0134484592 ch21

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Art History
Sixth Edition
Chapter 21
Sixteenth-Century Art in Italy

Learning Objectives (1 of 2)
21.a Identify the visual hallmarks of sixteenth-century Italian
Renaissance art and architecture for formal, technical, and expressive
qualities.
21.b Interpret the meaning of sixteenth-century Italian Renaissance
works of art based on their themes, subjects, and symbols.
21.c Relate sixteenth-century Italian Renaissance artists and art to their
cultural, economic, and political contexts.

Learning Objectives (2 of 2)
21.d Apply the vocabulary and concepts relevant to sixteenth-century
Italian Renaissance art, artists, and art history.
21.e Interpret a work of sixteenth-century Italian Renaissance art using
the art historical methods of observation, comparison, and inductive
reasoning.
21.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of sixteenth-century Italian
Renaissance art.

Leonardo da Vinci MONA LISA
c. 1503–1506. Oil on wood panel, 30-1/4" × 21" (77 × 53 cm).
Musée du Louvre, Paris. (INV. 779). Photo © RMN-Grand Palais (musée du
Louvre)/Michel Urtado [Fig. 21-01]

Europe in the Sixteenth Century (1 of 2)
• England, France, and Portugal started the century under strong
monarchs.
• German-speaking central Europe was divided, but acknowledged the
Habsburg Holy Roman Emperor.
• Popes behaved like secular princes, demanding money to finance the
rebuilding of St. Peter's.

Europe in the Sixteenth Century (2 of 2)
• Pope Clement VII directly clashed with Charles V and led to the Sack
of Rome in May 1527.
• Patrons valued artists highly and rewarded them with generous
commissions as well as social status.
• The humanist notion of arts as intellectual influenced and elevated
artists, but favored men.

The Roman High Renaissance (1 of 2)
• "High" constitutes an art-historical judgment in that this period set the
standards for future movements.
• This period fused the real and the ideal.

The Roman High Renaissance (2 of 2)
• Oil painting became the preferred medium, and because commissions
increased from private sources, artists no longer depended on the
patronage of the Church.
• Leonardo, Michelangelo, and Raphael all worked their early careers in
Florence.

RENAISSANCE AND EARLIER MONUMENTS IN ROME
In addition to situating the principal works of the Roman Renaissance that emerged from
Julius II’s campaign to revitalize the papal city, this map also locates the surviving works
of Roman antiquity that would have been available to the Renaissance artists and
architects who masterminded the Classical revival. [Map 21-01]

Leonardo da Vinci (1 of 4)
• The Virgin of the Rocks shows four figures with strong chiaroscuro that
enhances their modeling.
– It is painted in the sfumato technique, creating a smoky effect.

Leonardo da Vinci THE VIRGIN OF THE ROCKS
c. 1485. Oil on wood panel (now transferred to canvas), 6'6" × 4' (1.9 × 1.2 m).
Musée du Louvre, Paris. Photo © Réunion des Musés Nationaux/Musée du Louvre,
Paris. [Fig. 21-02]

Art and Its Contexts:
The Vitruvian Man
• Vitruvius, first-century BCE architect and engineer, inspired Leonardo da
Vinci to seek ideal proportions of man.
– He determined that ideal body height should be eight heads high.
• Leonardo added his own observations to his well-known diagram of
the ideal male figure, the Vitruvian Man.

Leonardo da Vinci VITRUVIAN MAN
c. 1490. Ink, 13-1/2" × 9-5/8" (34.3 × 24.5 cm).
Galleria dell'Accademia, Venice. © Cameraphoto Arte, Venice. [Fig. 21-03]

• The Last Supper, painted in the refectory of Sta. Maria delle Grazie,
was a defining work of Renaissance art.
– Leonardo arranged the disciples in four groups of three as they
flank the stable, pyramidal form of Jesus in the middle.
– The scene is set in stage-like recession, with the orthogonals
converging at the head of Jesus.

