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| A coffin, usually of stone. (Latin "consumer of flesh") |
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| InChristian art, wounds Christ recieved at his crucifixion that miraculously appear on the body of a saint. |
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| A technique of painting using pigment mixed with egg yolk, glue, or casein; also, the medium itself. |
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| A luxurious handmade book with painted illustrations and decorations. |
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| (Franciscans, Dominican)- An organization of monks living according to the same rules, for example, the Benedictine, Franciscan, and Dominican orders |
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| Period in Europe during the 14th-16th centuries where there was a rebirth of art and culture. French, "rebirth". Term used to describe history, culture, art. Where artists consciously revived the classical style |
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| Italian for "fresh". Painting on lime plaster, either dry (fresco secco) or wet (true, or buon fresco). In the latter method, the pigments are mixed with water and become chemically bound to the freshly bound to the freshly laid lime plaster. One of the most permanent painting techniques. |
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| The rectangular hall that has six narrow windows only on it south wall, which left an entire north wall an unbroken and well-illuminated surface for painting. In the Arena chapel in Padua. Also called tunnel vault-extension of a simple arch creating a semi cylindrical over parallel walls. |
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| The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. |
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| A three-paneled painting, ivory plaque, or altarpiece. Also, portable shrine with hinged wings used for private devotion. |
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| In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling. |
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| The fountain of everlasting life. The modern name for this is the well of Moses but called fons vitae by the Carthusians. |
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| The taking in of Christ's body and blood as a way to remember him. The center of mass. The partaking of bread and wine- either Christ himself or symbolic of him. |
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| An architectural screen or wall above and behind an alter, usually containing painting, sculpture, carving or other decorations. |
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| Italian, "smokey". A smoke like haziness that subtly softens outlines in the painting. Particularly applied to the paintings of Leonardo da Vinci and Correggio. |
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| A two paneled painting or altarpiece; also, an ancient Roman, Early Christian, or Byzantine hinged writing tablet. Often of ivory and carved on the external sides. |
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| In the Renaissance, an emphasis on education and on expanding knowledge (especially of classical antiquity) the exploration of individual potential and a desire to excel, and a commitment to civic and moral duty. |
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| The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counter positioning of the body about its central axis. Sometimes called "weight-shift"- tension to one side, relaxation to other. |
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| one-point linear perspective |
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| A horizon line and one vanishing point must be identified (on the line) then orthogonals (diagonal lines) and drawn to create a grid. |
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| two-point linear perspective |
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| Same as one-point, but two vanishing points are made. |
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| The shaping or fashioning of 3D forms in a soft material, such as clay. Also, the gradations of light and shade reflected from the surfaces of matter in space, or the illusion of such gradations produced by alterations of value in a drawing, painting or print. |
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| Latin, "eye". The round central opening of a dome. Also, a small round window in a Gothic Cathedral. |
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| French- "fools the eye". A form of illusionistic painting that aims to deceive viewers into believing they are seeing real objects rather than a representation of those objects. |
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| The style of painted or sculptured representation based on close observation of the natural world that was at the core of the classical tradition. |
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| Italian- "holy conversation". A style of altarpiece painting popular after the middle of the 15th century, in which saints from different epochs are joined in a unified space and seem to be conversing either with one another or the audience. |
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| Italian- "drawing" and "design". Renaissance artists considered drawing to be the external physical manifestation of an internal intellectual idea of design. |
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| Italian, "colored" or "painted". A term used to describe the application of paint. Characteristic of the work of 16th century Venetian artists who emphasized the application of paint as an important element of the creative process. |
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| Lines that may not have been explicitly drawn, but that the composition of the work makes is appear that they are there. (Motions of characters that may lead your eye to another piece of the painting.) |
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| Widespread dissatisfaction with the Church in Rome led to this. Spit Christendom in half. Protestants objected to the sale of indulgences and rejected most of the sacraments of the Catholic Church. They also condemned ostentatious church decoration as a form of idolatry that distracted the faithful communication with God. |
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| A layer of thickly applied pigment. |
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