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Chapter 22: Renaissance and Mannerism in Cinquecento Italy
Preview: Italian art in the 16th century built upon the foundation of the Early Renaissance,
particularly the interest in classical culture, perspective, and human anatomy, but it developed in
dramatic, distinctive ways. The century is divided into High (1495-1520) and Late (1520-1600)
Renaissance periods. Throughout the century, regional stylistic differences emerged, with
Florentine and Roman artists emphasizing careful design and preliminary drawing (disegno) and
Venetian artists focusing on paint application and color (colorito). Leonardo da Vinci, Raphael, and
Michelangelo were the leading figures during the Renaissance, an era in which artists were
celebrated and recognized for their individual achievements. Titian was the great master of
Venetian painting, and Andrea Palladio and Bramante were the leading architects of the
Renaissance. During this period, the Catholic Church remained the central patron of the arts, and
Pope Julius II was responsible for commissioning some of the greatest Renaissance artworks,
including paintings by Michelangelo and Raphael in the Vatican, and Bramante’s and
Michelangelo’s architectural designs for St. Peter’s. Artists were also recruited by the Church to
contribute their talents toward its Counter-Reformation efforts. Mannerism developed after 1520
as a reaction to the art of the High Renaissance. Mannerist artists such as Parmigianino painted
scenes marked by extreme refinement, artifice and exaggeration of form, while the Mannerist
architect Giulio Romano even parodied Bramante’s classical style.
Key Figures: Pope Julius II, Pope Leo X, Giuliano de’ Medici, Vitruvius, Giorgio Vasari, Isabella
d’Este
Key Cultural & Religious Terms: Renaissance, Counter-Reformation, indulgences, pietá,
deposition
Key Art Terms: cartoon, buon fresco, a secco, disegno, parchment, vellum, invenzione, ingegno,
fantasia, capriccio, sfumato, colorito & disegno, escutcheon, impasto, Mannerism, maniera, enamel
Key Architectural Terms: stanze, stylobate, Tuscan style, tholos, cella, martyrium, quoins,
segmental pediment, belvedere, cupola, keystones, voussoirs, architrave, triglyph, Doric frieze,
corbel
Lecture Notes:
Introductory Notes:
RENAISSANCE IN QUATTROCENTO ITALY
High and Late Renaissance:
Leonardo da Vinci:
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Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, begun
1483
o Materials/medium:
o Size/scale:
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o Subject:
o Stylistic features:
o Function & significance:
Leonardo da Vinci, cartoon for Madonna and Child with Saint Anne and the Infant Saint John,
ca. 1505-1507
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Leonardo da Vinci, Last Supper, ca. 1495-1498
o Materials/medium & location:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Leonardo, Vitruvian Man, ca. 1485-1490
o Materials/medium:
o Subject:
o Significance:
Leonardo da Vinci, Mona Lisa, ca. 1503-1505
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Leonardo da Vinci, The Fetus and Lining of the Uterus, ca. 1511-1513
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Leonardo da Vinci, central-plan church, ca. 1487-1490
o Materials/medium:
o Subject & description:
Raphael:
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Raphael, Marriage of the Virgin, from the Chapel of Saint Joseph, San Francesco, Cittá di
Castello, Italy, 1504
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Raphael, Madonna in the Meadow, 1505-1506
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o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Andrea del Sarto, Madonna of the Harpies, 1517
o Description & significance:
Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy,
1509-1511
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Raphael, Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, ca. 1517
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Raphael, Baldassare Castiglione, ca. 1514
o Description, subject & significance:
Raphael, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, ca. 1513
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Michelangelo:
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Michelangelo Buonarroti, Pietá, ca. 1498-1500
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Michelangelo Buonarroti, David, from Piazza della Signoria, Florence, Italy, 1501-1504
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Michelangelo Buonarroti, Moses, from the tomb of Pope Julius II, Rome, Italy, ca. 1513-1515
o Materials/medium:
o Size/scale:
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o Subject:
o Stylistic features:
o Function & significance:
Michelangelo Buonarroti, Bound Slave (Rebellious Slave), from the tomb of Pope Julius II,
Rome, Italy, ca. 1513-1516
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Michelangelo Buonarroti, tomb of Giuliano de’ Medici, New Sacristy (Medici Chapel), San
Lorenzo, Florence, Italy, 1519-1534
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508-1512
o Materials/medium:
o Size/scale:
o General description:
Michelangelo Buonarroti, Creation of Adam, detail of the ceiling of the Sistine Chapel, 15111512
o Description & stylistic features:
Michelangelo Buonarroti, Fall of Man, ca. 1510
o Description & stylistic features:
Sistine Chapel restoration, 1977-1989
o Notes:
Michelangelo Buonarroti, Last Judgment, altar wall of the Sistine Chapel, 1536-1541
o Description & stylistic features:
Michelangelo Buonarroti, Pietá, ca. 1547-1555
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Architecture:
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Donato d’Angelo Bramante, Tempietto, San Pietro in Montorio, Rome, Italy, begun 1502
o Description & architectural features:
o Function & significance:
Bramante, plan for Saint Peter’s, Vatican City, Rome, Italy, 1505
o Description & architectural features:
o Significance:
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Cristoforo Foppa Caradosso, reverse side of a medal showing Bramante’s design for Saint
Peter’s, 1506
o Notes:
Michelangelo Buonarroti, plan for Saint Peter’s, Vatican City, Rome, Italy, 1546
o Description & architectural features:
o Significance:
Michelangelo, Saint Peter’s, Vatican City, Rome, Italy, 1546-1564. Dome completed by
Giacomo della Porta, 1590
o Description & architectural features:
o Significance:
Antonio da Sangallo the Younger, Palazzo Farnese, Rome, Italy, 1517-1546; completed by
Michelangelo Buonarroti, 1546-1550
o Description & architectural features:
o Significance:
Antonio da Sangallo the Younger, courtyard of the Palazzo Farnese, Rome, Italy, 15171546; third story and attic by Michelangelo Buonarroti, 1546-1550
o Description & architectural features:
o Significance:
Michelangelo, Campidoglio, Rome, 1538-1564
o Description & architectural features:
o Significance:
Andrea Palladio, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550-1570
o Description & architectural features:
o Significance:
Andrea Palladio, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca.