Leonardo da Vinci THE LAST SUPPER
Refectory of the monastery of Santa Maria delle Grazie, Milan, Italy. 1495–1498.
Tempera and oil on plaster, 15'2" × 28'10" (4.6 × 8.8 m).
© Studio Fotografico Quattrone, Florence. [Fig. 21-04]

REFECTORY OF THE MONASTERY OF SANTA MARIA DELLE GRAZIE, SHOWING
LEONARDO'S LAST SUPPER
Milan, Italy. © Studio Fotografico Quattrone, Florence. [Fig. 21-05]

• The Mona Lisa is, perhaps, his most famous work, painted about
1503–1506.
– The distant, hazy mountains give the subject, Lisa Gherardini del
Giocondo, a mysterious quality.
 Her direct stare and "enigmatic" smile add to the effect.

• He insisted on the supremacy of painting over sculpture as being the
best medium for creating an illusion of the world, but argued that color
was second to volume.
• Secondary interests included mathematics, engineering, and nature,
which took him away from creating more work.

Raphael (1 of 4)
• The Small Cowper Madonna typifies the artist's popular paintings of
the Virgin and Child.
– A pyramidal composition and clinging draperies show the influence
of da Vinci.

Raphael THE SMALL COWPER MADONNA
c. 1505. Oil on wood panel, 23-3/8" × 17-3/8" (59.5 × 44.1 cm).
National Gallery of Art, Washington, DC. Widener Collection (1942.9.57). Image courtesy
the National Gallery of Art, Washington. [Fig. 21-06]

Raphael MADONNA OF THE GOLDFINCH (MADONNA DEL CARDELLINO)
1506. Oil on panel, 42 × 29-1⁄2″ (106.7 × 74.9 cm).
Galleria degli Uffizi, Florence. © Studio Fotografico Quattrone, Florence. [Fig. 21-7]

Raphael (2 of 4)
• Pendant portraits were commissioned for prosperous Florentine.
– The portraits of Maddalena and Agnelo show Raphael following
tradition by making ostentatious display of jewelry despite a
landscape similar to that behind the Mona Lisa.

Raphael AGNELO DONI
c. 1506. Oil on wood panel, each 24-1/2" × 17-1/4" (63 × 45 cm).
Palazzo Pitti, Florence. © Studio Fotografico Quattrone, Florence. [Fig. 21-08a]

Raphael MADDALENA STROZZI
c. 1506. Oil on wood panel, each 24-1/2" × 17-1/4" (63 × 45 cm).
Palazzo Pitti, Florence. © Studio Fotografico Quattrone, Florence. [Fig. 21-08b]

Raphael (3 of 4)
• Raphael's most influential work in the papal rooms was the School of
Athens in the Stanza della Segnatura.
– Harmoniously arranged forms and rational space complement the
room in which it was painted.
– Philosophical figures, while idealized, have dynamically
foreshortened contrapposto poses.

Raphael STANZA DELLA SEGNATURA
Vatican, Rome. Fresco in the left lunette, Parnassus; in the right lunette, The School of
Athens. 1510–1511. Photo © Musei Vaticani/IKONA. [Fig. 21-09]

A CLOSER LOOK: The School of Athens by Raphael
Fresco in the Stanza della Segnatura, Vatican, Rome.
c. 1510–1511. 19' × 27' (5.79 × 8.24 m).
Photo © Musei Vaticani/IKONA. [Fig. 21-10]

Raphael (4 of 4)
• Tapestries in the Sistine Chapel
– The cartoons behind the set of ten tapestries for Leo X's
commissions were created between 1515 and 1516.
– Comparison between the cartoon studies and the tapestries
reveals that weavers did not follow models slavishly.
– The tapestries are displayed in the museum rather than in the
chapel.

