from the front
  • Diagram showing the depth of an excavated block of marble from the side
  • Schematic diagram of a carved block of marble tilted away from the spectator
  • Cross-sectional diagram of a deep block of marble with figures carved in it
  • Diagram showing spectator looking up obliquely at a marble relief on a pulpit
  • Oblique view of a block of marble
  • Saints Peter, Paul, and James, detail
  • Saints Peter, Paul, and James, detail
  • Unfinished bearded head
  • The Prophet Haggai, detail of
  • First panel of the Sant' Andrea pulpit, oblique view
  • Entrance to the Sant' Andrea pulpit
  • Illuminated pulpit scroll
  • The Annunciation, detail of Sant'Andrea pulpit
  • The First Sibyl, detail of Sant'Andrea pulpit
  • The Annunciation, detail of Sant'Andrea pulpit
  • First panel of the Sant' Andrea pulpit, frontal view
  • First and second panels of the Sant'Andrea pulpit
  • Nativity, detail of first panel of the Sant'Andrea pulpit, oblique view
  • Sant'Andrea pulpit, detail, raking view
  • Adoration of the Magi, detail of Sant'Andrea pulpit, oblique view
  • Sant'Andrea pulpit, second panel
  • Sant'Andrea pulpit, third panel, oblique view from left
  • Sant'Andrea pulpit, third panel, frontal view
  • Sant'Andrea pulpit, third panel, oblique view from right
  • Sant'Andrea pulpit, third panel, detail
  • Sant'Andrea pulpit, fourth panel
  • Clarisse Madonna, The Virgin and Child
  • Sant' Andrea pulpit, detail of corner
  • Pulpit in Pisa Cathedral
  • Pisa pulpit, detail of Passion panel, frontal view
  • Diagram showing use of curved panels in Pisa Cathedral pulpit
  • Diagram showing use of curved panels in Pisa Cathedral pulpit
  • Pisa pulpit, detail of the Massacre of the Innocents
  • Pisa pulpit, detail of the Betrayal, oblique view
  • Pisa pulpit, detail of the Betrayal, oblique view
  • Schematic diagram of the Pisa pulpit, detail of the Betrayal
  • Trajan's Column, detail of plaster cast
  • Trajan's Column, detail of plaster cast
  • Pisa pulpit, detail of the Betrayal, oblique view from left
  • Pisa pulpit, detail of the Betrayal, oblique view from right
  • Pisa pulpit, detail of Peter's Denial
  • Pisa pulpit, Passion panel
  • Pisa pulpit, detail of Passion panel
  • Pisa pulpit, detail of Passion panel
  • Pisa pulpit, detail of Passion panel, oblique view from the right
  • Pisa pulpit, detail of the Adoration of the Magi, from left
  • Pisa pulpit, detail of the Adoration of the Magi, from right
  • Pisa pulpit, detail of the Presentation in the Temple
  • Pisa pulpit, detail of the Flight into Egypt
  • Pisa pulpit, detail of the Massacre of the Innocents
  • Pisa pulpit, detail of The Crucifixion
  • North wall of the Peruzzi Chapel
  • The Feast of Herod
  • The Feast of Herod, oblique view
  • The Betrothal of the Virgin, oblique view from left
  • North Doors of Florence Baptistery
  • Birth of the Virgin
  • The Sacrifice of Isaac
  • Sacrifice of Isaac
  • The Sacrifice of Isaac, view from left
  • The Navicella
  • The Navicella
  • Expulsion of the Merchants from the Temple
  • Expulsion of the Merchants from the Temple
  • Expulsion of the Merchants from the Temple, oblique view from left
  • Expulsion of the Merchants from the Temple, oblique view from right
  • The Raising of Lazarus, oblique view from right
  • Jesus amongst the Doctors
  • Jesus amongst the Doctors
  • Jesus amongst the Doctors
  • Jesus amongst the Doctors
  • Jesus amongst the Doctors, oblique view from left
  • Jesus amongst the Doctors, detail, oblique view from left
  • Jesus amongst the Doctors, oblique view from right
