CIMABUE

The transept and the presbitery of the Upper Church was decorated mainly by Cimabue. This decoration represents at the same time the best expression of Cimabue’s art and probably the most significant artistic monument of painting before Giotto and the Renaissance.

The decoration, unfortunately strongly damaged during the centuries, consists of both figural and geometrical ornamentation. In the apsis the stories of Mary are represented. On the central vault of the transept the four Evangelists are depicted. In the left transept episodes from the Apocalypse, while in the right transept the stories of the Apostles are illustrated.

The Apocalyptical Christ shows some similarities with the contemporary representations of the Last Judgment, therefore earlier it was erraneously interpreted as such.

Detail of the fresco located on the wall of the left transept.

This detail shows St John the Evangelist which is certainly the work of Cimabue. The whole composition was executed only in 1321 about two decades later than the death of Cimabue.

This photograph was taken before to the 1997 earthquake.

The four vault cells, of which the eastern one was destroyed by the earthquake, contain depictions of the evangelists, as was common in the crossing vaults of medieval churches. Borders with double vines, which grow out of vases borne by angels and wrap around heads of putti at regular intervals, line the individual picture fields. The evangelists: St Luke (west vault cell), St John (north cell), St Matthew (east cell) and St Mark (south cell).

Either writing or absorbed in scripture, the evangelists occupy one half of each triangular field; a table writing desk is in the middle; and a view of a city is in the other half. In the pinnacle of each vault cell is a patch of cloud from which an angel descends and, as a visual sign of divine inspiration, touches the ear of the evangelist. The cities depicted represent, or once represented, the parts of the world to which each evangelist directed his message: YTALIA, ACCHAIA, ASIA, IUDEA.

The four Evangelists are represented on the central vault of the transept, each with his proper symbols. The present detail represents St Matthew.

Suggested listening (streaming mp3, 8 minutes):

Johann Sebastian Bach: St. Matthew Passion BWV 244 (excerpts)

Either writing or absorbed in scripture, the evangelists occupy one half of each triangular field; a table writing desk is in the middle; and a view of a city is in the other half. In the pinnacle of each vault cell is a patch of cloud from which an angel descends and, as a visual sign of divine inspiration, touches the ear of the evangelist. The cities depicted represent, or once represented, the parts of the world to which each evangelist directed his message: YTALIA, ACCHAIA, ASIA, IUDEA.

The view of Rome opposite the evangelist Mark features prominent buildings in the city - e.g., the Castel Sant’Angelo, the Meta Romuili, Old St Peter’s, the Pantheon, the Capitol with the Palazzo dei Senatori, the Torre delle Milizie, and apparently the church of Santi Apostoli - with a fidelity that was unusual for the time.

The detail shows St Luke

This photograph was taken before to the 1997 earthquake.

The four vault cells, of which the eastern one was destroyed by the earthquake, contain depictions of the evangelists, as was common in the crossing vaults of medieval churches. Borders with double vines, which grow out of vases borne by angels and wrap around heads of putti at regular intervals, line the individual picture fields.

This photograph was taken before to the 1997 earthquake.

The four vault cells, of which the eastern one was destroyed by the earthquake, contain depictions of the evangelists, as was common in the crossing vaults of medieval churches. Borders with double vines, which grow out of vases borne by angels and wrap around heads of putti at regular intervals, line the individual picture fields.

There are no references to this painting in original sources, its attribution to the young Cimabue is the result of the research in this century. This attribution is generally accepted. However, the tondo on top of the cross showing the Blessing Christ is the work of another master. At the end of the two arms of the cross the Madonna (left) and St John (right) are represented.

The painting was restored in 1917.

Suggested listening (streaming mp3, 12 minutes):

Gregorian chants

This famous Crucifix was partially destroyed by the flood in 1966.

This detail shows the Madonna, as represented at the end of the left arm of the cross.

This detail shows St John, as represented at the end of the right arm of the cross.

This detail shows the head of Christ.

This large Crucifixion fresco is located on the east wall of the south transept. Its grand pathos surpasses anything of its time. In its overall structure and in several motivic details, it reveals points of contact with the slightly older [relief of the Crucifixion by Nicola Pisano.](/html/p/pisano/nicola/1pisa/2relief4.html’)) The powerful form and dynamic posture of the crucified Christ towers over the groups of mourning and watching figures; they keep some distance from the cross thus leave sufficient room for the particularly expressive gestures of the figures closest to the cross.

In the north transept of the Upper Church, the decoration of the upper zone was supplemented by a cycle dedicated to Peter and Paul - but especially Peter - by Cimabue and his workshop. The sequence consists of five scenes: Peter Heals the Lame, Peter Heals the Sick and the Possessed, the Fall of Simon Magus, the Crucifixion of Peter, and the Beheading of Paul.