Raphael STUDY FOR CHRIST'S CHARGE TO PETER
c. 1515. Red chalk.
Royal Library, Windsor Castle. Royal Collection Trust © Her Majesty Queen Elizabeth II,
2016/Bridgeman Images. [Fig. 21-11]

Raphael and assistants CARTOON FOR TAPESTRY PORTRAYING
CHRIST'S CHARGE TO PETER
c. 1515–1516. Distemper on paper (now transferred to canvas),
11'1" × 17'4" (3.4 × 5.3 m). Lent by Her Majesty the Queen to the Victoria & Albert
Museum, London. V&A Images/Victoria and Albert Museum. [Fig. 21-12]

Shop of Pieter van Aelst, Brussels, after cartoons by Raphael and assistants
CHRIST'S CHARGE TO PETER
Woven 1517, installed 1519 in the Sistine Chapel.
Wool and silk with silver-gilt-wrapped threads.
Musei Vaticani, Pinacoteca, Rome. Photo © Musei Vaticani/IKONA. [Fig. 21-13]

Michelangelo (1 of 6)
• An example of Michaelangelo's early work is the marble Pietà.
– The subject of the Virgin supporting and mourning the dead Jesus
was rare in Italian art of the time.
– Size disparity between the large Virgin and Jesus is forgotten
when viewing the smooth modeling of deftly carved forms.

Michelangelo PIETÀ
c. 1500. Marble, height 5'8-1/2" (1.74 m).
St. Peter's, Vatican, Rome. Canali Photobank, Milan, Italy. [Fig. 21-14]

• The statue of David was commissioned for a buttress of a cathedral in
Florence, but was so loved that it was placed in the city square
instead.
– The concentrated gaze departs from antique facial expression.

Michelangelo DAVID
1501–1504. Marble, height 17' (5.18 m) without pedestal.
Galleria dell'Accademia, Florence. © Studio Fotografico Quattrone, Florence. [Fig. 21-15]

• The Ceiling of the Sistine Chapel
– The Sistine Chapel ceiling was ordered by Pope Julius II, who
wanted the theme to be the Twelve Apostles, which Michelangelo
found too limiting.
 Shallow bands of painted stone molding divide the vault into
nine compartments showing scenes from Genesis.
– The iconic Creation of Adam shows God sparking Adam with life.

INTERIOR, SISTINE CHAPEL
Vatican, Rome. Built 1475–1481; ceiling painted 1508–1512; end wall, 1536–1541.
The ceiling measures 45 × 128' (13.75 × 39 m).

Michelangelo SISTINE CHAPEL CEILING WITH DIAGRAM IDENTIFYING SCENES
1508–1512. Fresco.
Photo © Musei Vaticani/IKONA. [Fig. 21-17a]

Michelangelo SISTINE CHAPEL CEILING WITH DIAGRAM IDENTIFYING SCENES
1508–1512. Fresco. [Fig. 21-17b]

Michelangelo CREATION OF ADAM, SISTINE CHAPEL CEILING
1511–1512. Fresco, 9'2" × 18'8" (2.8 × 5.7 m).

• The Ceiling of the Sistine Chapel
– The Last Judgment wall was painted between 1536 and 1541
behind the altar of the Sistine Chapel.
 The saved swarm around a central Christ, while the damned
are guided by the demonic boatman Charon toward hell.

• San Lorenzo
– Michelangelo became the architect for the Medici family, creating
two monuments with idealized portraits of the deceased.
 Female and male figures atop the sarcophagi represent night
and day.

Michelangelo TOMB OF GIULIANO DE' MEDICI WITH ALLEGORICAL FIGURES OF
NIGHT AND DAY
New Sacristy (Medici Chapel), church of San Lorenzo, Florence. 1519–1534.
Marble, height of seated figure approx. 5'10" (1.8 m).

• San Lorenzo
– Concurrent with the tombs was the construction of a new library,
the vestibule of which designed by Michelangelo.
 Columns are recessed into rectangular wall niches in a
creative combination of architectural forms.
 The forms are more important than the function, a Mannerist
characteristic.

Michelangelo VESTIBULE OF THE LAURENTIAN LIBRARY
Church of San Lorenzo, Florence.
Begun 1524; stairway designed 1550s.

Architecture in Rome and the Vatican
• Pope Julius II enlisted Bramante, Raphael, and Michelangelo to carry
out his vision of a revitalized Rome.
• Bramante
– Combining principles of Vitruvius and Alberti, Bramante created Il
Tempietto over the spot where Peter was believed to have been
crucified.

