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



Ugolino di Nerio, Madonna col Bambino e Santi (detail), Certaldo, Museo di arte sacra

Travel guide for Tuscany

Ugolino di Nerio


Ugolino di Nerio (1280? - 1349) was active in his native city of Siena and in Florence between the years 1317 and 1327.
He was a follower of Duccio di Buoninsegna, from whose Maestà some of his scenes are clearly derived. He was a leading master who contributed to the spread of Sienese painting in Florence by earning commissions to paint in the two main basilicas there, Santa Maria Novella and Santa Croce. Ugolino's major work was the altarpiece for the church of Santa Croce in Florence.

Nerio was born around 1280 in Siena to a family of painters. His father as well as his siblings, Guido and Muccio, were artists. His only signed work is his altarpiece for the main altar of Saint Croce, dated around 1325; the signature has been lost but is recorded by Vasari. The work was moved from the main altar in 1566 to make way for a ciborium designed by Vasari, and it was broken up and the surviving parts sold to W. Young Ottley, an English collector. Today the panels are scattered in several museums around the world; the National Gallery, London has eleven. Studies of this work have resulted in it being reconstructed.[1]

He emerges as an independent master around 1315, with some early paintings like the Madonna Contini Bonaccossi in the Pitti Palace, in a style drawn from that of Duccio, but from about 1320 aa distinct mature style emerges, spiritual and elegant. His choice of brighter colours is perhaps influenced by Simone Martini. The altarpiece for Santa Croce was the most important commission in a series of works that the Franciscans entrusted to him; at least eight polyptychs have survived in parts. Other important polyptychs are in the Cleveland Museum of Art and the Clark Art Institute, Williamstown, Massachusetts. His best known Madonna is in the Chiesa della Misericordia, San Casciano in Val di Pesa and there is one in the Louvre (illustrated above).

According to Vasari Ugolino di Nerio died in Siena.

The Santa Croce Altarpiece

This series of paintings comes from a group of panels which formed the predella, of the high altarpiece at Santa Croce, Florence. The early Italian High Altar by Ugolino di Nerio for Santa Croce, the great Franciscan church of Florence, is well-documented. With at least thirty-five sections in all, this massive altar was painted and erected c. 1325-30. These panels recall Duccio's sense of style and organization, as Ugolino was still working with Byzantine line and colour. The altar was dismantled shortly after 1566 and moved to the church's dormitory. By the 1830s, most of its panel had been sold. Now the surviving panels are scattered among museums and private collections. The central panel, which depicted the Madonna and Child and was signed by Ugolino, is now lost.

The Last Supper

This painting of the Last Supper formed part of the predella of the now dismembered altarpiece.
The Betrayal of Christ

The Roman Soldiers have come to arrest Christ. At the centre Judas betrays Christ with a kiss as described in the New Testament (Matthew 26: 47-52). On the left Saint Peter cuts off the ear of Malchus. The scene takes place at night; illumination is provided by the torches held aloft.

This panel formed the second scene after the 'Last Supper' (New York, Metropolitan Museum of Art, Lehman Collection) in the predella of the high altarpiece of S. Croce, Florence. The altarpiece was probably paid for by the Alamanni family, whose coat of arms was originally on it.

The Deposition

Joseph of Arimathea (?), on the ladder, lowers the dead Christ from the cross. The Virgin, accompanied by the Maries, embraces him. Saint John the Evangelist supports Christ on the right, while Nicodemus (?) removes a nail from his feet. This incident is not described in the Gospels.

This panel formed the fifth of the seven scenes of Christ's Passion in the predella of the high altarpiece of S. Croce, Florence.

The composition is similar to that of the same subject in Duccio's Maestà (Siena, Museo dell'Opera del Duomo).


This three-quarter-length depiction of the Old Testament prophet shows him holding a scroll in his left hand and looking to the left. The inscription derives from his prophecy (Isaiah 7:14), which was interpreted as predicting the birth of Jesus.

