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      31. Ambrogio Lorenzetti, c. 1290–1348, Early Renaissance, Sienese School, Italian, Allegory of the Good Government, 1338–39, Fresco, Palazzo Pubblico, Siena

      The artist’s view of his entire town and countryside are captured as large frescos in the Sala della Pace, Palazzo, Siena, the town’s city hall. This fresco is a political propaganda, celebrating the virtues of the Administration of the Commune. The Bad Government is illustrated by the devilish figure of Discordia, and the Good Government is personified by the diverse emblems of Virtue and Concordia. The reproductions of the frescos are rarely from the visitor’s floor level point of view. However, from that vantage point the perspectives was more as intended, with the small figures in the foreground and often the larger figures higher on the wall but apparently further in the distance. Ambrogio’s amazing sense of space was mastered later by his brother Pietro in his Birth of the Virgin (1342).

      Ambrogio Lorenzetti

      (c. 1290–1348 Sienna)

      Ambrogio Lorenzetti, like his brother Pietro, belonged to the Sienese School dominated by the Byzantine tradition. They were the first Sienese to adopt the naturalistic approach of Giotto. There is also evidence that the brothers borrowed tools from each other. They were both major masters of naturalism. With the three-dimensional, Ambrogio foreshadowed the art of the Renaissance. He is well known for the fresco cycle Allegory of the Good and Bad Government, remarkable for their depiction of characters and of Sienese scenes. The frescos on the wall of the Hall of Nine (Sala della Pace) in the Palazzo Pubblico are one of the masterworks of their secular programs. Ghiberti regarded Ambrogio as the greatest of Sienese fourteenth-century painters.

      32. Bernardo Daddi (Attributed to), c. 1290–1350, Early Renaissance, Florentine School, Italian, Crucifixion, c. 1335. Tempera on panel, 36 × 23.5 cm, The National Gallery of Art, Washington, D. C.

      Daddi is believed to have been Giotto’s student and his work strongly shows his influence. Daddi, on his side, influenced Florentine art until the second half of the century.

      33. Ambrogio Lorenzetti, c. 1290–1348, Early Renaissance, Sienese School, Italian, Madonna and Child Enthroned with Angels and Saints, c. 1340. Tempera on panel, 50.5 × 34.5 cm, Pinacoteca Nazionale, Siena

      34. Master of Kaufmann, Early Renaissance, Bohemian, The Crucifixion of Christ, c. 1340. Tempera on panel, 76 × 29.5 cm, Gemäldegalerie, Alte Meister, Berlin

      35. Hohenfuhrth Master, Early Renaissance, Bohemian, The Agony in the Garden, c. 1350. Tempera on panel, 100 × 92 cm, Narodni Galeri, Prague

      36. Master of the Berlin Nativity, Early Renaissance, Bavarian, Nativity, 1330–40. Tempera on panel, 33 × 24 cm, Gemäldegalerie, Alte Meister, Berlin

      37. Ambrogio Lorenzetti, c. 1290–1348, Early Renaissance, Sienese School, Italian, Birth of the Virgin, 1342. Tempera on panel, 188 × 183 cm, Museo dell’Opera del Duomo, Siena

      38. Andrea di Cione Orcagna, c. 1320–68, Gothic Art, Florentine School, Italian, The Redeemer with the Madonna and Saints, 1354–57. Tempera on panel, Strozzi Chapel, Santa Maria Novella, Florence

      It was originally the altarpiece of the Strozzi Chapel of Santa Maria Novella, Florence. In this painting Orcagna reverted from a more naturalistic style to the Byzantine remote and monumental figural type with resplendent colours and lavish use of gold.

      39. Bohemian Master, Gothic Art, Bohemian, Death of the Virgin, 1355–60. Tempera on panel, 100 × 71 cm, Museum of Fine Arts, Boston

      40. Master of the Eichhorn Madonna, Gothic Art, Bohemian, Eichhorn Madonna, c. 1350. Tempera on panel, 79 × 63 cm, Narodni Galeri, Prague

      41. Giovanni da Milano, active 1346–69, Gothic Art, Italian, Pietà, 1365. Tempera on panel, 122 × 58 cm. Galleria dell’Accademia, Florence

      42. Andrea di Cione Orcagna, c. 1320–68, Gothic Art, Florentine School, Italian, St Matthew and Four Stories from his Life, 1367. Tempera on panel, 291 × 265 cm. Galleria degli Uffizi, Florence

      43. Giottino, c. 1320–69, Gothic Art, Florentine School, Italian, Pietà of San Remigio, c. 1360–65. Tempera on panel, 195 × 134 cm. Galleria degli Uffizi, Florence

      44. Tommasso da Modena, c. 1325–79, Gothic Art, Italian, The Departure of St Ursula, c. 1355–58. Tempera on panel, 233.5 × 220 cm, Museo Civico, Treviso

      45. Matteo di Pacino, active 1359–94, Early Renaissance, Italian, St. Bernard’s Vision of the Virgin with Saints. Tempera on panel, 175 × 200 cm. Galleria dell’Accademia, Florence

      46. Agnolo Gaddi, c. 1345–96, Early Renaissance, Florentine School, Italian, Madonna of Humility with Six Angels, c. 1390. Tempera on panel, 118 × 58 cm. Galleria dell’Accademia, Florence

      47. Melchior Broederlam, Early Renaissance, Dutch, The Dijon Altarpiece: Annunciation and Visitation; Presentation in the Temple and Flight into Egypt, 1394–99. Tempera on panel, 167 × 125 cm, Musée des Beaux-Arts, Dijon

      48. Named after Wilton House, International Gothic, French, The Wilton Diptych, Richard II presented to the Virgin and Child by his Patron Saint John the Baptist and Saints Edward and Edmund, c. 1395–99,

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