Church of Santa Maria del Carmine

(church of monastery of Carmelite monks), Masaccio, Brancacci Chapel, Patron Felice Brancacci (Uncle Pietro) 

In Sassetti Chapel in Santa Trinita in Florence by Masaccio

The Tribute Money (tax issues), simultaneous narration (3 scenes), tax collector trying to collect from Christ, Peter gets the fish with the gold coin, then pays tax collector, tax collector’s back to viewer (may represent bad guy), vanishing point perspective, atmosphere perspective (mountains)

Michelangelo, red chalk drawing, Tomb of Julius II  neoplatonism- new kind of revived look at Plato,  Plato figure of Christian humanists

“Slaves”, struggling from escaping from material it is made, struggle for soul to be free

Laocoon, Hellenistic sculptural group by Michelangelo 

Michelangelo, Tomb of Julius II, in San Pietro in Vincoli, Rome, Figure of Moses

Moses spiritual leader of Jewish people and king/secular ruler of the Jews (sacred and secular function)

Michelangelo, The Madonna of the Steps, depth of relief, closer things are deeper carving, more shallow relief the farther it is, Christ’s back facing us, oddly muscular, sought difficulty, taking human figures and putting them in contored or twisted poses, figura serpentina

Michelangelo Battle Scene, deep relief, variety of poses of nude human body in action, issue of nonfinito (unfinished work), compare to Ancient Roman sarcophagi 

Michelangelo, Bacchus, dissatisfied patron (not idealized, soft, looks drunk [controposto] lack of godliness)

La Pieta, commissioned by French cardinal Jean Bilheres Lagraulas, drapery incredible and complex, drapery augments knees, head covering, stigmata visible, sense of weight, Mary much larger, drapery creates support for Christ, meditation on loss/tragedy, powerful, Mary depicted as young (spiritually pure])

Michelangelo, David, commissioned by the Opera del Duomo for the cathedral of Florence, before battle (hand around sltone and sling off shoulder), moment he sees his target, controposto apprehension  

Michelangelo, Slave, feminine controposto, not heroic pose, Michelangelo willing to hermaphrodize males, labial wound that he is almost “fingering” adds to sexual/gender ambivalence

Ordination of St. Lawrence, Church vestments indicating hierarchy of the Church as an institution 

St. Stephen preaching and disputing, virtues of eloquence embodies here, both in his preaching and in his disputation with scholars of other faiths 

Chapel of Pope Nicholas V, in Vatican Rome, Fresco cycle of the lives and martyrdoms os Saints Stephen (protomartry- first person killed for belief in Christianity) and Lawrence by Fra Angelico

Procession to II Redentore over bridge of gondolas (fontoon bridges?), red-robed senators then confraternities 

Doge Alvise Mocenigo donates the model of II Redentore to Christ (The Redeemer)

Church and Monastery of San Giorgio Maggiore by Palladio, retrochoir- creates a large space for monks, split choir, Corinthian, pediments, dental molding, large columns on pedestals 

Bernini, Piazza San Pietro (St. Peters Square) Obelisks made by Egyptians in middle of square, ano salto (holy year)

Giovanni Bellini. Doge Leonard Loredan, Wars of Cambrai, Venice almost taken over, background blue creates contrast, haptic qualities, soft demeanor, looking into light, looks young, soft and delicate textures

Sansovino, The Loggetta, panels of allegorical figures (Venus symbolizing Venetian rule over Cyprus,  Venice as “Justice” rules of Adriatic and Aegean seas) 

Print from reign of Doge Francesco Donato, with 5 bays of the Library completed and the old mint still in place with shops  

Fire in the Ducal Palace, art lost (oil paintings) 

Jost Amman, The Piazzetta, engraving, Venice. Museo Civico- salami seller, “hotel” of ladies (bordello) 

Lotto, Portrait of Odoni, surrounded by things that interest him, hand over heart (humility),   

Lorenzo Lotto, Wedding Portrait, cupid holding yolk of an ox (bound together), commentary on success 

Titian, Portrait of a Man, eye contact, back towards up, ego, sneering 

Titian, Portrait of Giovanni Bellini, personal depiction, context (window with landscape-paradise), candid not as formal, turning of neck = vulnerability 