  • Jesus amongst the Doctors, detail, oblique view from right
  • Self Portrait
  • Diagram of the correct perspective construction
  • Santa Croce, view of the nave
  • Diagram of Santa Croce nave, showing the diminution of the distance between tranverse beams
  • Diagram of Santa Croce nave, showing the convergence of beams at right angles to the picture surface, nave of Santa Croce
  • Baptismal Font
  • Baptismal Font, detail, oblique view fom right
  • Feast of Herod, detail of Baptismal Font, frontal view
  • The Head of St. John being brought to the King's Table, detail of Baptismal Font, view from right
  • The Head of St. John being brought to the King's Table, detail of Baptismal Font, view from left
  • Tribute Money
  • Tribute Money, detail of St. Peter's face
  • Expulsion of Adam and Eve from Paradise
  • Raising of Theophilus's Son
  • Raising of Theophilus's Son, detail
  • St. Peter in Cathedra
  • Brancacci Chapel, south and west walls
  • Gates of Paradise
  • Cain and Abel, view from right and below
  • The Fall and the Creation of Adam, detail, view from below and left
  • God accusing Cain of murdering his brother, detail, from below and left
  • Story of Joseph, from left and below
  • Jacob and Esau, from right and below
  • Story of Joseph, detail of The Three Leaders
  • Joseph and his Brothers, detail
  • The Three Leaders, detail of Joseph and his Brothers
  • Joseph weeps before his Brothers, detail of Joseph and his Brothers
  • Self-Portrait
  • South Pulpit
  • North Pulpit
  • Agony in the Garden, South Pulpit
  • Agony in the Garden, South Pulpit, detail
  • Trial of Jesus, South Pulpit
  • Trial of Jesus, South Pulpit, detail
  • Trail of Jesus, South Pulpit, detail
  • Trial of Jesus, South Pulpit, detail
  • Trial of Jesus, South Pulpit, detail
  • Crucifixion and Lamentation, South Pulpit
  • Lamentation, South Pulpit
  • Lamentation, South Pulpit, detail
  • South Pulpit, corner of
  • The Entombment, South Pulpit
  • Entombment seen from the right, South Pulpit
  • Entombment, South Pulpit, detail
  • Maries at the Tomb, North Pulpit
  • Maries at the Tomb, North Pulpit, detail
  • North Puplit, detail
  • The Resurrection, North Pulpit
  • Ascension, North Pulpit
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Description: Storytelling in Christian Art from Giotto to Donatello
Contents
PublisherYale University Press
Free
Description: Storytelling in Christian Art from Giotto to Donatello
~Books are collaborative. Michael Podro and Margaret Iversen have given advice, criticism, encouragement and inspiration throughout, as well as reading much of the book in draft. Michael Baxandall first guided me to think about the relief sculpture of Ghiberti and Donatello. Julian Gardner directed my initial study of pictorial...
PublisherYale University Press
Free
Description: Storytelling in Christian Art from Giotto to Donatello
~My interest in narrative pictures painted and sculpted in Italy during the early Renaissance was aroused when I was an earnest young student forty years ago. I remember being struck by a small painting by Fra Angelico showing the beheading of five saints (Fig. 1). The sense of the rhythm of the executioner swinging his sword as he...
PublisherYale University Press
Description: Storytelling in Christian Art from Giotto to Donatello
We tell stories constantly. We tell stories about our friends, our family, our colleagues at work as well as about events in the larger world of politics, war, sport and culture...
PublisherYale University Press
Related print edition pages: pp.1-13
https://doi.org/10.37862/aaeportal.00216.001

