Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

Andrea del Castagno

Andrea del Sarto

Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

Antonio del Pollaiuolo

Bartolo di Fredi

Bartolomeo di Giovanni

Benozzo Gozzoli

Benvenuto di Giovanni

Bernard Berenson

Bernardo Daddi

Bianca Cappello

Bicci di Lorenzo

Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art



Dietisalvi di Speme

Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano


Duccio di Buoninsegna

Eleonora da Toledo

Federico Zuccari

Filippino Lippi

Filippo Lippi

Fra Angelico

Fra Carnevale

Francesco di Giorgio Martini

Francesco Pesellino

Francesco Rosselli

Francia Bigio

Gentile da Fabriano


Domenico Ghirlandaio


Giorgio Vasari

Giotto di bondone

Giovanni da Modena

Giovanni da San Giovanni

Giovanni di Francesco

Giovanni di Paolo

Giovanni Toscani

Girolamo di Benvenuto

Guidoccio Cozzarelli

Guido da Siena

Il Sodoma

Jacopo del Sellaio

Jacopo Pontormo

Lippo Memmi

Lippo Vanni

Lorenzo Ghiberti

Lorenzo Monaco

Lo Scheggia

Lo Spagna

Luca Signorelli


masolino da panicale

master of monteoliveto

master of sain tfrancis

master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello


piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti



sandro botticelli

sano di pietro


simone martini

spinello aretino

taddeo di bartolo

taddeo gaddi

ugolino di nerio



The Birth of Mary, 1342, Museo dell'Opera del Duomo, Siena

Travel guide for Tuscany

Pietro Lorenzetti

Lorenzetti, two 14th-century Italian painters who were brothers. Pietro and Ambrogio, born in Siena, belonged to the Sienese school dominated by the stylized Byzantine tradition developed by Duccio di Buoninsegna and Simone Martini. Pietro trained under Duccio di Buoninsegna and participated in the decoration of the lower Basilica at Assisi. He then returned to Tuscany in 1320 where he left behind the testimony of his great artistic ability.
Monticchiello still retains its old walls, towers and castle, the village inside the fortifications has maintained intact its medieval characteristics. Walking down the main street, there is the church of S. Agata. The 13th century Church of Santo Leonardo e Cristóforo, with a Gothic facade, contains an altar-piece of the Madonna con bambino by Pietro Lorenzetti.  
Madonna con bambino by Pietro Lorenzetti
Pietro Lorenzetti, Annunciazione dei Santi in the Chiesa di San Michele in Castiglione del Bosco, Montalcino  

Pietro Lorenzetti, Annunciazione dei Santi
Immersed in the clay landscape of the Crete Senesi rises Castiglione d'Orcia, a small medieval village of the Sienese countryside. An oasis not just of natural beauty, but also artistic beauty, including the Rocca di Tentennano fortress, an imposing structure built in the 13th century as a defensive outpost for the whole valley. Inside this structure, is the Sala d'arte San Giovanni: an important exhibit for gaining a deeper understanding of, and admiring, the masterpieces of the Sienese school between the 14th and 15th centuries.

In particular, a prestigious work of Pietro Lorenzetti stands out, the Madonna and Child.

This panel painting, after an attentive, year-long restoration, returns to its original splendour next to paintings of the calibre of Simone Martini, Il Vecchietto, and Giovanni di Paolo. On a gilded background, Maria holds her son delicately in her arms, in keeping with iconographic tradition. A deeply profound religious theme represented with great humanity. The style, the use of colour and the attempts to create volume show the direct stylistic influences of his unmatchable masters.

Pietro Lorenzetti, Madonna dei Tramonti, San Francesco, Assisi

Formally a triptych, in fact it is a single scene. In the centre St. Anne in a position similar to the Etruscan sarcophags. The composition is Byzantine but the painting as a whole is Italian showing the influence of Giotto.

The framework structure of the panel shows the walls and supporting uprights of a house with the front wall removed. The rooms are shown in convincing perspective, with the anteroom on the left giving access to a tall, Gothic inner courtyard. In the main room St Anne, who has just given birth, is lying in bed while midservants wash the newborn Mary. The child's aged father Joachim is receiving the happy news from a boy in the anteroom.

Madonna dei Tramonti is a 1330 Madonna fresco by the Italian artist Pietro Lorenzetti. It is located in the Basilica of San Francesco d'Assisi in Assisi. The fresco is accompanied by a frescoed niche containing the liturgical implements.


Giorgio Vasari | Lives of the Artists | Ambrogio Lorenzetti

Ambrogio Lorenzetti's City by the Sea is one of the treasures of Sienese art. It's also a questionable picture. What kind of scene is it? Some people see it as a fragment cut from a larger image. Some see it as an independent landscape. Either way, it is not isolated. City by the Sea has a companion image, Castle on a Lake, of the same size and shape, and with a view that seems approximately continuous.

Both paintings are now attributed to Sassetta, as being part of the Arte della Lana Altarpiece. The triptych, the first known work by Sassetta, was commissioned by the "Arte della Lana", i.e. the woolmerchants' guild for the church of the Carmelite Order in Siena in 1423.

