Piazza Santissima Annunziata

Florence

1419

Brunelleschi

SIGNIFICANCE: depicts the relationship between Brunelleschi's Ospedale and the arcade of the Santissima Annunziata, beginning of the Renaissance, geometric regularity wasn't as important as perspective, very important symbol of the civic nature of buildings, as thousands would visit a year to pay homage in church services, etc., the epitome of a communal space for the city

Ospedale degli Innocenti

1419-1445

Brunelleschi, Andrea della Robbia (tondi)

pietra serena

SIGNIFICANCE: plan reveals new order & symmetry; most revolutionary part is the facade (1st since antiquity to use the vocabulary of Classical Roman architecture-->1st structure of Renaissance), the proportions calculated with mathematical rigor, an open departure from the heaviness of the Romanesque as well as a rejection of the overly elaborate Gothic exteriors notable example of early Italian Renaissance architecture, great example of a guild within the city commissioning a building and continuing to provide charity for the city (silk guild), the simple proportions of the building reflect a new age, of secular education and a sense of great order and clarity

Palazzo del Bargello

1255

SIGNIFICANCE: seat of the Podesta in 1261; in 1574 became headquarters of the Bargello; parts of interior converted to prison cells, served as model for the construction of the Palazzo Vecchio, Medici forced out Podesta and put in bargello

Palazzo Vecchio Exterior

1299-1318

Piazza della Signoria

(Arnolfo di Cambio?)

SIGNIFICANCE: the tower represents that nothing is more important than the government, fortress style meant to show strength, Gothic windows, Michelangelo's David stood here until the mid-19th century - furthers idea of building's importance , tower served the double purpose of providing a lookout over the city and surrounding countryside while it expressed the determination of the city rulers to resist attack

Loggia dei Lanzi (with view of Uffizzi)

1376-81

Benci di Cione, Simone di Francesco Talenti

(possibly following a design by Jacopo di Sione)

SIGNIFICANCE: has the four cardinal virtues (justive/fortitude/prudence/temperance),

*Justice sculpture (Agnolo Gaddi) was very prevalent in cities with newly gained independence from Pope, issue of justice very important (Florence, Venice, Siena), used to house the assemblies of the people and hold public ceremonies

Loggia dei Lanzi

1376-83

Francesco Talenti, Agnolo Gaddi (medallion), Giovanni d'Ambrogio and Jacopo di Pietro (sculpture)

Gothic (Medieval) style

SIGNIFICANCE: depicting one of the cardinal virtues (Justice), figure prevalent in cities with newly gained independence, the figure she is sitting on is symbolic of justice conquering evil

Cathedral and Baptistery

1296

(design of Arnolfo di Cambio)

SIGNIFICANCE: ecclesiastical center, Brunelleschi's dome had similar qualities to Pantheon (going back to antiquity), Florentines wanted to rival Siena and other cities with its size, the Arte della Lana (Guild of Wool Merchants) took over exclusive patronage for the construction of the cathedral which provides yet another great example of how commissioning enabled Florence to be such a productive city for art, pitted Ghiberti and Brunelleschi against each other yet again which further fostered the best results, as is seen in other Florentine architecture, 

Baptistery (NW view)

1060-1150

SIGNIFICANCE: competition held to design East doors (now south), Ghiberti, revetment (red/white/green=colors of the theological virtues-charity/faith/hope), octagonal shape important because churches didn't like circular buildings because of Mass processional, had such a reputation for antiquity some thought it was originally a Roman temple, The south doors were done by Andrea Pisano and the north and east doors byLorenzo Ghiberti, h

Baptistery: South Doors

1330-36

Andrea Pisano

Medieval style

bronze

scenes: Life of St. John the Baptist & seated virtues

Patron: the Calimala

SIGNIFICANCE: Andrea succeeded in translating the narrative power of Giotto's paintings into sculpture; reliefs reveal the influence of northern Gothic art but also hint at Pisano's future assimilation of classical style in his work on Campanile, St. John the Baptist was most important patron saint of Florence, civic and religious monument

Baptistery: South Doors

1330-36

Andrea Pisano

bronze

SIGNIFICANCE: Pisano orginally a goldsmith-translated that skill into the door panels

John the Baptist was the patron saint of baptistries as well as the patron saint of the city of Florence. The first six scenes depict the birth and youth of the Baptist while the next four show his public ministry, culminating in the baptism of Jesus. Like Giotto, Andrea Pisano depicts volumetric bodies with robes that help define the body (not conceal it).

