ARTH 2302 Chapter 15 Early Renaissance in Fifteenth-Century Italy

BRUNELLESCHI & DONATELLO They determine that the crossing of the Florence cathedral is too large to support a comparable dome.

Dome at the Pantheon

cont. GENTILE da FABRIANO "Adoration of the Magi" 1423 Brancacci Chapel of Santa Maria del Carmine

Enlarged for detail faces in "Adoration of the Magi"

cont. LEON BATTISTA ALBERTI Designed the Sant'Andrea Mantua, Italy Pediment, Triumph arch, colossal order, pilasters

Interior of Sant'Andrea, Mantua, Italy designed 1470, begun 1472. Translating the basilica into Christian

BRUNELLESCHI Ultimately, looks to the east and the architecture of Persia.

Persia

cont. GENTILE da FABRIANO

predella of "Adoration of the Magi" Only light is from the Divine. Light effect. *First major nocturnal scene

DONATELLO ****Reasoning behind his bold choices in his "David"

"David" was an object created for viewing only in the Medici circle. It was not made to be shown in public, It is the first documented heroic nude bronze statue. However, it takes away from the heroic by making the image more sexualized. Hand on the hip. Wing from Golith's helmet goes up his thigh. The element of transition from feminine youth with Goliath as an older experienced man.

cont. MASACCIO

"Expulsion" Enlarged for face(s) detail

DONATELLO "Saint George and the Dragon" predella of St. George Statue at Or San Michelle

"Saint George Slays the Dragon" Florence. ca. 1417 Allegory of Florence favored by God through divine intervention. Atmospheric linear perspective, impression low relief. Portions front are more prominently sculpted. Maiden in the distance is rendered classically. St. George prominent on his horse in high relief. Maiden is in lower relief, in shadows. loggio columns, rolling hills in the distance, looks like what could be a cave that the dragon came out of. Emblematic visuals.

cont. DOMENICO GHIRALNDAIO

DOMENICO GHIRLANDAIO "An Old Man and a Young Boy" 1480

Chapter 15: Early Italian Renaissance

First called the Rinascimento-Italian for "re-birth"

Background: As a nexus for humanism, capitalism and nationalism, Florence is the leading center of Renaissance Art in Italy. Florence's great prosperity and civic pride make it not only an ideal city for patronage, but it also makes it a political, commercial and ultimately, military target for other kingdoms and city states, such as Milan and Naples.

Florence commercial city becomes rivals with others. Milan decides to take out Florence. Suddenly commander dies, there is no leader. They go home. Florence feels that divine intervention took place.

cont. MASACCIO "The Tribute Money" 1427

MASACCIO enlarged from "The Tribute Money" 1427 use of texture, surface is created, it is not really there, but the sculpting is there like Italian painting

A. NANNI di BANCO (Four Saints) Four Crowned Saints, 1410-16, commissioned by the sculptor's guild, represented a truly human depiction of figures directly relating to each other, organized in a semi-circle, rather than grouped as individual figures each facing forward in the Gothic style. Below on the predella (base), the sculptors themselves appear as a kind of signature.

NANNI di BANCO Four Crowned Saints, 1410-16, Or San Michele, Florence, Italy ca. 1409-1416 Naturalistic Saints appear to be standing in casual conversation. commissioned by the Sculptor's Guild

BRUNELLESCHI Ultimately, looks to the east and the architecture of Persia.

Persia dome

LEON BATTISTA ALBERTI Designed the Sant'Andrea Mantua, Italy

The Church of Sant'Andrea, Mantua, Italy.

BRUNELLESCHI Ultimately, looks to the east and the architecture of Persia.

Tomb of Christ

E. ANDREA DEL CASTAGNO painted a huge fresco of the Last Supper,1447 for the convent of Sant'Apollonia in Florence. The image depicts the meal to be taking place in what is meant to be both a luxurious marble clad apartment, and an extension of the refectory in which the picture is painted. Andrea does not use consistent perspective but instead attempts to make the image readable to every nun in the room. Judas Iscariot figures prominently in the composition, placed on the opposite side of the table from Christ and the others and bearing the swarthy features of an anti-Semitic caricature.

