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Early Renaissance: The Quattrocento
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THE EARLY RENAISSANCE
THE QUATTROCENTO
(1400’S)
I. INTRODUCING FLORENCE
A. A City of Flowers on the banks of the Arno River (Gardner 574)
B. Prosperity
1. Textiles especially wool
2. Banking
C. The Medici Family
1. The dominant Florentine banking family of the 15th century and the de facto
rulers of Florence
2. The Medici
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Supported the humanists
Collected ancient Greek and Roman sculptures, coins, and artifacts and
gave artists access to their collection
Major patrons of early Renaissance artists and sculptors
3. Key members of the Medici Family included
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Cosimo the Elder
Piero the Gouty
Lorenzo the Magnificent
D. Art and Power
1. The Medici and other Renaissance patrons understood the power of
IMAGERY and used it to extend their fame and influence.
2. Courts throughout Italy were thriving centers of artistic activity and vied
with each other for prominent humanist writers, architects, and artists.
II. THE COMBATTIMENTO (COMPETITION)
A. The Baptistery (See Gardner 359)
1. Beautiful octagonal shaped building
2. Already had a pair of doors made during the 14th century
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3. Needs a new pair of doors for the eastern entrance
B. The Contest
1. Sponsored by the wool refiners guild
2. Judged by clerics, artists, and business leaders
3. Sample to determine the winner
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The subject chosen for the competition was the sacrifice of Isaac.
According to the Old Testament account (Genesis 22), God commanded
Abraham to sacrifice his only son Isaac as an act of obedience. When God
saw that Abraham was about to sacrifice Isaac, he sent an angel to stop
Abraham and provided a ram caught in a thicket as an alternative
sacrifice.
Abraham’s willingness to sacrifice his only son is used as a metaphor for
God’s willingness to sacrifice his only son Jesus.
C. The Contestants
1. 7 leading artists
2. 2 young prodigies
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Lorenzo Ghiberti (1381 – 1455)
Filippo Brunelleschi (1377 – 1446)
3. Let’s look at the samples
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See Gardner 576
You be the judge _________________________
4. And the winner was Ghiberti: “I had surpassed everyone.”
5. Brunelleschi was very disappointed and left Florence for Rome. This fateful
journey would prove to be very important to the Renaissance because of
discoveries Brunelleschi would make in Rome. Also travelling with
Brunelleschi was the sculptor Donatello.
D. 2003 Exam sample question
1. For what purpose did Ghiberti design this panel? Which aspects of the
work are Gothic and which aspects reflect Renaissance innovations?
 Purpose – to win a contest in which the prize was a commission to
design a new set of doors for the Baptistery in Florence.
2. Gothic characteristics –
 Look at the figure of Abraham. Does it remind you of any Gothic
figures we have studied?
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Abraham is in the familiar Gothic S-curve pose like the Virgin of
Paris (G-498) and Virgin of Jeanne d’Evreux (G-505)
3. Renaissance characteristics –
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Isaac is depicted as a heroic nude figure like a classical statue
The altar under Isaac resembles a Roman altar or sarcophagus
Interest in naturalism and the illusion of depth – The body of the
angel is foreshortened to create the illusion that it is flying in from the
background
4. Ghiberti created a set of doors for the Florence Baptistery of the
Cathedral of San Giovanni. They were so good that the Florentines used
the doors to replace doors on the other side of the Baptistery and
commissioned Ghiberti to do another set of doors
E. GATES OF PARADISE
1. Struck by the beauty of the scenes, Michelangelo, a Florentine, said that
Ghiberti’s doors were worthy to serve as the Gates of Paradise (Heaven)
2. 10 squares contain ten reliefs illustrating stories from the Old Testament
3. There are also 48 figures of prophets and other biblical characters
surrounding the 10 scenes
4. Take a close look at the third figure from the bottom. It is not a prophet or
biblical figure. It is Ghiberti’s self portrait!
5. The doors were caste in bronze and gilded with gold.
6. The scenes are renowned for their naturalism and dramatic narrative.
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The figures resemble Classical statues in the proportions.
Ghiberti created the illusion of a three dimensions by varying the level of
relief. Figures in the foreground extend in very high relief while objects in
the distance appear just as incised lines.