Sacrifice of Isaac

1401

Brunelleschi

North Doors (originally East)

SIGNIFICANCE: horror vaccui, located on a building that was critical in the religious and social identity of the city, inclusion of natural elements, has a vigor to it but is busy and crowded, as if the angel is coming in at the last second, was done in many pieces and would be harder to fix mistakes, Isaac also based on a headless classical figure but unlike Ghiberti he rebelled against the form of the relief, scheme was a rectangular design cut by the Gothic frame, realistic figures, Brunelleschi was recognized for using geometric principles in creating perspective and influencing both Masaccio and Donatello to follow that style, 

Sacrifice of Isaac

1401

Ghiberti

North Doors (originally East)

SIGNIFICANCE: in contrast to Brunelleschi's panel, it is divided by a diagonal rather than in horizontal tiers, the drastically foreshortened angel appears to be flying into the scene from deep space, and the angel knows it will get there in time, done in significantly less pieces, it was easier to work with and mistakes could be fixed much easier than Brunelleschi's, demonstrates Ghiberti's strong background as a goldsmith, Hellenistic torso of Issac, idealistic figures

chosen over such artists as Brunelleschi and Donatello - could once again talk about competition between artists

Baptistery: North Doors

1403-24

Ghiberti

scenes: New Testament

SIGNIFICANCE: originally intended for the East facade, fills the quatrefoil without overcrowding, enframing lattice is richer than that of Pisano's doors, compositions are more closely coordinated with the quatrefoils, The first panels executed reveal that Ghiberti tried to harmonize his compositions with the Gothic quatrefoil. The slender, lyrical figures approximate those of International Gothic painters like Lorenzo Monaco and Gentile da Fabriano. Their draperies establish patterns of fluid elegance which contribute a rhythmic unity to the design. As his work progressed, his compositions became more complex and his forms began to fight with the quattrefoil. Since he included ever more ambitious architectural and geometrical elements, his compositions evolved towards the new rectilinear Renaissance format.

Baptistery: North Doors

1403-24

Ghiberti

scene: the dispute with the doctors

SIGNIFICANCE: Ghiberti thought about these gates in conjunction with the older ones, The first panels executed reveal that Ghiberti tried to harmonize his compositions with the Gothic quatrefoil. The slender, lyrical figures approximate those of International Gothic painters like Lorenzo Monaco and Gentile da Fabriano. Their draperies establish patterns of fluid elegance which contribute a rhythmic unity to the design. As his work progressed, his compositions became more complex and his forms began to fight with the quattrefoil. Since he included ever more ambitious architectural and geometrical elements, his compositions evolved towards the new rectilinear Renaissance format.

Gates of Paradise

1425-52

Ghiberti

SIGNIFICANCE: radically different in style and composition from the North doors, not quatrefoil-replaced by more classically severe rectangular frames, expansion of narrative, combination of scenes in individual panels, varies degree of paneling, HUGE CHANGE b/c of: scientific perspective & Donatello, Ghiberti and Donatello worked side by side,

used perspective with planning & viewing of door panels

Gates of Paradise

1425-52

Ghiberti

scene: Story of Jacob and Esau; adjacent panel: Moses receiving the Law

SIGNIFICANCE: shows Ghiberti's understanding of perspective by using architecture that shows depth and also having a figure with his back towards the viewer, mixture of high and low relief, considered by many art historians to mark the beginning of the Renaissance,  Their popular name- Doors of Paradise- is based on a tradition that the young Michelangelo, greatly impressed by the doors, described them as worthy to be the Gates of Paradise, shows juxtaposition between the religious/secular

Florence Cathedral

1296-1436

Arnolfo di Cambio, Francesco Talenti

Gothic style

polychrome marble

SIGNIFICANCE: demonstrates the traditions of Florentine art from the Romaneque to the Renaissance, program coordinated by the Opera del Duomo, horror vaccui, the history of construction seems to accurately parallel what was going on in Florentine culture as a whole... time of the plague saw the construction slowed, but as Florentine life picked up, so did the chapel, further shows just how seamless the architecture/daily life were

Florence Cathedral Interior

1368

Nave

SIGNIFICANCE: basilican (basic church layout), like a Roman hall, the dimensions are enormous which hints at an homage to antiquity, the original church of Santa Reparata had a raised altar and a crypt underneath-bad for laity because they are separated from priests/ bishops---> new cathedral didn't have raised altar. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola, 

Florence Cathedral Exterior

14th-15th century

Brunelleschi

SIGNIFICANCE: looked at Pantheon, structure had never been done before with this size, funded by: The Commune, The Bishop, the Pope, and finally the Arte della Lana, 

