renaissance art in 15 th century italy chapter 19
TRANSCRIPT
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Renaissance Art in
15th Century ItalyChapter 19
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Why
do t
he
condott
ieri
support
th
e a
rts? Because they serve
the glory of God, the
honour of the city, and
the commemoration of
myself” ~Giovanni Rucellai
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Key
term
s and
people
CondottieriLorenzo de MediciGovernment of
FlorenceTrompe l’oeil Intarsia
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Flore
nce
B
apti
stry
Filippo Brunelleschi1420-1436
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Insi
de t
he
Duom
o
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Filippo Brunelleschi1420-1436
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Clo
se-u
p o
f th
e
the D
uom
o
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Filippo Brunelleschi1420-1436
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Bapti
stry
of
San
Gio
vanni
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Florence, Italyc. 1059
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Brunelleschi’sSacrifice of Isaac
Ghiberti’sSacrifice of Isaac
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Lorenzo Ghiberti”Gates of Paradise”,
baptistery, Florence Cathedral1425-1452
Ghiberti, who demonstrated his interest in perspective in his Sacrifice of Isaac,
embraced Donatello’s innovations. Ghiberti’s enthusiasm for a unified system
for representing space is particularly evident in his famous east doors.
Michelangelo later declared these as “so beautiful that they would do well for the
gates of Paradise.”
Each of the panels contains a relief set in plain moldings and depicts a scene from
the Old Testament. The complete gilding of the reliefs creates an effect of great
splendor and elegance.
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Lorenzo GhibertiIsaac and his sons
(”Gates of Paradise”), baptistery, Florence Cathedral, Florence
1425-1452
EARLY ITALIAN RENAISSANCE
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Filippo Brunelleschiwest facade of the Pazzi ChapelFlorence, Italy begun ca. 1440
The chapel that was the Pazzi family’s gift to the church of Santa Croce in Florence presented
Brunelleschi with the opportunity to explore this interest in a structure much better suited to such
a design than a basilican church.
The chapel was not completed until the 1460s, long after Brunelleschi’s death, and thus the
exterior does not reflect Brunelleschi’s original design. The narthex
(the entrance hall leading to the nave of a church.) seems to have been added as an
afterthought, perhaps by the sculptor-architect Giuliano da Maiano.
It is suggested that the local chapter of Franciscan monks who held meetings in the
chapel needed the expansion.
Applying Roman Mathematical Logic
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This chapel was the Pazzi family’s gift to the church of Santa Croce in Florence. The artist is
Filippo Brunelleschi, who began to design this chapel in 1440 and it was not completed until after
his death.
The interior trim is in gray stone or pietra serena (serene stone). Medallions with glazed terracotta are featured on the inside representing the Four
Evangelista and decorated wall panels represent the Twelve Apostles.
Brunelleschi used this opportunity to create a structure more suited to a compact and self-contained “central floor plan” as seen in the
Pantheon. He used a basic unit that allowed him to construct a balanced, harmonious, and
regularly proportioned space.
Filippo Brunelleschiwest facade of the Pazzi ChapelFlorence, Italy begun ca. 1440
Applying Roman Mathematical Logic
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Pazzi ChapelBrunelleschi
c. 1440
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Hosp
ital o
f th
e
Innoce
nts
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