Saint John the Baptist Artist: Andrea di Cione (Orcagna) (Italian, Florence, ca. 1315–1368)

ca. 1355–60

European Art

On view, 2nd floor, European Art


Tempera on panel


picture surface: 99.4 × 40 cm (39 1/8 × 15 3/4 in.)

Credit Line

University Purchase from James Jackson Jarves

Accession Number



14th century


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 records is ongoing.



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

  • Angelo Tartuferi, Dal duecento agli Orcagna: il restauro della Madonna col Bambino di ignoto fiorentino del Duecento e del trittico di Santa Maria degli Angeli di Nardo di Cione (Livorno, Italy: Sillabe, 2001), 66, 70, Nardo di Cione, fig. 24.
  • Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 134.
  • Richard Offner, Ada Labriola, and Martina Ingendaay Rodio, The Fourteenth Century, Bernardo Daddi and His Circle, ed. Miklos Boskovits, 5 (Florence, Italy: Giunti Editore, 1986), 383.
  • Richard Fremantle, Florentine Gothic painters from Giotto to Masaccio: a guide to painting in and near Florence, 1300 to 1450 (London: Secker & Warburg, 1975), Orcagna, fig. 312.
  • Miklos Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400 (Florence, Italy: Edam, 1975), 244, 244, n. 211 (Nardo di Cione).
  • E. Selver, Italian Primitives: The Case History of A Collection and Its Conservation. Exhibition catalogue., exh. cat. (New Haven, Conn.: Yale University Press, 1972), 14, fig. 6d.
  • Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 146, 599.
  • 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).
  • Brigitte Klesse, Seidenstoff in der italienischen Malerei des vierzehnten Jahrhunderts (Bern, Switzerland: Stampfli, 1967), 156, 339, no. 277 (Nardo di Cione), fig. 206–207.
  • Bernard Berenson, Italian Pictures of the Renaissance: a list of the principal artists and their works, with an index of places, 1 (New York; Greenwich, Conn.: Phaidon, 1963), 152, as Nardo di Cione.
  • Rediscovered Italian Paintings, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1952), 18–19, Nardo di Cione.
  • Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 296.
  • Hans D. Gronau, Andrea Orcagna und Nardo di Cione: eine stilgeschictliche Untersuchung (Berlin: Deutscher Kunstverlag, 1937), 59, 85–86, 59, 85-86 note 146, fig. 49, fig. 49.
  • Lionello Venturi, Italian Paintings in America, 1 (New York: E. Weyhe, Inc., 1933), pl. 55 (Nardo di Cione).
  • 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), 384, Nardo di Cione.
  • Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), pl. XLV (Nardo di Cione).
  • Richard Offner, Studies in Florentine painting, the fourteenth century (New York: Junius Press, 1927), 97.
  • Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 3, 16–17, (Nardo di Cione), fig. 7–7a.
  • Richard Offner, "Nardo di Cione and his Triptych in the Goldman Collection," Art in America (April 1924): 101–103, Nardo di Cione, fig. 2.
  • Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols. (The Hague: M. Nijhoff, 1923–38), vol. 2, pp. 468–69, fig. 263.
  • Osvald Sirén, Giotto and Some of His Followers, 1, 2 (Cambridge, Mass.: Harvard University Press, 1917), 222–224, 275, Vol. I, pp. 222-224, 275 and II, pl. 190 (Orcagna);.
  • Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 39–40, no. 14, (Orcagna), fig. 14.
  • Osvald Sirén, "Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna, and his Brothers: I," Art in America 2–4 (June 1914): 270, Orcagna, fig. 4.
  • Bernard Berenson, The Florentine painters of the Renaissance, with an index to their works (New York, London: G.P. Putnam's Sons, 1909), 162.
  • Osvald Sirén, Giottino und seine Stellung in der gleichzeitigen florentinischen Malerei (Leipzig, German: Klinkhardt & Biermann, 1908), 70, 89, Orcagna.
  • Osvald Sirén, "Trecento Pictures in American Collections-II," The Burlington Magazine 14 (1908): 193, pl. II-1 (Orcagna).
  • 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), 8, no. 26.
  • William Rankin, "Some Early Italian Pictures in the Jarves Collection of the Yale School of Fine Arts at New Haven," American Journal of Archaeology 10 (April-June 1895): 141, Orcagnesque, "rather too coarse for Andrea's own hand".
  • W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 15, lot 25 (Orcagna), fig. 25.
  • Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 36, no. 25, fig. 25.
  • 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), 45–46, no. 25, fig. 25.

Object copyright
Additional information

Object/Work type

religious art

Technical metadata and APIs


Open in Mirador

View IIIF manifest

The International Image Interoperability Framework, or IIIF, is an open standard for delivering high-quality, attributed digital objects online at scale. Visit to learn more

Linked Art

API response for this object

Linked Art is a Community working together to create a shared Model based on Linked Open Data to describe Art.