This panel formed the second pinnacle from the left of the high altarpiece of S. Croce.


Der Prophet Jesaja,
1317-1327, National Gallery, London
Ugolino di Nerio,  Daniil, 1324, Philadelphia Museum of Art        

Ugolino di Nerio, Daniil, 1324, Philadelphia Museum of Art


Saint Simon and Saint Thaddeus (Jude)

Saint Simon on the left, holds a book, while Saint Thaddeus, who turns to the right, holds a knife. Three unidentified heads are depicted between decorative motifs in the band of quatrefoils below.

This panel formed the second section from right of the upper tier, below the pinnacles of the high altarpiece of S. Croce, Florence. It was placed beneath the pinnacle depicting Jeremiah and above Saint Francis in the main tier. The tier from which it came showed mainly apostles.

Saint Bartholomew and Saint Andrew

Saint Bartholomew, at the back, holds a scroll in his left hand and blesses (?) with his right, revealing an ornate garment beneath his cloak. Saint Andrew, at the right, holds a book.

The panel formed the third section from the left, below the pinnacles, of the high altarpiece of S. Croce, Florence. It was above a depiction of Saint Paul in the main tier below 'David'.

The Resurrection

Christ steps triumphant out of the tomb while four soldiers sleep in the foreground. New Testament (Matthew 28: 2-4). He holds the banner of the Resurrection with a red cross on a white ground.  
Ugolino di Nerio, Madonna and Child with a Donor, about 1335, San Casciano Val di Pesa, Santa Maria del Prato  

Ugolino di Nerio, Madonna and Child with a Donor, about 1335, San Casciano Val di Pesa, Santa Maria del Prato

'When this damaged but exquisite picture was first published in 1911, it was framed as a triptych with two wings by the Master of Monte Oliveto (41.190.31bc). The triptych must have been a modern creation, for not only are the wings by another master and later in date, but the iconography of the panel, which includes Saints Clare and Francis, is self-sufficient. It was probably painted as an independent devotional panel for a convent of Franciscan nuns, or Poor Clares (the order founded by Clare, the first female follower of Saint Francis). It is a work of extremely high quality. The attribution has been much disputed but the elegantly elongated figures relate in style to the works of Duccio and those of his most faithful follower, Ugolino di Nerio. The picture has, indeed, often been ascribed to a follower or associate of Ugolino. The tooling of the gold is hand-inscribed and this helps to establish a date prior to ca. 1320, when Sienese artists, following the example of Simone Martini, began to use motif punches to decorate the gold background. The picture may be an early work by Ugolino himself.'

Catalogue Entry The Metropolitan Museum of Art, New York |

Attributed to Ugolino di Nerio, The Crucifixion, The Metropolitan Museum of Art, New York



The Santa Croce Altarpiece

The predella of the altarpiece painted for the high altar of the Franciscan church of Santa Croce was dismantled in 1566 and installed in the friars' dormitory. At the end of the eighteenth century or in 1810, when the friary was suppressed, most, if not all of the altarpiece entered the Young Ottley Collection. The predella scenes, showing the Passion of Christ, would have had the following pieces: the Last Supper (Lehman Collection, Metropolitan Museum of Art, New York), the Betrayal (No.1188, National Gallery, London), the Flagellation (Gemäldegalerie, Berlin), the ‘Ascent to Calvary’, the Deposition (Nos.1189 and 3375, National Gallery, London), the Entombment (Gemäldegalerie, Berlin), and the Resurrection (No.4191, National Gallery, London).


