• 14th century
• signore: "Lord"
• 300 foot bell tower
• town houses have benches on walls for piazza seating

• 1372-1382
• Benci de Cione and Simone Talenti 
• loggia: covered open-air corridor, now know as Loggia dei Lanzi
• used to provide sheltered locale for ceremonies and speeches

• Cimabue (Cenni di Pepi: 1272-1302)
• 13th century
• perhaps main alter of church of Snata Trinita in Florence
• 12 ft tall
• set new precedent for monumental altar pieces
• hierarchy scale of Mary gestures towards infant Jesus for salvation
• throne: architectural framework
• radiance: highlighting of gold
• attention to spacial volume
• delkicate modeling in light and shade
• naturalistic warmth

• 1305-1310
• Giotto di Bondone
• most likely painted for high altar of church of the Ognissanti, Florence
• tempera and gold on wood
• greater spacial consistency and sculptural solidity
• holds child's leg instead of pointing at Him
• Mary overwhelms throne
• Giotto created three-dimensional figures that take up space

Giotto, Scrovegni Chapel

• "Arena Chapel"
• commisioned by Scrovegni (wealthy loan shark)
• Giotto and Giovanni Pisano called to decorate 
• goals were to express power, sophistication, and prestige, as well as to atone for his sins
• building is simple
• entrance wall: The Last Judgement 
• santuary wall: 3 scenes from life of Christ
• faux-marble and allegorical grisaille (monochrome paintings in shades of gray)
• Giotto's genius for distilling comples stories into series of compelling moments
• concentrates on human dimensions and unfolding drama rather than on its symbolic of theological weight
• fresco program is full of scenes and symbols that are intended to be contemplated as coordinated or contrasting juxtapositions
• NEW: the way Giotto draws us in t experience events

Giotto, Lamentation from Scrovegni Chapel

• Giotta conveys palpable human suffering
• draws viewers into circle of personal grief
• Virgin Mary pulls close to her dead son, communing with mute intensity
• John the Evangelist raises arms in dispair
• linked somber scene to mourning of Lazarus through diagonal implied by hillside
• viewers would know that the mourning is resolved by resurrection in the next scene

Lorenzetti, Allegory of Good Government

• Sala dei Nova (Sala della Pace)
• 1338-1339
• Palazzo Pubblico, Siena, Italy
• fresco
• cathedral dome and distinctive striped companile
• citizens on large scale to emphasize activity
• circle of dancers
• band of masons
• Porta Romana divides city and countryside
• natural world described marked by seasonal activity
• above gate: a woman in drapery with scroll and miniature gallows in hands; she represents security; welcoming; gallow=guilt ridden

Andrea Pisano, Life of St. John the Baptist, Baptistery doors, Florence Cathedral

• 1330-1336
• 20 scenes from life of John
• 8 panels of the Virtues
• grid of 28 rectangles with repeated quatrefoils
• within quatrefoils, illusion of three-dimensional forms moving within described natural and architectural world
• postures of French Gothic art

Limbourg Bros., January (l) and February (r), from the Très Riches Heures of the Duke of Berry

• 1404: Limbourg brothers entered service of Duke Jean of Berry
• full page illustrations for the calendar with subjects in both peasant labors and aristocratic pleasures in a framed lower feild while elaborate calendar devices (chariot of sun and zodiac symbols) fill upper part)
• 1411-1416 (colors and ink on parchment)
• Chantilly, France
• February: farm folk relax before fire in well maintained farm; village and church in distance; hierarchy of class 
• largest in scale is woman, owner?
• cold: leaden sky, steamy breath, bare trees, soft snow, bundeled sheep, chimney smoke
• high placement of horizon line, small size trees and building in relation to people, cutaway view of house
• January: aristocratic household; food and rich tableware; courtier guests

Buxheim St. Christopher and woodcut technique

Martin Schongauer, Demons Tormenting Saint Anthony, and intaglio printing/engraving technique