ANDREA DEL CASTAGNO "The Last Supper" 1447 Sant'Apollonia Convent, Florence Painting was placed where nuns could see it. Upper room, the marbles are playing with perspective. The illusion of space. The institution of the Eucharist. Blood, flesh is body, blessing of meal. Judas is portrayed with darker skin and pointed ears.

B. ANDREA Del VERROCCHIO's David, 1465-70, is an equally youthful figure though this statue dons a jaunty battle skirt. He, too, stands smiling before the giant decollated head, but this commission is far more suited to a public audience. Florentines admired the figure of David in all its incarnations because it represented god given grace and valor in the face of daunting odds. Given the political, economic and military conflicts with the other states, and even Rome, the Old Testament hero was a good match for the Florentine people.

ANDREA Del VERROCCHIO "David" 1465-1470 This David is made for the public. A hero for Florence

C. ANTONIO Del POLLAIUOLU "Hercules and Antaeus," depicts the Greek hero in a moment of savage violence that challenged the norms of sculpture with its dynamic composition filled with voids and negative space. Like David, Hercules represented divine power and courage, and like David, wits as well. ***Know the story of his clash with Antaeus. (Below)

ANTONIO Del POLLAIUOLO "Hercules and Antaeus" ca. 1470-1475 Executed for the Medici family There is no other free-standing group of two struggling figures. Classic motif David is not the only hero from Florence. There is also Hercules. Idealization of the Florentine people themselves.

2. SANDO BOTTICELLI Birth of Venus, ca. 1484-1486, is a tempera work on canvas that returns to the theme of Venus, though here she appears nude, after the classical tradition of Venus Pudica. The figure of Venus stands upon a seashell, having just risen from the foaming sea. Propelled by Zephyr and Chloris to the shore where a nymph is ready to clothe her, the character of Venus once again morphs into the Virgin, as the Pagan nude transforms into the chaste Christian icon.

BOTTICELLI "Birth of Venus" ca. 1484-1486 Zephyr and Cloris coupling as sacred union. Venus about to be clothed. Baptised into a Virgin

1. SANDRO BOTTICELLI Primavera, 1482, is a garden scene, complete with botanically-accurate flowers and a grove of orange trees, referred to "Mela Medicina" Medici apples - the same Medici Balls on their Coat of Arms. The central figure is ostensibly Venus, modestly dressed, holding court beneath a seeming halo, presiding over a group of figures, Mercury, who uses his caduceus to ward away clouds, the three graces in diaphanous drapery, and a continuous narrative of Zephyr, the wind who rapes the nymph Chloris, Through the divine coupling, Chloris is transformed into Flora, the goddess of Spring. The disparate figures coalesce to form an overall theme of love and fertility.

BOTTICELLI "Primavera" (Spring) 1482 In Medici circle. Wind "Zephyr" rape idea, Cloris nymph brought into divine love. Images of classical brought into Christian world. Neoplatonism. Mercury (L), 3 Graces, Compassion, Venus chaste--goddess of compassion. represents transformation. Spring.

B. Santa Croce, 1434-36, is BRUNELLESCHI's purest expression of Renaissance architecture. Mathematical relationships abound: the nave is twice as wide as it is high; the height of the clerestory equals the height of the arcade. The crossing is a square at the center of an apse, and transept arms of equal length. The length of the nave is twice the length. The system is modular, just as Giotto's campanile the previous century. The space remains unadorned to preserve the effect of the math.

BRUNELLESCHI Santa Croce 1434-1436 Florence, Italy Renaissance Architecture

I. The Competition Panels: In an effort to further adorn the Baptistery of San Giovanni, and give thanks for the seeming Divine Intervention against the Milanese Condottieri, in 1401, a competition is held in which sculptors are challenged to present a depiction of the SACRIFICE OF ISAAC in bronze within the same Gothic quatrefoil motif that Pisano used 100 years prior. The two finalists' panels survive.