Ghiberti used the Medieval storytelling technique of CONTINUOUS
NARRATION by showing several smaller scenes in each panel.
III. GIANTS OF THE QUATTROCENTO – BOTTICELLI (1445 – 1510)
A. Early life
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Son of a Florentine tanner
Nicknamed “Little Barrel” or Botticelli
Displayed promising artistic talent
Aprrenticed to Filippo Lippi, a renowned Florentine master
Set up his own workshop
B. The Medici family were regular patrons of Botticelli
1. Medici had established a Neo-Platonic academy for discussion Plato’s ideals
(Greek philosophy), in which Botticelli participated
2. Neoplatonic ideals affected Botticelli’s depiction of ideal beauty in his
paintings
C. Adoration of the Magi (1475)
1. A famous scenes involving the Magi or Wise Men bringing gifts to the child
Jesus
2. These are no ordinary wise men
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Cosimo the Elder – the elderly man who kneels at Christ’s feet
Piero the Gouty – the Wise Man with the red cloak seen from behind
Lorenzo the Magnificent is seen in profile on the right (he is wearing a
short black garment)
3. Botticelli included Lorenzo’s brother, Giuliano the Handsome as one of the
spectators.
4. Botticelli also included the Neoplatonist poet Poliziano, who wrote a poem
about the birth of Venus!
5. Notice the balance and symmetrical composition – Renaissance artists
preferred this classical composition in their paintings
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To enhance the balance, Renaissance artists often used a pyramidal
composition.
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6. Botticelli also included a self-portrait on the right hand side of the painting
D. Birth of Venus (G-595)
1. Who’s who?
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Venus – Goddess of love and beauty. Venus is standing on a giant gilded
scallop shell. The painting show the moment when Venus landed on the
Mediterranean island of Cyprus
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Zephyr (the West Wind) – male figure whose breath, the wind causes
flowers to grow. He is accompanied by the earth nymph Chloris. Roses,
each of which contains a golden heart and are sacred to Venus and
symbolize fall around Zephyr and Chloris.
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Flora – goddess of flowers stands on the island of Cyprus preparing to
cover her with a richly patterned robe. Her lavishly decorated dress and
the gorgeous robe she holds out to Venus are embroidered with red and
white daisies, yellow primroses, and blue cornflowers – all spring flowers
appropriate to the theme of birth. Flora wears a garland of myrtle – the
tree of Venus – along with a sash of pink roses.
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According to the myth, when Zephyr marries Chloris and blows wind
upon her, she is transformed into Flora
2. The painting is based on a poem by Poliziano.
“And born within the white foam
In rare and joyous acts
A maiden with a heavenly face
By playful zephyrs
Is pushed to the shore
She travels on a sea-shell
And it seems that the heavens rejoice.”
3. The pose is based on the Medici Venus, a Venus statue in the Medici
collection in which she is in a modest pose.
4. Botticelli drew Venus’ proportions according to a canon of Classical beauty
going back to Praxitieles.
5. If Venus’ features seem elongated, that is because Botticelli wanted to depict
Venus as a graceful beauty. Botticelli left outlines on the body of Venus as
well as the other figures to enhance this feeling of gracefulness and elegance.
6. The face
 The model for Venus may have been an renowned Florentine beauty
named Simonetta Vespucci.
 Simonetta was so sweet and charming that all men praised her and no
woman blamed her.
 In 1475, she was Queen of Beauty in a great tournament held in Giuliano
de Medici’s honor. Tragically, she died just one year later after a sudden
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illness. Simonetta died in April. The death of one so young amid so much
beauty made even the most dignified citizens weep openly.
7. But what does it all mean?
 Look closely at Venus’ face. What words would you use to describe her
expression?
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The love Venus (ie. Simonetta) brought to earth was the gift of life. But
life also means inevitable loss, heartbreak, and death. Similarly,
Simonetta’s life brought great love and joy. But, this proved to be
EPHEMERAL (fleeting, brief). And that is why Botticelli gave Venus no
joy in her birth, and why he filled her face with compassion.
E. Primavera
1. The Nine Figures
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The nine figures all originate in ancient Greek and Roman myth. They
are almost life-size in scale.
