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Although Petrarch’s scheme was grossly unfair to the Medieval period, it outlined
a way of looking at the world that most Renaissance humanists came to share.
Another great Italian humanist was Leon Battista Alberti (1404–1472). Born
in Florence and given a good education, at age twenty he wrote a comedy in Latin
that was so completely in the classical style that many people believed it was a
classical piece that had been rediscovered. Later Battisti wrote an important treatise on art that helped Renaissance painters learn how to give an impression of
depth on a flat surface. Alberti was also a talented architect who worked on many
churches and buildings in the classical style in Florence and Rome. Because he
was a master of so many arts, Alberti was later known as a “Renaissance Man.”
Leonardo da Vinci
Perhaps the most famous “Renaissance Man” was Leonardo da Vinci.
Leonardo was a painter, sculptor, architect, engineer, naturalist, and inventor. He
filled notebook after notebook with sketches and notes for inventions, including
a robot, a calculator, and a flying machine that looks much like a modern helicopter.
Leonardo was born in Vinci, a town in Tuscany that is near Florence. The
name Leonardo da Vinci actually means “Leonardo from Vinci.” As a young man,
Leonardo was apprenticed to a painter named Andrea del Verrocchio in Florence.
He created a number of promising paintings during this time. Later he went to
work for the duke of Milan, whom he served as an engineer and painter. It was in
Milan that Leonardo began to fill many of his famous notebooks. He also painted
one of his most famous paintings, The Last Supper, which shows Jesus and his
apostles. Leonardo used an experimental technique for this painting, oil-tempera
paint applied to dry plaster, rather than using the traditional fresco method of
applying pigments to plaster while the plaster was still wet. Unfortunately the
experiment was not a success, and the painting has deteriorated over the years.
Around 1500 Leonardo returned to Florence. It was there that he painted
another famous masterpiece, Mona Lisa. The dreamy quality of the portrait of
Mona Lisa resulted from Leonardo’s use of subtle gradations of light and shade.
(For more information about Mona Lisa and The Last Supper, see the Visual Arts
section, pp. 327–349.)
Leonardo was also interested in anatomy and believed that the human form,
as well as animal figures, should be drawn as realistically as possible. For this reason, he studied cadavers and made numerous sketches of human anatomy in
order to understand how muscles and bones work. In his last years, he was
engaged with scientific studies rather than painting.
Teaching Idea
Find pictures of great works by
Leonardo and Michelangelo in art
books or online and share them with
students. In cases where the works
are based on stories from mythology,
begin by telling the story. Then show
the work, and ask if students can tell
what part of the story is depicted.
Cross-curricular
Teaching Idea
The information on Leonardo da Vinci
and Michelangelo provides a good
opportunity to reinforce topics from
the Visual Arts section, such as the
influence of classical sculpture and
architecture, and the inventiveness of
Renaissance artists, such as their
development of linear perspective.
Michelangelo
Michelangelo Buonarroti (1475–1564) was a preeminent sculptor, painter,
and architect of the Renaissance. He grew up in Florence and was apprenticed to
a well-known Florentine painter. As a young man, he was supported by the most
powerful man in Florence, Lorenzo de’ Medici. Michelangelo was allowed to
spend time in the Medici sculpture garden, which contained a number of fragments of Roman sculptures. As an adult he worked in Florence, Rome, and
Bologna.
History and Geography: World
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Teaching Idea
One of the most famous resources on
the Renaissance art is Vasari’s Lives of
the Artists. (See More Resources.)
Some passages of this work are suitable for sharing with fifth graders, and
most will be interesting to teachers.
This painting was done with tempera on canvas. Botticelli may have been
inspired to paint this subject after reading the work of the ancient Greek writer
Lucian. Lucian describes a number of masterpieces from ancient Greece that had
been lost by Botticelli’s time.
The Birth of Venus is now in the Uffizi Gallery in Florence. It is sometimes
jokingly referred to as “Venus on the Halfshell.” Part of the painting is depicted
on one side of the 10-cent euro coin.