Baptistery of San Giovanni Competition held here for a depiction of the Sacrifice of Isaac in bronze within the same Gothic quatrefoil: (ornamental element composed of four lobes radiating from a common center) The two finalists' panels survive. 1). FILIPPO BRUNELLESCHI 2). LORENZO GHIBERTI

2). BRUNELLESCHI Ospendale degli Innocenti Hospital for the Innocents Florence, begun 1421

Brunelleschi: Ospendale degli Innocenti Hospital for the Innocents Florence, begun 1421 Pediment space incorporated, added facade, running arcade. Arch so much of a classical reference, covered walk-way, width is equal to height of rational space. SEE PHOTO BELOW

V. ARCHITECTURE: Having lost the contest for the Baptistry Doors, Brunelleschi emerges as the leading Florentine Architect of the 15th century . The Renaissance Facade was also considered its own project. See Leon Alberti

Brunelleschi: The Dome of Santa Maria del Fiore, Santa Croce. Michelozzo di Bartolomeo: Palazzo Medici-Riccardi (exterior and interior) Leon Alberti: the Palazzo Rucellai, Facade of Santa Maria Novella

BRUNELLESCHI The Dome of Santa Maria del Fiore, 1420-36, becomes the symbol of Florence.

Cut-away view of the dome of Florence Cathedral, Florence, Italy 1420-1436

1). BRUNELLESCHIs Solution is an elongated, double shell, held aloft by ribs and herringbone masonry, anchored by a massive lantern at the apex.

DOME OF SANTA MARIA del FIORE

BRUNELLESCHI develops special cranes to erect the dome without centering. Because the dome is based on the pointed arch, it cannot be considered true Renaissance architecture.

DOME OF SANTA MARIA del FIORE

D. DOMENICO GHIRLANDAIO portrait of Giovanna Tornabuoni,1488, is painted in profile, after the conservative fashion. The figure is adorned with jewels and sumptuous hair and dress, a reflection of the status of her family. Among the prayer beads and psalm book is a bit of Latin poetry reading "Art, if only you could portray the conduct of the soul, there would be no more beautiful picture on earth."

DOMENICO GHIRLANDAIO "Portrait of Giovanna Tornabuoni" 1488 Emblematic: Classic woman stark profile, attire, vestments, fanciful jewelry, clothing, book= status. this is more about the image of prestige and womanhood.

B. DONATELLO is perhaps the most influential sculptor of the fifteenth century. He completes several figures for the Or San Michelle, including:

DONATELLO commissioned by the Linen Weavers Guild

A. DONATELLO's David, 1440-60, is the first documented freestanding nude bronze statue since antiquity. However, the statute is more naked than nude, as the figure wears boots and a large hat. The figure carries a sword and stands triumphantly upon the decollated head of his opponent, Goliath. The statue is decidedly effete (resembling a woman). *****Be sure you know the reasoning behind such bold choices. Hint: the reasons are comparable to those governing the depictions of John the Evangelist. In any case such a bold statute could only be commissioned for private viewing. BELOW:

DONATELLO "David" 1440-1460 Bronze. FIRST DOCUMENTED FREESTANDING NUDE BRONZE. Sexuality of Biblical narratative for private viewing in Medici and their circle of friends.

D. DONATELLO AND VERROCCHIO produce monumental Bronze Equestrian Statues for Gattamelata (Erasmo da Narni) and Bartolommeo Colleoni respectively. While ostensibly based on the power of nature theme promulgated by the Marcus Aurelius, statue, unlike the ancient prototype, the riders are perfectly suited to their steeds, which they control with alternating pomp and swagger.

DONATELLO "Equestrian Monument of Gattamelata" 1445-1450.Bronze. Padua Commissioned from the Republic of Venice in honor of the commander of the Venetian armies, Erasmo da Narni (nicknamed, "Gattamelata"). Donatello produced his largest free-standing work in bronze.

