Taddeo di Bartolo 1414 (Palazzo Pubblico Siena)

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From http://www.travelingintuscany.com/art/t ... artolo.htm
The Pallazzo Publicco in Siena

Restoration of the republic after 1404 enabled the Priors towards an extensive embellishment of the Pallazzo Publico. (...) Among the first of the commissions for the building was the redecoration of the chapel holding a Maesta from 1302 by Duccio and located next to the room in which Simone Martini had painted his Maesta.
In 1406-07 Taddeo di Bartolo (1362/63 Siena-1422 Siena), perhaps a student of Bartolo di Fredi (see Fig. 5.17), decorated its walls with frescoes and scenes from the life of the Virgin, the city's patron saint. (...) In 1413-14 the Priors again turned to Taddeo di Bartolo to paint a cycle of paintings for the antechapel of the Palazzo Publico, a space that functioned as an important passage between other rooms of the palace. On one wall, shown in the picture benearth, Taddeo painted allegories of Justice and Magnanimity under the two arches. Beneath each he placed a figure from Roman history exemplifying the concept. Below Justice (at left) there are Cicero, M. Porcius Cato, and P. Scipio Nasica; below Magnanimity (at right) Curius Dentatus, Furius Camillus, and Scipio Africanus. Each group of Roman heroes is labeled with an inscription in Latin, and each figure bears a further Latin Inscription below his feet. The inscriptions between M. Curius Dentatus and F. Furius Camillus claim them as founders of Siena, while others under Cicero and Cato speak of their fight for liberty and justice.


In the same room (anticappella) must be somewhere (I don't find a room description) these 2 figures (Caesar and Pompey):



The whole looks like a relative to the 9-worthies concept (in a hidden form). The picture is described to present the virtues of the republic, perhaps that's the reason, why the 9th figure is missing (a reigning hero), and Caesar and Pompey (hostile to the republican idea) are placed at a different location (just my humble own idea, maybe a stupid idea).

About the Palazzo Pubblico in Siena
https://it.wikipedia.org/wiki/Palazzo_Pubblico_(Siena)

Huck
http://trionfi.com

Re: Taddeo di Bartolo 1414 (Palazzo Pubblico Siena)

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Magnanimity and Justice appear also in another room in the same building, the "Sala dei Nove" or "Sale dei Pace". This presents older pictures ...
Sala delle Pace (Sala dei Nove)

Here we shall review one of the most complex fresco cycles ever painted in a medieval town hall. It is located in the Siena Town Hall (Palazzo Pubblico), in a room called Sala delle Pace. The room was normally used for Councils of the Nine, who were in fact city governors, so this also had influence on the selection of the theme for the frescoes.1 The theme is good and bad city government, and their author is Ambrogio Lorenzetti. The work consists of three frescoes, each on its own wall. These frescoes are called Good Government (eastern wall), Good City (northern wall), and Bad Government and Bad City (western wall). The area of the southern wall is opened by a large window overlooking Siena and a part of the surrounding landscape.

The display of Good Government is set up of several groups of characters. On the left side, there is a group of Justice, comprising of five characters. The middle represents Justice in its throne, and above it, there is Wisdom holding a scale. To its left and right sides there are two angels representing different types of justice. Two ropes descend over the scale, and join reaching the third character from this group, which is Harmony. This shows the main principles of good government of a city; wisdom and justice of the ruler, and harmony among the citizens. On the right side of the fresco there is a second group of characters. In the middle of it, there is a Ruler sitting on a throne wearing black and white, which represents colors of the crest of Siena. To his left and right there are six personifications of virtue, represented as: Peace, Bravery [= Fortitude], Prudence, Generosity [= Magnificence], Modesty [= Temperantia] and Justice. Thus, it represents virtues and principles needed for a good city government. Above the Ruler there are another three pendulous figures, representing theological virtues: Mercy, Faith and Hope. In the lower region, there is a procession consisting of 24 citizens of Siena, that represent the guardians of its Democratic government. Opposed to them, there is a group of guards with prisoners.
From ... http://www.medievalwall.com/painting/am ... ico-siena/

