artid121 - baroque italy and spain
TRANSCRIPT
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Popes, Peasants, Monarchs, and Merchan
Baroque in Italy and SART ID 121 | Study of Western Art
Slide concept by William V. Ganis, PhD
NYIT Center for Teaching and Learning with Technology
With modifications by Arch. Edeliza V. Macalandag, UAP
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Baroque17TH-CENTURY EUROPE
The Shifting Geo-Political Landscape In EuropeThe term Baroque, originally used in a pejorative sense, isemployed today generally as a period designation. But nocommonalities can be ascribed to all of the art and cultures ofthis period.
More than 30 years of war:
Numerous geopolitical shifts occurred in Europe during theseventeenth and early eighteenth centuries. The Thirty Years'War was largely responsible for the political restructuring ofEurope. The religious conflicts that underlay the Thirty Years'War stimulated the movement toward the secularization of
government.
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BaroqueThe Development of a Worldwide Market
Worldwide mercantilism:
The coordination of long-distance trade and theexpansion of markets contributed to the intenseeconomic competition between European countries.Various changes promoted the growth of a worldwidemarketplace. Trade brought coffee and tea to Europe.The taste for sugar, tobacco, and rice, however,contributed to the expansion of the slave trade toprovide the labor force needed to produce thesecrops. The establishment of a worldwide mercantile
system permanently altered the face of Europe.
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Italian Baroque
Stimulated by the energy anddemands of the Catholic
Counter-Reformation, ItalianBaroque art developed a new
dynamic and spectacularstyle that is characterized by
dramatic theatricality,grandiose scale, andelaborate ornateness.
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Carlo Maderno
Santa Susana
Rome, Italy
1597-1603
Emphasizing verticality:
Carlo Maderno's design forSanta Susanna in Rome unitesthe lower and upper portions ofthe faade with an emphasis on
the vertical. The sculpturaltreatment of recessed niches
and projecting cornices createsdynamic patterns of light and
shadow over the whole design.
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Giacomo della Porta
faade of Il Ges
Rome, Italy
ca. 1575-1584
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Carlo Maderno
Santa Susana
Rome, Italy
1597-1603
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Carlo Maderno
Aerial view of Saint Peters
Vatican City, Rome, Italy
1506-1666
Welcoming the pious inRome:
The monumental piazza infront of Saint Peter's,
designed by GianlorenzoBernini, is in the form of a
vast oval embraced by two
colonnades of huge Tuscancolumns and joined to the
faade of the church by twodiverging wings. To
counteract the excessivewidth of the faade of Saint
Peter's, Bernini designedthe diverging wings tocounteract the natural
perspective of the view and
create the impression of thefaade being narrower and
taller.
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Carlo Maderno
faade of Saint Peters
Vatican City, Rome, Italy
1606-1612
Restoring SaintPeter's grandeur:
Carlo Maderno'splan for SaintPeter's added three
nave bays to theoriginal central plan
design. He also builtthe faade.
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Gianlorenzo Bernini
baldacchinoSaint Peters
Vatican City, Rome, Italy
1624-33gilded bronze
approximately 100 ft. high
A soaring bronze canopy:
The four spiral columns ofthe gigantic bronze
baldacchino erected byBernini over the main altarrecall those of the ancient
baldacchino over thesame spot in Old Saint
Peter's.
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Gianlorenzo Bernini
Scala Regia
Vatican City, Rome, Italy
1663-1666
A sophisticated stairway design:
The monumental Scala Regia builtby Bernini connects the papalapartments to the portico andnarthex of Saint Peter's. The
design illusionistically conceals theincreasing narrowness of thepassageway as the stairway
ascends.
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Gian Lorenzo Bernini (also spelledGianlorenzo or Giovanni Lorenzo)(Naples, 7 December 1598 Rome, 28November 1680) was an Italian artist wworked principally in Rome. He was theleading sculptor of his age and also a
prominent architect. In addition he painwrote plays, and designed metalwork astage sets.