1550-1570
o Description & architectural features:
Jacopo Sansovino, Mint and Library, Venice, begun 1536
o Description & architectural features:
o Significance:
Andrea Palladio, San Giorgio Maggiore, Venice, Italy, begun 1566
o Description & architectural features:
o Significance:
Andrea Palladio, interior of San Giorgio Maggiore, Venice, Italy, begun 1566
o Description & architectural features:
o Significance:
Venetian Painting:
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Giovanni Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
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Giovanni Bellini, Saint Francis in the Desert, ca. 1470-1480
o Description & significance:
Giovanni Bellini and Titian, Feast of the Gods, from the Camerino d’Alabastro, Palazzo
Ducale, Ferrara, Italy, 1529
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Giorgione da Castelfranco, The Tempest, ca. 1510
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Titian, Pastoral Symphony, ca. 1508-1511
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Titian, Assumption of the Virgin, 1515-1518
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Titian, Madonna of the Pesaro Family, 1519-1526
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Titian, Meeting of Bacchus and Ariadne, from the Camerino d’Alabastro, Palazzo Ducale,
Ferrara, Italy, 1522-1523
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Titian, Venus of Urbino, 1536-1538
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
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Titian, Isabella d’Este, 1534-1536
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Fontana, Portrait of a Noblewoman, ca. 1580
o Description & stylistic features:
o Significance:
Titian and Palma il Giovane, Pietá, ca. 1570-1576
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Mannerism:
Painting:
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Jacopo da Pontormo, Entombment of Christ, Capponi chapel, Santa Felicitá, Florence, Italy,
1525-1528
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Beccafumi, Fall of the Rebel Angels, ca. 1524
o Description & significance:
Parmigianino, Self-Portrait in a Convex Mirror, 1524
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Parmigianino, Madonna with the Long Neck, from the Baiardi chapel, Santa Maria dei Servi,
Parma, Italy, 1534-1540
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Bronzino, Venus, Cupid, Folly, and Time, ca. 1546
o Materials/medium:
o Size/scale:
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o Subject:
o Stylistic features:
o Function & significance:
Bronzino, Portrait of a Young Man, c. 1530-1545
o Description & significance:
Bronzino, Eleanora of Toledo and Giovanni de’ Medici, ca. 1546
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother, ca. 1555
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Tintoretto, Last Supper, 1594
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Paolo Veronese, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo,
Venice, Italy, 1573
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Paolo Veronese, Triumph of Venice, ca. 1585
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Correggio, Assumption of the Virgin, 1526-1530
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Sculpture:
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Benvenuto Cellini, Saltcellar of Francis I, 1540-1543
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o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Cellini, Genius of Fontainebleau, 1542-1543
o Description & significance:
Giovanni da Bologna, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della
Signoria, Florence, Italy, 1579-1583
o Materials/medium:
o Size/scale:
o Subject:
o Stylistic features:
o Function & significance:
Architecture:
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Giulio Romano, courtyard of the Palazzo del Té, Mantua, Italy, 1525-1535
o Description:
o Architectural features:
o Style & significance:
Giulio Romano, Fall of the Giants, 1530-1532
o Description & location:
o Style & significance:
Michelangelo Buonarroti, vestibule of the Laurentian Library, Florence, Italy, 1524-1534;
staircase 1558-1559
o Description:
o Architectural features:
o Style & significance:
Giacomo della Porta, west façade of Il Gesú, Rome, Italy, ca. 1575-1584
o Description:
o Architectural features:
o Style & significance:
Giacomo della Porta, plan of Il Gesú, Rome, Italy, ca. 1575-1584
o Description:
o Architectural features:
Concluding notes:
Exercises for Study:
1. Describe the differences you observe between the art and architecture of the Early Renaissance
(Chapter 21) and that of the High and Late Renaissance. Select an Early Renaissance work of
painting, sculpture, and architecture, and compare them to examples from the High or Late
Renaissance.
2. Describe the distinction made in the High Renaissance between disegno and colorita. Select a
work that represents each term.
3. What are the major characteristics of Mannerist art and architecture? Select a Mannerist
painting, sculpture, and architectural work, and describe the Mannerist features of each.
4. Compare and contrast the following pairs of artworks, using the points of comparison as a
guide.
A. Leonardo da Vinci, Last Supper (Fig. 22-4); Tintoretto, Last Supper (Fig. 22-48)
 Date & location:
 Treatment of subject/narrative:
 Composition:
B. Michelangelo, Pietá, ca. 1547-1555 (Fig. 22-20); Titian and Palma il Giovane, Pietá (Fig. 22-41):
 Medium/materials:
 Treatment of subject:
 Artist’s self-portraiture:
 Intended function of work:
C. Bramante, Tempietto (Fig. 22-21); Palladio, Villa Rotonda (Fig. 22-28):
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Function & location of buildings:
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Employment of classical architectural theory & vocabulary: