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| c. 1200 |
| | | In the cathedral on Torcello, and in St Mark's, Venetian mosaics are a culmination in the west of the Byzantine tradition | |
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| 1259 |
| | | Nicola Pisano completes a pulpit for Pisa, borrowing details from Roman sarcophagi - an early example of a new interest in the classical past | |
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| c. 1305 |
| | | Enrico degli Scrovegni employs Giotto to paint the cycle of frescoes in his chapel in Padua | |
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| 1308 |
| | | The cathedral authorities in Siena commission from Duccio the great altarpiece which becomes known as the Maestà | |
|  | Duccio Crucifixion (detail)
Manchester City Museum and Art Gallery
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| 1345 |
| | | The great Byzantine altarpiece of St Mark's, the Pala d'Oro, is adjusted to take its present form | |
|  | Pala d'Oro
Fotofile CG
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| c. 1400 |
| | | Majolica, or tin-glazed earthenware, reaches Italy from Majorca and thus gets its name | |
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| 1411 |
| | | The linen drapers of Florence commission a statue of St Mark from Donatello, who carves for Orsanmichele the first free-standing Renaissance sculpture | |
|  | Donatello, St George
Fotofile CG
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| 1423 |
| | | Masaccio paints some of the frescoes in the chapel of a Florentine silk merchant, Felice Brancacci, in Santa Maria del Carmine | |
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| 1436 |
| | | Perspective fascinates Italian Renaissance painters after the publication of Alberti's treatise on the subject, De Pictura | |
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| c. 1443 |
| | | The Dominican convent of San Marco, in Florence, is provided with a serenely beautiful series of frescoes by Fra Angelico and his assistants | |
|  | Fresco in San Marco Monastery
Fotofile CG
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