**DONATELLO "Saint George and the Dragon" predella of the St. George statue at Or San Michele. ** ******per Professor H. It sure would be good to know the historical/ Humanist parallels. (SEE SLIDES FURTHER DOWN FOR ANSWERS)

DONATELLO "Saint George and the Dragon," relief predella below the statue of Saint George, Or San Michele Florence, Italy ca. 1417

2. DONATELLO Saint George, 1410-15, commissioned by the Armorers Guild, dons a chest plate and metal sleeves, and bears a scudo, or shield. In his original context he would have also worn a real helmet and carried a sword, both fashioned by the armorers themselves. George's predella (base) features the mounted saint defending a maiden from a dragon. It sure would be good to know the historical/ Humanist parallels. Donatello uses linear perspective and squashed relief to produce an image that implies true depth.

DONATELLO St. George at Or San Michelle 1410-1415. Marble. commissioned by the Armorers Guild

1.DONATELLO Saint Mark, 1411-13, stands in the niche of the Linen Makers Guild. Consequently his drapery is extremely orderly, and he stands on a sculpted linen pillow. The folds of his drapery demonstrate the figure beneath, which stands in contrapposto, in revival of the classical tradition.

DONATELLO St. Mark at Or San Michele 1411-1413. Marble Contrapposto pose: one leg is flexed while the other holds the body's weight.

A. MANTUA, ITALY Architecture: Leon Battista Alberti "The church of Sant'Andrea Painting: Andrea Mantegna

Dominated by the Gonzaga Family. Created a brilliant court, peopled with humanist, educators, and artists. Gonzaga lured LEON BATTISTA ALBERTI to their service designing The Church of Sant'Andrea, Mantua, Italy.

III. DAVIDS, HERCULES & EQUESTRIANS: Florence adds the biblical David, and the mythical Hercules to their stable of "mascots," which already includes Sta. Maria del Foire (the Virgin of the flower) and San Giovanni Battista (John the Baptist). Equestrian statues are also en vogue, always looking back to the bronze Marcus Aurelius in Rome, (misidentified as Constantine the Great).

Donatello's: "David" and Equestrian Statue "Monument of Gattamelata" Andrea del Verocchio's "David" and Equestrian statue "Colleoni" Antonio de Pollaiuolo's "Hercules and Antaeus"

A. FILIPPO BRUNELLESCHI produced a dramatic panel in which a cowering Isaac squirms as Abraham violently reaches to cut his throat. The angel of God appears at the last possible moment physically restraining the patriarch with his and on Abraham's wrist. Below the main scene, peasants bend in startling foreshortening, one of them very conspicuously modeled on a famous classical statue the thorn puller. The panel is cast in several pieces of bronze.

FILIPPO BRUNELLESCHI Sacrifice of Isaac 1401-1403 Panel, Gilt Bronze Relief Lost the competition

C. FRA ANGELICO (Fra = Brother, monk) gains fame painting for both monastic and private commissions. He modifies his 1447 composition for the "Annunciation" to be austere and humble for the monks, and opulent and prestigious for lay patrons. Both compositions feature Mary within the Hortus conclusus.

FRA ANGELICO "Annunciation" 1440-1445 A pious monk who enjoys his religion. FRA ANGELICO. This painting was done for the monks to enjoy. Creates this movement place event in loggia and garden is enclosed secret garden. Bring true to life architecture. Virgin's hands are placed across chest=humility. When this painting is portrayed by other artists they dress it up, throwing some gold on there.

D. FRA FILIPPO LIPPI is a different kind of Monk altogether. His image of the Virgin and Child with Angels, 1455, incorporates his mistress, the nun, Lucretia Butti as the Virgin. She is given the fashionable plucked high forehead and the jewels and silks of a noble woman. Fashion, artist's biography, and Florentine draftsmanship collide in this picture.

FRA FILIPPO LIPPI "Madonna and Child" ca. 1455 Personalization painting using his mistress, and nun, as the model. He felt that making the Virgin with the likeness of Lucrezia Butti (mistress) his common law wife.

IV. PAINTING IN TUSCANY In Siena, the conservative Gothic style prevails though figures are becoming more and more individualized. In Florence, something far more revolutionary is underway in the Brancacci Chapel of Santa Maria del Carmine. Followers of this new naturalistic style create illusionistic environments. In the Princely courts, painting continues to be a key method of asserting prestige as well as piety.

