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Парфенова Е. В. Пропорция в монументальных остроконечных алтарях художников позднего дученто и раннего треченто // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2015. Вып. 3 (19). С. 27-40. DOI: 10.15382/sturV201519.27-40
This article is devoted to the investigation of the problem of proportion and measure in the monumental gabled altarpieces of the late Duecento and early Trecento. Art historians had found that proportions of Italian works of art reflect a geometrical system based on the square and some outstanding works of Chimabue, Duccio and Giotto will be taken for analysis from this point of view in this issue. This is important from a historical point of view, because the study is approved that the artists of Duecento and Trecento understood the importance of exact proportions in the works of art. As exactly found proportions give it the necessary harmony and lightness of perception. In a long term priorities the results of this investigation provide potential assistance when used in the conjunction with stylistic and other physical evidence in solving problems of attribution and restoration. In general, the study expands our knowledge about the Italian art of the end of the 13th — beginning of the 14th century.
art, Trecento, Duecento, proportion, gabled, frame, square, harmony, rectangle, altarpiece, Cimabue, Duccio, Giotto, measure, crucifix, width, height

1. Babich V. N. 2006 “Teorija proporcij v arhitekture” (Theory of Proportions in Architecture), in Arhitekton: izvestija vuzov, 15.06.2006, vol. 15.
2. Losev A. F. Istorija antichnoj jestetiki (History of Antique Esthetics), Moscow, 2000, vol. 1: Rannjaja klassika (Early Classics).
3. Brink J. 1977 “Measure and Proportion in the Monumental Gabled Altarpieces of Duccio, Cimabue, and Giotto”, in Racar: revue d`art canadienne / Canadian Art Review, 1977, vol. 4/2, pp. 69–77.
4. Tabor Ph. A Space for Half-Formed Thoughts, Amsterdam, 14–16 November, 2002.
5. White J. 1969 “Donatello`s High Altar in the Santo at Padua”, in Art Bulletin, 1969, vol. 51/1–14, pp. 119–141.
6. Zervas D. F. 1976 “Ghiberti`s St. Mathew Ensemble at Orsanmichele: Symbolism in Proportion”, in Art Bulletin, 1976, vol. 58, pp. 36–44.
Парфенова Е. В. Анализ творческого наследия художника Бернардо Дадди в контексте общественной жизни Флоренции 2-й четверти XIV в.: работы, выполненные по заказу Синьории, общественных и религиозных организаций // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 2 (22). С. 40-68. DOI: 10.15382/sturV201622.40-68
Recently art historians started take an interest in art of the Florentine painter of the first half of the 14th century Bernardo Daddi. Last researches from the National Gallery in London discovered the new aspects of the activity of the master, for example, using unique method of applying a layer of the gilding, engraving revealed that accentuates the individual Daddi`s style. Today it is possible to argue that its scope was not limited of only the production of portable altarpieces but he was also the author of a signifi cant number of large-scale altar multipart compositions. In this article, which is in line with studies of early art trecento, an analysis of its artistic heritage from the perspective of the performance of the works commissioned by the Signoria, social and religious organizations of Florence. Designating customers, places for which they were intended, we can get an idea of the scope of the artist, not previously discussed in the art historian science. This will allow to better understand Bernardo Daddi`s place in the artistic life of Florence in the second quarter of the 14th century. In general, present study expands our knowledge of the Italian art of the first half 14th century.
Bernardo Daddi, Giotto, polyptych, triptych, altarpiece, church, basilica, chapel, Santa Maria Novella, Santa Croce, Orsanmichele, Santa Maria del Fiore, Misericordia, Madonna.

1. Grashhenkov V. N. “Portrety rannego ital'janskogo Vozrozhdenija: opyt sociologicheskoj harakteristiki” (Portraits of Early Italian Renaissance: Experience of Sociological Characteristics), in Kul'tura Vozrozhdenija i obshhestvo, p. 54.
2. Libman M. Ja. Donatello, Moscow, 1962.
3. Lidov A. M. Vizantijskij antependium. O simvolicheskom prototipe vysokogo ikonostasa. Vizantijskaja imperija. Stat'i po istorii Vizantijskoj imperii (Byzantian Antependium. About Symbolic Prototype of High Iconostasis. Byzantine Empire. Articles for History of Byzantine Empire), in http://wiki.ru/sites/vizantiyskaya_imperiya/articles-134475.html (Date: 17.08.15).