Donato Bramante IL TEMPIETTO, CHURCH OF SAN PIETRO IN MONTORIO
Rome. 1502–1510; dome and lantern were restored in the 17th century.
© Vincenzo Pirozzi, Rome [Fig. 21-21]

Northern Italy (1 of 4)
• Architects and painters working for wealthy patrons created fanciful
structures and a colorful, illusionistic painting style.
• Giulio Romano
– Romano was commissioned to build a pleasure palace.
 The design was full of visual jokes and did not include much
residential space.

Giulio Romano COURTYARD FAÇADE, PALAZZO DEL TÈ, MANTUA
1527–1534.
© SuperStock. [Fig. 21-22]

• Giulio Romano
– Decoration of the two principal rooms continued witty designs in
the Palazzo del Tè.
– Unifying themes were love and politics.
 Decoration reflected Federigo's dicey alliance with Charles V.

Giulio Romano FALL OF THE GIANTS
Sala dei Giganti, Palazzo del Tè.
1530–1532. Fresco.
© 2016. Photo Scala, Florence. [Fig. 21-23]

• Correggio
– With use of dramatic foreshortening, Correggio creates the illusion
that the ceiling is opening up in the Assumption of the Virgin.
 It recalls Mantegna's ceiling in the Gonzaga palace, but utilizes
da Vinci's sfumato and Raphael's idealism.

Correggio ASSUMPTION OF THE VIRGIN
Main dome, interior, Parma Cathedral, Italy. c. 1526–1530.
Fresco, diameter of base of dome approx. 36' (11 m).
© 2016. Photo Scala, Florence. [Fig. 21-24]

• Properzia de' Rossi
– Properzia was the only woman included in Giorgio Vasari's 1550
edition of Lives of the Artists.
 It is written that a rival male sculptor prevented her from being
paid fairly or receiving further commissions.
– Joseph and Potiphar's Wife was a marble relief showing the
biblical hero fleeing the seductress.

Properzia de' Rossi JOSEPH AND POTIPHAR'S WIFE
Cathedral of San Petronio, Bologna. 1525–1526.
Marble, 1'9" × 1'11" (54 × 58 cm).
Museo de San Petronio, Bologna. Berardi/IKONA. [Fig. 21-25]

Venice and the Veneto (1 of 10)
• Venetians saw themselves as superior to their rivals in Florence and
Rome.
• The oil-painting technique initiated by the Bellini family was adopted by
painters because it was easy to correct errors.
• Venetians also covered their walls with sheets of canvas rather than
frescoes.

• Giorgione
– Although he died from the plague early in life, his contribution to
Venetian painting was vast.
 Only ten paintings can be attributed to him.
– Poesie or enigmatic pastoral themes were inspired by the literary
revival of pastoral poetry.

• Giorgione
– The Tempest was painted shortly before his death.
 A woman in the foreground is nude except for a white cloth
over her shoulders.
 On the other side, a mysterious man in a soldier's uniform
turns his head toward the woman.

Giorgione THE TEMPEST
c. 1506. Oil on canvas, 32" × 28-3/4" (82 × 73 cm).

• Giorgone
– The Pastoral Concert has been attributed to both Titian and
Giorgione.
 It portrays an idyllic, verdant landscape with two clothed men
who seem oblivious to two nude women beside them.
 The quality thought to be Titian's is the sensuously painted
flesh of the females.

Giorgione or Titian THE PASTORAL CONCERT OR ALLEGORY ON THE INVENTION
OF PASTORAL POETRY
c. 1510. Oil on canvas, 41-1/4" × 54-3/4" (105 × 136.5 cm).
Musée du Louvre, Paris. Photo © Musée du Louvre, Dist. RMN-Grand Palais/Angèle
Dequier. [Fig. 21-27]

• Titian
– The Pesaro Madonna, commissioned for an altar, shows grandeur
in its massive columns and marble staircase.
 Colors were built up in layers of red, white, black, and yellow.
 Intersecting diagonals in the composition reach from Jacopo
Pesaro to the off-center Virgin.

Titian PESARO MADONNA
1519–1526. Oil on canvas, 16' × 8'10" (4.9 × 2.7 m).
Side-aisle altarpiece, Santa Maria Gloriosa dei Frari, Venice. © Cameraphoto Arte,
Venice. [Fig. 21-28]

• Titian
– Isabella d'Este of Mantua became a true Renaissance woman,
patronizing painters, musicians, writers, and collecting ancient art
and objects.
 Her portrait by Titian is a product of their long-standing
professional relationship.