Looking questions
• What do you see? Answers will vary.
• What in this painting indicates that it does not represent real life? The
woman is floating on a shell. There are also flying figures. The design of the
landscape and the colors used in the work all indicate that it does not represent real life.
• What are the two floating figures doing on the left? They are blowing
Venus to shore.
• Why is The Birth of Venus a good example of Renaissance interest in
ancient Greece and Rome? The work is a good example of Renaissance
interest in ancient Greece and Rome because it shows the renewed interest in
classical subject matter, as well as the depiction of the nude, idealized
human figure in a harmoniously balanced composition.
• It is said that Botticelli was a master of line. What evidence do you see
to support that statement? The curving lines of the shell and surrounding
figures focus attention on Venus. Also, the strong horizon line and vertical
trees counterbalance the curves.
2
Teaching Idea
You may want to read books about
Leonardo da Vinci, found in the More
Resources section, to elaborate on the
artist with your students.
Teaching Idea
On the Internet, look for more pictures
from Leonardo’s workbooks to share
with students. An image search on a
search engine will turn up many possibilities.
Leonardo da Vinci, The Vitruvian Man (The
Proportions of Man) (c. 1492)
The mind of Leonardo da Vinci (1452–1519) has been a topic of endless fascination and discussion among scholars. How could one person have so many ideas
about so many things? We are most fortunate that more than 5,000 pages of the
artist’s drawings and notes (in his curious mirror-image handwriting) survive.
They tell us that he pondered all facets of the physical and natural worlds.
Leonardo was an especially great observer of human anatomy. This drawing
of the proportions of the human body (sometimes called The Vitruvian Man or
The Proportions of Man) is based on a mathematical analysis of the proportions
between parts and the whole. The figure both stands in a square and, with extended limbs, stretches to touch a circle. The image reflects the belief that the perfect
geometry of the human form relates it directly to the mathematical construction
of the universe. To Renaissance thinkers the human form was as a microcosm of
the macrocosm. 66
You can read more about Leonardo da Vinci in the World History and
Geography section “The Renaissance and the Reformation,” pp. 164–188.
Looking questions
• Where is the center of the circle? The center of the circle is located at the
navel of the figure.
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• What kind of triangle is formed, or implied, by the legs and feet of the
extended figure? An equilateral triangle is formed by the legs and feet.
• What ideas and interests of the Renaissance does this figure represent?
The figure represents an interest in the human figure and in the scientific
and mathematical analysis of the physical world. It also expresses a belief in
the importance of the role of humankind in the universe. The drawing also
reminds the viewer that the laws ruling the human body are related to the
laws ruling geometry, and both kinds of laws are part of the rational harmony of all heaven and earth.
• Why would you not expect an artist from medieval times to take the
same kind of interest in understanding the physical world as a
Renaissance artist? Medieval artists were focused on the spiritual aspects of
the universe; they did not believe that humankind had the ability to shape its
own destiny.
• Many of the ideas and projects that Leonardo was working on were original, or even in violation of the law. Why might he have used mirror-writing (backwards writing) for his notes? Answers will vary. Some people
believe that he did it to deter others from studying his notebooks.
• Why might an artist’s notebook be of more interest than a finished work
of art? Answers will vary. Students might mention that an artist’s notebook
probably describes what the artist was thinking, his calculations, and his
plans for completing the work.
3
Leonardo da Vinci, Mona Lisa (1503–1506)
Leonardo da Vinci was the epitome of the “Renaissance Man”—a great
artist of his time who also excelled in engineering, architecture (from churches to
fortresses), military science, geology, aerodynamics, optics, hydraulics, botany,
music, and literature.
His Mona Lisa is perhaps the most well-known portrait in the western world.
Nearly 500 years after Leonardo laid down his brush, she still looks out with an
enigmatic smile that has confounded scholars for generations. Why is the attractive woman smiling? At whom is she smiling? Did Leonardo want her gaze to
meet ours or not?
Leonardo’s fascination with the science of light and nature affected his art. He
noticed that objects were not really made of lines, but of shadows and highlights.