St. John the Evangelist

1408

Donatello

Duomo niche

SIGNIFICANCE: classical style, thought about position of statue, paid particular attention to the cloth since it was for the cloth guild, content dictates the form, hands used to accentuate the recession of the thighs, pose is natural and unforced This statue, which was commissioned by the Opera del Duomo but executed much later - the payments go from 1413 to 1415 - almost seems to anticipate the works of Michelangelo. Particularly remarkable are the saint's acute and penetrating expression, and the realistic treatment of his open hand on the book, For the Cloth Guild he carved the statue of St Mark the Evangelist...the consuls of the guild were reluctant to have it set up. Whereupon Donatello urged them to let him set it up on high, saying he would work on it and show them an altogether different statue, this is a particularly good example of Donatello taking into account his audience's vantage point, as they would be looking up at the statue 

Florence Cathedral Exterior

1414-21

North Side (Porta della Mandorla)

Nanni di Banco

SIGNIFICANCE: Assumption, Thomas in scene (doubting apostle of assumption), Mary-almost mannerist style, The alternating colors show rectitude and beauty, the two basic principles of Florentine art

Cantoria

1433-39

Donatello

SIGNIFICANCE: inlay, cosmati work, look and spirit much different than cantoria of della Robbia, these children are rowdy, singing, dancing, Donatello's cantoria does not illustrate a particular Psalm. It is inspired by both medieval and classical art, In this work, where the figures are only outlined and not finished and appear thus from the ground level, Donatello creates something new. The austerity and sternness which emanated from his youthful statues have vanished and in their place is a vivacious, almost orgiastic movement. Five consoles support five pairs of corresponding columns, and these in turn are surmounted by a pediment decorated with acanthus and other ornamental devices. Behind the column is a frieze of running putti caught in a wide variety of movements. They run, leap and dance against a glittering background of Cosmatesque mosaic - a symbol of the infinite which cannot be grasped.

Cantoria

Donatello

SIGNIFICANCE: children look like putti, shows depth with children in circle, some behind others, facing different ways, In this work, where the figures are only outlined and not finished and appear thus from the ground level, Donatello creates something new. The austerity and sternness which emanated from his youthful statues have vanished and in their place is a vivacious, almost orgiastic movement. Five consoles support five pairs of corresponding columns, and these in turn are surmounted by a pediment decorated with acanthus and other ornamental devices. Behind the column is a frieze of running putti caught in a wide variety of movements. They run, leap and dance against a glittering background of Cosmatesque mosaic - a symbol of the infinite which cannot be grasped.

Cantoria

Luca della Robbia

The works, finished with great care, are set according to a serene and calm composure, according to the ideals of classical beauty. The characters carved explore different moods and give the sense of the characters live, cultured in the various psychological nuances, the more we share the joy, contemplation, concentration in the childish prank. The collection conveys a sense of grace and balance, as well as technical mastery of the artist. Some panels, carved after the initial stage, show the influence of dancing cherubs of Donatello in the pulpit of the Cathedral of Prato, which also mentions a letter from Matteo da Prato of 1434.

Cantoria

Luca della Robbia

scene: Psalm 150 "Praise ye the Lord"

The works, finished with great care, are set according to a serene and calm composure, according to the ideals of classical beauty. The characters carved explore different moods and give the sense of the characters live, cultured in the various psychological nuances, the more we share the joy, contemplation, concentration in the childish prank. The collection conveys a sense of grace and balance, as well as technical mastery of the artist. Some panels, carved after the initial stage, show the influence of dancing cherubs of Donatello in the pulpit of the Cathedral of Prato, which also mentions a letter from Matteo da Prato of 1434.

Florence Campanile

1337-39

Giotto, Pisano, Talenti

SIGNIFICANCE: begun shortly after Giotto elected Capomaestro, G. designed the tower and died in '37, divided into horizontal zones, lower zones: reliefs and statues, upper zones: windows, white/green/pink marble like the Cathedral, important place for sculpture, some panels similar to frieze of the Parthenon-reminiscent of classical, Reliefs: seek to portray knowledge, attempt to express in visual form the essentially complex body of knowledge of late medieval scholarship, tries to convey the highly systematic nature of medieval intellectual inquiry, tradition within 14th century Italian art of embellishing key civic sites with complex pictorial schemes whose subject matter emphatically celebrated the broad scope of human endeavor and knowledge as codified by medieval scholars, CHRISTIAN MESSAGE: overall positive message that human beings can contribute to their redemption and avoid malign influence by acquiring both practical skills and theoretical knowledge but depiction of seven sacraments serve as a reminder that only by observance of sacraments could humans be secure in heaven

In his design he also applied chiaroscuro and some form of perspective instead of a strict linear drawing of the campanile. And instead of afiligree skeleton of a gothic building, he applied a surface of coloured marble in geometric patterns.

