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 Dated 1319 Ambrogio Lorenzetti San Casciano Val Di Pesa, Museum of Religious Art Tempera on wood; 148 x 78cm. Source: Church of Sant'Angelo at Vico l'Abate   The tempera portraying the Madonna and Child is by mutual consent attributed by critics to Ambrogio Lorenzetti and was carried out in 1319 on a commission from a certain "Ducio da Tolano" (Tolano is a tiny hamlet near Vico l'Abate). This is confirmed in the inscription placed at the bottom, close to the frame, which is still the original one: "A.D. MCCCXVIIII. P(E)R RIMEDIO D(E)L A(N)I(M)A DI BURNACIO. DUCIO DA TOLANO FECELA FARE BERNARDO FIGLIUOLO BURNA". The throne on which the Madonna is seated is adorned with cosmatesque decorations of Romanesque influence, even though it is spatially composed in perspective, and these elements, together with the monumental figure of Mary, have contributed towards linking the wooden panel with Florentine painting. It has however also been observed that this figure is not really constructed volumetrically and scientifically in space, but it is simply much more clearly defined, painted in colour, with large body and limbs. In fact the frontal view of the face and its stiff pose has little in common with the life-like poses of some of Giotto's Madonnas as, for example, in the Madonna of Ognissanti, carried out only a few years earlier. Although the pose of the Virgin and her clothing (a night blue mantle over a red tunic, according to Byzantine traditions) are typically canonical, the Child is not portrayed as the incarnation of God in the usual act of benediction or with the symbols related to His supernatural being. He is instead presented like a royal infant, vigorous and lively, His nudity only summarily wrapped in the red covering and with His expressive eyes looking up at his Mother, in clear contrast to her stiff pose and fixed gaze. Ambrogio Lorenzetti, one of the most important painters of the 14th century, was extraordinarily open to all kinds of new cultural stimulus and elaborated each experience in his own personal way. The monumentality of the Madonna and the solid aspect of the bodies unmistakeably betrays Giotto's influence, which can also be seen from the way the back of the chair is set further to the rear, thus obtaining an effect of spatial depth. His Sienese origins are however only too clear from the heavy decoration that flattens the back of the throne and the bright colours and outlines that define and synthesise the figures.Ambrogio moreover also shows that he is also well versed in the earlier 13th century traditions, as he has recycled the archaic hierarchy of the Virgin together with other details, like the "maforion" that covers her head, and some of the highlights visible on her mantle. back print
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