Kleiner GATTA16E Ch21 Screen

Chapter 21
THE RENAISSANCE IN
QUATTROCENTO ITALY
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
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Learning Objectives
1. Describe the impact of Renaissance humanism on art in Florence.

2. List the major formal developments in Quattrocento sculpture.
3. Outline the major formal developments in Quattrocento painting.
4. Discuss the formal and material characteristics of 15th-century Italian
architecture.
5. Describe the first public demonstration of perspective.
6. Explain the relationship of humanism, science, and artistic production.
7. Explain the role of princely courts on innovations in and support of art.
8. Catalogue the materials and techniques of Renaissance painting, sculpture,
and printmaking.
MAP 21.1
21.1 Renaissance Florence.
Figure 21.1
21.1 SANDRO BOTTICELLI, Birth

of Venus, ca. 1484–1486. Tempera
on canvas, 5' 9"  9' 2". Galleria
degli Uffizi, Florence.
Figure 21.2
21.2 FILIPPO
BRUNELLESCHI, Sacrifice of
Isaac, competition panel for the
east doors of the Baptistery of
San Giovanni, Florence, Italy,
1401–1402. Gilded bronze, 1'
9"  1' 5 1/2". Museo Nazionale
del Bargello, Florence.
Figure 21.3
21.3 LORENZO GHIBERTI,
Sacrifice of Isaac,
competition panel for the
east doors of the Baptistery
of San Giovanni, Florence,
Italy, 1401–1402. Gilded
bronze, 1' 9"  1' 5 1/2".
Museo Nazionale del
Bargello, Florence.
Figure 21.4
21.4 NANNI DI BANCO, Four

Crowned Saints, statues in a niche
on the north side of Or San
Michele, Florence, Italy, ca. 1410–
1414. Marble, figures 6' high.
Modern copy; original sculpture in
the museum on the second floor of
Or San Michele, Florence.
Figure 21.5
21.5 DONATELLO, Saint
Mark, statue in a niche on
the south side of Or San
Michele, Florence, Italy, ca.
1411–1413. Marble, figure 7'
9" high. Modern copy;
original sculpture in the
museum on the second floor
of Or San Michele, Florence.
Figure 21.6
21.6 DONATELLO, Saint
George, statue in a niche
on the north side of Or San
Michele, Florence, Italy, ca.
1415–1418. Marble, figure
6' 10" high. Modern copy;
original in the Museo
Nazionale del Bargello,
Florence.
Figure 21.7
21.7 DONATELLO, Saint George

and the Dragon, relief below the
niche with the statue of Saint
George (FIG. 21.6), Or San
Michele, Florence, Italy, ca. 1417–
1420. Marble, 1' 3 1/4"  3' 11 1/4".
Modern copy; original relief in the
Museo Nazionale del Bargello,
Florence.
Figure 21.8
21.8 DONATELLO, Feast of
Herod, panel on the baptismal
font of the baptistery, Siena
Cathedral, Siena, Italy, 1423–
1427. Gilded bronze, 1' 11 1/2" 
1' 11 1/2".
Figure 21.9
21.9 LORENZO GHIBERTI, Isaac

and His Sons (detail of FIG.
21.10, with overlay of perspective
orthogonals), east doors (Gates of
Paradise) of the Baptistery of San
Giovanni (FIG. 12.30), Florence,
Italy, 1425–1452. Gilded bronze,
2' 7 1/2"  2' 7 1/2". Museo
dell’Opera del Duomo, Florence.
Figure 21.10
21.10 LORENZO GHIBERTI, east

