Abstract
In 1987 Julian Gardner initiated a discussion of the iconography of the medieval Italian city gate, an otherwise little-studied feature of the cityscape. The present article continues the discussion with an investigation of the representations of city gates in Florentine and Sienese painting of the fourteenth century. This study outlines the dramatic differences between the iconography of the built gates and the images of gates that appear in paintings. Essentially, the built gates are characterized by their defensive aspects while the images are noteworthy for appearing to offer an invitation to freely enter the depicted city. These differences demonstrate that architectural images in paintings often served to create a pointedly different perception of the city than did built architecture.
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