This panel was part of a larger work. Another panel depicting the Virgin and Child (National Gallery, London) was identified as one belonging to the same work, The Virgin and Child came from the top left-hand corner, and the Flagellation from the bottom right-hand corner of possibly the same panel, but certainly the same work.

The attribution of the painting, which is in a deteriorated state, is doubtful.

The fresco is located on the east wall in the north arm of western transept of the Lower Church. It is one of the most problematic works of Cimabue concerning its datation and its condition after the 19th century repaintings. Considering its datation, it is generally accepted from stylistic reasons that it is later than Cimabue’s frescoes in the Upper Church or the Madonna in the Mus�e du Louvre.

The fresco is located on the east wall in the north arm of western transept of the Lower Church. It is one of the most problematic works of Cimabue concerning its datation and its condition after the 19th century repaintings. Considering its datation, it is generally accepted from stylistic reasons that it is later than Cimabue’s frescoes in the Upper Church or the Madonna in the Mus�e du Louvre.

The attribution to Cimabue is debated. Some scholars give the painting to an artist influenced by Cimabue and Duccio or to the workshop of Cimabue. The painting is called Madonna Contini Bonacossi after its provenance from this collection.

In the south transept of the Upper Church, there are five scenes from the Apocalypse along the basamanto adjacent to the large Crucifixion fresco. They particularly emphasize the role of the angels as mediators between heaven and earth. The depictions include the Adoration of the Lamb by the Twenty-four Elders and Many Angels, the Angel of the Sixth Seal, the Angel Burning Incense on the Altar of God, the Angel Announcing the Fall of Babylon, and the Angel Sent by God to Show Him the “Things Which Must Shortly Come to Pass”.

The heavy damage to these frescoes makes it very difficult to read them. The picture shows the first three of the scenes, namely the Adoration of the Lamb by the Twenty-four Elders and Many Angels, the Angel of the Sixth Seal, and the Angel Burning Incense on the Altar of God.

In the south transept of the Upper Church, there are five scenes from the Apocalypse along the basamanto adjacent to the large Crucifixion fresco. They particularly emphasize the role of the angels as mediators between heaven and earth. The depictions include the Adoration of the Lamb by the Twenty-four Elders and Many Angels, the Angel of the Sixth Seal, the Angel Burning Incense on the Altar of God, the Angel Announcing the Fall of Babylon, and the Angel Sent by God to Show Him the “Things Which Must Shortly Come to Pass”.

The heavy damage to these frescoes makes it very difficult to read them. The fresco depicting the opening of the sixth seal is one of those that have retained some of their original colour, and its frame has some of the decoration of double vines and putti heads. In the foreground, before a city wall that looks like a folding screen, are the four angels who rule the winds. Above the towers of the city an angel is hovering, pointing with his left hand into the heavens, while his right hand is extended down toward the spirits of the wind.

On the west wall of the south transept Cimabue created a system of illusionary architecture by the insertion of a perspectival console cornice between the lower and upper sections of the wall and placed loggie that provide space for half-length figures of angels. Cimabue distanced himself entirely from all the Gothic elements of the architecture. He preferred classicising ornamental forms like fluted pilasters, capitals, and cornices with acanthus decoration to the gablets, crockets, finials, and quatrefoils.

Several frescoes in the upper church of San Francesco are attributed to Cimabue. The attribution of this fresco, located on the left wall of the church, is doubtful. Traditionally it was attributed to Cavallini. Other assumptions are that it was executed under the supervision of Cimabue, or it is the work of an unknown master strongly influenced by Cimabue, Cavallini and Torriti.

Seated on a grand, imposing ivory throne, with an articulated architectural form, the Virgin Mary is using her right hand to point to her son, whom she is holding, according to the Byzantine model of the Virgin Hodegetria, i.e. he who shows the way to salvation. Dressed like a philosopher from ancient times, Jesus is blessing and holding a rolled scroll, which is perhaps the scroll of the Law. The clothes worn by Mary and her son feature a precious golden decoration known as damascene, a characteristic of traditional Byzantine painting, which was greatly fashionable in Italian medieval painting. Around them are eight angels with splendid multi-coloured wings, gently raising the throne. What is rather unusual for the iconography of the Virgin and Child enthroned is the depiction, under the throne, of several prophets from the Old Testament (left to right: Jeremiah, Abraham, David and Isaiah) who are holding phylacteries with writings from the Holy Scriptures, alluding to the mysteries of the Incarnation and Virginity of Mary.