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Mercury – the messenger of the gods. Mercury uses his snake-wrapped
wand, the caduceus, to dispel a patch of gray clouds.
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The Three Graces – goddesses of charm, grace, and beauty – dance in a
circle. They are shown “with hands interlocked – smiling and youthful,
clad in loosened transparent gowns,” just as the ancient author Seneca
described them.
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Venus – goddess of love and beauty. She raises her hand in a traditional
gesture of welcome. She appears like a beauty at a Renaissance fair.
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Cupid – Venus’ son hovers above, playfully aiming an arrow at the
Graces.
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Zephyr (on the far right) – the west wind in pursuit of the nymph Flora.
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Chloris – nymph. Zephyr’s breath causes Chloris to sprout flowers (“the
roses of Spring”) from her mouth.
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Flora – goddess of flowers and feritility. Chloris is transformed into Flora
by Zephyr’s embrace. Zephyr married Flora.
2. What does the painting mean?
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Primavera is not only one of the supremely beautiful pictures of the
Renaissance, but also one of the most discussed paintings in the history of
art.
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Giorgio Vasari described the subject as “Venus as a symbol of spring
being adorned with flowers by the Graces.”
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The oranges were called “mela medica” in the 15th century. Oranges may
refer to the Medici, who used the mela medica as a symbol on their family
shield.
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Here is another interpretation by the art historian Marilyn Stokstad:
Primavera was painted at the time of a Medici wedding, so it may have
been intended as a painting on the nuptial theme of love and fertility in
marriage. Venus, clothed in contemporary costume and wearing a
marriage wreath on her head, here represents marital love. She stands in
a grove of orange trees weighted down with lush fruit suggesting human
fertility.
F. Whatever happened to Botticelli?
1. Botticelli was the first artist since Classical Civilization to paint mythological
scenes on a large scale.
2. Botticelli’s paintings for the Medici established him as one of Italy’s foremost
artists. His career reached a new height when Pope Sixtus commissioned
Botticelli to decorate the side walls of the Sistine Chapel.
3. Botticelli returned to Florence and enjoyed a period of great productivity
and prosperity. He painted about 150 paintings and employed 3 assistants in
his busy studio.
4. But Botticelli’s fortunes changed in the 1490’s. Lorenzo the Magnificent died
in 1492 and his son Piero proved to be inept. Five years later, Botticelli’s
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lifelong patron, Lorenzo di Pierfrancesco was forced to leave Florence for
political reasons.
5. A religious leader in Florence named Fra Savonarola had been preaching
against the spread of humanism in his city. He urged the Florentines to turn
their backs on the sin of pride and enjoying worldly pleasures. He also
decried the return of mythological, pagan imagery. For a short time,
Savonarola became the dictator of Florence and the Florentines held a
“bonfire of the vanities,” into which they threw their wigs, fancy clothes, and
any references to paganism. Even Botticelli became very religious and may
have burned some of his paintings!
6. Botticelli’s personal fortunes declined rapidly. Vasari describes Botticelli in
his last years as “old and useless, unable to stand upright and moving about
with the help of crutches.” By the time he died in 1510, he was both out of
date and neglected. Botticelli died an old and forgotten man and no sign of
his grave remains.
7. The eclipse of Botticelli’s reputation was for centuries almost total. It was
only in the second half of the 19th century that there was a renewed
appreciation of his genius. Today, few Renaissance painters enjoy such
widespread appeal. The Uffizi Gallery in Florence houses the world’s
greatest collection of Italian paintings, but even in competition with a galaxy
of masterpieces, it is usually the room containing Primavera and Birth of
Venus that is the most crowded in the museum!
IV. GIANTS OF THE QUATTROCENTO: DONATELLO
A. Life
1. Began his artistic career as one of Ghiberti’s assistants on the north door of
the Baptistery.
2. Spent time with Brunelleschi in Rome where he studied Classical art and
architecture.
3. Donatello was primarily a SCULPTOR, creating works in bronze, marble,
and wood. He stands with Michelangelo and Bernini as one of the most
accomplished sculptors in Italian history.
B. David – 5 feet, 2 inches (G-593)
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1. Commissioned by the Medici family to decorate their courtyard.
2. Classical features
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First free-standing life-sized nude statue since antiquity.