doors (Gates of Paradise) of the
Baptistery of San Giovanni (FIG.
12.30), Florence, Italy, 1425–1452.
Gilded bronze, 17' high. Modern
replica, 1990. Original panels in
Museo dell’Opera del Duomo,
Florence.
Figure 21.11
21.11 DONATELLO, David,
from the Palazzo Medici
(FIGS. 21.35 and 21.36),
Florence, Italy, ca. 1440–
1460. Bronze, 5' 2 1/4" high.
Museo Nazionale del
Bargello, Florence.
Figure 21.11A
21.11A DONATELLO,
Penitent Mary Magdalene,
from the Baptistery of San
Giovanni (FIG. 12.30),
Florence, Italy, ca. 1455.
Painted and gilded wood, 6'
2" high. Museo dell’Opera
del Duomo, Florence.
Figure 21.12
21.12 ANDREA DEL
VERROCCHIO, David, from
the Palazzo della Signoria
(FIG. 14.19B), Florence,
Italy, ca. 1465–1470. Bronze,
4' 1 1/2" high. Museo
Nazionale del Bargello,
Florence.
Figure 21.13
21.13 ANTONIO DEL
POLLAIUOLO, Hercules and
Antaeus, from the Palazzo
Medici (FIGS. 21.35
and 21.36), Florence, Italy, ca.
1470–1475. Bronze, 1' 6" high
with base. Museo Nazionale del
Bargello,
Kleiner, Gardner’s Art through the Ages: A Global Florence.
History, 16th Edition. © 2020 Cengage. All Rights Reserved.
Figure 21.14
21.14 BERNARDO
ROSSELLINO, tomb of
Leonardo Bruni, inside Santa
Croce (FIG. I.4), Florence,
Italy, ca. 1444–1450. Marble,
23' History,
Kleiner, Gardner’s Art through the Ages: A Global 3 1/2" 16thhigh.
Edition. © 2020 Cengage. All Rights Reserved.
Figure 21.15
21.15 DONATELLO,
Gattamelata (equestrian statue
of Erasmo da Narni), Piazza
del Santo, Padua, Italy, ca.
1445–1453. Bronze, 12' 2"
high.
Figure 21.16
21.16 ANDREA DEL
VERROCCHIO, Bartolommeo
Colleoni (equestrian statue),
Campo dei Santi Giovanni e
Paolo, Venice, Italy, ca. 1481–
1495.
Kleiner, Gardner’s Art through the Ages: A Global Bronze,
History, 13'
16th Edition. high.
© 2020 Cengage. All Rights Reserved.
Figure 21.17
21.17 GENTILE DA FABRIANO,
Adoration of the Magi, altarpiece
from the Strozzi chapel, Santa
Trinità, Florence, Italy, 1423.
Tempera on wood, 9' 11"  9' 3".
Galleria degli Uffizi, Florence.
Figure 21.18
21.18 MASACCIO, Tribute Money, mural in the Brancacci

chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427.
Fresco, 8' 4 1/8"  19' 7 1/8".
Figure 21.19
21.19 MASACCIO, Expulsion of
Adam and Eve from Eden, mural
in the Brancacci chapel, Santa
Maria del Carmine, Florence, Italy,
ca. 1424–1427. Fresco, 7'  2' 11".
Figure 21.20
21.20 MASACCIO, Holy Trinity, mural

inside Santa Maria Novella (FIG.
21.37A), Florence, Italy, ca. 1424–
1427. Fresco, 21' 10 5/8"  10' 4 3/4".
Figure 21.21
21.21 FRA ANGELICO,
Annunciation, mural in the monks’
quarters, San Marco, Florence,
Italy, ca. 1438–1447. Fresco, 7' 1" 
10' 6".
Figure 21.22
21.22 ANDREA DEL CASTAGNO, Last Supper, mural in

the refectory of the convent of Sant’Apollonia, Florence,
Italy, 1447. Fresco, 15' 5"  32'.
Figure 21.23
21.23 PAOLO UCCELLO,
Battle of San Romano, from
the Palazzo Medici (FIGS.
21.35 and 21.36), Florence,
Italy, ca. 1435–1440. Tempera
on wood, 6'  10' 5". National
Gallery, London.
Figure 21.24
21.24 FRA FILIPPO LIPPI,

