This document summarizes key developments in art in 15th century Italy during the Renaissance period. It discusses the increased popularity of humanism, the influence of classical art and architecture, and the patronage of wealthy families. Important artistic elements like linear perspective, chiaroscuro, and classical forms in architecture are covered. Key artists like Brunelleschi, Donatello, Ghirlandaio, Mantegna, and Perugino are mentioned along with some of their major works from the period.

1. Chapter 16 Italy, 1400 to 1500 Gardner’s Art Through the Ages, The Western Perspective13e

2. Renaissance Florence

8. Figure 16-2 FILIPPO BRUNELLESCHI, Sacrifice of Isaac , competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence.

9. Figure 16-3 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence.

12. Another work which shows the period's new interest in humanism and patronage is the Pazzi Chapel. The plan Brunelleschi designed combines the favorite Renaissance forms: the square and the circle

13. Figure 13-19 ROBERT DE LUZARCHES, THOMAS DE CORMONT, and RENAUD DE CORMONT, interior of Amiens Cathedral (looking east), Amiens, France, begun 1220.

15. Figure 16-33 FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440.

18. Figure 13-49 Ekkehard and Uta, statues in the west choir, Naumburg Cathedral, Naumburg, Germany, ca. 1249–1255. Painted limestone, Ekkehard 6’ 2” high.

20. Figure 16-15 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high.

22. Figure 13-50 Equestrian portrait ( Bamberg Rider ), statue in the east choir, Bamberg Cathedral, Germany, ca. 1235–1240. Sandstone, 7’ 9” high.

23. Figure 16-5 DONATELLO, Saint Mark , Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence.

25. Figure 16-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni (?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza Collection, Madrid.

27. Figure 16-47 ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

29. Figure 16-24 DOMENICO GHIRLANDAIO, Birth of the Virgin , Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Fresco, 24’ 4” x 14’ 9”.

31. Figure 16-20 MASACCIO, Holy Trinity , Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”. Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base.

33. Figure 11-29 Otto III enthroned, folio 24 recto of the Gospel Book of Otto III , from Reichenau, Germany, 997–1000. Tempera on vellum, 1’ 1” x 9 3/8”. Bayerische Staatsbibliothek, Munich.

34. Figure 12-17 Christ in Majesty, apse, Santa María de Mur, near Lérida, Spain, mid-twelfth century. Fresco, 24’ X 22’. Museum of Fine Arts, Boston.

36. Figure 16-42 PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472–1474. Oil on wood, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan.

38. Figure 16-22 ANDREA DEL CASTAGNO, Last Supper , the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5” x 32’.

40. Figure 16-40 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter , Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

42. Figure 16-49 ANDREA MANTEGNA, Foreshortened Christ , ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, Milan.

44. Figure 16-48 ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in diameter.

46. Figure 16-11 LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), ( Gates of Paradise ), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

48. Figure 16-40 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter , Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

50. Figure 14-2 NICOLA PISANO, pulpit of the baptistery, Pisa, Italy, 1259–1260. Marble, 15’ high.

52. Figure 16-12 DONATELLO, David , late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence. First free-standing nude statue since antiquity. Notice the contrapposto Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality).

55. Figure 7-27 Portrait of Augustus as general, from Primaporta, Italy, early-first-century CE copy of a bronze original of ca. 20 BCE. Marble, 6’ 8” high. Musei Vaticani, Rome.

57. Figure 16-13 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.

59. Figure 8-10 Interior of Santa Sabina, Rome, Italy, 422–432.

61. Figure 16-38 LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.

63. Figure 16-44 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

64. Figure 16-46 LEON BATTISTA ALBERTI, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun 1472.

66. Figure 16-39 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1456–1470.

69. Figure 16-33 FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440.

70. Figure 16-30 FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, 1420-1436 ( after Piero Sanpaolesi).

73. Figure 16-18 MASACCIO, Tribute Money , Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”.