Finding the Unicorn at the Fountain, tapestry, Flanders

• 1495-1505
• tapestry
• woven on huge horizontal looms
• workers worked form behind, so used mirrors to see fornts
• unicorn could only be captured by virgin, to whom it came to willingly
• capture and killing of unicorn: Christ's death
• lions: valor, faith, courage, mercym Resurrection
• stag: Resurecction, protection against evil
• rabbits: fertility
• dogs: fidelity
• strawberry: sexual love
• pansy: remembrance
• periwinkle: cure for jealousy
• oak: fidelity
• beech: nobility
• holly: protection against evil
• pomegranate and orange: fertility

Jan van Eyck, Arnolfini Double Portrait, Flanders

• 1434
• oil on wood
• full of mysteries
• wedding, betrothal, financial deal?
• pregnant, lifting dress?
• wealth of couple
• lavish bed hangings, chandelier, oriental carpet, rare oranges, clothing
• man wears heuque
• crystal prayer beads: piety
• all-seeing eye of God: mirror
• figure of St. Mary: craved in chair by bed
• dog: fidelity

Jan and Hubert van Eyck, Ghent Altarpiece, closed and open

Florence Cathedral, dome by Brunelleschi, Florence

• Filippo Brunelleschi
• 1420-1436
• solved problem of dome
• dome: double shell of masonry 138 ft across; octogonal outer shell supported by8 large and 16 lighter ribs
• lantern in 1436
• completed by Michelozzo di Bartolomeo
• gilt bronzed ball in 1468-1471

Brunelleschi, Ospedale degli Innocenti, Florence

Palazzo Medici-Riccardi, exterior and interior, Florence

• 1446
• Fransician ideals of poverty and charity
• palazzo symbolized the family and established proper place in Florentine social hierarchy
• each story more than 20 feet high
• elegant, Classical inspired details
• large arches walled up and given windows
• rusticated stone blocks
• round arches with slender columns in courtyard
• disks bearing Medici arms surmount each arch
• sgraffito
• new fashion for monumentality and regilarity in residential Florentine architecture

Donatello, David, Florence  

• 1446-1460
• bronze
• first life-size nude since antiquity
• Clasical tradition of heroic nudity
• potent-political figure in Florence: to oppose tyrants

Ghiberti, East doors, Jacob and Esau, Baptistery of Florence Cathedral, Florence

• 1435
• bronze
• center panel of "Gate of Paradise"
• one-point perspective
• Rebecca recieves news of future conflict
• Esau sells Jacob
• Jacob recieves Issac's blessing

Masaccio, Trinity, Florence

• meant to give illusion of stone funerary monument and altar table below deep aedicula (framed niche)
• Brunelleschi's perspective experiments and architectural style
• combination of Classical orders
• architrave, cornice, Ionic columns, coffers
• members of Lenzi family kneel in front of pillars
• sarcophogus with skeleton: only hope is redemption

Masaccio, Expulsion from Eden and Tribute Money, Florence

Perugino, Christ Delivering the Keys to St. Peter, Sistine Chapel, Vatican City, Rome

Mantegna, Camera Picta

Pollaiuolo, Battle of the Ten Nudes, engraving/intaglio printing

• 1465-1470
• study of classical sculpture
• study of anatomical research
• single model of various poses
• how muscles react
• engraving

Botticelli, Birth of Venus

• 1484-1486
• Neoplatonic idea of divine love
• "modest Venus"
• born in sea foam, avert sher gaze as she floats ashore on a scallop shell, arranging hands to hife sexuality
• Zephyr: man blowing wind
• Chloris: nyph with Zephyr
• welcomed by devotee with garment

Leonardo da Vinci, Vitruvian Man

Leonardo da Vinci, Virgin of the Rocks

• 1485
• altarpiece for church of San Francesco Grande in Milan
• Virgin and Child with angels
• chiaroscuro: light enhancement of three-dimensional figures
• sfumato: smoky

