European Art
Artist: Ambrogio Lorenzetti, Italian, 1285–ca. 1348

Saint Martin of Tours Dividing His Cloak with a Beggar

ca. 1340

Tempera on panel

picture surface: 29.8 × 20.3 cm (11 3/4 × 8 in.)
University Purchase from James Jackson Jarves
This small masterpiece of early Renaissance realism was originally the wing of a triptych that depicted the Virgin and Child (now in the Pinacoteca Nazionale, Siena) at the center and the charity of Saint Nicolas of Bari (now in the Musée du Louvre, Paris) on its other wing. It relates the legend of Saint Martin who, as an eighteen-year-old Roman legionary, encountered a beggar at the city gate of Amiens and cut the cloak he was wearing into two halves to share with him. The following night he had a vision of Christ wearing half his cloak. In designing his scene, the great Sienese master Ambrogio Lorenzetti converted the Roman soldier to a medieval knight and imagined Amiens as a fortified medieval town.
Made in Siena, Italy
On view
Italian, Siena
14th century

James Jackson Jarves Collection, Florence, to 1871; Yale University Art Gallery, New Haven, Conn.


Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 51–52.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), lot 46 (Dello Delli).

William Rankin, Notes on the Collections of Old Masters at Yale University, the Boston Museum of Fine Arts, the Fogg Museum of Harvard University (Wellesley, Mass.: Department of Art of Wellesley College, 1905), 146.

Bernard Berenson, Central Italian Painters of the Renaissance, 2 (New York and London: Putnam, 1902), 252.

F. Mason Perkins, “Pitture Senesi negli Stati Uniti,” Rassegna d’arte senese 1, no. 2 (1905): 74, 76, 74, 76 (follower of Bartolo di Maestro Fredi).

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 35–36, (Simone Martini).

Raimond van Marle, Simone Martini et les peintres de son école (Strasbourg, France: J. H. E. Heitz, 1920), 81–82, 81–82 (Simone Martini).

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 4–5, 38, (as Lippo Vanni).

Bernard Berenson, Studies in Medieval Painting (New Haven, Conn.: Yale University Press, 1930), 58.

Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places (Oxford: Clarendon Press, 1932), 534, (Simone Martini, “Martin and the Beggar”).

Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: Libreria Antiquaria Hoepli, 1936), 459, (Simone Martini, “Saint Martin and the Beggar”).

“Picture Book Number One,” Bulletin of the Associates in Fine Arts at Yale University 15, nos.1–3 (October 1946): fig. 18.

Federico Zeri Paragone 2 (1951): 52–54, 52–54 (as Ambrogio Lorenzetti).

G. Moran, Charles Seymour Jr., and Enzo Carli, “The Jarves St. Martin and the Beggar,” Yale University Art Gallery Bulletin 31, no. 2 (Spring 1967): 28–39, ill.

Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 72–75, no. 50, fig. 50.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.

Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 2, fig. 2.

A. Brejon de Lavergnée and D. Thiébaut, Catalogue sommaire illustré des peintures du Musée du Louvre: Italie, Espagne, Allemagne, Grande-Bretagne et divers, 2 (Paris: Editions de la Réunion des Musées Nationaux, 1981), 195.

Creighton Gilbert, “Ambrogio Lorenzetti’s Charitable Appeal,” Yale University Art Gallery Bulletin (1997–98): 31–41, fig. 1.

Norman E. Muller, “Ambrogio Lorenzetti’s ‘Small’ Maesta reconsidered,” Conservare necesse est. Oslo: IIC Nordic Group (1999): 214–224, fig. 3, 5–6.

James Jackson Jarves, Descriptive Catalogue of “Old Masters,” Collected by James J. Jarves, to Illustrate the History of Painting from A.D. 1200 to the Best Periods of Italian Art (Cambridge, Mass.: H. O. Houghton and Co., 1860), 49, no. 56.

Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places, 3 (London: Phaidon Press, 1968), vol. 1, p. 221.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 133.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 299, fig. 8.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.