He used dark and light shades in a technique called chiaroscuro [kee-ahr-uhSKYUR-oh], giving his images a softer, more realistic, three-dimensional look, as
evident in Mona Lisa’s face. Leonardo also observed that objects in the far distance
appear less distinct and so employed sfumato—blurring the edges of objects, thus
making them appear as if they are far away. Sfumato is evident in the Mona Lisa’s
landscape background, which recedes into deep space, defying the painting’s
actual flat surface.
Looking questions
• How does Leonardo draw your eye through the painting? The use of light
in the upper half of the painting and in the hands draws your eye in a circular motion through the painting. Leonardo also used a pyramid design, placing the woman in the center of the painting, forming the base with her
hands, and the peak at the top of her head.
Teaching Idea
Do an outline sketch of the Mona Lisa
and draw an empty “thought bubble”
above her head. Invite students to
color the portrait and fill in the
thought bubble with what Mona Lisa
might have been thinking.
Teaching Idea
The Mona Lisa is often imitated and
changed in advertisements. Some
people say that imitation is the highest
form of flattery. Have students find
examples in magazines or on the
Internet of changed images of the
Mona Lisa. What is the company trying to sell with this image? How does
this relate to the product in question?
How does it make you feel to see the
image changed?
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• Leonardo used a technique called sfumato, the blurring between light and
dark and blending of different colors. How does this technique contribute to the realistic look of Mona Lisa? The depth of her face, especially
around the eyes and corners of her mouth, was created using this technique.
It creates a lively feeling and a sense of three-dimensionality.
• Is the background of the painting realistic? Why or why not? Answers
will vary. Students should support their answers with specific references to
the work.
• The young woman’s expression is mysterious. What do you think she is
feeling? Answers will vary. Explain that in drawing, expression rests mainly
in two features: the corners of the mouth and the corners of the eyes.
Leonardo deliberately left these parts hard to see by letting them merge into
a soft shadow. That is probably why we are never quite certain what mood
Mona Lisa’s expression is conveying.
4
Teaching Idea
Help students understand linear perspective with Instructional Master 44,
Linear Perspective. Make sure they
understand that Leonardo used linear
perspective to underscore the meaning
of the scene, Christ’s centrality in the
story of The Last Supper.
Name
Leonardo da Vinci, The Last Supper (1498)
Italian Renaissance painting was typically made for a specific purpose and
location. What more logical subject to paint in the dining hall of the Dominican
monastery in Milan than The Last Supper? While eating, the monks could contemplate the moment in which Christ tells his disciples, “One of you will betray
me.” How do the figures react? Leonardo captures each one’s powerful response—
questioning, denial, horror, shock, and disbelief. The story of The Last Supper is
told in the book of Luke, chapter 22, verses 1–23 in the Bible. (See More
Resources.)
Leonardo emphasizes Christ’s centrality by placing him in the center, and
also draws attention to his serene face through linear perspective. The lines made
by the tops of the doorways, the meeting of wall and ceiling, and the roof beams
all converge in a vanishing point just above his head. Judas, the disciple who will
betray Christ, is on Christ’s right. He is the only one drawing back and whose face
is in shadow.
Date
Linear Perspective
Follow the instructions below to create your own drawing using linear perspective.
1. Make a dot at the approximate center of a sheet of paper. This dot is the vanishing point.
Leonardo tried something new with this work. He painted on dry plaster
rather than using the traditional fresco technique of applying pigments to wet
plaster, which absorbs the paint and makes for a strong, durable work.
Unfortunately, the technique failed, and the paint began to flake off even in
Leonardo’s time. Restoration to preserve this masterpiece has continued to this
day. 67
2. Use a ruler to draw a horizontal line through the vanishing point. The line should be
parallel to the bottom of the paper. This is the horizon line.
3. Using a ruler, draw two diagonal lines that cross at the vanishing point. These lines are
orthogonal lines.