Florence Campanile: Pisano Reliefs

1337-41

Giotto (designed); Pisano (executed)

scenes: agriculture/trade

SIGNIFICANCE: seek to portray knowledge, attempt to express in visual form the essentially complex body of knowledge of late medieval scholarship, tries to convey the highly systematic nature of medieval intellectual inquiry, personify abstract intellectual concepts, lower zone had reliefs depicting 3 scenes from Genesis followed by the discoverers of the crafts (medicine, law, drama, agriculture, etc.), combines ecclesiastical and secular scenes, CHRISTIAN MESSAGE: overall positive message that human beings can contribute to their redemption and avoid malign influence by acquiring both practical skills and theoretical knowledge but depiction of seven sacraments serve as a reminder that only by observance of sacraments could humans be secure in heaven

Florence Campanile: Pisano Reliefs

1337-41

Giotto; Pisano

west facade (planets)

Maiolica background (glazed terracotta) 

SIGNIFICANCE: seek to portray knowledge, attempt to express in visual form the essentially complex body of knowledge of late medieval scholarship, tries to convey the highly systematic nature of medieval intellectual inquiry, personify abstract intellectual concepts, upper zone had cycles of planets, Virtues, Liberal Arts, and the Seven Sacraments, combined church and science, progressive, CHRISTIAN MESSAGE: overall positive message that human beings can contribute to their redemption and avoid malign influence by acquiring both practical skills and theoretical knowledge but depiction of seven sacraments serve as a reminder that only by observance of sacraments could humans be secure in heaven

Habakkuk (Lo Zuccone)

1423-25

Donatello

West Facade of Campanile

SIGNIFICANCE: prophets/sibyls foresee the future, most important works saved for the West side, the figure of Zuccone is skin and bone under the rough cloth robe that suggests a toga. The hand clutches convulsively at the strap and the rolled top of a scroll. The bald head is curved with brutal strokes, left intentionally rough, and the few marks that represent stubble on the chin, the flare of the lips, and the eyebrows have been exaggerated by the effects of weathering which hints at Donatello's need for realistic aspects

Orsanmichele

1337-80

NW corner

SIGNIFICANCE: Orsanmichele served as a granary/shrine/guildhouse, had the most important sculptors in Florence at the time work on it, 14 total niches with reliefs underneath, architectural style varies from niche to niche,   St. Matthew (Cambio)-west side, influenced by Ghiberti, robes suggest gravity, guild wealthy enough for a bronze statue

St. George

1416

Donatello

SIGNIFICANCE: north side, armorers guild, Gothic quality-very stationary, would have had a sword & helmet, The youthful period of Donatello is typified by his St George, patron saint of the Guild of Armourers and Swordmakers, in whose niche he stood. The figure is infused with a dramatic inner life (notice the furrowed brow and sensitive features) and a dynamic alertness: each muscle is taut, the shield rests momentarily on its point, and the hands have the tension of readiness in repose means more Gothic rendering, first work in which factor of silhouette is dominant

St. George

1416

Donatello

SIGNIFICANCE: relief underneath has to do with guild or guild's patron saint, has varying relief, 

patron saint of the Guild of Armourers and Swordma-
kers, in whose niche he stood. The figure is infused with a dramatic inner life (notice the furrowed brow and sensi-
tive features) and a dynamic alertness: each muscle is taut, the shield rests momentarily on its point, and the hands have the tension of readiness in repose

Four Crowned Saints (Quattro Coronati)

1415

Nanni di Banco

SIGNIFICANCE: wider/deeper niche, very classical figures, mimicking antiquity (gravitas, hair, robes, etc), question of whether subject matter dictates what style the works are in, stonemasons/sculptors guild, greatly influenced by the classical tradition, 

Four Crowned Saints

1415

Nanni di Banco

SIGNIFICANCE: stonemasons/sculptors guild, shows workers in contemporary clothing, working on sculpture (putto), greatly influenced by the classical tradition

St. Louis of Toulouse

1418-1422

Donatello

SIGNIFICANCE: Parta Guelf-political and business, on main street (Via de Calzaiuouli) which means it was a very wealthy party, spent lots of money, gilded bronze, enamelware in crown, Gothic style, looks as if Louis is crushed by the weight of the crown/robes, crook looks too big, Louis did not want power, wanted a religious life, forced to become a bishop

Orsanmichele Exterior

1455-65

Roundel with Madonna and Child with Lilies

glazed terracotta

blue=EXPENSIVE

 Late in the 14th century, the guilds were charged by the city to commission statues of their patron saints to embellish the facades of the church, The facades held 14 architecturally designed external niches, which were filled from 1399 to around 1430. The three richest guilds opted to make their figures in the far more costly bronze, which cost approximately ten times the amount of the stone figures, Orsanmichele's statuary is a relic of the fierce devotion and pride of Florentine trades, and a reminder that great art often arises out of a competitive climate. Each trade hoped to outdo the other in commissioning original, groundbreaking sculptures for public display on Florence's most important street, and the artists hired and materials used (especially bronze) indicate the importance that was placed on this site.