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Gianlorenzo Bernini
David
1623marble
approximately 5 ft. 7 in. high
Decisive physical action:
Bernini's marble statue of David
catches the figure in a dramaticmoment of split-second action. Theviolent, pivoting motion gives the
figure a dynamic quality and acompelling sense of bursting
energy that moves out into andpartakes of the same physical
space as the observer.
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Gianlorenzo Bernini
David
1623marble
approximately 5 ft. 7 in. high
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Gianlorenzo Bernini
David
1623marble
approximately 5 ft. 7 in. high
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Gianlorenzo Bernini
interior of the Cornaro Chapel
Santa Maria della Vittoria, Rome, Italy
1645-1652
An ecstatic and radiantvision:
In the Cornaro Chapel,Bernini employed a
combination ofarchitecture, sculpture,
and painting to create anappropriate dramatic
tension for the mysticaldrama of the ecstasy of
Saint Theresa. The whitemarble group of swooning
saint and smiling angelappears to float as a
vision might in the cleverlyilluminated central niche.
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Gianlorenzo Bernini
Ecstasy of Saint Theresa
Cornaro Chapel,Santa Maria della Vittoria, Rome, Italy
1645-1652
An ecstatic and radiantvision:
In the Cornaro Chapel,Bernini employed a
combination ofarchitecture, sculpture,
and painting to create anappropriate dramatic
tension for the mysticaldrama of the ecstasy of
Saint Theresa. The whitemarble group of swooning
saint and smiling angelappears to float as a
vision might in the cleverlyilluminated central niche.
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I saw in his hand a long spear of gold,and at the iron's point there seemed tobe a little fire. He appeared to me to be
thrusting it at times into my heart, and topierce my very entrails; when he drew itout, he seemed to draw them out also,and to leave me all on fire with a great
love of God. The pain was so great, thatit made me moan; and yet so surpassing
was the sweetness of this excessivepain, that I could not wish to be rid of it.
The soul is satisfied now with nothingless than God. The pain is not bodily, butspiritual; though the body has its share in
it. It is a caressing of love so sweetwhich now takes place between the soul
and God, that I pray God of Hisgoodness to make him experience it who
may think that I am lying.
- episode described by Teresa of Avila, amystical cloistered Discalced Carmelite
reformer and nun, in her autobiography, The
Life of Teresa of Jesus (15151582)
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Francesco Borromini
plan ofSan Carlo alle Quattro Fontane
Rome, Italy
1665-1676
A church faade in motion:
The Italian Baroque architectFrancesco Borromini created a
dynamic counterpoint ofconcave and convex elements
in the faade of San Carlo alleQuattro Fontane in Rome. The
centrally planned interior spacemolds a Greek cross design
into an oval shape. Theundulating walls with projecting
columns support a deeplycoffered oval dome with hidden
windows around its base.
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Francesco Borromini
faade ofSan Carlo alle Quattro Fontane
Rome, Italy
1665-1676
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Francesco Borrominidome of
San Carlo alle Quattro Fontane
Rome, Italy
1665-1676
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Francesco Borromini, byname of FrancescSeptember 1599 3 August 1667) was an Ticino[1] who, with his contemporaries, GiaBernini and Pietro da Cortona, was a leadinemergence of Roman Baroque architecture
A keen student of the architecture of Miche
ruins of Antiquity, Borromini developed an idistinctive, if somewhat idiosyncratic, archiemploying manipulations of Classical archigeometrical rationales in his plans and symin his buildings.
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Francesco Borromini
plan of the Chapel of Saint IvoCollege of the Sapienza
Rome, Italy
begun 1642
Molding space:
Borromini employed concaveand convex forms in the design
of the faade of the Chapel ofSaint Ivo. The dome, which is
supported by a convex,
drumlike structure, is topped byan ornate, spiraling lantern.