4. In the space between the orthogonal lines on each side of the vanishing point, draw trees
or buildings. Make sure each tree or building touches both the top and bottom orthogonal
lines. The closer the trees or buildings are to the vanishing point, the smaller they will be.
5. Fill in your drawing with people, cars, animals, or other things. Use the trees or buildings
as a guide for how small or big the other things should be.
Looking questions
Extension Study Leonardo’s The Last Supper. Use the diagram you created to
answer the following questions about his use of linear perspective.
1. Look at the open door in the wall behind Jesus. How is the doorway like a picture frame?
They point to Jesus, the central figure of the painting.
Purpose: To further appreciate Leonardo’s The Last Supper through creation of an original drawing using linear
perspective
Master 44
Grade 5: Visual Arts
Use Instructional Master 44.
Copyright ©Core Knowledge Foundation
It frames the face of Jesus and draws attention to it.
2. Why do you think Leonardo painted diagonal lines along the ceiling that seem to converge,
or come together, in the center of the painting, behind the head of Jesus?
• What do you see? This is a depiction of Jesus’ final meal with his disciples
as imagined by the artist, Leonardo da Vinci. Christians believe that the
Last Supper was on a Thursday, and Jesus was crucified on Friday and rose
from the dead on Sunday, which is celebrated as Easter Sunday.
• How does Leonardo draw your eye to the main figure? The figure is centrally located and isolated within the door frame. Also, the vanishing point is
at Jesus’ head.
• One of Jesus’ disciples will betray him to the Romans. Do you think the
disciples have learned of this yet? Why? Answers will vary, but should
include that the disciples appear surprised, shocked, or sad.
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• What do you feel looking at this work? Answers will vary.
• Did Leonardo use linear perspective in the same way in both The Last
Supper and Mona Lisa? Answers will vary.
5
Michelangelo, The Creation of Adam (Sistine Chapel
ceiling, detail) (1508–1512)
Pope Julius II commissioned art to reflect the growing power of the Catholic
Church in Rome. He hired Michelangelo (1475–1564) to paint the Sistine Chapel
in the Vatican, even though the artist desperately did not want the enormous and
painful task of painting the entire chapel ceiling; he was already working on
Julius’s tomb. The pope, papal advisors, and theologians dictated the subject matter: scenes from the Old Testament book of Genesis. In the center of the ceiling
are nine rectangular panels, including The Creation of Adam. This story is told in
the book of Genesis, chapter 2, verses 4b–25 of the Bible.
Michelangelo does not show God creating Adam’s body, but rather the exact
moment in which God will give Adam life: breath and soul. God gestures forcefully forward. Adam’s arm is limp as he reclines weakly into the ground, not yet
alive. Michelangelo makes clear God’s power to give life to man.
Michelangelo spent over four years painting the ceiling of the Sistine Chapel.
He built enormous scaffolding and then climbed up every day to paint. He had
assistants to help him, but he did not like the way they painted, and so he did
most of the painting himself. There are 145 pictures on the ceiling with over 300
figures in them. 68 69
The walls of the Sistine Chapel feature paintings by other Renaissance
painters, including Botticelli. For more on Michelangelo, see the World History
and Geography section “The Renaissance and the Reformation,” pp. 164–188.
Looking questions
• Explain to students that this scene is from the book of Genesis in the
Old Testament. Here, God is said to have “breathed life” into Man. Ask:
What is happening between the two figures? Their hands are outstretched
between Heaven and Earth, and they are about to touch.
• Who might the older figure represent, considering his age and the heavenly figures around him in the sky? The figure might represent God.
• What is the contrast in energy in the forms of Man and God? Why is
that? God is the life force; Man is barely alive in this instant before he is
touched by God.
• How does Michelangelo draw our eyes to the two hands? He uses the silhouette of the nearly touching fingers against a light, empty background.
• In what type of building do you think this image of God creating the first
man, Adam, would appear? It would probably appear in a religious building; in fact, it is in the Sistine Chapel.