Art in Tuscany | Sassetta

Great Works: City By The Sea (c.1340), Ambrogio Lorenzetti



Ambrogio Lorenzetti (recently attributed to Sassetta), City by the Sea (view of Talamone), Siena, Pinacoteca

Podere Santa Pia is immersed in the utmost quietness of the Alta Maremma, where total privacy is guaranteed, in a scenic location, only 2 km away from Castiglioncello Bandini and 50 minutes away from both the sea and the Val d'Orcia National Park. For those seeking a peaceful, uncontaminated environment, yet be just a short drive from some one of Tuscany's most intoxicating cities, Santa Pia is the perfect choice.

Holiday homes in the Tuscan Maremma | Podere Santa Pia


Podere Santa Pia
Siena, Piazza del Campo


Siena, duomo
Cipresses between Montalcino and Pienza

Wines in southern Tuscany
Siena, Palazzo Publicco
Sunsets in Tuscany


The valley below Santa Pia is a classic example of the Tuscan landscape, with endless hills, cypresses, wine, corn fields and streams, offering splendid views up to the Tyrrhenian coast and Monte Christo



Siena in the Middle Ages

Siena reached the height of its splendour in the Middle Ages, when in 1147 it became an independent comune after a century of rule under the bishop. After gaining its independence, the city adopted an expansionistic policy, considerably increasing its domains. But the development and riches brought by trade also accompanied social conflict, which soon developed into a bloody struggle for supremacy between Guelphs and Ghibellines, the two opposing factions that supported respectively the Church and the Empire. Due to its Ghibelline status, Siena went to war against neighbouring Florence, which supported the Pope. Its troops gained a formidable victory against the Florentines at the Battle of Monteperti, on September 4th 1260. Only nine years later, however, Siena was in turn defeated by Florence and the city passed into Guelph hands, heralding a new government and a long period of prosperity.
Siena reached its golden age of architecture during the 14th century, when the city was able to erect many of the most important buildings that survive to this day. These include the Campo, the Palazzo Pubblico (then known as Palazzo dei Signori in reference to the city’s ‘Nine’ governors) the Duomo and the Torre del Mangia. This was also the period in which Senese art flourished, with masterpieces such as Duccio’s Maestà. At this time the city invested enormously in costly projects such as the building of the fortified village of Paganico or the port at Talamone.
But Siena was also known for its lavish feasts and tournaments, such as the Gioco dell’Elmora, in which young men fought one another with clubs and stones. This game was supplanted in 1291 with the Gioco delle Pugna, in which the contenders fought with their hands covered by a wicker structure, or other games such as the Pallonata or the Bufalata. Piazza del Campo was frequently used for a variety of horse races, which developed over the centuries into the city’s best known event, the Palio.
In emulation of ancient Rome, Siena wished to underline its independence. But the great Plague of 1348 decimated the city’s population, bringing decadence and financial collapse. In the fifty years that followed, the city underwent considerable political upheaval, famine and rebellion, which culminated in the end of the government of the ‘Nine’ and loss of independence when in 1390 the city was annexed to the Grand Duchy of Tuscany.
Despite losing their independence, the people of Siena retained their proverbial courage and cunning. St Catherine of Siena, who during her lifetime was called Caterina Benincasa, died in 1380 after playing an instrumental role in bringing back the Papacy to Rome from its exile in Avignon, thereby proving that the city had not altogether lost its political influence.

Siena in the Renaissance

Just as it reached its greatest political, financial, social and artistic splendour during the 14th century, during the following century the city of Siena appeared destined to live out its final twilight.
With the end of the government of the Nine, Siena entered a period of political instability. In 1403, the ruling Monte dei Dodici was accused of trying to seize definitive power and deposed. There followed a time during which the city was ruled by the Monti Popolari, known as the “Tripartito”, which remained in power until 1480.
During the Renaissance, Siena was a relatively small town of about 15,000 inhabitants. The Senese community as a whole was heavily involved in the duties of public office and each individual had a strong sense of personal duty towards the public administration. This explains why many of the city’s great art treasures were commissioned by the city and not by noble families, whose members were far too busy carrying out their functions as Podestà. The Opera del Duomo at the time grew into a kind of artistic and architectural commission that administered the Palazzo della Mercanzia and the Cappella di Piazza.
Although in many ways a good thing, the great sense of civic duty that characterised the Senese meant that a good deal of animosity would spring up between any number of people and factions on any number of issues concerning the public administration. A remarkable man named Pandolfo Petrucci was thus able to take advantage of such a chaotic situation, gradually developing his influence to such an extent that he became the ruler of Siena in all but name. An able political manipulator, Petrucci effectively governed the city for about twenty years, from 1400, without actually doing away with its traditional government bodies. Under Petrucci’s rule the architecture of Siena developed considerably. Petrucci erected his own opulent palazzo, naming it Palazzo del Magnifico, but his untimely death when still a young man plunged the city into a new period of political upheaval.
Weakened by internal strife, Siena became an easy prey in the territorial designs of the great European powers such as France and Spain. In 1553 Florence allied itself with the Holy Roman Empire and invaded. Siena, which at the time numbered less than 10,000 inhabitants, fell the following year, passing under the direct rule of Cosimo De’ Medici in 1557, who celebrated by ceremonially entering the city and watching a play in the Palazzo Palazzo Pubblico. From this moment onwards, Siena followed the fortunes of the Grand Duchy of Tuscany and its ruling Medici family.
On a constitutional level, Siena was not annexed to the Florentine state, retaining its Republican Statute (1544-45) as a newly formed state until the second half of the 16th century with the reforms introduced by Peter Leopold.


This article uses material from the Wikipedia article Ambrogio Lorenzetti.