The star shape of thecentralized plan rises throughthe interior elevation from the
floor into the dome to create asingle, dynamic, unified, and
cohesive space.
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Francesco Borromini
Chapel of Saint IvoCollege of the Sapienza
Rome, Italy
begun 1642
Molding space:
Borromini employed concaveand convex forms in the design
of the faade of the Chapel ofSaint Ivo. The dome, which is
supported by a convex,
drumlike structure, is topped byan ornate, spiraling lantern.
The star shape of thecentralized plan rises throughthe interior elevation from the
floor into the dome to create asingle, dynamic, unified, and
cohesive space.
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Francesco Borromini
dome of the Chapel of Saint IvoCollege of the Sapienza
Rome, Italy
begun 1642
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Francesco Borromini
dome of the Chapel of Saint IvoCollege of the Sapienza
Rome, Italy
begun 1642
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Guarino Gurichly textu
Guarino Guarini
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Guarino Guarini
Palazzo Carignano
Turin, Italy
1679-1692
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Guarino Guarini
Chapel of Santissima Sindone
Turin, Italy
1667-1694
A kaleidoscopic vision of heaven:
For the dome of the Chapel of the SantissimaSindone in Turin, Guarini devised a series ofsegmented intersecting arches.
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Chapel
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Naturalistic religious art:
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CaravaggioConversion of Saint Paul
Cerasi Chapel, Santa Maria del PopoloRome, Italy
ca. 1601oil on canvas
approximately 7 ft. 6 in. x 5 ft. 9 in.
The manipulation of space and the creation of theatricaleffects are also evident in Baroque painting, notably in
the work of Caravaggio. His unidealized figures andnaturalistic treatment of subject matter influenced many
later artists throughout Europe.
The light of divine revelation:
In his naturalistic treatment of the Conversion of SaintPaul, Caravaggio employs dramatic chiaroscuro effects(called tenebrism) with sharply lit figures seen emergingfrom a dark background. The dramatic spotlight-like lightilluminates the figure of Saint Paul and at the same time
serves as the divine source of his conversion.
Michelangelo Merisi da Caravaggio (Italian pronunc
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Michelangelo Merisi da Caravaggio (Italian pronunc[karavaddo]; 29 September 1571 18 July 1610) artist active in Rome, Naples, Malta, and Sicily betw1610. His paintings, which combine a realistic obsehuman state, both physical and emotional, with a drlighting, had a formative influence on the Baroque s
Caravaggio trained as a painter in Milan under a mahimself trained under Titian. Caravaggio's novelty wnaturalism that combined close physical observatioeven theatrical, use of chiaroscuro. This came to beTenebrism, the shift from light to dark with little inter
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Caravaggio
Calling of Saint Matthew
Contarelli Chapel, San Luigi dei FrancesciRome, Italy
ca. 1597-1601oil on canvas
11 ft. 1 in. x 11 ft. 5 in.
From tax collector to disciple:
Light also carries this doublemeaning in the dramatically lit
commonplace setting of Caravaggio'sCalling of Saint Matthew.
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Caravaggio
David Victorious over Goliath
oil on canvas43 1/4 x 35 7/8 in.
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Caravaggio
Entombment
Chapel of Pietro Vittrice,Santa Maria in Vallicella
Rome, Italy
ca. 1603oil on canvas
9 ft. 10 1/8 in. x 6 ft. 15/16 in.
Presenting Christs body:
In the Entombment, Caravaggioincludes plebian figure types and
dramatically contrasted darks andlights. The action takes place in the
foreground, and the impression isthat the men are laying the dead
body of Christ onto the real altar infront of the painting.
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Artemisia Gentileschi
Self-Portrait (Allegory of Painting)
1630oil on canvas
38 7/8 x 29 5/8 in.