6
Raphael, Marriage of the Virgin (1504)
The master painter Raphael Sanzio (1483–1520) was born in Urbino but settled in Florence. His style was influenced by the works of Leonardo and
Michelangelo. He is best known for his paintings of the Virgin Mary, also known
as Madonna. He did a great deal of work in the Vatican for Pope Julius II and was
the chief architect of Saint Peter’s Basilica under Pope Leo X.
Teaching Idea
Show students additional pictures of
details from the ceiling of the Sistine
Chapel. If possible, also show a picture
that shows the entire ceiling, so students can see the scope of the project.
Pictures are widely available in books
and online. If it’s not against your
school’s policy, you can build on this
assignment by reading the stories from
Genesis on which the paintings are
based and then asking students to discuss the paintings in light of the stories.
Teaching Idea
Explain that Michelangelo spent four
years painting the ceiling of the Sistine
Chapel. Contrary to popular myth, he
most likely did not paint while lying on
his back. However, he did stand on
scaffolding and had to paint overhead,
often bending back to reach the ceiling. Talk about what it must have been
like to do this—how tired his arm must
have gotten; how the paint must have
run down his arm. Ask them to try it
out. You might do this in class, but it
would probably be a better homework
assignment.
Give each student a piece of drawing paper and tell them to take it home
and tape it as far over their heads as
they can reach. They should ask an
older sibling, parent, or a caregiver to
time them for 10 minutes. Then the students should try drawing with a marker
or crayon—not paint—for 10 minutes
straight. When the other person calls
time, students should untape their pictures and write a brief paragraph
describing what it was like painting,
how they felt, and what they think of
Michelangelo.
Display their artwork on the ceiling
of the class.
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Teaching Idea
When you discuss perspective in
Raphael’s Marriage of the Virgin, you
may wish to review from Grade 3 foreground, middle ground, and background. For contrast, examine paintings
that do not create an illusion of depth,
for example, Madonna and Child on a
Curved Throne. (See Grade 4 Art
Resources, “Art of the Middle Ages”.)
Teaching Idea
You may wish to show students additional paintings by Raphael. One of
special interest is his School of Athens,
which shows great thinkers from antiquity like Plato and Aristotle along with
Renaissance figures like Leonardo da
Vinci. This is a classic expression of
the Renaissance’s artists’ appreciation
for the classical world.
Teaching Idea
Ask if students have been to a wedding,
participated in a wedding, or seen a
wedding on television. If they have, ask
students to share their favorite memory
of the wedding in a painting or drawing, and supplement it with a journal
entry.
Teaching Idea
Review linear perspective with students. Then ask them to determine
where the vanishing point is in
Raphael’s Marriage of the Virgin. (the
open doorway) Why is its location
important? (directly above Joseph putting a ring on Mary—the center of the
action)
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In his Marriage of the Virgin, Raphael sets the stage carefully. He conveys the
importance of this marriage through his positioning of the main characters and
background architecture. Everything, including the lines on the ground, draws our
eye to Joseph and Mary, shown front and center, at the moment of their marriage.
The joining of the couple is an important event leading to the eventual birth of
Jesus. This story is told in the book of Matthew, chapter 1, verses 18–24 of the Bible.
Raphael inserts a bit of drama into the seemingly serene scene. Joseph’s staff
blossoms, signifying that God has chosen him to marry Mary. The staffs of the
suitors behind him remain bare. And the frustrated suitor in the foreground even
breaks his staff in half. Raphael heightens the sense of disappointment by playing
it against the quiet perfection of the rest of the scene.
As noted above, prior to the Renaissance, artists typically did not sign their
work. The concept of painters and sculptors as great geniuses who deserved fame
from their work developed during this time. Raphael’s painting is an example of
the trend. He painted Raphael Vrbinas (Raphael of Urbino) and the date, 1504, in
the building’s fictive center arch—thus letting everyone know he created the work.
Looking questions
• Explain that this scene represents the marriage of the Virgin Mary (the
mother of Jesus) to Joseph in an Italian Renaissance setting. What
moment in the marriage ceremony is being depicted? Joseph is about to
place a ring on Mary’s hand.