Clear use of contrapposto
Aloof and restrained – Surprising lack of emotion considering he has just
conquered so formidable an enemy.
3. David stands over Goliath’s head, which he has severed with the giant’s own
sword. In his left hand, David holds the stone thrown from the sling.
4. David is wearing a shepherd’s hat ringed with laurel.
5. Still, there is something different about David. “No matter from which side
one approaches the statue, one always sees a figure of extremely harmonious
grace and almost playful lightness. Androgynous sensuality, pervading the
whole figure, eclipses recollection of the recent battle with Goliat, upon
whose severed head David places his foot. David’s directs his gaze downward
appearing lost in thought.”
C. Saint George 6 feet 10 inches – Gardner 598
1. Placed in a niche of Or San Michele church in Florence – one of 14 niches
2. Saint George – a warrior saint most famous for slaying a dragon and of
course freeing a damsel in distress. Vividly portrays the proud idealism of
youth.
3. Saint George is encased in armor (the statue was commissioned by the armor
manufacturer’s guild) but his body and limbs are not rigid.
4. His stance conveys his readiness for combat. His right hand originally held a
sword or lance.
5. Note Saint George’s shield. It contains his symbol – a huge cross.
6. Note the relief below Saint George. It shows him slaying the dragon and
freeing the maiden.
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D. Saint Mark – 7 feet 9 inches
1. Commissioned by the Guild of Linen Weavers for a niche on the exterior of
Or San Michele.
2. Notice that Donatello had included the concept of weight shift and movement
in Saint Mark. This is the return of the knowledge once possessed by
Classical sculptors such as Polykleitos and Praxiteles. Saint Mark is rendered
in CONTRAPPOSTO.
3. Saint Mark is also independent of the architecture. Although his in a niche,
he is not attached to a column.
4. Donatello shows understanding of the human body. It’s as if Donatello
sculpted a nude human form beneath the drapery. Notice the great
naturalism in the hands and the contours of the body under the robe.
E. The Prophet Habbakuk a.k.a. Zuccone or “pumpkin head”
1. Donatello sculpted this for a niche 30 feet above the ground in the campanile
of Florence Cathedral.
2. Donatello deliberately distorted some of the features of Habakkuk realizing
how viewers would perceive it from below.
3. Very realistic qualities even to the point that Habbakuk is not idealized.
Donatello was probably influenced by veristic Roman portrait busts.
4. Habbakuk has an intense gaze with his mouth agape as if he has just
delivered an unpleasant prophecy.
F. Equestrian Statue of Gattamelata – 11 feet by 13 feet
1. Gattabmelata was a Venetian warlord.
2. First large-scale bronze equestrian statue since antiquity.
3. Captures the personality of the warlord. He was a wise military leader. He is
depicted in a restrained pose holding his leaders baton.
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4. Clearly inspired by the equestrian statue of Marcus Aurelius.
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Both horses raise one foreleg
Like Marcus Aurelius, Gattamelata extends his baton in a gesture of
command.
G. Mary Magdalene 6 feet by 2 inches
1. Carved out of wood by Donatello when he was 70 and in poor health.
2. Recall that Mary Magdalene was a woman of poor reputation who
repented when she was forgiven by Jesus. She then became one of his
most devout followers.
3. After the Crucifixion, she lived a life of penance in the wilderness, eating
little and clothed only in her own long hair. According to legend, she
wandered into France. La Madaleine at Vezelay church (tympanum of
Christ’s Mission to the Apostles) supposedly holds her relics.
4. How does the statue portray her? The statue portrays the former
prostitute at the end of her life. Her long thin proportions, skeletal
appearance, and sunken cheeks reflect the ravages of time. In place of
drapery, Mary Magdalene is clothed in her own hair, grown long as a
sign of repentance.
5. Why did Donatello portray her this way? Most likely he wanted to show
that Mary abandoned her concern for her superficial, outward
appearance to instead focus on her spirit.
6. Look carefully at her face. Do you think she “is alight with the
triumphant knowledge of pure faith?”
7. THE ETS STRIKES AGAIN: DONATELLO, MARY MAGDALENE.
Identify the period in which the work was made. Discuss ways in which it
departs from the more typical artistic concerns of its period.
