Search	The Work of San Casciano Val di Pesa, Museo di Arte Sacra :: Processional cross Tuscan Manifacture, Late 14th century - early 15th century :: Martyrdom of St. Lucy Giovan Camillo Ciabilli, Late 17th century :: Thurible Tuscan Manifacture, Dated 1775 :: Navicule Tuscan Manifacture, Dated 1775 :: Madonna and Child Gino Micheli da Castello, Dated 1341 :: Sculpted Column Master of Cabestany, Second half of the 12th century :: Chasuble Tuscan Manifacture, 16th century and late 15th century-16th century :: Cope Tuscan Manifacture, Late 17th century :: Madonna and Child Lippo di Benivieni, Second decade of the 14th century :: Coronation of the Virgin Neri di Bicci, Dated 1476 and 1481 :: The Archangel St. Michael and stories from the legend of his life Coppo di Marcovaldo, 1250-1260 ca. :: St. Anthony Abbot, St. Sebastian and St. Rocchus Master of Tavarnelle, 1510-1515 ca. :: Madonna and Child Ambrogio Lorenzetti, Dated 1319	.:. works .:. artists Madonna and Child Second decade of the 14th century Lippo di Benivieni San Casciano Val Di Pesa, Museum of Religious Art Tempera on wood; 75 x 46cm. Source: Church of Santa Maria del Gesł   When the museum was arranged, this painting of the Madonna and Child was replaced in its original position above the high altar in the Church of Santa Maria del Gesł. The small cusped painting on wood, carried out in tempera, portrays the bust of Virgin who is holding the Child in her arms. Jesus is shown in an upright position in the act of unrolling a scroll that bears the words "EGO SUM VIA; VERITAS E VITA". The Byzantine school is iconographic model of reference, always popular in Siena, while some of the stylistic aspects, like the elegant and sensitive drawing that makes the outline of the Madonna and the internal border of the mantle stand out, also recall the Gothic trends of the Sienese school. However the clear-cut composition and the well-knit construction of the figures are definitely of Florentine school. For many years the painting was believed to be the work of Taddeo Gaddi, a student of Giotto. In 1965 Carlo Volpe replaced it in the catalogue of work of Lippo di Benivieni, an artist who was also influenced by Giotto, but who always remained slightly more independent from this highly prolific school's approach and a convinced propagator of an alternative style of painting. Older than Taddeo Gaddi by at least a generation, Lippo was linked to more archaic models, reinterpreted in the light of his experience in Florence and visible in the strong Gothic lines of the drawing. This is expressed more freely in his illuminated miniatures, an example of which we can admire in a gradual preserved in the Museum of Religious Art at Impruneta. back print
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