Madonna and Child with Angels,
ca. 1460–1465. Tempera on
wood, 2' 11 1/2"  2' 1". Galleria
Figure 21.25
21.25 PIERO DELLA
FRANCESCA, Resurrection,
mural in the Palazzo Comunale,
Borgo San Sepolcro, Italy, ca.
1463–1465. Fresco, 7' 4 5/8" 
6' 6 1/4".
Figure 21.25A
21.25A PIERO DELLA
FRANCESCA, Finding and Proving
of the True Cross and Battle of
Heraclius and Chosroes, east wall
of the Cappella Maggiore, San
Francesco, Arezzo, Italy, ca. 1450–
1455. Fresco, True Cross 11' 8" 
24' 6".
Figure 21.26
21.26 DOMENICO
GHIRLANDAIO, Birth of the
Virgin, mural in the Cappella
Maggiore, Santa Maria
Novella (FIG. 21.37A),
1490. Fresco, 14' 9"  24' 4".
Figure 21.27
21.27 DOMENICO
GHIRLANDAIO, Giovanna
Tornabuoni(?), 1488. Oil and
tempera on wood, 2' 6"  1' 8".
Museo Thyssen-Bornemisza,
Madrid.
Figure 21.28
21.28 SANDRO BOTTICELLI,
Primavera (Spring), ca. 1482.
Tempera on wood, 6' 8"  10' 4".
Galleria degli Uffizi, Florence.
Figure 21.28A
21.28A SANDRO BOTTICELLI,
Young Man Holding a Medal of
Cosimo de’ Medici, ca. 1474–1475.
Tempera and gilded gesso on wood,
1' 10 5/8"
 1' 5 3/8". Galleria degli Uffizi,
Florence.
Figure 21.29
21.29 ANTONIO DEL
POLLAIUOLO, Battle of Ten
Nudes, ca. 1465. Engraving,
1' 3 1/8"  1' 11 1/4".
Metropolitan Museum of Art,
New York (bequest
of Joseph Pulitzer, 1917).
Figure 21.29A
21.29A FILIPPO
BRUNELLESCHI, dome
(looking north) of the Cathedral
of Santa Maria del Fiore (FIG.
14.19), Florence, Italy, 1420–
Kleiner, Gardner’s Art through the Ages: A 1436.
Global History, 16th Edition. © 2020 Cengage. All Rights Reserved.
Figure 21.29B
21.29B FILIPPO
BRUNELLESCHI, cutaway view
of the dome of the Cathedral of
Santa Maria del Fiore (FIG.
14.19), Florence, Italy, 1420–
1436 (after Piero Sanpaolesi).
Figure 21.30
21.30 FILIPPO
BRUNELLESCHI, loggia of
the Ospedale degli Innocenti
(Foundling Hospital; looking
northeast), Florence, Italy,
begun
Kleiner, Gardner’s Art through the Ages: A Global 1419.
History, 16th Edition. © 2020 Cengage. All Rights Reserved.
Figure 21.31
21.31 FILIPPO
BRUNELLESCHI, interior of
San Lorenzo (looking east),
1469.
Figure 21.31A
21.31A FILIPPO
BRUNELLESCHI, interior of Santo
Spirito (looking northeast),
Florence, Italy, designed 1434–
1436, begun 1446.
Figure 21.31B
21.31B FILIPPO
BRUNELLESCHI, early plan
(left) and plan as constructed
(right) of Santo Spirito,
Florence, Italy, designed 1434–
1436, begun 1446.
Figure 21.32
21.32 FILIPPO
BRUNELLESCHI, west
facade of the Pazzi Chapel,
adjacent to Santa Croce
(FIG. I.4), Florence, Italy,
begun 1433.
Figure 21.33
21.33 FILIPPO
BRUNELLESCHI, plan of the
Pazzi Chapel, adjacent to Santa
Croce (FIG. I.4), Florence, Italy,
begun 1433.
Figure 21.34
21.34 FILIPPO
BRUNELLESCHI, interior of
the Pazzi Chapel (looking
southeast), adjacent to Santa
Croce (FIG. I.4), Florence,
Italy, begun 1433.
Figure 21.34A
21.34A LUCA DELLA ROBBIA,

Madonna and Child, south
exterior wall of Or San Michele,
Florence, Italy, ca. 1455–1460.
Terracotta with polychrome
glaze, 5' 11" diameter.
Figure 21.35
21.35 MICHELOZZO DI
BARTOLOMMEO, Palazzo Medici-
Riccardi (looking northwest),
Florence, Italy, begun 1445.
Figure 21.36
21.36 MICHELOZZO DI
BARTOLOMMEO, interior court of
the Palazzo Medici-Riccardi (looking
west), Florence, Italy, begun 1445.
Figure 21.37
21.37 LEON BATTISTA ALBERTI

and BERNARDO ROSSELLINO,
Palazzo Rucellai (looking
northwest), Florence, Italy, ca.
1452–1470.
Figure 21.37A
21.37A LEON BATTISTA ALBERTI,

west facade of Santa Maria Novella,
Florence, Italy, 1456–1470.
Figure 21.38
21.38 Palazzo Contarini (Ca d’Oro;

looking northeast), Venice, Italy,
1421–1437.
Figure 21.39
21.39 PIETRO LOMBARDO,
tomb of Doge Pietro Mocenigo,
inside Santi Giovanni e Paolo,
Venice, 1476–1480.
Figure 21.40
21.40 GIOVANNI BELLINI, Saint

Francis in the Desert, ca. 1477–1479.
Oil and tempera on wood, 4' 1"  4' 7
7/8". Frick Collection, New York
(Henry Clay Frick Bequest).
Figure 21.40A
21.40A MELOZZO DA FORLÌ, Pope