Leonardo da Vinci, Last Supper

• 1495-1498
• dining hall of monestary of Santa Maria delle Grazie in Milan
• announcement of betrayal
• captures human emotions

Leonardo da Vinci, Mona Lisa

• 1503-1506
• possibly Lisa Gherardini del Giocondo
• without jewelry
• enigmatic facial expression
• arresting and haunting eyes

Raphael, Small Cowper Madonna

Raphael, School of Athens, Vatican City, Rome

Raphael, Cartoon for Tapestry of Christ’s Charge to Peter

Tapestry of Christ’s Charge to Peter, orig. in Sistine Chapel, Vatican City, Rome

Michelangelo, Pieta

• 1500
• commissioned by French cardinal and installed a tomb monument
• Virgin Mary supporting dead Jesus
• unusual theme in Italy at the time
• young woman of heroic stature olding unnaturally smaller body

Michelangelo, David, orig. in front of Palazzo della Signoria, Florence

• 1501
• to be placed above cathedral, but was placed in piazza instead 
• reminder of Florence's republican status
• power of expression
• prefight with Goliath

Michelangelo, Sistine Chapel Ceiling, Creation of Man/Adam, Vatican City, Rome

• 1511-1512
• God gives life to Adam

Titian, Venus of Urbino, Venice

• 1538
• for Guidobaldo della Rovere, Duke of Urbino
• provocative
• more about marriage than sexuality
• myrtle and rose: wedding symbols
• spaniel: fidelity
• mature bride

Titian, Pesaro Madonna, Venice

• 1519-1526
• Virgin and Child on high throne and aranged saints and Pesaro family below on diagonal axis
• contrast of primary colors
• perfectly balanced
• diagonal, not vertical or horizontal

Tintoretto, Last Supper, Venice

• 1592-1594
• for choir of Palladio's church of San Giorgio Maggiore
• view from corner

Parmiaganino, Madonna of the Long Neck

• 1534-1540
• unnaturally proportional
• no seat, but Mary is seated
• small St. Jerome; scroll 
• huge, white, meaningless column
• group of blushing boys

Pontormo, Entombment

• 1525-1528
• altarpiece
• shadowy ground and cloudy sky give no specific whereabouts
• moment after Jesus' removal from the cross
• odd poses charge the scene emotionally
• weird colors: baby blue, olive, pink

Bronzino, Allegory with Venus and Cupid

• 1540s
• one of the strangest paintings in the 16th century
• formal, iconographical, and psychological characteristics of Mannerist art
• 7 figures, 2 masks, 1 dove
• Venus and Cupid engage in lascivious dalliance, encouraged by a putto--- representing Joy
• masks: duplicity
• Father Time and Truth pull back curtain and are outraged
• serpent behing Venus: Pleasure/Fraud
• tortured man of syphilis
• warning for syphilis?
• impossibility of constant love and the folly of lovers?
• dangers of illicit sexual liaisons?

Michelangelo, Last Judgement, Sistine Chapel, Vatican City, Rome

• 1536-1541
• swarm of resurrected humanity

Veronese, Feast in the House of Levi, Venice

Grünewald, Isenheim Altarpiece

Dürer, Self-Portrait 

• 1500
• frontal hieratic
• intentianally recalls iconic images of Christ as salvador mundi
• alter hair color

Dürer, Four Apostles

• 1526
• Peter displaced with keys by John
• Mark stands behind Paul
• presented panels to Nuremberg

Dürer, Adam and Eve

Dürer, The Great Piece of Turf

Altdorfer, Danube Landscape

• 1525
• early example of pure landscape painting
• forests seems more poetic and mysterious than Durer's observation of nature
• Romaticism of German landscape

Clouet, Francis I 

• 1525-1530
• modulated king's distinctive features
• conceived image of pure power