Seeing Renaissance Glass

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Chapter 1

Figure 1.1: Arnolfo di Cambio, Madonna and Child, ca. 1296–1302, Museo dell’Opera del Duomo, Florence. Source: Francesco Bini via Wikimedia Commons (CC BY-SA).

Figure 1.2: Simone Martini, Detail of Maestà showing diamond-shaped panels of glass, ca. 1315, Palazzo Pubblico, Siena. Source: Alinari Archives, Firenze.

Chapter 2

Figure 2.1: Duccio, Rose Window with Scenes of the Dormition, Assumption, and Coronation of the Virgin, ca. 1288, Cathedral, Siena. Source: José Luiz Bernardes Ribeiro via Wikimedia Commons (CC BY-SA 4.0).

Figure 2.2: Duccio, Maestà, Detail of central panel showing Madonna, Child, and Saints, ca. 1308−1311, Cathedral, Siena. Source: Public Domain via Wikimedia Commons. ← xi | xii →

Figure 2.3: Duccio, Maestà, Detail with Last Supper, ca. 1308−1311, Cathedral, Siena. Source: Public Domain via Wikimedia Commons.

Figure 2.4: Simone Martini, Stained Glass Windows in Saint Martin Chapel, ca. 1317, Lower Church, San Francesco, Assisi. Source: Franco Cosimo Panini Editore © Management Fratelli Alinari.

Figure 2.5: Ceiling of Lower Church with light reflecting off silver-backed glass insets, Lower Church, San Francesco, Assisi. Source: Author.

Figure 2.6: Taddeo Gaddi, Baroncelli Chapel, ca. 1330, Santa Croce, Florence. Source: Francesco Bini via Wikimedia Commons (CC BY-2.5).

Figure 2.7: Giotto and Workshop, Pinnacle for the Baroncelli Altarpiece, ca. 1334, San Diego Museum of Art, San Diego, Gift of Anne R. and Amy Putnam (1945.26). Source: Public Domain via Wikimedia Commons.

Figure 2.8: Taddeo Gaddi, Illusionistic Niche with Liturgical Vessels, ca. 1330, Baroncelli Chapel, Santa Croce, Florence. Source: Raffaello Bencini/Alinari Archives, Florence.

Chapter 3

Figure 3.1: Simone Martini, Detail of Maestà showing diamond-shaped panels of glass reflecting light, ca. 1315, Palazzo Pubblico, Siena. Source: Author.

Figure 3.2: Orcagna, Detail of Tabernacle showing gilded glass, 1359, Orsanmichele, Florence. Source: Francesco Bini via Wikimedia Commons (CC BY-SA 3.0).

Figure 3.3: Byzantine Workshop, Bowl Base with Saints Peter and Paul Flanking a Column with the Christogram of Christ, late 4th century, The Metropolitan Museum of Art, New York, Rogers Fund, 1916 (16.174.3). Source: Public Domain, The Metropolitan Museum of Art (CC0).

Figure 3.4: Nicola Pisano, Arca of San Domenico, 1264–1267, Basilica of Saint Dominic, Bologna. Source: Georges Jansoone via Wikimedia Commons (CC BY 2.5). ← xii | xiii →

Figure 3.5: Nicola Pisano, Detail of Pulpit showing two glass panels on either side of the trilobed arch, 1265–1268, Siena Cathedral, Siena. Source: Author.

Figure 3.6: Workshop of Giotto, Christ Surrounded by Mary and St. John, ca. 14th century, The Bandini Collection, Fiesole. Source: Francesco Bini via Wikimedia Commons (CC BY-SA 3.0).

Figure 3.7: Paolo di Giovanni Fei, Detail of Madonna and Child showing the central roundel and four glass roundels in the frame, ca. 1370s, The Metropolitan Museum of Art, New York, Bequest of George Blumenthal, 1941 (41.190.13). Source: Public Domain, The Metropolitan Museum of Art (CC0).

Chapter 4

Figure 4.1: Syrian Workshop, Beaker, ca. 1260, The Walters Art Museum, Baltimore (47.17). Source: Public Domain, The Walters Museum (CC0).

Figure 4.2: Roman Workshop, Pilgrim Flask, 1st−5th century, Brooklyn Museum of Art, Gift of the executors of the Estate of Colonel Michael Friedsam (32.739). Source: Brooklyn Museum (CC BY).

Figure 4.3: Roman-Syrian Workshop, Glass Hexagonal Jug, 6th−early 7th century, The Metropolitan Museum of Art, New York (X.243). Source: Public Domain, The Metropolitan Museum of Art (CC0).

Figure 4.4: German Workshop, Cross of Nikomedes of Borghorst, ca. 1050, Pfarrgemeinde St. Nikomedes, Steinfurt-Borghorst, Germany. Source: Markus Cösters via Wikimedia Commons (CC BY 3.0).

Figure 4.5: Master of the Legend of Saint Francis, Verification of the Stigmata, ca. 1300, Upper Church, San Francesco, Assisi. Source: Public Domain via Wikimedia Commons.