4. Mel'nikova T. A. Novoe i tradicionnoe v kul'turnoj zhizni florentijskogo gorodskogo obshhestva XIV — nachala XV vv.: dis. … kand. ist.nauk (New and Traditional in Culture Life of Florence City Society of XIV — Begin of XV Cent.: Dissertation), Saratov, 2006.
5. Prokopp M. Ital'janskaja zhivopis' XIV veka (Italian Paintings of XIV Century), Budapesht, 1988, in http://krotov.info/libr_min/16_p/ro/kopp.htm (Date: 16.08.15).
6. Romanchuk A. V. Obshhestvennye idei i predstavlenija v hudozhestvennyh obrazah Florencii i Sieny vtoroj poloviny XIV veka: Dis. … kand. ist. nauk (Social Ideas and Presentations in Art Images of Florence and Siena of Second Half of XIV Century: Dissertation), Saint-Petersburg, 2001, pp. 61–62.
7. Stopani R. Florencija. Iskusstvo i istorija (Florence. Art and History), Florence, 2007.
8. Casu S. The Pittas Collection: Early Italian Painting (1200–1530), Mandragora, 2011, pp. 40–45.
9. Di Nepi S., Roy A., Billinge R. “Bernardo Daddi`s Coronation of the Virgin: The Reunion of Two Long-Seperated Panels”, in National Gallery Technical Bulletin, vol. 28, p. 6.
10. Henderson J. Piety and Charity in Late Medieval Florence, Chicago, 1994.
11. Hourihane C. The Grove Encyclopedia of Medieval Art and Architecture, New York, 2012.
12. Lavin I. Santa Maria del Fiore: Il Duomo di Firenze e laVergine incita, Roma, 1999.
13. Longhi R. Qualita`e industria in Taddeo Gaddi ed altri, Paragone, 1959.
14. Gómez-Moreno C. Medieval Art from Private Collections: A Special Exhibition at the Cloisters, October 30, 1968, Through March 30, 1969: Introduction and Catalogue, Metropolitan Museum of Art, 1968.
15. Nesi A., Utari G. La Croce di Bernardo Daddi, vicissitudini di un`opera d`arte, Centro Di, 2011.
16. Offner R. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. III/VIII, 1958.
17. Rizzo A. 1993 “Bernardo di Stefano Rosselli, il «Polittico Rucellai» e il politico di San Padoa Pancrazio di Bernardo Daddi”, in Studi di storia dell`arte, 1993, vol. 4, pp. 211–222.
18. Rubinstein N. The Palazzo Vecchio 1298–1532: Government, Architecture, and Imagery in the Civic Palace of the Florentine Republic, Oxford, 1995.
Парфенова Е. В. Теоретический дискурс: ремесло или искусство в живописи Флоренции первой половины XIV в. (анализ двух работ — Джотто ди Бондоне и Бернардо Дадди — на иконографический сюжет «Коронование Девы Марии») // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2017. Вып. 25. С. 32-48. DOI: 10.15382/sturV201725.32-48
The new art, which came to be the future Renaissance art, began to dawn against a background of strong Byzantine and Gothic traditions in Italy at the end of the 13th and the beginning of the 14th centuries. The new traditions manifested themselves in works of the most prominent artists such as Giotto di Bondone in Florentine painting of the fi rst half of the 14th century. The birth of the new art is closely linked with the general process of replacing impersonal craft-guilds with individual creativity. This paper, which is in line with studies of early art trecento, gives an analysis of two artwork pieces created in Florence of the fi rst half of the 14th century. The aim of the paper is to demonstrate that one of these pieces belongs to medieval craftsmanship, whereas the other to the future Renaissance art. Based on this analysis, we can draw a theoretical conclusion about the cöexistence of medieval crafts and novel traditions of the Proto- Renaissance art. The paper also describes some techniques employed by medieval artists, as well as the common practice of executing orders from churches of Florence of the period in question.
Florence, 14th century, Bernardo Daddi, Giotto, polyptych, Santa Maria Novella, Baroncelli, techne, Neoplatonism, craft, Renaissance

Ben'iamin V., Proizvedenie iskusstva v epokhu ego tekhnicheskoi vosproizvodimosti, Izbrannye esse. Moscow, 1996.
Crowe Joseph A., Cavalcaselle Giovanni B., A History of Painting in Italy, Umbria,Florence and Siena, from the Second to the Sixteenth Century: Giotto and the Giottesques. London, 1923.