Titian ISABELLA D'ESTE
1534–1536. Oil on canvas, 40-1/8" × 25-3/16" (102 × 64.1 cm).
Kunsthistorisches Museum, Vienna. © KHM-Museumsverband. [Fig. 21-29]

• Titian
– The "Venus" of Urbino, contrary to its stark female nudity, may
have been a reference to marriage.
 The cassoni in the background and sleeping dog (symbol for
fidelity) reveal that the work may have been associated with
Guidobaldo della Rovere's marriage.
 Neither a goddess nor courtesan, the woman was possibly a
wife.

Titian "VENUS" OF URBINO
c. 1538. Oil on canvas, 3'11" × 5'5" (1.19 × 1.65 m).

• Veronese and Tintoretto
– Color, light, and expressively loose brushwork characterized
Venetian painting.
– One of Veronese's most famous works is a Last Supper, later
renamed Feast in the House of Levi for its controversial content.

– Veronese shocked patrons with his painting later called Feast in
the House of Levi.
 The scene contained pageantry, scruffy dogs, and foreign
soldiers, overall offending viewers and removing it from a
typical Last Supper scene.
– The Inquisition ordered an explanation and subsequent renaming.

Veronese FEAST IN THE HOUSE OF LEVI
From the refectory of the monastery of SS. Giovanni e Paolo, Venice. 1573.
Oil on canvas, 18'3" × 42' (5.56 × 12.8 m).

– Tintoretto sought to combine Titian's coloring with the drawing of
Michelangelo.
– His The Last Supper differs from da Vinci's.
 The scene is viewed from a corner and features two light
sources.
– The speed of his work was especially noted.

Tintoretto THE LAST SUPPER
Church of San Giorgio Maggiore, Venice. 1592–1594.
Oil on canvas, 12' × 18'8" (3.7 × 5.7 m).
© Cameraphoto Arte, Venice. [Fig. 21-32]

The Architecture of Palladio (1 of 3)
• Andrea Palladio dominated architecture with characteristics of
harmonious symmetry and controlled ornamentation.
• He became involved in publishing books on architecture that would
become tenets for future architects.
– Four Books of Architecture was a staple in the libraries of
educated people.

• San Giorgio Maggiore
– This monastery church featured a variation on the traditional
Renaissance façade for a basilica.
– The interior includes finely balanced geometry, evidenced by
engaged columns and short pilasters echoing the two levels of
orders on the façade.

Palladio CHURCH OF SAN GIORGIO MAGGIORE, VENICE
Plan 1565; construction 1565–1580; façade 1597–1610; campanile 1791.
Finished by Vincenzo Scamozzi following Palladio's design. © Cameraphoto Arte, Venice.
[Fig. 21-33]

NAVE, CHURCH OF SAN GIORGIO MAGGIORE, VENICE
Begun 1566. Tintoretto’s Last Supper (not visible) hangs to the left of the altar.
© Cameraphoto Arte, Venice. [Fig. 21-34]

• The Villa Rotunda
– This villa outside Vicenza was designed as a party house and
meant to have a spectacular view of the countryside.
 It secularized the dome.
 Its plan consisted of a circle inscribed within symmetrical
squares.

Palladio PLAN OF VILLA ROTONDA, VICENZA
Italy. Begun 1560s. [Fig. 21-35]

Palladio EXTERIOR VIEW OF VILLA ROTONDA, VICENZA
After its purchase in 1591 by the Capra family, the Villa Rotonda became known as the
Villa Capra. © Cameraphoto Arte, Venice. [Fig. 21-36]

Mannerism
• This style developed into an anti-Classical movement in which
artificiality, grace, and elegance took priority over lifelike references.
• Patrons favored esoteric subjects.
• Painters and sculptors quoted other works with self-conscious
playfulness.
• Architects used Classical orders in unconventional ways.