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Period – Early Renaissance or 15th century
Artistic concerns of Renaissance – Glorifying the human form,
drawing on classical Roman sculpture as a reference for the
human form
Points of departure – Mary Magdalene is devoid of classical
allusions. She is not idealized. Unlike other Renaissance statues
and paintings that drew on the Capitoline Venus or Medici
Venus to achieve an idealized appearance for the female body,
Donatello portrayed Mary Magdalene as haggard, wrinkled, and
physically unattractive in order to stress her rejection of the
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worldly outward appearance in exchange for focusing on
penitence for the sins of her younger days and achieving
spiritual growth.
H. Feast of Herod
1. Bronze panel created for the baptismal font of Siena baptistery
2. The story
 Salome, the niece of King Herod of Judea was a skilled dancer
 She excited King Herod so much with her dance during one of his
feasts that he promised her anything she wanted up to half his
kingdom
 What should she choose? What would you choose?
 Salome sought her mother Herodias’ advice. Herodias despised
John the Baptist, a famous preacher and cousin of Jesus, for
exposing the fact that she was having an affair with her brotherin-law King Herod. John the Baptist was already arrested for the
offense but continued his preaching in private to King Herod, who
did listen to him.
 Herodias told Salome to ask for what she wanted most: THE
HEAD OF JOHN THE BAPTIST.
 King Herod, bound by his promise, had to fulfill her request. John
was beheaded and his head was presented to Salome on a platter.
3. Renaissance elements
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Notice the idealized bodies
Interest in naturalism – the figures move in different directions
and are individualized
The reference to classical Roman architecture – note the round
arches
Interest in creating the illusion of a three-dimensional space – the
round arches recede in size in the background, figures appear
smaller in background, Donatello varied level of relief of figures to
make figures in foreground stand out more.
Recall that Donatello was one of GHIBERTI’s assistants on
bronze doors for the baptistery
V. OTHER IMPORTANT EARLY RENAISSANCE SCULPTORS
A. ANDREA DEL VERROCCHIO – The “True Eye”
1. Background
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a. Important Early Renaissance sculptor and painter of the second
part of the Quattrocento.
b. Leonardo da Vinci and Pietro Perugino became students at
Verrochio’s workshop in Florence.
c. He became the favorite sculptor of Piero de Medici (aka Piero the
Gouty) and his son Lorenzo the Magnificent after Donatello’s death
in 1466.
d. Verrocchio became the curator of antiquities in the Medici palace,
restoring many Roman sculptures and portrait busts.
3. Verrocchio’s Portrait Bust of Lorenzo de Medici (painted terracotta)
a. An idealized Renaissance gentleman
b. In the tradition of Roman portrait busts
c. Lorenzo’s face exhibits GRAVITAS – serious head of
the Medici family and most powerful man in Florence
d. Cultured and refined – Elegant Renaissance hat and
clothing show that he is a gentleman. Lorenzo prided
himself on studying Neo-Platonist philosophy and
writing Petrarch-style love poetry.
4. Comparing Verrocchio’s work to Donatello’s work
a. Verrocchio and Donatello created sculptures of similar subjects. It is
interesting to compare and contrast these works. These works
include:
 David
 Equestrian statues
b. Verrocchio’s David vs. Donatello’s David
1. How are they similar?
2. How are they different?
3. Do they both achieve Renaissance ideals?
c. Verrocchio’s Equestrian Statue of Bartolommeo Colleoni vs.
Donatello’s Equestrian Statue of Gattamelata.
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How are they similar?
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How are they different?
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How do they both convey Renaissance ideals?
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B. NANNI DI BANCO
1. Famous for his sculptural group called Four Crowned Saints
3. Who are they?
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Four stone masons from the period of Emperor Diocletian during the
late Roman Empire.
Diocletian ordered a massive persecution of Christians and ordered
the sculptors to create a statue of a pagan god
The four sculptors were Christians and believed it was wrong
They were martyred for their beliefs
Theme: Self-sacrifice – Florence was about to be invaded by a foreign
king named Ladislaus
4. Where are they?
 In a niche --- Guess where --- OR SAN MICHELE
 Recall that Donatello’s Saints George and Mark also fill niches in Or
San Michele
5. Why are Nanni di Banco’s Four Crowned Saints good examples of
Renaissance sculpture?
