also called Andrea da Pontedera (born c. 1270–90,
Pontedera, near Pisa—died c. 1348–49, Orvieto, Papal
States), one of the most important Italian sculptors
of the 14th century whose chief works were executed
in Florence, where he came under the
of Giotto. Andrea is recorded as the author of the
earliest of three bronze doors for the baptistery of
of Florence, which, completed in 1336, has 20
quatrefoil panels with scenes from the life of St.
John the Baptist and 8 with figures of the virtues.
The figures are gilded and set against a smooth
On the death of Giotto, in
1337, Andrea succeeded him as the
in charge of the construction of the campanile (bell
tower) of the cathedral of Florence, to which he
added two stories adorned with panel reliefs. Most
of the reliefs on the lower part, depicting
sciences, and occupations of man and three scenes
from Genesis, are generally attributed to Andrea and
his studio. Statues in niches of the campanile
(originally placed above the reliefs now in the
cathedral museum), representing David and Solomon
and two sibyls, have been attributed to Andrea, but
this has been disputed. Two statuettes of Christ and
Saint Reparata also in the cathedral’s museum are
generally considered his.
The iconography of the
baptistery door was indebted to the mosaics on the
interior of the building and to Giotto’s frescoes in
Sta. Croce. The composition of the door was
influenced by that of the bronze doors of the
cathedral of Pisa. Andrea’s style is marked by a
simplicity, restraint, and skillful arrangement of
figures that places him in the front
of the sculptors of the period.
is last recorded as superintending architect of the
cathedral of Orvieto, in which office his son Nino
South Doors: Life of Saint John the Baptist,
Florence Baptistry. 1330-36
Pisano. Reliefs, South Doors: Life of Saint John the
Baptist, Florence Baptistry.
1330-36, gilded bronze, 49.7 x 43.2 cm
Scenes on the south doors (Andrea
announces to Zachariah. 2. Zachariah
is struck mute
3. Visitation 4. Birth of the
5. Zachariah writes the boy's name.
6. St John as boy in the desert.
7. He preaches to the Pharisees. 8.
He announces Christ.
9. Baptism of his disciples. 10.
Baptism of Jesus.
11. St John reprimands Herod Antipas.
12. Incarceration of St. John.
13. The disciples visit St. John. 14.
The disciples visit Jesus.
of Salome. 16. Decapitation of St.
17. Presentation of St John's head to
Herod Antipas. 18. Salome takes the
head to Herodias
19. Transport of the body of St. John.
A. Hope B. Faith C.
Charity D. Humility
E. Fortitude F. Temperance G.
Justice H. Prudence
announces to Zachariah
Zachariah is struck mute
St. John reprimands Herod Antipas
Incarceration of St. John
Birth of the Baptist
Disciples visit St. John
Disciples visit Jesus
writes the boy's name
St. John as boy in desert
Dance of Salome
Decapitation of St. John
St. John announces Christ
Presentation of St. John's head to Herod Antipas
Salome takes head to Herodias
Baptism of Jesus
Transport of St. John's body
Burial of St. John
Justice and Prudence
Andrea Pisano. Madonna del latte
Andrea Pisano. Santa Reparata. 1340s.
Museo dell'Opera del Duomo, Florence
International Style in the South
During the later fourteenth
century, northern Italy proved particularly
hospitable to artistic
from across the Alps, not only in architecture,
but in sculpture as well. The
Apostles atop the choir screen of St.
Mark's in Venice,
carved by Jacobello and Pierpaolo
dalle Masegne about 1394,
reflect the trend toward
greater realism and the renewed interest in weight
and volume that culminated in the work of Claus
Sluter, even though these qualities are not yet
fully developed here. Both figures betray a marked
"Gothic sway" as well. Yet their kinship with
Benedetto Antelami's King David
of a century earlier is
equally apparent. With the Apostles from St.
Mark's, then, we are on the threshold of the
"International Style," which flourished throughout
western Europe about 1400
and Pierpaolo dalle Masegne
Italian family of
sculptors and architects.
Jacobello [Giacomello; Jacomelo] dalle
Masegne ( fl from 1383; d after 1409)
and his brother Pierpaolo dalle Masegne
( fl from 1383; d c. 1403) were the sons
of Antonio dalle Masegne, a stonemason
in Venice. They usually undertook and
signed their major
together, as was the common practice in
Venice for family partnerships. However,
although there is no documentary
evidence to prove it, it is possible to
recognize their individual styles in
separate sections of their collaborative
PIERPAOLO DALLE MASEGNE.
Apostles, on the choir screen, c.
Marble, height с.
cm). St. Mark's,
Dalle Masegne. Altarpiece. Marble, 385 x 313 cm.
Santa Maria Gloriosa dei Frari, Venice
Students, detail of the Tomb
of Giovanni da Legnano. 1383-86. Marble, 63,3 x 76,5