The Cappella del Podestà, the Trionfo della Morte cycle and new ways of depicting the theme of the Last Judgment
This article begins with the observation that the first paintings in which iconographic and compositional changes in the representations of the Last Judgement were made in Tuscany in the 1330s. Analysing the deteriorated cycle painted in the Cappella del Podestà, in Palazzo del Bargello, Florence, a...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2021
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/rhac/article/view/15278 |
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| Summary: | This article begins with the observation that the first paintings in which iconographic and compositional changes in the representations of the Last Judgement were made in Tuscany in the 1330s. Analysing the deteriorated cycle painted in the Cappella del Podestà, in Palazzo del Bargello, Florence, and also the frescoes of the Trionfo della Morte cycle, in Pisa’s Camposanto, some hypothesis are made regarding the iconography developed in both paintings of the Bargello cycle, and also regarding the importance of both Florentine and Pisan cycles for the development of the iconography of the Last Judgement in the second half of the 14th century and even in the 15th. |
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| ISSN: | 2675-9829 |
