Tree of Life

© Anna Geiselman

Florence's Galleria dell'Accademia is world-renowned, primarily as the home of Michelangelo's David. Yet, amidst the masterpieces, stands a monumental painting that offers a profound glimpse into the spiritual and artistic world of early 14th-century Florence: Pacino di Bonaguida's Tree of Life (Albero della Vita). Painted around 1305-1310, this large tempera and gold leaf panel is not just a significant work by the artist but also a fascinating visual translation of Franciscan theology.

Pacino di Bonaguida was a prominent painter in Florence during the first half of the 14th century. His workshop produced both panel paintings and, notably, illuminated manuscripts. Stylistically, Pacino operated in the wake of the revolutionary artist Giotto. While influenced by Giotto's move towards naturalism, volume, and emotional expression, Pacino's style often retained elements of earlier Byzantine traditions and focused heavily on clear, detailed narrative. His workshop catered to the demand for devotional images and illustrated texts, making him a key figure in the Florentine Trecento art scene.

The direct inspiration for Pacino's painting is the Lignum Vitae (The Tree of Life), a highly influential devotional text written by the Franciscan theologian St. Bonaventure in the 13th century. This text guides the faithful in meditating on the life, passion, and glorification of Christ, structured metaphorically around a tree bearing twelve fruits, representing various aspects and events of Christ's existence. Bonaventure's work was immensely popular, especially within the Franciscan order, promoting a deeply personal and affective piety centered on the humanity and sacrifice of Jesus.

The Tree of Life measures 1.51 meters (4.95 feet) by 2.48 meters (8.14 feet) executed in tempera with gold leaf on wood. At the heart of the painting is a tree whose trunk bears the crucified Christ with twelve branches, six on each side, stretched outward symbolizing the twelve Apostles of Jesus. From each branch hangs four roundels (medallions) depicting key moments in the life of Christ.

Follow along starting from the bottom and moving left to right to the top. At the base of the tree are scenes from the Book of Genesis, typically including the Creation of Adam and Eve and the Temptation or Fall. Directly below the crucified Christ is an image with the face scratched out. Some feel this depicts the devil while others believe it may be St. Bonaventure holding a scroll. Just below the first set of medallions to the left of the tree are the stories of Moses and St. Francis. On the right are the stories of St. Clare and St. John the Evangelist. You will see that the upper right branch only has three medallions. The fourth is represented with the final scene that covers the top of the painting. The celestial court of Heaven, with Christ and the Virgin Mary enthroned surrounded by red angels, saints, and prophets. Between the celestial court and the cross is a pelican piercing its breast to feed its young with blood representing Christ's sacrifice on the cross.

Even today, this masterpiece continues to draw people in with its beauty and message. It reminds us of the enduring power of art to tell stories, express faith, and connect us to something greater than ourselves.

This masterpiece can be found on the ground floor of the Gallery in the section dedicated to Florentine Gothic painting from the 13th and early 14th century. For hours, location, and ticket information visit the Galleria dell'Accademia di Firenze.

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