Author: Cimabue

Madonna Enthroned with Angels and Prophets

ca. 1280-1290

Proto-Renaissance

Made on tempera and gold leaf on wood. Cimabue used gold embellishments on Mary's robe to show texture and dimensions rather than just for a Byzantine purpose. The four prophets and scrolls on the bottom signify a sort of foundation for christianity. Also, the prohets looking up and angels overlapping eachother show depth. The Virgin is much larger and at the center of all the other figures showing that she is the most important. Christ doesn't look very childlike indicating how aware he was of his purpose. The angels look as if they're holding up Mary's throne.

Author: Giotto di Bondone

Madonna Enthroned 

ca. 1310

Proto-Renaissance 

Made on tempera and gold leaf on wood. Here the Virgin seems more realistic and three dimensional as well as more "meaty" and motherlike. Christ is looking slightly younger. Here the angels and overlapping in a way that some faces are cut off. Some Byzantine style is still used as the gold backing and halos. The two angels that are kneeling hold lillies and roses in a vase. The lillies are for Mary's purity and roses are usually linked to Mary anyway- Mary punishes Eve by adding thorns to such a beautiful flower.

Author: Giotto di Bondone

Lamentation

ca. 1305

Proto-Renaissance

A tempura painting. Christ is not centered but there are several factors pointing to the fact that he is the most important: the slope of the rock leading down to Jesus, all the mournful faces looking toward his direction, and the two figures that are facing away serve as two parenthesis. The dead tree on top of the slope symbolizes Eden after the fall of Adam. Foreshorting is used by showing the angels as if they were to come off the painting. Grief is shown on all faces and Mary is known because she is cradeling Christ's body. St. John is shown with his arms stretched open as his symbol was the eagle and Mary Magdalene is seen holding Christ's feet. 

Author: Duccio di Buoninsegna

Virgin and Child Enthroned with Saints

1308-1311

Proto-Rennaissance

Made with Tempera and gold leaf on wood and is the principal panel of the Maestá altarpiece. Symmetry is used but the piece isn't as strict as some of the figures of the saints and prophets have turned to eachother. The drapery of every figures clothing shows dimmension and there is gold lacing only on the red part of the Virgin's dress. Mary and Christ are larger than those around them to show their significance. Mary seems more motherly. The four kneeling saints could suggest the patrons of the painting. John the baptist is shown by a figure wearing fur and so is St. Jerome, who is barefoot and holding a book.