• Where is the vanishing point in this painting? The open doorway of the
building is the vanishing point.
• Raphael establishes a foreground, middle ground, and background to
give the painting depth. Which figures mark these areas of the painting?
The wedding party is in the foreground; there are people in the middle of the
plaza; and there are people in the distance atop the steps of the building.
• Raphael was praised for his ability to portray lifelike figures. How does
he accomplish this in this painting? The figures have strength and energy.
The man on the right is bending or breaking a stick over his knee. Joseph
and Mary are caught in the middle of a movement.
• The Florentines (residents of Florence) were quite proud of their architecture. How does Raphael give a major role to architecture in this painting? The building occupies the upper half of the painting and seems to preside over the ceremony in the foreground.
• Does the building show evidence of Renaissance interest in ancient Greek
and Roman architecture? Yes, the interest is apparent in the building elements (columns, arches, friezes) and the idealized figures.
• Raphael and other Renaissance artists placed biblical scenes in Italian
Renaissance settings and peopled them with figures in Renaissance clothing. Why might they have depicted scenes this way? Answers will vary.
7
Raphael, The Virgin and Child with Saint John the
Baptist (1507)
Raphael became famous for his Madonna and Child paintings. The theme
was not new; the tradition of painting the Virgin and baby Jesus had existed for
about 1,000 years. But Raphael’s figures have more volume—a sense of fullness—
which made them appear more lifelike than those from previous periods.
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As in Marriage of the Virgin, Raphael positions his figures in a manner that
communicates information. The Virgin Mary is in the center. She is the embodiment of love and nurturing, encompassing and protecting Jesus and his cousin
John the Baptist. Mary is most likely holding a devotional prayer book. Jesus is
holding a crucifix in his hand. John the Baptist is the figure on the right, and he
is wearing the garment of a desert-dweller. Both John and Mary are focused on
the figure of Jesus.
Notice too the strong diagonal Raphael builds from Mary’s head down
through that of Jesus, and then John the Baptist. The diagonal changes direction
when forming the triangle. The only thing that breaks the line is the cross—an
important symbol of the Christian religion. Raphael focuses both John and Mary’s
gaze on the cross so that we understand its importance.
Finally, Raphael forms the trio into a solid triangle that won’t tumble out of
the picture’s round shape. 70
Looking questions
Note: Cover up the title on the front of the print before showing to students.
• This may look like a scene of two children and a woman, or their mother, but do you see indications that it is a religious scene as well? One
child is holding a crucifix; the other (trace with your finger) has a halo
above his head: the halo is a symbol of grace, divinity, and holiness.
• Explain that this is a portrait of the Virgin Mary with her son Jesus and
John the Baptist, who is said to be Jesus’ cousin. John the Baptist
preached in the wilderness and baptized people there. Baptism welcomes
people into the Christian community. Which child do you think is John
the Baptist? He is the one on the right. He wears the garment of a desertdweller.
Teaching Idea
Find other, older depictions of Mary
and Jesus along with additional
paintings by Raphael and compare
the figures. Ask students to try to
describe the unique nature of
Raphael’s paintings.
Teaching Idea
Raphael’s figures sit in a realistic
landscape. He creates a sense of
deep space in a similar way as
Leonardo da Vinci did in his famous
portrait Mona Lisa. Have students
note how both artists blurred the
details in the distance. The outlines
of the landscape are indistinct in
comparison to those of the nearby
figures. This visually imitates the way
humans actually see—objects grow
fainter the farther away they are
from us.
• How can you tell that Jesus is the most important figure? Both John the
Baptist and Mary are looking at him.
• What strong horizontal line balances the circular shape of the painting?
The band of water and trees balances the circular shape of the painting.
• Despite the deep space of the background, how does Raphael keep your
eyes focused on the figures? The figures are large, in the immediate foreground, and are placed so that they “block” your view.
• What geometric shape do the three figures create in the composition? The
figures create a triangle.
• What do you think appealed to people about Raphael’s works? Is there
anything that appeals to you now? Answers will vary.