The Last Supper



Ugolino di Nerio, The Last Supper, 1324-05, Metropolitan Museum of Art, New York

Ugolino di Nerio, The Last Supper, 1324-05, Metropolitan Museum of Art, New York



The Betrayal


Ugolino di Nerio, The Betrayal, 1324-25, painting, National Gallery, London

Ugolino di Nerio, The Betrayal, 1324-25, painting, National Gallery, London



The Flagellation


Ugolino di nerio, scomparti di polittico da santa croce a firenze, 1325-35 ca. 02 flagellazione

Ugolino di Nerio, Flagellation, panel from the Santa Croce Altar, between 1325 and 1330, color on poplar wood, Gemäldegalerie, Berlin



The Betrayal


Ugolino di Nerio, The Betrayal, 1324-25, painting, National Gallery, London

Ugolino di Nerio, The Betrayal, 1324-25, painting, National Gallery, London



The Deposition


1? Ugolino di Nerio. The Deposition.1324-25. London NG
Ugolino di Nerio, The Deposition, 1324-25, painting, National Gallery, London



The Entombment


1?? Ugolino di Nerio. The Entombment. 1324-5 Berlin, Gemaldegaleree

Ugolino di Nerio, The Entombment, panel from the Santa Croce Altar, between 1325 and 1330, color on poplar wood, Gemäldegalerie, Berlin



The Resurrection


Ugolino di Nerio, The Resurrection, 1324-25, painting, National Gallery, London

Ugolino di Nerio, The Resurrection, 1324-25, painting, National Gallery, London


Painted Cross


Ugolino Di Nerio, Painted Cross detail

Ugolino di Nerio, Painted Cross, (detail), circa 1330, Santa Maria dei Servi, Siena



San Michele Arcangelo


Ugolino di nerio, san michele arcangelo, xiv sec. 01
Ugolino di Nerio, San Michele Arcangelo, Museo archeologico e d'arte della Maremma



San Michele Arcangelo (detail)


Ugolino di nerio, san michele arcangelo, xiv sec. 02

Ugolino di Nerio, San Michele Arcangelo, (detail), Museo archeologico e d'arte della Maremma

[1] Davies, Martin. In: "National Gallery Catalogues: Catalogue of the Earlier Italian Schools". National Gallery Catalogues, London 1961, reprinted 1986, pp. 108-113.
[1] David Bomford; Jill Dunkerton, Dillian Gordon, Ashok Roy, Jo Kirby (10september 1989) (in english) Italian Painting before 1400, London: National Gallery Publications, p. 101

Art in Tuscany | The Sienese School of painting | Ugolino di Nerio
The Sienese School of painting originated in Italy in the 13th century and lasted until the 15th century. The style is distinct and clearly different from the more solemn Early Renaissance art produced in Florence. The unique style was influenced by French Gothic and inspired by oriental and Byzantine elements.
More conservative than the Florentine School, it drew upon the decoration and elegance of late Gothic art. Its principle artists include Duccio, Simone Martini, Pietro and Ambrogio Lorenzetti, and Domenico and Taddeo di Bartolo. Later significant additions to the Sienese School were Mannerist painters, Beccafumi and Sodoma.
In the Spring 1348 the Black Death was spreading quickly throughout the Italian countryside. In Siena the plague wiped out 80,000 people in just seven months. Many Sienese painters, including the brothers Pietro and Ambrogio Lorenzetti perished.
The decline of Sienese painting from the second half of the 14th century is so splendidly described by Bernhard Berenson in his essay The Central Italian Painters (first published in 1897):

'With the death of the Lorenzetti, the Sienese school of painting fell into a decline from which it never seriously rallied. It had moments of hopefulness and hours of hectic beauty, but never again did it receive that replenishment of force without which art is doomed to dwindle away. Barna, Bartolo di Fredi, and Taddeo di Bartolo at times catch a glow from the splendour of Simone Martini and the Lorenzetti; and Domenico di Bartolo made an uncouth attempt to breathe new life into the school, to replenish it by introducing the shapes and attitudes which the great Florentines had just saved out of chaos and for ever fixed. But as he felt not at all the real significance of these new forms and new gestures (as serving to render either tactile values or movement), his fellows in craft and town had the taste to prefer, to the mock-heroics of a misunderstood naturalism, the unsubstantial but lovely shapes of their long-hallowed tradition. The ever winsome Sassetta lived and painted as if Florence were not forty but forty millions of miles away, as if Masaccio and Donatello, Uccello and Castagno had not yet deserted the limbo of unborn babes. And he has made us the richer by many works of rich, decorative beauty, and by that scene of visionary splendour, the Chantilly 'Marriage of the Seraphic St. Francis'.