In Caravaggios footsteps:
Influenced by Caravaggio's style,Artemisia Gentileschi employed
tenebrism and naturalism to heightenthe tension and dramatic effect in her
painting of Judith and Holofernes.
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Artemisia GentileschiSusannah and the Elders
1610oil on canvas
66 7/8 x 46 7/8 in.
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Artemisia Gentileschi
Judith Slaying Holofernes
ca. 1614-1629oil on canvas
6 ft. 6 1/3 in. x 5 ft. x 4 in.
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Artemisia Gentileschi
Judith and her Maidservant
ca. 1612-1613oil on canvas
44 7/8 x 36 13/16 in.
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Annibale Carracci
Flight into Egypt
1603-1604oil on canvas
4 ft. x 7 ft. x 6 in.
Drawn to
In contrast to Caravaggio, Annibale Carracci studied and masters of the Renaissance period and developed a classically oIn the Flight into Egypt, Carracci created an "ideal" or "classical"
which nature is shown ordered by divine law and hu
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Annibale Carracci
Loves of the Gods
Gallery, Palazzo FarneseRome, Italy
1597-1601fresco
A ceiling fit for the gods:
In his fresco on the theme of theLoves of the Gods on the ceiling of
the gallery in the Palazzo Farnese in
Rome, Annibale Carracci paintedsome scenes in a format that
simulates framed easel paintings(called quadri riportati) flanked by
polychrome, seated, nude youths andstanding Atlas figures painted to
resemble marble statues.
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Annibale Carracci
Loves of the Gods
Gallery, Palazzo FarneseRome, Italy
1597-1601fresco
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Annibale CarracciLoves of the Gods, Triumph of Bacchus
Gallery, Palazzo FarneseRome, Italy
1597-1601fresco
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Annibale Carracci
Loves of the GodsPolyphemus, Acis and Galatea
Gallery, Palazzo FarneseRome, Italy
1597-1601fresco
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Guido ReniAuroraCeiling fresco in the Casino Rospigliosi, Rome, Italy1613-1614fresco
The suave figures in GuidoAurora in the Casino Rospig
influence of Raphael and
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Pietro da CortonaTriumph of the Barberini
ceiling fresco in the Gran SalonePalazzo Barberini, Rome, Italy
1633-1639fresco
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The glory of Barberini:
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Pietro da Cortona
Triumph of the Barberini
ceiling fresco in the Gran SalonePalazzo Barberini, Rome, Italy
1633-1639fresco
The glory of Barberini:
Pietro da Cortona's ceiling fresco forthe Gran Salone of the Palazzo
Barberini in Rome is a grandiosespectacle intended to glorify the
Barberini family. Cortona usessymbols and personifications to
represent the accomplishments andqualities of the Barberini and of Pope
Urban VIII in particular.
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Giovanni Battista Gaulli
Triumph in the Name of Jesus
ceiling fresco with stucco figuresin the vault of Il Gesu, Rome, Italy
1676-1679fresco
In the presence of Jesus:
Giovanni Battista Gaulli's stunninglygrand and dazzlingly illusionistic
fresco of the Triumph in the Name ofJesus in the Church of Il Ges in
Rome served to impress and aweviewers with the glory and power of
the Catholic Church.
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Fra Andrea Pozzo
Glorification of Saint Ignatius
ceiling fresco with stucco figuresin the nave of SantIgnazio, Rome, Italy
1691-1694fresco
In the huge ceiling fresco of the Glorification oPozzo used perspective to create a dramatic a
ceiling of the nave has opened to reveal a vision oamid saints and angels on clouds, ascends
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Fra Andrea Pozzo
Glorification of Saint Ignatius
ceiling fresco with stucco figuresin the nave of SantIgnazio, Rome, Italy
1691-1694fresco
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Spanish Baroque
Spains decline:
At the beginning of the seventeenth century,Spain's status as an international power was in
decline. The Hapsburg monarchs, however,remained avid art patrons. As a predominantly
Catholic country, Counter-Reformationimperatives encouraged Spanish Baroque
artists to produce art that moved viewerstowards greater devotion and piety.
