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{{Art of Italy}}
'''Duecento''' ({{IPAc-en|UK|ˌ|dj|uː|ə|ˈ|tʃ|ɛ|n|t|oʊ}},<ref>{{cite web|url=https://www.collinsdictionary.com/dictionary/english/duecento|title=duecento|work=[[Collins English Dictionary]]|publisher=[[HarperCollins]]|access-date=1 June 2019}}</ref> {{IPA
The period built on the so-called [[Renaissance of the 12th century]], and movements originating elsewhere, such as the [[Gothic architecture]] of France. Most of the innovation in both the visual arts and literature was concentrated in the second half of the century, after about 1250, when major new directions opened up in both painting and sculpture, mostly in northern Italy
==Characteristics==
In the 13th century, much of [[Europe]] experienced strong economic growth. The trade routes of the Italian states linked with those of established Mediterranean ports and eventually the [[Hanseatic League]] of the Baltic and northern regions of Europe to create a network economy in Europe for the first time since the 4th century. The [[Italian city-states|city-states of Italy]] expanded greatly during this period and grew in power
[[File:1252-1303 fiorino d'oro III serie.JPG|thumb|left|upright|The gold [[Italian coin florin|florin]] of [[Florence]] started to be the main currency of European trade during the Duecento]]
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[[Christianity]] remained a major influence for artists and authors, with the [[classics]] coming into their own as a second primary influence.
Literature in Latin continued to be written, with Saint [[Thomas Aquinas]]'s ''[[Summa Theologica]]'' a massive and unfinished summary and exploration of the [[theology]] of the medieval church, which has continued to be influential.
==Painting==
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==Sculpture==
[[File:
[[File:Pulpit - Baptistry - Pisa 2014 B.jpg|thumb|[[Nicola Pisano]], Nativity and [[Annunciation]] scene from the [[pulpit in the Pisa Baptistery]], 1260]]
[[Relief]]s, as opposed to [[Statue|sculpture in the round]], were a much larger proportion of fine sculpture than has been the case subsequently. Modern viewers are therefore relatively unused to the form, and inclined to overlook them. Until the ''[[Laocoön Group]]'' was dug up in the centre of Rome in 1506, the most dramatic and athletic poses in known [[Roman sculpture]]s were crowded reliefs on Late [[Roman sarcophagi]], while the known statues were nearly all dignified but rather static standing portraits.<ref>Clark, 219–221, 236–237; Avery, 181; Seymour, 8</ref>
[[Nicola Pisano]] (active c, 1240s to 1278) was the leading sculptor of what [[Erwin Panofsky]] called "the classicizing Proto-Renaissance". His major works were sets of reliefs, especially those on the large raised [[pulpit]]s of the [[
The Pisa pulpit was probably originally polychrome, which had been usual for Italian Romanesque sculpture. It also seems to have largely carved by Nicola himself.<ref>White, 81-83</ref> The [[Arca di San Domenico]], a large free-standing tomb monument for [[Saint Dominic]] in [[Bologna]], was begun in 1264, though work by many other hands continued for centuries. Nicola and his team completed the reliefs around the [[sarcophagus]].
[[File:Giovanni pisano, pulpito di sant'andrea, 1298-1301, 05.jpg|thumb|[[Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)|Pulpit of Sant' Andrea, Pistoia]], by [[Giovanni Pisano]], 1297-1301]]
Nicola's son [[Giovanni Pisano]] took over his father's workshop in the 1280s, and was much more receptive to Gothic style than his father. His [[Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)|Pulpit of Sant' Andrea, Pistoia]] is similar in form to his father's ones in Pisa and Siena, but shows a different style.<ref>White, 113–142; Hartt, 55–58</ref> Over the next century Gothic and classical influences were found together in many large works, sometimes in contention.<ref>White, 591–614</ref>▼
The other leading sculptor of the period was [[Arnolfo di Cambio]] (c. 1240 – 1300/1310), who was also an architect. Born in [[Tuscany]], he also trained with Nicola Pisano, and was his chief assistant on the [[Siena Cathedral Pulpit]]. After he began working as an independent master he spent two periods in Rome, bringing the new Tuscan style there. He worked on a number of papal tombs.
▲Nicola's son [[Giovanni Pisano]] took over his father's workshop in the 1280s, and was much more receptive to Gothic style than his father.<ref>White, 113–142; Hartt, 55–58</ref> Over the next century Gothic and classical influences were found together in many large works, sometimes in contention.<ref>White, 591–614</ref>
==Architecture==
[[Italian Gothic architecture]] began to appear in the early Duecento in northern Italy, under influence from France. The first Italian Gothic edifices were [[Cistercian]] abbeys, soon followed by [[Franciscan]] and [[Dominican Order|Dominican]] churches. They spread in the whole Italian territory, often adapting the construction techniques to the local traditions. [[Brickwork]] was most common in the [[Po Valley]], while stone prevailed in central Italy and [[Tuscany]], where polychrome wall decoration sometimes continued from the local [[Romanesque style|Romanesque]] tradition.
The Dominican and Franciscan orders of [[friar]]s, founded by [[Saint Dominic]] and Saint [[Francis of Assisi]] respectively, became popular and well-funded in the period, and embarked on large building programmes, mostly using a cheaper and less highly decorated version of Gothic. Large schemes of [[fresco]] murals were cheap, and could be used to instruct congregations. The [[Basilica of Saint Francis of Assisi]], in effect two large churches, one above the other on a hilly site, is one of the best examples, begun in 1228 and painted with frescos by [[Cimabue]], [[Giotto di Bondone|Giotto]], and others in the next century.
The most important buildings include [[Chiaravalle Abbey]] in northern Italy and [[Casamari Abbey]] in central Italy. Among the non-Cistercian buildings of this century which were influenced by the Gothic style, though still presenting important Romanesque features, are the [[Parma Baptistery]] by [[Benedetto Antelami]] and the church of [[Sant'Andrea, Vercelli|Sant'Andrea]] in [[Vercelli]], also featuring Antelami's influences.
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File:Bonaventura Berlinghieri Francesco.jpg|''Vita di San Francesco'', of [[Bonaventura Berlinghieri]], 1235
File:Cimabue 025.jpg|Cross of ''Santa Croce'', of [[Cimabue]]
File:Schema facciata.JPG|
File:Giotto - Legend of St Francis - -15- - Sermon to the Birds.jpg|[[Giotto di Bondone|Giotto]]: St. Francis' Sermon to the Birds
File:Assisis Basilica superiore.jpg|[[Basilica of San Francesco of Assisi]]: Nave of the upper basilica (built 1228–1253)
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