Fabriano's:"Adoration of the Magi" Masaccio's: "The Tribute Money," "Expulsion," & "The Holy Trinity" Fra Angelico "Annuciation" Fra Filippo Lippi: "Virgin and Child with Angels" Andrea del Castagno: "The Last Supper" Giralndaio's: "Portrait of Giovanna Tornabuoni Sandro Botticelli "Primavera" & "Birth of Venus" Brancacci Chapel of Santa Maria del Carmine is pictured here.

A. GENTILE da FABRIANO " Adoration of the Magi", 1423, is built into the standard Gothic frame, but the figures that populate this massive altar are myriad, each with its own sense of character. The subject, the visit of the three Wiseman, or Kings, comes to represent the obeisance of temporal power to spiritual authority. Below, the predella features one of the first nocturnal scenes of adoration to be illuminated by the infant Christ himself. The picture is painted according to the visions of St. Bridget, which describe the Virgin as being spared the pains of childbirth, and immediately worshiping the newborn Christ.

GENTILE da FABRIANO "Adoration of the Magi" 1423 Brancacci Chapel of Santa Maria del Carmine Magi: (3-kings) Wise Men from the Nativity. King, crown off, kissing Christ's feet. Like the church-subject to power of institution of church. Pious. Faithful. Focus space, different perspectives, Golden Gothic frame.

GIOVANNI BELLINI: The later San Zaccaria Altarpiece, 1505, balances color and design, as his draftsmanship is good enough to create the illusion of a three dimensional extension of the church architecture. The altarpiece is also an example of a Sacra Conversazione, or a gathering of holy figures from disparate epochs, in a reflection of the communion of saints. The work also refers to Venice's Byzantine connections through the golden mosaic adorning the niche apse.

GIOVANNI BELLINI "Madonna and Saints" San Zaccaria Altarpiece 1505 Illusionist architecture mosaic. Architecture repeated in the painting like Byzantine past.

TERM / Definition: GUILDS:Groups of merchants and artisans banded together in economic and social organizations to strengthen their positions, as aristocrats, bankers, & merchants controlled the government.

GUILDS: Artists were bound by the guilds to fulfill patron requests.

DONATELLO'S Saint George and the dragon

HUMANIST PARALLELS: of "Saint George and the Dragon" Humanist culture is looking back to ancient texts with story of Saint George; the crusading imagery of the hero. Florence is a military target. Christian allegory-Florence is favored by God, thus saved by divine intervention. Saint George, heroically saves the maiden in distress with his preparedness for danger.

****Hercules clash with Antaeus (Titan Earth God)

Hercules, another patron of Florence, battling Antaeus, the son of an earth goddess. Antaeus gains strength from the contact of the earth, so Hercules must lift him off the ground to defeat him.

TERM/ Definition: HUMANIST: philosophy emphasizing the worth of the individual, part of a movement that encouraged study of the classical cultures of Greece and Rome, often coming into conflict in the doctrine of the Catholic Church. Early humanists were Florentines.

Humanism in Early Renaissance: with scrutiny of ancient text, deeper knowledge of people, studying of great Greek thinkers, analytical approach and empirical observations, mathematics, and sciences. Educational ideas spread through Italy, aided by printing press, 1464--books more widely available. Humanist ideas affected artists and patrons.

B. LORENZO GHIBERTI fashioned his entry in nearly a single piece. Rather than a callow youth, Ghiberti's version of Isaac is noble and muscular, an illusion to the nudes of the classical past. The angel does not lay hands on Abraham, rather he appears to fly in from somewhere in the distant background, implying illusionary space. Ultimately, Ghiberti won the commission. You should be able to postulate why.

LORENZO GHIBERTI The Sacrifice of Isaac 1401-1403 Panel, Gilt Bronze Relief Won the competition

D. ORVIETO LUCA SIGNORELLI frescos the Brindisi Chapel of the Orvieto Cathedral with scenes from the end of the world, among them the Damned Cast into Hell, 1499-04. In the Tradition of Giotto and Masaccio, Signorelli creates massive,physically present images. Their carefully rendered, foreshortened anatomy makes the torture of the damned all the more wrenching.