Figure 4.6: Giotto, Detail of an illusionistic niche with hanging lamps, ca. 1305, Arena Chapel, Padua. Source: Raffaello Bencini/Alinari Archives, Florence. ← xiii | xiv →

Chapter 5

Figure 5.1: Naddo Ceccarelli, Reliquary Tabernacle with Virgin and Child, ca. 1350, The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1920 (37.1159). Source: Public Domain, The Walters Art Museum (CC0).

Figure 5.2: Lippo Vanni, Reliquary Triptych with Virgin and Child with Saints, ca. 1350−1359, The Walters Art Museum, Baltimore, Acquired by Henry Walters with the Massarenti Collection, 1902 (37.750). Source: Public Domain, The Walters Art Museum (CC0).

Figure 5.3: Pietro Lorenzetti, Reliquary Tabernacle with Madonna and Child, early 1340s, Florence, Villa I Tatti, Collezione Berenson, reproduced by permission of the President and Fellows of Harvard College.” Photo: Paolo De Rocco, Centrica srl, Firenze.

Figure 5.4: Sienese Workshop, Reliquary Tabernacle, 14th century, The Metropolitan Museum of Art, New York, Rogers Fund, 1918 (18.70.17). Source: Public Domain, The Metropolitan Museum of Art (CC0).

Figure 5.5: Simone di Filippo (Simone dei Crocifissi), New Testament and Apocryphal Scenes with Saints, ca. 1360−1370, The Walters Art Museum, Baltimore, Acquired by Henry Walters with the Massarenti Collection, 1902 (37.723). Source: Public Domain, The Walters Art Museum (CC0).

Figure 5.6: Pietro Lorenzetti, Illusionistic Niche with Transparent Glass Liturgical Vessels, ca. 1320, Left Transept, Lower Church, San Francesco, Assisi. Source: Author.

Figure 5.7: Unknown Artist in the Style of Altichiero, Petrarch in His Study, from the frontispiece of Petrarch’s De viris illustribus, ca. 1400, Darmstadt, Universität- und Landesbibliothek, MS 101. Source: Public Domain via Wikimedia.

Figure 5.8: Giotto, Detail of Arena Chapel Ceiling, ca. 1305, Padua. Source: José Luiz Bernardes Ribeiro via Wikimedia Commons (CC BY-SA 4.0).

Figure 5.9: Taddeo Gaddi, Detail of Baroncelli Chapel Ceiling, ca. 1330, Santa Croce, Florence. Source: Francesco Bini via Wikimedia Commons (CC BY 2.5). ← xiv | xv →

Chapter 6

Figure 6.1: Italian Workshop, Reliquary Diptych, late-14th century, The Metropolitan Museum of Art, New York, Gift of J. Pierpont Morgan, 1917 (17.190.982). Source: Public Domain, The Metropolitan Museum of Art (CC0).

Figure 6.2: Tommaso da Modena, Wing of a Reliquary Diptych with the Crucifixion and Saints, ca. 1355–70, The Walters Art Museum, Baltimore, Acquired by Henry Walters with the Massarenti Collection, 1902 (37.1686). Source: Public Domain, The Walters Art Museum (CC0).

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I can still remember my first encounter with the book Visuality Before and Beyond the Renaissance edited by Robert S. Nelson. Since that day many years ago, the captivating—but impossibly futile—mission of seeing through the eyes of another person living long ago or far away has had an unrelenting hold on both my scholarship and pedagogy and, subsequently, it has informed this book in ways that go beyond the traditional footnote. It also inspired this project in another sense; because none of the essays therein specifically treated Italian art of the fourteenth century my questions and curiosity about this period increased. Studying at Syracuse University’s Villa Rossa in Florence answered some of these questions because I was able to live with the art of the Renaissance in a sense, walking the streets that Dante and Giotto once had. But this experience raised other, more informed questions. I pursued these questions while completing my doctorate at The Graduate Center and on research trips to Italy. As this story suggests, this book would not have been possible without my friends and professors from Syracuse and The Graduate Center who helped shape my questions along the way, or otherwise supported my pursuit of them some, including Jim Saslow, Jenn Ball, Cynthia Hahn, Elinor Richter, Barbara Lane, Rachel Kousser, Gary Radke, Jonathan Nelson, Barbara Deimling, Rab Hatfield, Jillian Domenici, Emily Schiavone, Kate Mendillo, Jeremy Glatstein, Whitney Thompson, Andrea ← xvii | xviii → Ortuno, Anne Vaugniaux, Patricia Rocco, Trinity Martinez, and Ellen Hurst. I also need to thank my colleagues at Kingsborough Community College for their continued support; the PSC-CUNY Research Award Program of the Research Foundation of CUNY; and the museums, individuals, and institutions that have dedicated their photographs of artworks to the public domain or otherwise made them accessible and shareable. Lastly it gives me great joy to thank my family, both immediate and extended, for shaping my ideas, outlooks, and successes. Without all of you, I would not be me. And most importantly to my husband, there are no words to express how much you inspire me and how grateful I am for your support. You make my scholarship stronger and my days brighter; you’re the cream in my coffee.

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