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Allegory of Good and Bad Government
https://en.wikipedia.org/wiki/The_Alleg ... Government


Full picture:
https://mydailyartdisplay.files.wordpre ... a-pace.jpg

It's an interesting detail, that the room is called "Sala dei Nove" (Salon of the Nine"). Wiki gives this explanation: "The Allegory and Effects of Good and Bad Government series was commissioned entirely by a civic group, the Council of Nine (the city council)."
The 9 worthies had come to life with a text written for the crowning of emperor Henry VII (Jacques de Longuyon in his Voeux du Paon (1312)). Henry VII died in 1313 in Italy ... near SIENA. Siena had - in contrast to Florence - a ghibelline orientation, which usually meant "friendly to the emperor".
The 9 Worthies needed some time to develop, perhaps cause they were connected to the house of Luxembourg and not to the reigning house of the Wittelsbacher (Louis the Bavarian).

Ambrogio Lorenzetti painted the picture in the year 1338/39 (Louis the Bavarian was still ruling then). On the left side there are 10 figures, not 9 ... 7 common virtues accompanied by Peace and Magnificence ... and the biggest figure in the center, which looks like an emperor.

The 9 worthies seem to have developed with the election of Charles IV ... as oldest figurative representation is given some statues at the city council of Cologne:

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The motif became very popular in Germany in connection to city councils ... as (finally ?) in Siena.

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The 9 Worthies used at a city fountain in Nuremberg ( 1385-1396).

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Huck
http://trionfi.com

Re: Taddeo di Bartolo 1414 (Palazzo Pubblico Siena)

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I found a ninth figure, given with the description ...
Affresco raffigurante Giuda Maccabeo dal ciclo di uomini famosi dell'Anticappella di palazzo Pubblico; sulla destra è visibile la cancellata di accesso alla cappella dei Signori.Autore dell'Opera d'Arte
Taddeo di Bartolo.
http://www.fondazionemps.it/OpereWeb/Ma ... spx?id=202

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I found also the position of Caesar + Pompey ...

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Full picture:
https://www.flickr.com/photos/iltesorod ... 501666130/

Possibly (?) all three figures are at the entrance of the room called Anticappella.

One description says, that beside Justice and Magnificence three other allegories are in the anticappella: " Forza, Prudenza e Religione". I haven't found these pictures till now.

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http://www.sienaonline.com/siena_museo_civico.html
gives a description of the rooms
Access to the Museo Civico, the city museum of Siena, is from the superbly proportioned gothic courtyard of the Palazzo Pubblico. Founded in the 1930s, the Museo Civico contains some of the finest paintings, sculptures and frescoes of the renowned Senese School.

Two flights of stairs lead up to the Sale Monumentali grand chambers of the museum. Immediately to the right is the Sala del Mappamondo, formerly used as the meeting room for the General Council of the Republic of Siena. The room takes its name after a rotating map, now lost, painted by Ambrogio Lorenzetti, that showed the lands governed by the city. On the far wall of the chamber is a Maestà fresco by Simone Martini, painted between 1312 and 1315, still striking today on account of its delicate use of the chromatic palette and its purity of lines. This is regarded as being the first real masterpiece by Simone Martini, who in 1328 also painted the portrait of the condottiero Guidoriccio da Fogliano, who seized the Castle of Montemassi.

On from the Sala del Mappamondo, the magnificent Sala dei Nove was used as a meeting chamber for the town’s Governo dei Nove government of nine councillors. Over the centuries this room has changed name a number of times, from Sala delle Balestre when it was used as an armoury to Sala della Pace from an allegorical figure of Peace in the decorations. In 1337 Ambrogio Lorenzetti was commissioned to decorate the room with a cycle of frescoes known as the Allegory of Good and Bad Government. The largest secular painting cycle of the Middle Ages, this work is a political manifesto in which the painter has depicted two opposing methods of government along with their consequences.