Pontormo, Parmigianino, and Bronzino
(1 of 6)
• This movement was characterized by artificiality, grace, and elegance
over ordered balance.
– Artists distorted conventions and created contrived, enigmatic
forms.
• Carucci's Deposition shows an ambiguous composition with a dreamy
atmosphere and odd poses.
– Jarring colors are juxtaposed.

(2 of 6)
• Painters created contrived compositions and irrational spatial
environments, full of quoted references to predecessors' works.
• Pontormo
– Jacopo Carucci da Pontormo created frescoes for the Capponi
Chapel.
– Deposition's ambiguous composition gives a visionary feeling to
the piece.

CAPPONI CHAPEL, CHURCH OF SANTA FELICITÀ, FLORENCE
Chapel by Filippo Brunelleschi for the Barbadori family, 1419–1423; acquired by the
Capponi family, who ordered paintings by Pontormo, 1525–1528.
Index Ricerca Iconografica. [Fig. 21-37]

Pontormo DEPOSITION
Altarpiece in Capponi Chapel, church of Santa Felicità, Florence. 1525–1528.
Oil and tempera on wood panel, 10'3" × 6'4" (3.1 × 1.9 m).

(3 of 6)
• Pontormo
– Deposition's ambiguous composition gives a visionary feeling to
the piece.
 Some figures press into the viewer's space while others stand
on tiptoe, creating odd poses.
 The most striking oddity of this altarpiece is the choice of
colors with bizarre juxtapositions.

(4 of 6)
• Parmigianino
– Left unfinished at the time of the artist's early death is the
Madonna of the Long Neck.
– Mary's proportions are unnatural, with her massive legs
contrasting narrow shoulders and long neck and fingers.
– The well-known scene is presented in a manner intended to
intrigue viewers.

Parmigianino MADONNA OF THE LONG NECK
1534–1540. Oil on wood panel, 7'1" × 4'4" (2.16 × 1.32 m).

(5 of 6)
• Bronzino
– The portrait of Eleonora of Toledo shows the mother and her
second son in a haughty, self-assured way.
 It is an embodiment of dynastic power and an assurance of
Medici succession.

Bronzino PORTRAIT OF ELEONORA OF TOLEDO AND HER SON GIOVANNI DE'
MEDICI
1545. Oil on wood panel, 45-1/4 × 37-3/4" (115 × 96 cm).

(6 of 6)
• Bronzino
– Bronzino's Allegory with Venus and Cupid is one of the strangest
paintings of the sixteenth century.
– Complex interweaving of seven figures, three masks, and a dove
press into the foreground.
– Venus and her son Cupid engage in unsettlingly erotic actions
while Chronos pulls back a curtain to expose them.

Anguissola and Fontana (1 of 2)
• Sofonisba Anguissola (c. 1532–1625) was a skilled miniaturist.
• She worked as court painter to the queen of Spain from 1560, but her
works were lost in a palace fire.
• Anthony van Dyck sketched her portrait in 1624 when she was 96
years old.

Sofonisba Anguissola SELF-PORTRAIT
c. 1556. Varnished watercolor on parchment, 3-1/4" × 2-1/2" (8.3 × 6.4 cm).
Museum of Fine Arts, Boston. Emma F. Munroe Fund 60.155. Photograph © 2017
Museum of Fine Arts, Boston. [Fig. 21-42]

Anguissola and Fontana (2 of 2)
• Lavinia Fontana (1552–1614) found a successful career in Bologna
that would later boast her to position of papal court painter in 1603.
• Noli Me Tangere shows Christ revealing himself to Mary Magdalen
following his resurrection.
– Its unsettling diagonal plunge into depth is characteristic of the
Mannerist style.

Lavinia Fontana NOLI ME TANGERE
1581. Oil on canvas, 47-3/8" × 36-5/8" (120.3 × 93 cm).
Galleria degli Uffizi, Florence. Canali Photobank, Milan, Italy. [Fig. 21-43]

Sculpture (1 of 2)
• Mannerist sculpture stylizes body forms and foregrounds.
• Cellini
– At Fontainebleau, Benvenuto Cellini created the Salt-Cellar of
King Francis I.
 Figures representing the land and the sea lean back at
impossible angles.

