European Art
Artist: Apollonio di Giovanni, Italian, ca. 1416–1465

Tournament in the square of Santa Croce, Florence

ca. 1440

Tempera on panel

45.4 × 153.4 × 3.8 cm (17 7/8 × 60 3/8 × 1 1/2 in.)
University Purchase from James Jackson Jarves
Made in Florence, Italy
On view
Italian, Florence
15th century

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


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. 55.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 52, no. 45.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 19, lot 45 (Dello Delli).

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): 146, Dello Delli.

Mary Logan, “Compagno di Pesellino et quelques peintures de l’école,” Gazette des Beaux-Arts 26 (1901): 335.

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), 10, no. 45.

William Rankin, “Cassone Fronts in American Collections,” The Burlington Magazine for Connoisseurs 9 (June 1906): 288.

William Rankin, “Cassone Fronts in American Collections - IV,” The Burlington Magazine for Connoisseurs 11 (May 1907): 131.

William Rankin, “Cassone Fronts in American Collections - V, Part I,” The Burlington Magazine for Connoisseurs 11 (August 1907): 340.

Friedrich Sarre, “Mittelalterliche Knüpfteppiche Kleinasiatischer und Spanischer Herkunft,” Kunst und Kunsthandwerk 10 (1907): 505.

William Rankin, “Cassone Fronts and Salvers in American Collections-VII (conclusion),” The Burlington Magazine for Connoisseurs 13 (September 1908): 382.

Attilio Schiaparelli, La casa fiorentina e i suoi arredi nei secoli XIV e XV, eds. Maria Sframelo, Laura Pagnotta, and Mina Gregori, 2 (Florence: Le Lettere, 1983), 82, 84, 82 (note 243), 84 (note 257).

Attilio Schiaparelli, La casa fiorentina e i suoi arredi nei secoli XIV e XV, 1 (Florence: Sansoni, 1908), 285.

Joseph Breck, “Noch ein Beispiel für einen Drachen - und Phoenix-Teppich,” Der Cicerone 4 (1912): 133.

Frank Jewett Mather Jr., “The Jarves Collection,” Yale Alumni Weekly 23 (1914): 969, Florentine, c.1450-1460.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 83–85, (Florentine, ca.1440).

Paul Schubring, “Cassone Pictures in America, Part Two,” Art in America 11 (1923): 316.

Paul Schubring, Cassoni: Truhen und Truhenbilder der Italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento (Leipzig, Germany: Karl W. Hiersemann, 1923), 86, 108, 253–4.

Tancred Borenius, “Unpublished Cassone Panels-V,” The Burlington Magazine for Connoisseurs 41 (July 1922): 109.

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 6, 27–30, (shop of the Virgil Master).

Raimond van Marle, The Development of the Italian Schools of Painting, 10 (The Hague: Martinus Nijhoff, 1928), 548–554.

Mario Salmi, “Richard Offner, Italian Primitives at Yale Univeristy. New Haven: Yale University Press 1927,” Revista d’Arte 11 (1929): 272.

Kurt Erdmann, “Orientalische Tierteppiche auf Bildern des XIV und XV Jahrhunderts,” Jahrbuch der Preuszischen Kunstsammlungen 50 (1929): 285, 291–92, fig. 38a–c, 39a–e.

Associates in Fine Arts, Yale University, “Handbook: A Description of the Gallery of Fine Arts and the Collections,” Bulletin of the Associates in Fine Arts at Yale University 5, nos. 1–3 (1931): 29, ill.

Raimond van Marle, Iconographie de l’Art Profane au Moyen-Age et à la Renaissance: Le Décoration des Demeures, 1 (The Hague: Martinus Nijhoff, 1931), 146.

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), 347, Master of the Jarves Cassoni.

Martin Wackernagel, Lebensraum des Künstlers in der Florentinischen Renaissance (Leipzig, Germany: E. A. Seemann, 1938), 189.