The painting stands out for the boldly elegant decorations, also seen on the background, which is finely decorated with geometric motifs engraved into the gold. Although the dates of this work have been the subject of much discussion, there is a tendency to date the Santa Trinita Maestà to the latter part of Cimabue’s career. In this masterpiece, the complex division of space used for the throne, the folds of the clothing, the modulation of chiaroscuro and the good-natured expressions of the Virgin and the angels seem to be affected by the naturalism distinguishing younger artists, such as Duccio di Buoninsegna and, above all, Cimabue’s own pupil, Giotto.

The painting originally hung in the Vallombrosians church of Santa Trinita in Florence and since the 16th century it has been recorded as the work of Cimabue.

The picture originally stood on the high altar of Santa Trinita church in Florence. The iconography is frequent in medieval painting and represents the Madonna enthroned with Child and angels, a pattern commonly said Maestà as shows the Virgin as Queen of Paradise. In the lower part are four biblical figures, symbolizing foundations of Christ’s kingdom: the prophets Jeremiah and Isaiah under lateral arches, Abraham and King David under the chair of the throne.

This Madonna, which is similar in structure to the same artist’s Madonna at the Louvre and Duccio’s Ruccelai Madonna, still shows the influence of the Byzantine tradition. There is, however, an unprecedented tension in the profiles and in the attempt to create spatial depth, which is rendered by superimposing the figures and in the concave structure at the base of the throne behind the figures of the prophets. The architectural structure of the throne becomes a sort of robust spatial scheme which creates a three-dimensional effect, while the edges of the painting seem to compress and hold in the bodies. There is an intense vitality in the figures and the same dramatic force that characterizes all Cimabue’s work.

Restored in 1993

The scenes from the life of the Virgin in the apse of the Upper Church represent the first large program dedicated to Mary in the history of Italian painting. The paintings of the upper registers are almost entirely destroyed. The four large fields of the basamento to the left and right of the papal throne are dedicated to the death and glorification of the Virgin. The Assembly of the Apostles by the Virgin’s Deathbed is followed by the Death of the Virgin and the Assumption. The final painting, shown here, represents the Virgin as intercessor, sitting on the heavenly throne alongside Christ. They are flanked by angels, patriarchs, prophets, saints, and Franciscans. To the left of the throne St Francis recommends brothers of his Order to the Virgin.

In the bottom register of the frescoes in the left transept the Crucifixion can be seen. The ruined lunette fresco above may have represented Christ in Glory. The angels seen behind the arcade are in a better condition than the larger frescoes and give a better sense of Cimabue’s colour palette in fresco. The ruined scene to the right of the Crucifixion is the Vision of the Throne and the Book of Seven Seals, an unusual scene based on the New Testament Book of Revelations.

Most of the frescoes in the transept of the upper church of San Francesco, as well as in the apse, were executed all at once by Cimabue and his workshop. Cimabue, who came from Florence, is the first of the mural painters active in Assisi who can be identified by name. The subject matter of the extensive pictorial program that was executed under Cimabue’s direction in the transept and the apse is based for the most part on the dedications of the altars in the western section of the church. A thirteenth-century inscription indicates that the altar in the south transept was dedicated to the archangel Michael; the high altar, to the birth of the Virgin; and the altar in the north transept, to the apostles or to Peter and Paul. Accordingly, the apse had scenes from the life of the Virgin, culminating in the Assumption; the south transept had motifs from the Apocalypse and a large Crucifixion on the east wall; the north transept arm had scenes from the lives of the apostles and another large Crucifixion; and the crossing vault had the evangelists.

The scenes from the life of the Virgin in the apse of the Upper Church represent the first large program dedicated to Mary in the history of Italian painting. The paintings of the upper registers are almost entirely destroyed. The four large fields of the basamento to the left and right of the papal throne are dedicated to the death and glorification of the Virgin. The Assembly of the Apostles by the Virgin’s Deathbed is followed by the Death of the Virgin and the Assumption. The final painting, shown here, represents the Virgin as intercessor, sitting on the heavenly throne alongside Christ. They are flanked by angels, patriarchs, prophets, saints, and Franciscans. To the left of the throne St Francis recommends brothers of his Order to the Virgin.

Vasari mentioned this painting as located in the church San Francesco in Pisa. In 1811, during the Napoleonic war, it was transferred to Paris. It was restored in 1937-38. The thorought analysis executed before the restoration showed the painting to be in a rather precarious condition: the central figures and the golden background were completely repainted. From the results of the analysis some doubts have been arised concerning the authorship of the painting. Among others it was assumed to be the work of a Sienese painter (perhaps Duccio) after a painting by Cimabue.

This panel was part of a larger work. Another panel depicting the Flagellation (Frick Collection, New York) was identified as one belonging to the same work, The Virgin and Child came from the top left-hand corner, and the Flagellation from the bottom right-hand corner of possibly the same panel, but certainly the same work.

The detail shows the head of the left-hand angel.