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Nanni di Banco demonstrates an interest in human anatomy because
their body proportions are accurate
He idealizes them – the combination of making the figures look
realistic but idealizing them at the same time – These figures were
heroes
Interest in naturalism with the folds in their drapery and
contrapposto
GIVES THEM INDIVIDUALIZED PERSONALITIES – Figure to
the right points as if explaining something while the others listen
6. What do you think influenced Nanni di Banco?
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C. ANTONIO POLLAIULO
1. Early Renaissance artist famous for his interest in muscular, human
forms.
2. Hercules and Antaeus, ca. 1475
 Mythical wrestling match between Hercules and Antaeus (a giant
and son of Earth).
 Hercules realized that every time he threw Antaeus to the ground,
Antaeus sprang back up
 Hercules held Antaeus aloft. Pollaiullo depicts the last excruciating
moments of the battle.
 Noteworthy also because it broke the traditional, frontal rendering
of figures in sculpture
 Commissioned by Medici family in 1470’s. Hercules had been on
the seal of Florence since the 1300’s.
 Why do you think they commissioned Pollaiulo to make this
statue? Did the Medici commission other works of art that
demonstrated similar objectives? If so, what are they?
3. Battle of the Ten Nudes, ca. 1465
 Early example of an ENGRAVING (process of incising a design
into a hard material, usually a metal plate. The print or
impression made onto paper is also called an engraving)
 Shows Pollaiulo’s interest in showing human anatomy
 Pollaiulo shows all the muscular and tendon definition especially
around the shoulders, elbows, and knees
 Figures shown ECORCHE (showing the body with such definition
that it appears to lack skin).
VI. GIANTS OF THE QUATTROCENTO: MASACCIO
A. Introduction
1. Tommaso Guidi was nicknamed Masaccio (Sloppy Tom)
2. “Most art historians recognize no other painter in history to have
contributed so much to the development of a new style in so short a time
as Masaccio.” Gardner’s 584
3. Masaccio’s teacher painted in the International Style. Masaccio, however,
went in his own direction.
4. Masaccio’s paintings include:
 Good CHIAROSCURO (dramatic contrasts of light and shadow
which give the figures a greater sense of body mass) including
the use of a singular light source.
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Good illusion of depth. Masaccio incorporated discoveries of
LINEAR PERSPECTIVE (all forms receding in size toward a
single vanishing point). Masaccio also included
AERIAL/ATMOSPHERIC PERSPECTIVE (making objects in
the distance a bluish – grayish tone to convey distance)
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Masaccio’s figures are muscular and idealized (influence of
classical statuary)
Masaccio’s figures express emotion
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5. Masaccio’s career was tragically cut short when he died at the age of 27.
6. His paintings influenced other artists such as Michelangelo.
B. Frescoes in the Brancacci Chapel, Florence
1. Masaccio was commissioned to paint frescoes for the Brancacci Chapel in
the Church of Santa Maria del Carmine.
2. The frescoes form an extensive narrative cycle about the life of Saint
Peter.
3. Expulsion of Adam and Eve from Eden
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Notice the convincing depiction of human emotion. This is just
after the God has reprimanded Adam and Eve for committing the
Original Sin. They are now banished from the Garden of Eden
headed for a life of hard work, struggle, and mortality. We feel
their pain.
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Notice the CHIAROSCURO. Masaccio’s treatment of shadow and
his smooth transition toward areas of light is convincing and very
natural. The figures also cast shadows. Masaccio’s chiaroscuro on
the Archangel Michael is also effective, in which he models the
folds quite nicely.
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Notice the illusion of depth. Adam and Eve’s shadows on the
ground as well as the diagonal angle of the arch from which they
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emerge convey depth as does the background. Carrying on in the
tradition of GIOTTO, Masaccio paints realistic figures in space.
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Notice the classical references in the body types. Masaccio paints
both figures as classical nudes. Adam is muscular like classical
statues and Eve’s pose is derivative of Venus statues. The inclusion
of classicizing nude figures in a Christian chapel shows the
Florentine acceptance of humanism.
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When Italy became more conservative religiously, in the 17th
century during the Counter-Reformation, artists were hired to
paint leaves over the private areas of Adam and Eve.