Orsanmichele Interior

1355-59

Orcagna (tabernacle), Bernardo Daddi (altarpiece)

SIGNIFICANCE: Florentines believed that it was a miracle working image (done 3 times), Orcagna's shrine has 8 panels depicting the Life and Death of the Virgin, surrounded by candles, enamelware, influenced by Giotto, had hidden area inside for choir in order to make tabernacle seem more awesome and religious, protected by bars and a cover

Tabernacle

1360

Orcagna

scene: Death and Assumption of the Virgin

SIGNIFICANCE: backside of the tabernacle, hardly ever seen, Mary in a mandorla

Madonna and Child Enthroned

1347

Bernardo Daddi

tempera/panel

SIGNIFICANCE: miracle working image, blue coloring=expensive,

Santa Croce Interior

1385-87

SIGNIFICANCE: Franciscan church, had a big open piazza-important for mendicant churches b/c they used them to preach to large crowds, Franciscans brought the stained glass technique to Italy, Bardi & Peruzzi chapels just to right of altar, Crucifix-Cimabue, taken down, ruined by flood

Bardi Chapel

14th century

Giotto

scene: St. Francis Receiving the Stigmata

SIGNIFICANCE: just to the right of the altar, major banking family, above the chapel as a warning to those entering just like sculpture above Church entrances, proud of St. Francis b/c he is the most Christ-like, shows perspective by wings of Christ going out to the sides and also coming out towards the viewer

Bardi Chapel 

Giotto

left wall, scenes:Life and Miracles of St. Francis

SIGNIFICANCE: shows great emotions that the viewer can relate to, in top scene: family is disgraced that Francis is leaving the family, the church official is clothing St. Francis (message that Church will protect you and take you in)

Bardi Chapel

14th c

Giotto

right wall, scenes: Life of St. Francis

SIGNIFICANCE: classical elements with the architecture in the background, 

Peruzzi Chapel

1324-69

Giotto

left wall; scene: Life and Miracles of John the Baptist

SIGNIFICANCE: not as tightly composed as Bardi, used tempera NOT fresco, more subtle coloring and range of colors, more interest in details, In his family's memorial chapel the banker Peruzzi, therefore, has realized a program which connects his own memory and that of his family with the religious background of the Franciscans and the fate of the city, in which the Peruzzis were one of the most influential families

Peruzzi Chapel

1324-69

Giotto

right wall; scene: St. John the Evangelist

SIGNIFICANCE: more subtle coloring, range of colors, more interest in details, used tempera NOT fresco, The forms are more complex and the composition seems more monumental and sustained by a richer inventive mood

Tree of Life, Last Supper, and Four Miracle Scenes (Refectory)

1330-40

Taddeo Gaddi

Santa Croce

SIGNIFICANCE: on the way there you see St. Louis, woman patron, brilliant illusionism, knew perspective and space

Tomb of Leonardo Bruni

1446-47

Bernardo Rossellino

SIGNIFICANCE: done in a classical mode, sets marker for later tombs, on the South side of Santa Croce, Bruni-(wrote history of Florence, Chancellor of Florentine Republic, orator, humanist, teacher), took death wax mask for sculpture like Romans did, eagles=imperial Rome, only one tiny mention of Christianity

The tomb's format recalls the triumphal arch, a fitting motif for a Christian humanist. However, its message is the triumph not so much of salvation as of the individual and his everlasting fame. This is stressed by the crowning element, Bruni's coat-of-arms, which recalls the Marzocco, stamping the monument with a loftier republicanism, like the actual commemoration of Bruni, tomb was paying homage to community

Santa Maria Novella

1456-1470

(Leone Battista Alberti?)

SIGNIFICANCE: big open area for preaching, Dominican monastery, only facade overly detailed, modeled on San Miniato, late Gothic (has vaulted arches), avelli-family tombs, also have stemme (coat of arms)

Alberti attempted to bring the ideals of humanist architecture, proportion and classically-inspired detailing, to bear on the design while also creating harmony with the already existing medieval part of the facade.

Santa Maria Novella Interior

1456-70

Nave

SIGNIFICANCE: Gothic influences with lots of geometric designs, Crucifix-most likely Giotto, Alberti devised a rational and unified front. Alberti's design has various geometrical relationships; for example, the height to the top of the pediment is equal to the width and the upper temple with its pediment is one-fourth the size of the main square - paying homage to antiquity with calculated lines and measurements, 

Crucifix

c. 1300

Giotto

Santa Maria Novella

Giotto emphasizes the earthly heaviness of the body: the head sinks deeply forward and the almost plump body sags. The human side of the Son of God is made clear. Mary and John look down sorrowfully from the horizontal ends of the cross at the dead Lord.

