Italian Trecento Painting and Gothic Art Concepts
Gothic Art Commentary
Why did Siena decorate its palace with religious art?
Because in the Middle Ages and early modern times, religion permeated all aspects of life. People and institutions placed themselves under the protection of God, the Virgin Mary, and the saints. In this particular case, the presence of the Maestà in the main hall of Siena’s City Council is justified because the Virgin Mary was the patron saint of the city. The city sought her protection in times of difficulty, and the municipal corporation placed itself under her guardianship.
What characterized the Sienese pictorial school?
The Sienese pictorial school was characterized by continuing the Byzantine tradition. This style of painting, following the model of Byzantine icons silhouetted against gold backgrounds, was referred to in medieval art theory as the “Greek manner” (maniera greca). Sienese painters revitalized this tradition with calligraphic novelties from Gothic art, which arrived from France via exports of ivories and miniatures.
What was the other great Italian school of Trecento painting?
The other great Italian school of painting in the Trecento was the Florentine school, represented by Giotto (1267-1337). He broke with the “Greek manner” and opened the doors to the “modern manner” (maniera moderna), a pictorial language where plastic volume, realism, and the gravity of the human figure and landscape prevail.
Definition of Concepts
Flying Buttress
The flying buttress is a large exterior stone arm that neutralizes the outward thrust of the central ribbed vaults, transferring the load onto the side buttresses. Its presence was noted around 1180 at Notre Dame Cathedral in Paris, and its use subsequently became widespread. This innovation allowed for the construction of buildings with five or even seven naves, featuring up to three stories in height: the arcade (separation arch), a triforium, and very high clerestory windows.
Lonja (Exchange Building)
A Lonja is a civil building intended for commercial trading or hiring. The proliferation of these buildings across Europe resulted from the increased trade accompanying urban development during the late Middle Ages. The most famous exchange building in Europe is that of Ypres (Belgium), whose construction began in 1202 and set the standard for such establishments in Flanders. In Spain, notable examples were built in Mediterranean ports within the Crown of Aragon: the Lonja of Barcelona (fourteenth century), the Lonja of Palma de Mallorca (begun in 1426 by Guillem Sagrera), and the Lonja of Valencia (designed in 1482 by Pere Compte).
Altarpiece
An altarpiece is an element decorating the main chapel, often designed like an interior facade, typically made of painted or sculpted wood. Although its origins are foreign – Italian and Flemish prototypes – the altarpiece achieved enormous development in Spain from the Gothic to the Baroque periods. The main reason for this development was the need to beautify the high altar, which became relatively bare after changes in the Spanish liturgy, as ecclesiastical authorities decided to move the choir stalls from the chancel to the nave. The iconographic program of altarpieces can be pictorial or sculptural, adopting arrangements of panels and reliefs in compartments or niches. Catalonia often opted for painted altarpieces, while Castile frequently preferred sculptural altarpieces, influenced by Flemish models.