To the left of the Sala del Mappamondo is the so-called Anticappella, once used as an antechamber of offices for the Concistoro. In 1415 Taddeo di Bartolo was commissioned to decorate it with a cycle of frescoes depicting The Virtues of Illustrious Gods and Men.
A fine 15th century railing designed by Jacopo della Quercia encloses the Chapel. Completed at the end of the 15th century, when the population of the city was on the rise, this railing is larger than its counterpart on the ground floor of the building. In 1407 Taddeo di Bartolo was commissioned to decorate the room with his Storie della Madonna cycle of frescoes depicting episodes from the life of the Virgin.

The adjacent passageway, known also as the Sala dei Cardinali leads to the Sala del Concistoro, with an internal doorway in marble by Bernardo Rossellino. The brightly coloured frescoes on the ceiling were completed between 1529 and 1535 by Domenico Beccafumi, once more a representation of themes related to justice and patriotic devotion that take their cue from the Lorenzetti Good Government and the di Bartolo Illustrious Men cycles. Next to the Sala del Concistoro is the Sala di Balia, also known as Sala dei Priori. This room is adorned with frescoes by Spinello Aretino (1407) illustrating the Life of Pope Alexander III dei Bandinelli.

The Sala del Risorgimento, known also as the Sala di Vittorio Emanuele II, was inaugurated in 1890. The walls are decorated with frescoes of episodes from the Unification of Italy, painted by late-19th century Senese artists. The upper floor opens onto a large loggia, which overlooks the southern prospect of Siena. A number of adjacent rooms were reopened recently and contain the Quadreria, a collection of detached frescoes, paintings on wood and canvases both of the Senese School and by artists across Italy and abroad.
A plan would be nice.
Huck
http://trionfi.com

Re: Taddeo di Bartolo 1414 (Palazzo Pubblico Siena)

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Andrea del Castagnos Zyklus der "Uomini famosi" und "Donne famose": Geschichtsverständnis und Tugendideal im florentinischen Frühhumanismus
Martina Hansmann
LIT Verlag Münster, 1993 - 327 Seiten

Zyklen beruhmter manner in der bildenden kunst italiens-'neuf p...
Böcker-Dursch (Heidy)
1973
https://books.google.de/books?redir_esc ... olume&q=23
... knows more, but only in snippet view.

Beato Ambrogio Sensadoni (a man from from Siena, 1220-1286) stands opposite from Judas Maccabeus (above with picture) in a passage way to the chapel.
Somewhere in the Palazzo Publico appears a second picture from the same person, holding a model of the city Siena ...
http://www.culturaitalia.it/opencms/vie ... %3A0086404
Biography: http://www.treccani.it/enciclopedia/bea ... Italiana)/
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Caesar and Pompey (already located) stand opposite of an Aristoteles picture, also at a passage way.
Likely this picture ...

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Source: Bilder der Rechtsprechung: Spätmittelalterliche Wandmalereien in Regierungsräumen italienischer Kommunen
Imke Wartenberg
Walter de Gruyter GmbH & Co KG, 16.10.2015 - 306 Seitenhttps://books.google.de/books?id=c50LCwAAQBAJ&pg=PA193&lpg=PA193&dq=prudencia+anticappella+siena+palazzo+pubblico&source=bl&ots=0KjWxB5EW8&sig=WEQAxm_bq65hbFDzTbowJm7b5dA&hl=de&sa=X&ved=0ahUKEwjx_ZGovtTOAhUQlxQKHemTAN8Q6AEIHjAA#v=onepage&q=prudencia%20anticappella%20siena%20palazzo%20pubblico&f=false

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It seems, that Aristoteles (in the passage way) introduces the visitor to the picture program, which he finds in the anticappella. I assume, that the missing Prudentia + Fortitudo are at the opposite of the known Justitia + Magnificence and that Prudentia is above the passage way with Aristoteles and Caesar+Pompey (cause there are connections between Prudentia and Aristoteles).

The German researchers counted 26 human figures connected to the room "anticappella", 23 old Roman figures and 3 others (likely the Beatus of Siena, Judas Maccabeus and Aristoteles ?). (Added: contradiction in the reports, 27 persons, 24 Romans, 3 others. Nearly all are good republicans.). Some of these figures are only medaillons and so much smaller. I didn't find the complete list.
Huck
http://trionfi.com