4. Tribute Money, ca. 1427
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Shows an episode from the New Testament. Jesus and the Apostles
arrived in the town of Capernaum. A tax collector told them that
they needed to pay taxes when they entered town. Jesus told Peter
to go fishing in the Sea of Galilee and that the first fish he caught
would contain the tax money in its mouth. Peter obeyed Jesus and
used the money to pay the tax collector.
Center scene: Arrival in town (tax collector shown from behind.
Jesus in center. Peter – gray haired bearded figure who appears
incredulous)
Left scene: Peter obtaining the money
Right scene: Paying the tax collector
What narrative technique did Masaccio use for this fresco?
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Notice the diagonals on the architecture to the right (also notice
that the architecture appears classical – round arches, etc.) – the
diagonals are called ORTHOGONAL LINES – these orthogonal
converge at a single vanishing point in the distance. This is
LINEAR PERSPECTIVE. Masaccio uses AERIAL
PERSPECTIVE as well.
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Notice the sculpturesque treatment of the human form. Masacco
models the figures muscular bodies with CHIAROSCURO. The
figures also cast shadows on the ground. Shading is also very
convincing on the architecture. The light appears to come from a
single source to the right (There is actually a window in the wall of
Early Renaissance: The Quattrocento 18
the chapel. Perhaps, Masaccio was trying to make the fresco look
illuminated by real light from the window.
C. Holy Trinity, fresco in Santa Maria Novella, Florence
1. Who’s who
 God the Father – depicted as an aged and bearded patriarch
standing behind his crucified son. He is shown supporting both
ends of the crossbar of the crucifix, thus echoing His Son’s
sacrifice
 God the Son (Jesus) – a real, suffering Jesus showing compassion
for His fellow men and women as He dies
 God the Holy Spirit – a dove shown between the head of God the
Father and Jesus
 Mary – the only one of the people who looks directly out at us. She
stands upright and dry-eyed and points toward her crucified
Child. She seems to be reproaching us for our sinfulness.
 Saint John – Apostle of Jesus, according to tradition, Jesus told
John during the Crucifixion to take care of Mary as if she were his
own mother and for Mary to regard John as her son
 Lorenzo Leni and Mrs. Leni – the donors of the fresco. Their
money paid for it.
 Adam’s skeleton – a MEMENTO MORI (reminder of death) –
shows the reason why Christ came to Earth, an inscription above
the skeleton reads “I was once what you are and what I am you
will also be.” This reminds the viewer of the transience of life (the
shortness of life).
2. The narrative
 Painting is DIDACTIC – provides instruction, teaching
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Shows the journey that Christians must take to overcome eternal
death (Hell) – first we must rise from our mortal limitations (Mr.
and Mrs. Leni) to become holy and close to Christ (Mary and
John), coming to have a personal relationship with Christ,
receiving the Holy Spirit in our life, to reach God the Father.
3. Contains all of Masaccio’s hallmark painting techniques
4. Christ’s body is somewhat idealized like classical statuary.
Early Renaissance: The Quattrocento 19
5. Composition
 Pyramid composition – one of the hallmarks of Renaissance art
 Four triangles with the vertex pointing upward, link the human
figures to the divine
 The Crucifix is contained in a triangle with its vertex pointing
down.
6. Linear Perspective: “There seems to be a hole in the wall.” (Vasari)
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Wow! It really does look like a “hole in the wall.”
How did Masaccio do it?
EARLY RENAISSANCE USE OF PERSPECTIVE
I. INTRODUCTION
A. Linear perspective is a method of representing three-dimensional objects and
figures on a two-dimensional surface
B. Who discovered linear perspective?
1. Brunelleschi
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After losing the Combattimento to Ghiberti, Brunelleschi left for
Rome
Discovered the rules for linear perspective while studying in Rome
Brunelleschi became an important architect and designed the dome of
Florence Cathedral
2. Leon Battista Alberti
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Important architect of the Renaissance and well rounded man