Benvenuto Cellini SALTCELLAR OF KING FRANCIS I OF FRANCE
1540–1543. Gold and enamel, 10-1/2" × 13-1/8" (26.67 × 33.34 cm).
Kunsthistorisches Museum, Vienna. © KHM-Museumsverband. [Fig. 21-44]

Sculpture (2 of 2)
• Giambologna
– Sculptor Giambologna's artistic output included fountains and
works in bronze.
– The Capture of a Sabine Woman is his most famous sculpture.
 This piece was carved from a single block of marble despite its
deep undercutting and projecting gestures.

Giambologna THE CAPTURE OF A SABINE WOMAN
1581–1582. Marble, height 13'6" (4.1 m).
Loggia dei Lanzi, Florence. © Studio Fotografico Quattrone, Florence. [Fig. 21-45]

Art and the Counter-Reformation
• Paul III was the first pope to pursue Church reform in response to
Protestantism.
– He founded the Inquisition, an office that sought out heretics.
• Art became a powerful weapon of propaganda, especially in the
Society of Jesus founded by Ignatius of Loyola.

Rome and the Vatican (1 of 3)
• Paul III commissioned Michelangelo for the Sistine Chapel on
Capitoline Hill.
• Michelangelo's Late Work
– The Last Judgment scene abandoned medieval conception and
showed a swarm of resurrected humans pushing upward.
 On the right, the damned are plunged into hell.

Michelangelo LAST JUDGMENT, SISTINE CHAPEL
1536–1541. Fresco, 48 × 44' (14.6 × 13.4 m).
Photo: Vatican Museums/IKONA. [Fig. 21-46]

• Michelangelo's Late Work
– The completion of St. Peter's Basilica also fell to Michelangelo.
 He undid parts of Sangallo's design in order to strengthen
Bramante's central plan.
 Three surviving hemicycles show his work, and the current
dome retains his basic design.

Michelangelo ST. PETER'S BASILICA, VATICAN
c. 1546–1564; dome completed 1590 by Giacomo della Porta; lantern 1590–1593.
View from the west. © James Morris, Ceredigion.
[Fig. 21-47]

Art and Its Contexts: St. Peter's Basilica
• Donato Bramante undertook the task of rebuilding St. Peter's Basilica.
– It was built with a central plan, possibly referring to the tradition of
Christian martyria.
– Ultimately, Michelangelo transformed St. Peter's into a building of
magnificent proportion.
 Hemicycles and blind windows remain today from his
design.

ART AND ITS CONTEXTS: St. Peter's Basilica

• Vignola
– Ignatius of Loyola commissioned Il Gesù to be the Jesuit
headquarters in Rome.
– Vignola designed it with a wide, barrel-vaulted nave and no aisles.
– The symmetrical façade emphasized a central portal with
Classical pilasters, engaged columns, and volutes linking the tall
section with lower sides.

Vignola and Giacomo della Porta FAÇADE OF THE CHURCH OF IL GESÙ, ROME
c. 1568–1584.
© 2016. Photo Scala, Florence. [Fig. 21-48a]

Vignola and Giacomo della Porta PLAN OF THE CHURCH OF IL GESÙ, ROME
c. 1568–1584. [Fig. 21-48b]

Think About It (1 of 2)
• Some art historians have claimed that Rome and Florence were
oriented toward drawing, but Venice was oriented toward color.
Evaluate this claim, discussing specific works from each tradition in
your answer.
• Analyze either the Palazzo del Te (Fig. 21–22) or the Villa Rotonda
(Fig. 21–36). Explain how the design of the building differs from the
design of grand churches during this same period, even though
architects clearly used Classical motifs in both sacred and secular
contexts.

Think About It (2 of 2)
• Discuss Julius II's efforts to aggrandize the city of Rome and create a
new golden age of papal art. Focus your answer on at least two
specific works that he commissioned—one in painting and the other
architectural.
• Select either Pontormo's Deposition (Fig. 21–38) or Parmigianino's
Madonna of the Long Neck (Fig. 21–39) and explain why it
characterizes Mannerist style. How does your chosen work depart
from the Classical norms of the High Renaissance? How would you
characterize its relationship to Michelangelo's Last Judgment (Fig. 21–
46)?

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