Titian, Doge Andrea Gritti, conscious of surroundings, looking away from light, abrupt textures, vivacity and energy, authoritative 

Verocchio, David 

Donatello, Bronze David then Stone David, standing on Goliath’s head, Biblical passages read as platonic, severe controposto is feminine, sensualr

Ancient Roman Equestrian Portrait of Emperor Marcus Aurelius 

Donatello, Gattamelata, Equestrian Portrait of the Condottiere Erasmo di Narni in front of Church of Sant’Antonio in Padua, funerary and sculptural monument, general’s baton (authority) not violent 

Raphael, Stanza della Segnatura, patron Pope Julius II

Raphael Portrait of Pope Julius II, burdened by Protestant Reformation, display of jewelry, expensive dress 

Raphael, School of Athens in the Stanza della Segnatura, Pope Julius II, Michelangelo, Aristotle (pointing to earth) and Plato (pointing to sky) in painting, hand gestures, triumphant arches, contemporary building program of St. Peters 

Raphael, School of Athens in the Stanza della Segnatura, Pope Julius II, Michelangelo, Aristotle (pointing to earth) and Plato (pointing to sky) in painting, hand gestures, triumphant arches, contemporary building program of St. Peters 

 The Disputation, concept of transubstantiation, Monstrance- golden holder that holds the unleavened wafer that is the bread of the Eucharist  

Frescoes of Justice with Virtues above, Temperance, Prudence and Fortitude

Civil Law: Justinian Receiving the Pandects, Canon Law: Pope Gregory IX Approving the Decretals 

Parnassus, with Apollo surrounded by poets from antiquity and Italian Middle Ages, Sapphoo- ancient woman poet in painting 

 Raphael, and workshop, the Stanza d’Eliodoro (Heliodorus), Expulsion of Heliodorus from the Temple (trying to steal gold), typological, Pope plays role in divine retribution, this old Testament story can be interpreted through a contemporary lens

St. Peter in prison and freed from prison, restrict papacy, warning to those who would dare limit papacy’s power 

Masolino’s Adam and Eve on left vs. Masaccio’s Adam and Eve on right, controposto pose (weight bearing leg and the free leg), Adam’s pose of interest or inquiry, this piece is the sin, and the snake resembles Eve, Masaccio first person to focus on shadows (cast shadows), paintings work within environment by being by only window, in the chapel, modeling gradation from light to dark 

Masolino’s is the result: the expulsion from the Garden of Eve, ugly with sin

Domenico Ghirlandaio, The Sassetti Chapel in Santa Trinita in Florence, patron Francesco Sassetti, two sarcophagi on the sides, altar and altarpiece 

Vision of Augustus on the Capitoline, Sybil interpreting the future (ancient prophetesses, star burst in the sky means new emperor in Rome)

The Resuscitation of the Roman Notary’s Son: St. Francis saves boy- rebirth, this painting becomes a metaphor for Sassetti’s lost son who died within the first year of his life 

Classicizing aesthetics, Sibyls in the vault: Cumaean, Agrippan, Eritrean, and Cimmerian 

St. Francis renounces his worldly goods, faces individualized, St. Francis receives the stigmata

The trial by fire- St. Francis in front of the Mameluk sultan, death of St. Francis (right about Sassett’s sarcophagus, in an arcosolia)

Andrea del Castagno, The Last Supper, refectory (dining room where monks ate) of Sant’Apollonia, Florence, idea of eating with Christ and the apostles, bead and reel molding, anti-Semitic presentation of Judas with black hair, large curved nose, and misshapen ears to make him a caricature, perspective elements in the top left corner 

(transcendental spectator idea in this perspective) 

Scene from the Medici Chapel frescoes by Benozzo Gozzoli in the Medici Palace in Florence 

Sandro Botticelli, man holding a medal of Cosimo dei’Medici 

LEFT: a medal by Pisanello for Leonello d’Este of Ferrara, jokes on coins, represent power    

15^th century medals from various Urban, mid-Italian Courts

Intarsia panels from the Studiolo of Montefeltro in Ducal Palace, Urbino, crossed keys and papal crown means Federigo was given title of duke by papacy 