The flaying of a saint:
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Jos de Ribera
Martyrdomof Saint Philip
(Bartholomew)
ca. 1639oil on canvas
7 ft. 8 in. x 7 ft. 8 in.
Influenced by Caravaggio, Jusepe deRibera imbued his work with both anaturalism and compelling drama.
The brutal theme of martyrdomsatisfied Counter-Reformation and
Spanish taste for the representationof courageous resistance to pain.
Ribera's Martyrdom of SaintBartholomew shows unidealized,
plebeian figures.
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Francisco de Zurbarn
Saint Serapion
1628oil on canvas
3 ft. 11 1/2 in. x 3 ft. 4 3/4 in.
A martyr at peace:
Francisco de Zurbarn was alsoinfluenced by Caravaggio'snaturalism and dramatic lighting
effects. In his painting of SaintSerapion, he shows the coarse-
featured saint emerging in bright lightfrom a dark background.
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Francisco de Zurbarn
Still Life with Pottery Jars
oil on canvas18 1/8 x 33 1/8 in.
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Francisco de ZurbarnAgnus Deioil on canvas15 x 24 3/8 in.
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Alonso Cano
Saint Bernard and the Virginoil on canvas
105 1/8 x 72 7/8 in.
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Bartolom Esteban Murillo
The Immaculate Virgin of Soult
c. 1678oil on canvas107 7/8 x 74 3/4 in.
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Diego Velzquez
Water Carrier of Seville
ca. 1619oil on canvas
3 ft. 5 1/2 in. x 2 ft. 7 1/2 in.
An influential court painter:
The influence of Caravaggio is alsoseen in the dramatic contrast of darks
and lights in Diego Velzquez'sWater Carrier of Seville, which alsoincludes plebeian figures and finely
painted, naturalistic detail.
Diego Rodrguez de Silva y Velzquez; JuAugust 6, 1660) was a Spanish painter wleading artist in the court of King Philip IV
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individualistic artist of the contemporary Bimportant as a portrait artist. In addition torenditions of scenes of historical and cultuhe painted scores of portraits of the Spanother notable European figures, and comm
culminating in the production of his masteMeninas (1656).
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Diego Velzquez
Los Borrachos
ca. 1619oil on canvas
64 3/8 x 87 7/8 in.
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Diego Velzquez
Surrender of Breda
1634-1635oil on canvas
10 ft. 1 in. x 12 ft. 1/2 in.
Celebrating a Spanish victory:
After he became official court
painter to Philip IV, Velzquezpainted the Surrender of
Breda in a style that reliesless on Caravaggio and more
on Titian and Rubens.
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Diego Velzquez
King Philip IV of Spain(Fraga Philip)
1644oil on canvas
4 ft. 3 1/8 in. x 3 ft. 1/8 in.
Of art and royal life:
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Diego Velzquez
Las Meninas
1656oil on canvas
approximately 10 ft. 9 in. x 9 ft.
Of art and royal life:
Velzquez's greatmasterpiece Las Meninas
shows the painter at work on
a portrait with the King andQueen and members of theroyal court present. His style
is now more "painterly" and isconcerned with producing
more purely opticalsensations through the
manipulation of light and colortones.
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Diego Velzquez
Las Meninas
1656oil on canvas
approximately 10 ft. 9 in. x 9 ft.
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Diego Velzquez
Las Meninas
1656oil on canvas
approximately 10 ft. 9 in. x 9 ft.
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Diego Velzquez
Las Meninas
1656oil on canvas
approximately 10 ft. 9 in. x 9 ft.
Sources
http://websites.swlearning.com/cgi-
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wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn050907&discipline_number=436
http://en.wikipedia.org/wiki/Renaissance_art
Art Through the Ages, 12th/11th ed., Gardner