Understood the principles of linear perspective and wrote about them
Renaissance artists read Alberti’s book and experimented with it for
themselves
C. How does the human eye work?
1. Distant objects seem smaller than closer ones
2. Parallel lines seem to converge at a distance
D. How does linear perspective work?
1. Orthogonals – converging diagonal lines
Early Renaissance: The Quattrocento 20
2. Vanishing point – place where orthogonal lines converge
3. Horizon line – drawn across the painting at the vanishing point, represents
the viewer’s eye view and the far distance
II. EXAMPLES
A. Pietro Perugino’s Christ Delivering the Keys of the Kingdom to Saint Peter
1. Part of a cycle of paintings on the walls of the Sistine Chapel
2. Theme of the painting supports the power of the popes
3. Arches of Constantine shown in the distance – connection between the
Roman emperor Constantine and Christianity
4. Helped mark the rise of Rome as an artistic center during the Renaissance
B. Paolo Uccello’s Battle of San Romano
1. Uccello stayed up late at night trying to perfect perspective and paid less
attention to developing the naturalism of the figures
2. Uccello’s wife overheard Paolo talk about his mistress “perspective” and
thought he was having an affair with a woman named Perspective!
3. Scene of a battle in which the Florentine army defeated the Sienese in 1432.
4. Hero of the battle: Nicola da Tolentino, a friend of Cosimo de Medici, who
later died because of his affiliation with the Medici family
5. Lorenzo de Medici commissioned Uccello to commemorate the famous battle
and his grandfather’s friend. The painting decorated Lorenzo’s bedchamber.
6. What familiar Medici symbol is shown in the painting?
C. Carlo Crivelli’s, Annunciation with Saint Emidius
1. The painting
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Annunciation - Gabriel to Mary
Standing on a bridge, a town dignitary reads a message stating that
the pope has granted Ascoli limited rights of self government. The
message arrive on the Feast Day of the Annunciation, and so the angel
Gabriel is join by Ascoli’s patron saint, Emidius, holding a
magnificently detailed model of the town.
Incredible details –
The apple refers to man’s fall from grace and his subsequent
redemption
The gourd is a symbol of Christ’s Resurrection
The peacock is another symbol of Christ’s Resurrection and eternal
life
Marvel at the linear perspective
Early Renaissance: The Quattrocento 21
D. Lorenzo Ghiberti: The Meeting of Solomon and Sheba
1. The Frame
2. Linear Perspective
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Orthogonal lines
Vanishing point
3. Use of high relief and low relief to create the illusion of depth
E. Andrea Mantegna’s Amazing Oculus
1.
2.
3.
4.
Can you find the vanishing point?
There is no coffer in the ceiling; the surface is two dimensional!
Precariously perched tub containing an orange tree – Why?
Peacock
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Note the shimmering specks of color
Symbol of eternal life
From its high perch, the bird watches over the house of Ludovico
Gonzaga
5. Playful putti – associated with classicism, reflect the patron Ludovico
Gonzaga’s interest in a humanism
6. Three Woman – maybe the graces
7. Moorish slave – symbol of wealth
8. Garland of leaves and fruit – signifies abundance and hospitality
9. Guests would walk under the oculus when greeting Ludovico on his throne;
for the guests that Ludovico didn’t really care for, it has been suggested that
he would envision the tub with the orange tree falling on the guest’s head.
10. Mantegna’s oculus is part of an amazing room of frescoes painted by
Mantegna for Ludovico Gonzaga called the Camera degli Sposi (Room of the
Newlyweds), in the Palazzo Ducale of Mantua
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Ludovico Gonzaga was the powerful duke of Mantua
Scenes depict all aspects of Gonzaga’s court life – his wife, children,
pets, courtiers, and attendants even the dwarf used as his children’s
playmates.
Mantegna also painted the arrival of Cardinal Francesco Gonzaga –
Ludovico’s second son – who became the top religious leader of the
church of Sant Andrea in Mantua
Early Renaissance: The Quattrocento 22
11. Mantegna carried his desire for illusionism past the linear perspective. He
painted the illusion of relief sculpture decorate the edges of the scenes in
GRISAILLE – using grayish tones to simulate sculpture or architecture.
12. If you were Mantegna, how would you record your presence in the Camera
degli Sposi?
F. Other examples of Mantegna’s interest in perspective and pictorial illusionism
1. The Lamentation over the Dead Christ
2. Saint James being Led to Martyrdom
3. What appears to be Mantegna’s approach to perspective?