This, probably Giotto's earliest surviving work, is the largest and most ambitious of the shaped panels of Christ on the cross painted by Giotto. Although his limited anatomical knowledge prevented him attaining the realism of his later crucifixes (In Padua and Rimini), Giotto's break with Byzantine tradition is clear. This can be seen from the natural pose, the sense of real weight in the way Christ's body so painfully hangs, the basic simplicity of the loin-cloth, and the realism of the two feet fixed with a single nail.

Rucellai Madonna

c. 1285

Duccio

Ruccelai Chapel

Santa Maria Novella

SIGNIFICANCE: commission for laudesi group (groups who praised Virgin through song, founded by Dominican St. Peter Martyr), meant to have magical properties, used cloth to show contours of body underneath (can see her knee), colors of the angel's cloth (blue=expensive), Dominican and other saints in roundels around frame

painted in the Byzantine style, similar to Greek icons, The iconographical interpretation is new in that the angels holding up the throne no longer form the crowning part of a solemn and magnificent background but are all looking towards the Virgin in attitudes of intense emotional participation.

Trinity

1426-27

Masaccio

Santa Maria Novella

SIGNIFICANCE: creates illusionistic chapel on wall because there was no space to actually build one, has donors the same size as other figures (naturalism), shows he HAD to do perspective b/c he NEEDED the space, skeleton of Adam underneath, quote telling Christ (and viewer) that everyone will end up in the same state as him, coffered ceiling

The work was taken up by 19th century critics as a revelation of Brunelleschi's principles in architecture and the use of perspective, to the point that some believed Brunelleschi to have had a direct hand in the design of the work. When it was executed, no actual coffered barrel vault had yet been constructed since the Romans, The Trinity of the matrix is noteworthy for its inspiration taken from ancient Roman triumphal arches and the strict adherence to the recent perspective discoveries, with a vanishing point at the viewer's eye level, so that, as Vasari describes it "a barrel vault drawn in perspective, and divided into squares with rosettes which diminish and are foreshortened so well that there seems to be a hole in the wall." This artistic technique is called trompe l'oeil which means, "deceives the eye," in French. The fresco had a transforming effect on generations of Florentine painters and visiting artists. The sole figure without a fully-realized three-dimensional occupation of space is the majestic God supporting the Cross, considered an immeasurable being. The figures of the two patrons represent another important novelty, occupying the viewer's own space, in front of the picture plane, which is represented by the Ionic columns and the Corinthian pilasters from which the feigned vault appears to spring; they are depicted in the traditional prayerful pose of donor portraits, but in natural size and with a noteworthy attention for realism and volume

Triumpth of The Catholic Doctrine Personified by St. Thomas Aquinas

1365-67

Andrea Buonaiuto

Santa Maria Novella-Spanish Chapel

SIGNIFICANCE: chapel served as funerary chapel and also as chapter-house for Dominican friars, celebrates knowledge and honors the theological learning of the Dominican saint Thomas Aquinas, seeks to portray knowledge, attempt to express in visual form the essentially complex body of knowledge of late medieval scholarship, tries to convey the highly systematic nature of medieval intellectual inquiry, at bottom: figures that embody skills/craftsmanship/medieval learning, at top: theological virtues, Thomas Aquinas-famous theologian, political philosopher, scholasticism, designed to celebrate St. Thomas as a theologian and teacher and to claim that his writings were divinely inspired-superior to other authors, Aquinas on throne echoes early Christian art

The Church Militant and The Church Triumphant

1365-67

Andrea Buonaiuto

repository

SIGNIFICANCE: represents a glorification of the Dominican Order, major Dominican saints performing vital roles in assisting in the process of human redemption, shows the various ways to reach heaven, "domini cani"-dogs of God (play on words, represents Dominicans)

Scenes from the Old Testament

15th century

Paolo Uccello

Santa Maria Novella

scene: The Flood

SIGNIFICANCE: uses terra verde, did paintings in different stages, very good with perspective, stories for monks to look at while walking in cloisters (Green Cloister/Chiostro Verde)

Paolo worked in the Late Gothic tradition, and emphasized colour and pageantry rather than the Classical realism that other artists were pioneering, He used perspective in order to create a feeling of depth in his paintings and not, as his contemporaries, to narrate different or succeeding stories.