Walter Paatz and Elizabeth Paatz, Die Kirchen von Florenz: Ein kunstgeschichtliches Handbuch. Frankfurt am Main: Vittorio Klostermann, 1 (Frankfurt: Vittorio Klostermann, 1940), 700, note 671.

Wolfgang Stechow, “Marco del Buono and Apollonio di Giovanni: Cassone Painter,” Bulletin of the Allen Memorial Art Museum, Oberlin College 1 (1942): 17, 20.

Ulrich Thieme, Felix Becker, and Hans Vollmer, eds., Allgemeines-Lexikon der Bildenden Künstler, 37 (Leipzig, Germany: E. A. Seemann, 1950), 79.

Ernst H. Gombrich, “di Giovanni: A Florentine Cassone Workshop Seen Through the Eyes of a Humanist Poet,” Journal of the Warburg and Courtauld Institutes 18 (1955): 21, 22, 24.

H. W. Janson, The Sculpture of Donatello, 2 (Princeton, New Jersey: Princeton University Press, 1957), 48, n. 1.

Richard M. Ketchum, The Horizon Book of the Renaissance (New York: American Heritage Publishing Co., 1961), 160–1.

Ian Shapiro, The Golden Book of the Renaissance (New York: Golden Press, 1962), 48–9.

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), 18, shop of Apollonio di Giovanni.

Albert Edward Elsen, Purposes of Art: An Introduction to the History and Appreciation of Art, 2 (New York: Holt, Rinehart and Winston, 1967), 132–4, fig. 160–2.

Bernhard Degenhart and Annegrit Schmitt, Corpus der italienischen Zeichnungen, 1300-1450 (Berlin: Gebr. Mann, 1968), 561.

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), 116–119, no. 80, shop of Apollonio di Giovanni.

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.

Ellen Callmann, Apollonio di Giovanni (Oxford, United Kingdom: Clarendon Press, 1974), 1, 62–63, Apollonio di Giovanni.

Maria Luisa Rizzatti, I geni dell’arte - Botticelli (Milan: Arnoldo Mondadori, 1976), 14–15.

Mario Scalini, Art, Arms and Armour: An International Anthology, ed. Robert Held, 1 (Chiasso, Switzerland: Acquafresca Editrice, 1979), 16–17, 21.

Mario Scalini, ed., Saracino e gli spettacoli cavallareshi nella Toscana Granducale, exh. cat. (Florence: Museo Nazionale del Bargello, 1987), 38–39.

Ellen Callmann, “Apollonio di Giovanni and Painting for the Early Renaissance Room,” Antichità Viva 27 (1988): 8.

Riccardo Pacciani, Le Tems revient, ‘l tempo si rinuova: feste e spettacoli nella Firenze di Lorenzo il Magnifico: Firenze, Palazzo Medici Riccardi, April 8 - June 30, 1992, ed. Paola Ventrone (Milan: Silvana, 1992), 124–5, 176–77, workshop of Apollonio di Giovanni, c.1439.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 135.

Jennifer Klein Morrison, “Apollonio di Giovanni’s ‘Aeneid’ Cassoni and the Virgil Commentators,” Yale University Art Gallery Bulletin (1992): 42, 47.

Ellen Callmann, “Apollonio di Giovanni,” Dictionary of Art 2 (1996): 228.

Adrian W. B. Randolph, Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence (New Haven, Conn.: Yale University Press, 2002), 197–98, shop of Apollonio di Giovanni, c.1470.

D. Medina Lasansky, The Renaissance Perfected: Architecture, Spectacle, and Tourism in Fascist Italy (University Park, Penn.: Penn State Press, 2004), 146, workshop of Apollonio di Giovanni, c. 1439, fig. 140.

Marina Belozerskaya, Luxury Arts of the Renaissance (Los Angeles: J. Paul Getty Museum, 2005), 238–9.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 298, fig. 16–17.

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.