Sixtus IV Confirming Platina as Librarian,
from the Biblioteca Apostolica Vaticana,
Rome, Italy, ca. 1477–1481. Fresco
transferred to canvas, 12' 1 1/2"  10' 4".
Pinacoteca, Musei Vaticani, Rome.
Figure 21.41
21.41 PERUGINO, Christ
Delivering the Keys of the
Kingdom to Saint Peter,
mural in the Sistine Chapel
(FIG. 22.1), Vatican, Rome,
Italy, 1481–1483. Fresco,
11' 5 1/2"  18' 8 1/2".
Figure 21.42
21.42 LUCA SIGNORELLI,
The Damned Cast into Hell,
mural in the San Brizio chapel,
Orvieto Cathedral (FIG.
14.13), Orvieto, Italy, 1499–
1502. Fresco, 23' wide.
Figure 21.43
21.43 PIERO DELLA
FRANCESCA, Flagellation,
ca. 1455–1465. Oil and
tempera on wood, 1' 11 1/8" 
2' 8 1/4". Galleria Nazionale
delle Marche, Urbino.
Figure 21.44
21.44 PIERO DELLA
FRANCESCA, Battista Sforza and
Federico da Montefeltro, ca.
1472–1474. Oil and tempera on
wood in modern frame, each
panel 1' 6 1/2"  1' 1". Galleria
Figure 21.44A
21.44A PIERO DELLA
FRANCESCA, Enthroned Madonna
and Saints Adored by Federico da
Montefeltro (Brera Altarpiece), ca.
1472–1474. Oil on wood, 8' 2"  5'
7". Pinacoteca di Brera, Milan.
Figure 21.45
21.45 LEON BATTISTA
ALBERTI, west facade of
Sant’Andrea, Mantua, Italy,
designed 1470, begun 1472.
Figure 21.46
21.46 LEON BATTISTA
ALBERTI, plan of
Sant’Andrea, Mantua, Italy,
designed 1470, begun 1472.
Figure 21.47
21.47 LEON BATTISTA
ALBERTI, interior of
Sant’Andrea (looking east),
Mantua, Italy, designed 1470,
begun 1472.
Figure 21.48
21.48 ANDREA
MANTEGNA, interior of the
Camera Picta (Painted
Chamber), Palazzo Ducale,
Mantua, Italy, 1465–1474.
Fresco.
Figure 21.49
21.49 ANDREA
MANTEGNA, ceiling of the
Camera Picta (Painted
Chamber), Palazzo Ducale,
Mantua, Italy, 1465–1474.
Fresco, 8' 9" in diameter.
Figure 21.49A
21.49A ANDREA
MANTEGNA, Saint James Led
to Martyrdom (before 1944
bombing), mural in the Ovetari
chapel, Chiesa degli
Eremitani, Padua, Italy, 1454–
1457. Fresco, 14'  11'.
Figure 21.49B
21.49B ANDREA MANTEGNA,
Saint James Led to Martyrdom
(after 2011 restoration, as seen
from below by a viewer in the
chapel), mural in the Ovetari
chapel, Chiesa degli Eremitani,
Padua, Italy, 1454–1457. Fresco,
14' History,
Kleiner, Gardner’s Art through the Ages: A Global 11'.16th Edition. © 2020 Cengage. All Rights Reserved.
Figure 21.50
21.50 ANDREA MANTEGNA,
Foreshortened Christ (Lamentation
over the Dead Christ), ca. 1500.
Tempera on canvas, 2' 2 3/4"  2' 7
7/8". Pinacoteca di Brera, Milan.
Discussion Questions
• What are the primary stylistic features of 15th-century Italian art? How
do these traits reflect the emergence of humanism?
• Do important political families today patronize the arts as they did
during the Renaissance? Why or why not? Can you cite examples?
• How does linear perspective reflect new ideas of the time about both
art and science?
• What differences have you noticed between artists’ status in
Quattrocento Italy compared to their medieval predecessors? How
does this compare to the way artists are viewed today?

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Chapter 21

1. Describe the impact of Renaissance humanism on art in Florence.

21.1 SANDRO BOTTICELLI, Birth

21.4 NANNI DI BANCO, Four

21.7 DONATELLO, Saint George

21.9 LORENZO GHIBERTI, Isaac

21.10 LORENZO GHIBERTI, east

21.18 MASACCIO, Tribute Money, mural in the Brancacci

21.20 MASACCIO, Holy Trinity, mural

21.22 ANDREA DEL CASTAGNO, Last Supper, mural in

21.24 FRA FILIPPO LIPPI,

21.34A LUCA DELLA ROBBIA,

21.37 LEON BATTISTA ALBERTI

21.37A LEON BATTISTA ALBERTI,

21.38 Palazzo Contarini (Ca d’Oro;

21.40 GIOVANNI BELLINI, Saint

21.40A MELOZZO DA FORLÌ, Pope

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