Palazzo Davanzati Exterior

14th century

SIGNIFICANCE: the start of family homes being built up in the city... she talks about the families' ideas of community... how they did not leave their initial neighborhoods, furthers the idea of families as integral part to city landscape, 13th century home showing the transition stage from the medieval tower house to the Renaissance building, 

Palazzo Davanzati Interior

1390s

Episodes from Legend of Chatelaine of Vergy

SIGNIFICANCE: courtyard is very important and the fresco has trees similar to those in the courtyard of the palace

The interior, which also has an underground gallery, has a suggestive courtyard on the ground floor that gives access to the stone and wood staircase with rampant arches leading up to the four upper floors, naturalistic elements

Palazzo di Medici-Riccardi

1444-1460

SIGNIFICANCE: had a nice square layout, pietra forte, 3 layers: rusticated, individual blocks, smooth, had "kneeling windows"-Michelangelo, important loggia area used for business, on main artery viewer could see the Duomo, meant to call antiquity and Palazzo Vecchio (references Pal. Vecchio b/c private families start ruling instead of communal groups), mix of civic and ecclesiastic, as you go up floors it becomes more private 

The tripartite elevation was used here as a revelation of the Renaissance spirit of rationality, order, and classicism of human scale. This tripartite division is emphasized horizontal stringcourses that divide the building into stories of decreasing height. This makes the building seem lighter as the eye moves up to the extremely heavy cornice that caps and clearly defines the building's outline.

Michelozzo di Bartolomeo was influenced in his building of this palace by both Roman principles andBrunelleschian principles. During the Renaissance revival of classical culture, Roman elements were often replicated in architecture, both built and imagined in paintings. In the Palazzo Medici Riccardi, the rusticated masonry and the cornice had precedents in Roman art, The Palazzo Medici Riccardi was one of the numerous palazzi built during the period of Florentine prosperity. The building reflects the accumulated wealth of the Medici family, yet it is somewhat reserved. 

Palazzo Medici-Riccardi Courtyard

15th century

SIGNIFICANCE: sgraffito decoration, mix of public and private, tondi-quoting todi of Arch of Constantine/Hadrianic (great ruler), had Donatello's David (either commissioned or just took it),

a courtyard "for the people," frescoed by Benozzo Gozzoli, who completed it in 1461 with a wealth of anecdotal detail of character types so convincing they were traditionally held to be portraits of members of the Medici family, 

David With Head of Goliath

1430-32

Donatello

Medici courtyard

SIGNIFICANCE: Florence=David against several Goliath's, therefore associating the Medici and something powerful and just as good as Florence, either commissioned or just took the work

The fact that the Medici family had accepted this controversial statue was one of the reasons why Savonarola objected to the Medici's humanist ideas, an example of what happened to the Medici when Florentines thought they got too powerful... it was confiscated, The choice of bronze, the nudity, and the contrapposto pose all put this work in the Humanist context of emulating the antique. While referencing the classical contrapposto pose in the tradition of Polyclitus's Doryphoros, Donatello has softened the static balance and firm stance of the traditional male figure. This softening is evident in the placement of the two hands as well as the way David's free leg gently rests on the head of Goliath. The smooth, polished skin is set off against the rougher boots and curly locks of hair. This reference to touch is especially apparent in the detail of the feather stroking the inner thigh of David's leg and in the detail of the way David runs his toes through the locks of Goliath's beard. There is a disjunction between David's refined and graceful pose with the apparent reverie and beauty of the facial expression and the gruesomeness of the decapitated head of Goliath at his feet. It is hard to imagine this beautiful youth has moments ago had been engaged in mortal combat and cut off the head of Goliath.

Judith and Holofernes

1450's

Donatello

Palazzo Vecchio

SIGNIFICANCE: was a fountain, parallels with David very similar (triumphs/chosen ones), gives statue to the city in front of Pal. Vecchio

remarkable for being one of the first Renaissance sculptures to be conceived in the round, with its four distinct faces, It is believed that an inscription on the granite pedestal originally read, "Kingdoms fall through luxury [sin], cities rise through virtues. Behold the neck of pride severed by the hand of humility." This dramatic and detailed statue is thus a metaphor of the Medici rule, as the defenders of Florentine liberty, akin to Judith, slayer of the tyrant Holofernes and defender of the people. This view is supported by accounts that mention a second inscription on the pedestal which read, "The salvation of the state. Piero de' Medici son of Cosimo dedicated this statue of a woman both to liberty and to fortitude, whereby the citizens with unvanquished and constant heart might return to the republic." Inscribed on the cushion are the words OPVS . DONATELLI . FLOR (the work of the Florentine, Donatello), this being the only surviving signed work by the artist.

Medici Chapel

1459

Benozzo Gozzoli

SIGNIFICANCE: Medici were at risk of being kicked out yet again from Florence for becoming too powerful, so instead of spending money outwardly, they decided to remain opulent within the confines of their own walls, utilized many expensive paints, had procession of the Magi leading the viewer to the actual altarpiece (Adoration of the Child-Fra Filippo Lippi), had cosmati work (refers to Basilicas of Rome), kinesthetic aspect, portrait of Medici in fresco makes it not just a generic scene, magi were important aspect to the wealthy

Medici Chapel

Benozzo Gozzoli

SIGNIFICANCE: Medici were at risk of being kicked out yet again from Florence for becoming too powerful, so instead of spending money outwardly, they decided to remain opulent within the confines of their own walls, utilized many expensive paints, procession of the Magi leading the viewer to the actual altarpiece (Adoration of the Child-Fra Filippo Lippi), had cosmati work (refers to Basilicas of Rome), kinesthetic aspect, portrait of Medici in fresco makes it not just a generic scene, magi were important aspect to the wealthy

Adoration of the Magi

1423

Gentile da Fabriano

Strozzi altarpiece in chapel

Santa Trinita

SIGNIFICANCE: tempera painting, international Gothic style, lots of gold

described as "the culminating work of International Gothic painting, The plentiful realism of details which Gentile da Fabriano produced achieved such convincing effects that it approached the Renaissance ideal of representing reality. He was not only able to depict objects accurately, but also every tiny change of facial expressions and the direction of glances establishing links between people. Nor did he forget the spectator, since the donor of the altarpiece, Palla Strozzi, standing behind the youngest King, is looking at us.

Descent From the Cross

c. 1435

Fra Angelico

SIGNIFICANCE: represented a naturalism that few artists could achieve at the time of this painting. Angelico placed figures across a frontal plane in his landscapes much as Masaccio did. He then leads us into the background of the artwork with a winding road leading to Jerusalem, Angelico uses the three divisions of the gothic picture frame to structure a three dimensional landscape and figure groupings. The city of Jerusalem is in the first division. The second central division has the descent from the cross and the figure group Joseph, Mary Magdalene Nicodemus, and John. The third division has a deep landscape view possibly using a one-point art perspective following the lines of the mountains and the walls of Jerusalem behind the figure of Jesus Christ. There is no longer a flat solid wall of color at the end of his landscapes, but an entire atmospheric landscape.

Sassetti Chapel

1483-1486

Domenico Ghirlandaio

Santa Trinita

scene: Life of St. Francis

SIGNIFICANCE: Franciscan themes, mouring of one son and celebrating the new son who will be the heir, functions as a tomb, him and his wife in donor poses, Gothic influences, Miracle of the Child-anachronistic with the portrait of Santa Trinita in the background

Sassetti Chapel

1480-1485

Domenico Ghirlandaio

Santa Trinita

scene: St. Francis Receiving the Rule

SIGNIFICANCE: like a theatre scene with Pope and a set dropped in Florence, Sassetti and his son and Lorenzo di Medici and his children, took a Florentine loggia (in background) and gave it Roman monumentality, expensive colors

San Lorenzo Exterior

c. 1419

(view from Medici Palace)

SIGNIFICANCE: one of the oldest churches in Florence, was in Medici territory, by associating their family with this church they were giving the Medici name history and influence even though they were a new family 

parish church of the Medici who also provided financial assistance, a communal space, Despite its history, the building is seen as one of the great examples of the new style. Its features are:

• the attempt to create a proportional relationship between nave and aisle (aisle bays are square whereas nave bays that are 2X1.
• the articulation of the structure in pietra serena (Italian: “dark stone”).
• the use an integrated system of column, arches, entablatures.
• a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier.
• the use of proper proportions for the height of the columns
• the use of spherical segments in the vaults of the side aisles.

San Lorenzo Interior

15th century

Nave

SIGNIFICANCE: clean lines, geometric, pietra serena are all characteristics of Brunelleschi, has its roots in early Christianity, eventually taken over by Medici, Cosimo buried in front of church (done with prophory, "Father of his Country", buried in a princely manner)

takes from antiquity, after the ideal proportions of the human body, simplistic in styling

San Lorenzo Interior

Old Sacristy

Donatello

SIGNIFICANCE: Brunelleschi, first thing Medici took over, then took over the rest of the church, Renaissance interest in proportions: Godlike proportions/perfect circle in a perfect square (2x: in outer dome and inner dome), painted stucco decoration (Donatello), shows early patronage, picture of St. Stephen and Lawrence (Lorenzo di Medici) on left side and Cosmas and Damian (Cosimo di Medici, doctors) on right side, in altar above dome-->zodiacal sky of July 6, 1439 as it was during the Conclusion of the Council of Florence (tried to reunite the East and West Church), bronze doors (Donatello) another way of Medici appropriating civic imagery-only other bronze doors in city at the Baptistery-->shows how Medici are important historically and authoritatively, on ceiling of outer area are tondi done by Donatello-orthagonals of tondi work up to the large dome--->shows that Donatello understood that location matters and had a firm grasp on perspective

contains many of the Medici family tombs, It was composed of a sphere on top of a cube; the cube acting as the human world and the sphere the heavens,