But stealthily and mysteriously the new visual imagery, the new feeling for beauty, found its way into Siena, though it had to filter through those frowning walls. And the old feeling for line, for splendid surface, for effects rudimentarily decorative, mingled with the new ideals. Painters of this newness were Vecchietta, Francesco di Giorgio and Benvenuto di Giovanni, and, finer than these, Matteo di Giovanni and Neroccio di Landi, the two greatest masters of Renaissance Siena. Matteo had a feeling for movement which would have led to real art if he had had the necessary knowledge of form; lacking this, he became an inferior Crivelli, giving us effects of firm line cut in gilt cordovan or in old brass. As for Neroccio - why, he was Simone come to life again. Simone's singing line, Simone's endlessly refined feeling for beauty, Simone's charm and grace - you lose but little of them in Neroccio's panels, and you get what to most of us counts more, ideals and emotions more akin to our own, with quicker suggestions of freshness and joy.

Then it was already the end of the fifteenth and the beginning of the sixteenth century, and even the Sienese could no longer be satisfied with the few painters who remained in their midst. Masters were summoned from without, Signorelli, Pintoricchio, and Perugino from Umbria, Fra Paolino from Florence, Sodoma from Lombardy; and as there were no forces at home to offer sufficient resistance, there resulted from all these mingled influences a most singular and charming eclecticism - saved from the pretentiousness and folly usually controlling such movements by the sense for grace and beauty even to the last seldom absent from the Sienese.'
[Bernhard Berenson, Central Italian Painters of the Renaissance (1897) | Art in Tuscany | Bernhard Berenson]

This article uses material from the Wikipedia article Sienese School and Ugolino di Nerio and is published under the GNU Free Documentation License.

Wikimedia Commons | Sienese School of painting

Podere Santa Pia is located 3 km from Castigliocello Bandini, 15 km from Abazziia San 't Antimo and Montalcino, close to art cities like Siena, Pienza, Montepulciano and San Quirico d'Orcia, and 1 hour away from the seaside.

Holiday accomodation in Tuscany | Podere Santa Pia | Artist and writer's residency


Podere Santa Pia
Monte Argentario
Santa Croce, Firenze
Cipresses between Montalcino and Pienza

Wines in southern Tuscany
Abbey of Sant 'Antimo
Sunsets in Tuscany


Monte Amiata

For a spiritual experience, the nearby Abbey of Sant’Antimo welcomes all who wish to marvel at its unadorned early Romanesque architecture, contemplate in its peaceful, prayerful silence, or be mesmerized by the monks daily vespers sung in Gregorian chant. Sant'Antimo is one of the most important examples of monastic architecture of the 13th century and by far the most important Romanesque building in southern Tuscany. The church we can admire today was built around year 1100 and took the place of an older 9th century abbey. Only a few parts of the first abbey are left. It belonged to the Benedectines, and to the Guglielmite friars thereafter.
Next to the church rises a square bell tower. The interior consists of three naves, with round arches resting on columns with alabaster capitals, all carved with geometrical, human, animal and flowers motifs. The women's gallery gives the hall a particular perspective; the semicircular apse, flanked by the apsidioles, is introduced by the altar, which the crypt lies beneath. A wooden crucifix from the second half of the 12th century stands behind the altar. Another wooden sculpture from around 1260 reperesenting the 'Madonna with Holy Child in Throne' rests against the right wall. The refined architectural elements recall a decorative richness with French influences.

Nearby the town of Sant'Angelo in Colle
Nearby the town of Sant’Angelo in Colle, 6km from Sant’Antimo, an enchanting well-preserved village on the top of a hill contained in its circle of walls. You can walk there on a dirt road from Sant’Antimo or on a paved road from Montalcino.