8
Donatello, Saint George (c. 1415–1417)
The sculptor Donatello (1386–1466) was well known early in the
Renaissance for his dramatic, life-sized figures. Born in Florence, Donatello was
apprenticed to a goldsmith. Later he would benefit from the patronage of Cosimo
de’ Medici. He was a friend of the architect Brunelleschi.
Donatello posed Saint George in a rather simple manner. He stands facing us
directly, feet apart, shoulders square, with his shield and hands at the ready. He is
at rest but leans ever so slightly forward, ready to leap into action at any moment.
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Teaching Idea
With masking tape, measure the height
of Saint George along a classroom
wall. (The statue is 6 ft. 10 in. or 209
cm.) Have students stand next to the
mark and imagine seeing the sculpture.
Based on what they viewed in the
reproduction, have them write about
how they might feel before this mighty
marble figure. How does his size and
expression affect them? Have students
peer-edit one another’s work for correct punctuation, spelling, grammar,
and clearly expressed ideas.
Saint George’s expression is intense. His furrowed brow suggests passion and dedication. Donatello visually tells us that Saint George is the brave hero who saves
the king’s daughter from the menacing dragon.
The Armorers’ Guild commissioned this work from Donatello for the Or San
Michele Church. This was a guild church on the main road in Florence that had
fourteen niches for sculpture. Saint George originally sat in one of the niches. A
copy has since replaced it; the original is now in the National Museum of the
Bargello in Florence. Different guilds commissioned different artists to represent
their patron saints. Given the nature of its work, the Armorers’ Guild demanded
that Saint George be depicted fully armed. Despite the limitations this imposed,
Donatello imbued his Saint George with a deep expressive quality.
Students who were in Core Knowledge schools in Grade 4 should be familiar with the story of Saint George and the dragon, though you may wish to review
it. At a minimum, explain that Saint George is the patron saint of England.
Around the time of the First Crusade, he is said to have slain a dragon that was
holding a Libyan king’s daughter captive. As his reward, he asked that the king
and all his people convert to Christianity, and his request was granted.
Looking questions
• What object is the figure holding and what is he wearing? He is holding a
shield and wearing armor.
• What do these items suggest about the man’s duty? The items suggest that
the man is a knight or warrior.
• What does the figure’s stance indicate about his attitude towards fighting? His stance indicates that he is courageous and determined.
• What do you think his facial expression suggests? Answers will vary.
Students should support their answers with specific references to the image.
• Where do you see evidence that this warrior is a Christian knight? The
sign of the crucifix is on his shield.
Teaching Idea
Donatello also did a statue of David.
Students may enjoy comparing
Donatello’s David with Michelangelo’s
David.
Teaching Idea
Michelangelo—sculptor, painter, and
architect—was working on sculptures
until just six days before his death. Ask
students what he likely meant by
“alphabet” when he said on his
deathbed, “I regret that I am dying just
as I am beginning to learn the alphabet
of my profession.”
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Michelangelo, David (c. 1501–1504)
Michelangelo (1475–1564) referred to himself as a stonecutter, believing it
his foremost skill. (Notice the three-dimensional quality of his painted figures in
the Sistine Chapel.)
At a mere 26 years of age, in Florence, Michelangelo carved a huge piece of
marble—about 14 feet long—into a 13-foot tall statue of the biblical hero, David.
Michelangelo’s figure imitates the scale and idealization of ancient Greek sculpture, which celebrated beauty, youth, balance, and harmony. Michelangelo studied the human body to see how the muscles and skin moved; thus his statue has
very obvious muscles and veins. The statue is leaning on one leg, as do many of
the ancient Roman sculptures that copied the Greek style.
In the Old Testament story, David is a young boy who faces the giant warrior
Goliath. This story can be found in the Bible, first book of Samuel, chapter 17,
verses 1–58. Why did Michelangelo depict a heroic and strapping older youth?
Although the sculpture has a religious theme, it was displayed in Florence’s government center and served as a symbol of republican civic pride.
At that time, Florence was an independent city-state that had just ousted the