Among the wonders of the Vatican Museums in Rome, inside the Pinacoteca (in which are preserved beautiful paintings by Raphael, like his Madonna di Folgino, by Caravaggio and others), we find the famous Stefaneschi Triptych. What is it? Definitely an example of how the Middle Ages was a period in which artistic wonders could be created. And here at the Pinacoteca, where I suggest to join a tour with a local tour guide to really appreciate its value, you can understand the meaning of my words.

This magnificent painted wooden structure was made by none other than Giotto himself, the one who radically changed the figurative art with his studies. He mainly studied and improved the concept of perspective and depth. The triptych owes its name to the famous cardinal Stefaneschi, the man who guided the Holy Church in the course of the XIV century. It was a definitely troubled period for the clergy, considering that the pope, for many years prior to the elevation of the Stefaneschi to the cardinalate, had moved His person and the whole curia at Avignon. A turbulent period for Rome and the Romans, and after centuries found themselves without a spiritual guide. Therefore, to give a bit of impetus and vitality to the souls that are deprived of the roman people, the cardinal called the most in vogue artists of that time to enrich the St Peter's Basilica, the centre of Christianity, with a new piece of jewelry. And here it is: three wood panels (triptych, was very common in the Middle Ages, because it was produced to consider the concept of the Trinity), decorated on both sides. The one facing the clergy sees the figure of St. Peter seated on a throne, with the keys in his hand (its symbol) and the figure kneeling on her right, which depicts the cardinal Stefaneschi in the act of delivering the triptych itself.

This last detail shows, once again, a common feature found in all of the Middle Ages: the figure of the sponsors were often represented in the act of delivering the model of his project, often directly in the hands of figures such as Jesus or the Virgin. Even pontiffs, cardinals as in this case, noblemen used to ask that to the artists. Note that the hint of a prospect that made them famous Giotto, as written above. You notice the steps and the decorated throne that push the viewer toward a deep, barely visible, of course, but that it was a considerable novelty in the artistic panorama of the time. You can also admire the figures placed all around the the saint, in a common  pose for that time. What, however, characterizes these figures is the proportions and the use of color, which makes the bodies more solid, more real.

Finally, on the side facing the faithful, here is Jesus in the throne, with to the sides the martyrs of the two saints patrons of the city. At the Jesus' right hand we have the crucifixion in front of St Peter (as it wants the tradition), while on the other hand we see St. Paul, now taken off as a result of the condemnation to death which is suffered. These last are the two patron saints of Rome, and it is not rare to see them depicted together in the same work of art. A figurative plan is simple, if we want to, in the choice of the characters depicted, and their setting. But, after all, thanks to the art and to the new style of Giotto the Stefaneschi Triptych can, to all effects and purposes, be considered a true masterpiece. For the first time there is a sense of depth, a piece of it. For the first time there is a sort of perspective, although it is related to some details. A work of art that, among other things, is the direct witness of the St Peter's Basilica, the ancient one, however, previous to its total reconstruction. A lot of elements and details for a trptych, another way to consider it a real masterpiece. And in the Vatican Museums of Rome there are a lot of them...