The influence of the religious, scholastic doctrine on the artists of Florence the first half of the XIV century

There was enough clergy in Florence of the late 13th - first half of the 14th centuries. The best preachers who studied and taught at the leading European universities did not bypass this medieval city. Being the same citizens of the Florentine Republic, like all other people, the artists went to Mass, listened to sermons, had their spiritual mentors. In this article, which is in line with the studies of early Trecento art, an analysis of the influence on the artists of Florence in the first half of the 14th century is being carried out modern religious scholastic doctrine, some aspects and degrees of this influence are revealed. The issue is considered within the historical context and on the example of several paintings by Florentine artists: Giotto di Bondone, Taddeo Gaddi, Bernardo Daddi and some others. The article begins with an analysis of the existence of the Franciscan and Dominican orders in Florence in first half of the 14th century. For example, the schools at Santa Croce and Santa Maria Novella were famous for its high quality education. In Florence one of the best preachers, philosophers and theologians in some times were: Thomas Aquinas, Giordano da Rivalto, Remigio dei Girolami, Pietro di Giovanni Olivi. Next part of the article is dedicated to Giotto di Bondone. The Assisi fresco cycle and a large number of works dedicated to St. Francis are the most important evidences of the influence of Francis-canism on him. And the point is not that Giotto often wrote works on the life of St. Francis, which, in fact, proves the popularity of the saint - he managed to express the ideas of Franciscanism through painting and it would be difficult without their deep understanding by the author. Also we can be almost sure of the sympathy for the Franciscans Taddeo Gaddi. Also he corresponded with famous preacher and Augustinian monk Fra Simone Fidati. Analysis of the theme "Meeting at the Golden Gate" shows that while Giotto's Protorenaissance influence after his death became weaker the art of the young painter approached traditional medieval type. Also we can make some versions about belonging to any order Bernardo Daddi and some others Florentine painters. Thus, the research allows us to reveal a kind of several degrees of influence of the religious scholastic doctrine, relevant for the first half of the 14th century, on the artists of Florence Trecento.

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