TOSCANA - Pisa
FILE : Duomo 2
TITLE : Meeting of Joachim and Anna—Marriage of the Virgin

LOCATION: Pisa Duomo, window s XVI

DIMENSIONS: 1.995 X 1.01 m. (panel 1, rectangle,0.285 x 1.01 m.-panel 2, rectangle,0.76 x 1.01 m-panel 3, arched, 0.95 x 1.01 m)

PROVENANCE: The window has been recomposed from panels originally part of two different windows in order to install it in its present location.

CHRONOLOGY: 1384-1386

AUTHOR: Tuccio -- designs (documented); Lorenzo di Luigi -- execution (documented)

PATRON: Opera della Primaziale

SUBJECT/S: Panel 1:Decorative composition with the emblem of the Opera (OP[er]A). Panel 2: Joseph and the Virgin Mary stand before a bearded priest; the Virgin and a group of women are framed by a niche; the rejected suitors are grouped on the right. Panel 3: Possibly a depiction of the Meeting of Joachim and Anna, a group of shepherds (or pilgrims) enter the scene from the left; a young woman stands under an arch at the far right.

CRITICAL NOTES: It is clear from the archival material that at least four windows were glazed in a campaign begun in the early 1380s; two of these, attributed to Antonio di Ciomeo, are considered lost; but some of the panels from the other two windows have been preserved in this recomposed window s XVI. The window consists of figurative episodes from two different windows belonging to the same cycle. Among the payments made in 1386 there is a mention of the Florentine master Tuccio, referred to as a "painter" (not "master glazier"). A careful reading of the documentation (though it has gaps), and systematic comparisons between Tuscan trecento windows and the panels united in window s XVI, have convinced the author of this file to suppose that for the two windows noted in the documents there existed a collaborative relationship between the Florentine Tuccio--who must have furnished to-scale designs-- and the glazier don Lorenzo di Luigi. These comparisons, based on stylistic and technical aspects, including a study of the glass material employed, reveal that as in other Tuscan stained glass of this period there is, in the window s XVI, the same diversity and brilliance of palette, which includes this vast range of glasses: saturated red, white, pale rose, bright gold, emerald green, and two different shades of purple--all brilliant and intense colors.

Window Format of the fourteenth-century cycle

CONDITION: The motif of the Busts of prophets originally continued into the angles of underlying panels, thereby forming octagonal fields. The modification of that motif seems to be the result of the re-composition and cropping of the authentic figural panels, which were probably both created for the upper register of two different windows. In some of the glass pieces the effect of "thermal shock" can be seen, this caused presumably by the fire of 1595).

The window bears the date of its last restoration (1976), when a protective panes of plate glass were placed on both the inside and the outside. The condensation created by this arrangement caused the proliferation of bacteria.

BIBLIOGRAPHY: See Bibl. Pisa Duomo – in recent volume by R. K. BURNAM Le vetrate del Duomo di Pisa "Corpus Vitrearum Medii Aevi - Italia, vol. 2, Quaderni della Scuola Normale di Pisa, Pisa, 2003.

PHOTOGRAPHIC REF.: R. K. Burnam Archive

EDITOR: R. K. Burnam, June 2003