Double portraits of Battista Sforza and Montefeltro 

Silvia Piena (Sylvia is prego), not supposed to have sex for pleasure (celebration and hope in pregnancy: wishing for a boy), husband gives wife pregnancy bowl (majolica), symbol of the womb, eating for two 

Majolica birth plate showing the woman receiving the plate (desco de parto) and eating the food, with a boy no paying dowry 

Wooden birth tray bringing food to the mother on a birth plate, red coral around baby’s neck (ward off evil, child not yet baptized) 

Image inside of a bowl, note wet nurse

Depictions of the little boy, symbolism of fertility 

Wooden birth tray with little boy and coats of arms (palle) of two families, coral necklace, boy peeing metaphor for ejaculation (boy will also create other boys) 

Piero della Francesca, Madonna dal Parto

Fresco showing a man and women in bath, then bed 

Image of man and woman nude making love in a classical interior 

 Venus and Mars, Botticelli, Venus has affair with Mars, lance held by little satyres trying to get his lance up (symbolic), Mars’ body should be ultimate hard body but is in flacidity, tired and done his duty, Venus waiting for him to get up, satyre blowing the shell to wake Venus (shell symbolizes vaginal opening, knot in tree represents this as well), honey is leaking from this “hole in tree” where bees fly around, sexuality tempered  

Cassone or Marriage Chest for dowry of bride, wife’s dowry could be used by husband but not sold by him

Figure of nude woman from inside of cassone lid, function as quasi porn for the man and woman

 Lorenzo Lotto, Bride as Venus, boy peeing as metaphor for ejaculation again, woman wearing lingerie (band under breasts)

 Botticelli, spallieri panels of the story of Nastagio degli Onesti, Hunt. Dog bring naked woman down and kills naked woman running in forest and cuts out her heart for dogs to eat, she comes back again and runs and knight hunts her down again, in the middle of the banquet man does same thing to the woman that rejected him, but doesn’t kill her and they get married

Ghirlandaio, Portrait of Giovanna Tournabuoni, sumptuary laws (woman could wear 4 pieces of jewelry in first year of matron, 3 pieces after 2 years…etc. at fifth year she was a matron and was supposed to show matronly restraint and not wear vain decorations of jewelry), woman at anniversary (4^th) and commemorative of that moment to almost matronly, rosary beads (prayer) and bible nearby 

Botticelli’s Primavera, figures of three graces wearing jewelry, harmonious balance of giving and receiving 

Piero della Francesca, Portrait of Battista Sforza, woman with 13 children, died at 26 or so, image done of her more than ten years before, Federigo wanting image of her as young bride 

Da Vinci, Portrait of Cecelia Gallerani, wearing single necklace (about to enter matronly world), clothes not birhgtly colored (demure)

Medici palace, masonry on bottom is rusticated, then scored masonry, top is smooth, Medici coat of arms, large arches were open to be rented as shops, hired Michelangelo to fill them in for security

Alberti, the Tempio Malatestiano (Malatesta Temple), Rimini, Italy, brick part of old monastery church, never finished, roman emperial-like tombs (idea of dynastic family) 

Statue of Marcus Aurelius in Capitoline Hill, Rome, only surviving bronze statue from antiquity, adlocutio gesture (means emperor is speaking to his troops, trying to get them to fight heroically for Rome, gesture reserved for the emperors)

Capitoline Hill, stable, pilasters, equal horizontal and vertical architecture

Tempietto, the Martyrium of St. Peter at San Pietro in Monotiro, Rome, by Bramante

Creation of Adam (Adam means Earth), requires last spark of life from God, brain seed of the soul 

Michelangelo, Slave, feminine controposto, not heroic pose, Michelangelo willing to hermaphrodize males, labial wound that he is almost “fingering” adds to sexual/gender ambivalence

Rondelles- circular panels or windows

Pediments- triangular section above the structure

Pilasters- rectangular column projecting from a wall

Logetta- loggia at base of campanile

Zecca- columns look like stacks of coins (banded columns)

Dentil molding, egg and dart molding, then bead and reel molding

ground floor rooms rented out for income for library, second floor is storage, reading and study rooms, library partially used as school, classical elements: round headed arches, capitals of “half columns” (engaged columns) attached to piers, top section is of ionic order, bottom is doric, Corintian is last order, series of trigyphs with metopeson on doric order, rectangles are dentil molding (like teeth)