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Description: Storytelling in Christian Art from Giotto to Donatello
Part One
PublisherYale University Press
Description: Storytelling in Christian Art from Giotto to Donatello
~~First I shall examine one section of a work which illustrates some of the ways in which narrative pictures can be read – the eleven scenes recounting Jesus’ Trial on the back of Duccio’s Maestà.1
PublisherYale University Press
Related print edition pages: pp.17-37
https://doi.org/10.37862/aaeportal.00216.002

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Description: Storytelling in Christian Art from Giotto to Donatello
The narrative cycles which are the subject of this book constituted a public art treating major religious, ethical and even legal issues through the depiction of biblical stories...
PublisherYale University Press
Related print edition pages: pp.39-83
https://doi.org/10.37862/aaeportal.00216.003

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Description: Storytelling in Christian Art from Giotto to Donatello
~~With the work of Giovanni Pisano (c. 1250–1319), who was almost a generation older than Giotto, we turn from painted panels and frescoes to relief sculpture. Tourists and scholars have somewhat neglected Giovanni’s two pulpits. The first (Fig. 44), finished in...
PublisherYale University Press
Related print edition pages: pp.85-113
https://doi.org/10.37862/aaeportal.00216.004

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Description: Storytelling in Christian Art from Giotto to Donatello
It might be felt that no sooner has the narrative got under way in the first three panels of the Pistoia pulpit, than it is brought to an abrupt conclusion in the Crucifixion...
PublisherYale University Press
Related print edition pages: pp.115-145
https://doi.org/10.37862/aaeportal.00216.005

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Description: Storytelling in Christian Art from Giotto to Donatello
Part Two
PublisherYale University Press
Description: Storytelling in Christian Art from Giotto to Donatello
In 1401 Lorenzo Ghiberti, Filippo Brunelleschi and five others took part in a competition to choose the sculptor to make the second pair of bronze doors for Florence’s Baptistery...
PublisherYale University Press
Related print edition pages: pp.149-173
https://doi.org/10.37862/aaeportal.00216.006

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Description: Storytelling in Christian Art from Giotto to Donatello
~~On 19 April 1424 Ghiberti’s gates were ceremonially unveiled on the main door of Florence’s Baptistery opposite the West Front of the cathedral. By the start of the following year, Ghiberti had...
PublisherYale University Press
Related print edition pages: pp.175-203
https://doi.org/10.37862/aaeportal.00216.007

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Description: Storytelling in Christian Art from Giotto to Donatello
~~It is not possible to determine the precise dates when the Brancacci Chapel was painted...
PublisherYale University Press
Related print edition pages: pp.205-225
https://doi.org/10.37862/aaeportal.00216.008

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Description: Storytelling in Christian Art from Giotto to Donatello
~~Ghiberti, meanwhile, had been working on the third gates for the Florence Baptistry (Fig. 134), for which he was awarded the commission in January 1425,...
PublisherYale University Press
Related print edition pages: pp.227-243
https://doi.org/10.37862/aaeportal.00216.009

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Description: Storytelling in Christian Art from Giotto to Donatello
~~There were, as we have seen, few opportunities for artists to tackle major cycles of the biblical stories, Old Testament or New. Once Ghiberti had secured the commission for the third doors of the Baptistery in 1425 it was unlikely that further opportunities in Florence would arise in the near future, if at all.
PublisherYale University Press
Related print edition pages: pp.245-267
https://doi.org/10.37862/aaeportal.00216.010

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Description: Storytelling in Christian Art from Giotto to Donatello
~~These images make considerable demands upon the spectator. But are there grounds for believing that people at the time looked at them in this way? The evidence is scanty – that cannot be denied. Art criticism did not exist, printing had not...
PublisherYale University Press
Related print edition pages: pp.269-291
https://doi.org/10.37862/aaeportal.00216.011

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Description: Storytelling in Christian Art from Giotto to Donatello
~Some factors affecting the perception of space between forms
PublisherYale University Press
Free
Description: Storytelling in Christian Art from Giotto to Donatello
Index
PublisherYale University Press
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Description: Storytelling in Christian Art from Giotto to Donatello
Photograph Credits
PublisherYale University Press
Storytelling in Christian Art from Giotto to Donatello
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