Iampol'skii M. B., Prostranstvennaia istoriia. Tri teksta ob istorii. Sankt-Petersburg, 2013.
Naidorf M. I., “Istorizatsiia, ili Proizvodstvo proshlogo. K kul'turologii vremeni”, in: Voprosy kul'turologii, 2012, 3, 10-15.
Salvestrini Francesco. Accademia delle Arti del Disegno Studi, Fonti e Interpretazioni di 450 Anni di Storia. Tomo I / A cura di Bert W. Meij er e Luigi Zangheri, Leo S. Olschki Editore. 2015.
Sirén Osvald. A descriptive catalogue of the pictures in the Jarves Collection belonging to Yale University. 1916.
Official website of the City Art Gallery, Southampton (United Kingdom), URL: http://artuk.org
Official website of the Foundation Federico Zeri, URL: http://fe.fondazionezeri.unibo.it/
The official website of the London National Gallery, URL: http://www.nationalgallery.org.uk/
The official website of the Museum of Fine Arts, Houston (TX), URFL: https://www.mfah.org/
Парфенова Е. В. О союзе благотворения (милосердия) и искусства во Флоренции XIII-XIV вв. // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2019. Вып. 34. С. 9-24. DOI: 10.15382/sturV201934.9-24
Italy has a long and interesting history of charity.The number and variety of charitable societies or fraternities was so great that in the 16th century in the History of Florence Benedetto Varсhi presented their elaborate typology. He emphasised their distinctive features: from those intended for a wide audience, massively receiving religious and ecstatic pleasure, including from realising themselves as part of a large and influential organism, to societies of fl agellants, reclusively scourging themselves in private chapels. Varсhi was not greatly interested in religious diff erences between charitable societies, but in social ones, for example, some were more “noble”, others more “vulgar”. In this study, an attempt is made to present the main charitable societies that existed in Florence in the 13th — 14th centuries. Their description takes into account certain features. First, the types of charitable fraternities are given in accordance with Benedetto Varсhi’s fi ndings and modern studies, in particular by Professor John Henderson, and secondly, with the aim of proving that these societies used arts to designate for society various aspects of their activity. Thus, one of the most memorable and vivid examples of such a “union” was the frescoes “Captains of Mercy transfer abandoned children and orphans to the family and adoptive mothers” by Niccolo di Pietro Gerini and Ambrogio di Baldese, as well as “Misericordia Domini” by Bernardo Daddi.
Bernardo Daddi, Orsanmichele, confraternity, art, fresco, fl agellants, laudesi, cross, Andrea Orcagna, Niccolo di Pietro Gerini, Ambrogio di Baldese, Misericordia, “Misericordia Domini”
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Parfenova Elena
Place of work: Bauman Moscow State Technical University; 5/1 Vtoraya Baumanskaya Str., Moscow, 105005, Russian Federation;
Post: Lecturer;
ORCID: 0000-0001-7499-0359;
Email: legolubeva@yandex.ru.
Парфенова Е. В. Подпись как признак индивидуализации личности художника во Флоренции конца XIII — начала XIV в. // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2021. Вып. 41. С. 9-18. DOI: 10.15382/sturV202141.9-18
The period of the end of the XIII – beginning of the XIV centuries is a difficult transitional period in the history of Florence, associated with the beginning of the formation of a new culture. The artist, living in a certain system of social relations, was influenced by the philosophical, social and other ideas of the time. Evidence of the development of the artist's personality is such a detail of the creative action as the signature on his work or, on the contrary, its absence. In the period under consideration in the development of the Florentine Republic, the signature serves as an unconditional factor in the formation of the artist, the concept of personality and its evolution in art, which is extremely important in the context of the study of art of a certain time. In this article, the author provides some information concerning both the anonymous artists of Florence at the turn of the XIII – beginning of the XIV century, and those who left their names, as well as philosophical and historical aspects associated with this phenomenon.
Florence, XIII–XIV centuries, Giotto, signature, principium individuationis, individualisation, personality, initials, expression
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Parfenova Elena
Place of work: Bauman Moscow State Technical University; 5/1 Vtoraya Baumanskaya Str., Moscow, 105005, Russian Federation;
Post: Lecturer;
ORCID: 0000-0001-7499-0359;
Email: legolubeva@yandex.ru.