LUCA SIGNORELLI "Damned Cast into Hell" San Brizio Chapel, Orvieto Cathedral Orvieto, Italy 1499-1504 Dedicated to end of the world. Another image of hell. Physical damnation carefully modeled after human images. Green, pink, bodies devils. Center image accepts fate.

GHIBERTI's East doors (Gates of Paradise) Baptistry Florence, Italy 1425-1452 Gilded bronze

Linear perspective. nuances of classical images, folds of fabric, cast in very high relief and shallow relief, bold and recede to vantage point. Leaving behind Gothic

MASACCIO 2. Even more iconic is the Expulsion, 1424-27, which depicts a fully modeled Adam and Eve, exiting the portal from Paradise in excruciating shame and agony. The figures are rendered with chiarosuro, the Italian technique pioneered by Masaccio using a gradual change in value. Eve seems to be modeled on the Classical statues of the Venus Pudica.

MASACCIO "Expulsion" 1424-1427 more iconic than "The Tax Collector" Explicit nudity. ***Very important: Human Condition. Self-realization. Human body in motion. Physical form classical. Humanism material. Presence. Shadows.

MASACCIO 3. The Holy Trinity, 1424-27, is a tour-de-force of linear perspective, allowing the sacred mystery of a triune God to appear physically present within the logical constructs of a church. As, usual donors are present as well as a memento mori, in the skeleton.

MASACCIO "The Holy Trinity" Father, son, holy ghost 1424-1427 Figures in space-linear perspective light and dark. Holy spirit = Dove above Christ's head, how holy spirit is represented. Perspective vanishes at base of cross. Grid like, naturalist grounding realistic architecture. Doctrine of God on the bottom there is a skeleton, the notion of death =Momento Mori

cont. MASACCIO "The Tribute Money" 1427 commissioned to decorate the Brancacci chapel of Santa Maria del Carmine,

MASACCIO "The Tribute Money" 1427 Tax collector with his back to viewer is seen in the middle and again on the right (with no pants on, junk hanging out) portrayed as the "bad guy" Peter, (who tends to be portrayed in blue and gold) is in the water, finds a fish with gold coin in its mouth, takes it to pay tax collector. The vanishing point is at Christ's head, color atmosphere changes appearance of trees fade out. Sense of space.

MASACCIO 1. The Tribute Money, 1427, depicts the episode from the gospel in which Christ instructs Peter to "render to Caesar what is Caesar's." The picture evidences the work of Giotto with massive, solid figures including one turned opposite from the viewer, Nanni di Banco, with the apostles grouping in a semicircle around Christ, as well as Donatello's use of linear and atmospheric perspective in the inclusion of architecture. The scene plays out as a monumental panorama with Peter appearing three times in continuous narrative.

MASACCIO The Tribute Money 1427

B. MASACCIO is commissioned to decorate the Brancacci chapel of Santa Maria del Carmine, where he executes a monumental fresco cycle chiefly depicting the life of St. Peter, in honor of the patron. He subsequently perfects his techniques in a fresco in Santa Maria Novella.

MASACCIO commissioned to decorate the Brancacci chapel of Santa Maria del Carmine,

C. PALACE ARCHITECTURE: The leading architects of the day take on private commissions that must be cautious in order to avoid charges that the patrons are too aristocratic.

Michelozzo di Bartolommeo: The Palazzo Medici-Riccardi Leon Alberti: the Palazzo Rucellai

BRUNELLESCHI designs the interior of the Medici family church. Medici's were prominent patrons of art and ruling family of Florence.

Nave of Church of San Lorenzo Florence, Italy ca. 1421-69 nave diagram is below

II. Sculpture at the Or San Michele This building is part granary, part market, part church, part city hall. The niches that run along the exterior of the once open loggia, (a covered gallery or arcade open to the air on at least one side. It may also stand alone or be part of a building) were sponsored by the city's various guilds that were contractually bound to fill them with statues of their respective patron saints. However it was only after Florence faced another foreign incursion and were again delivered, this time from the king of Naples, that the guilds fulfilled their obligations.

Or San Michele Florence, Italy begun 1337 Part granary, part market, part church, part city hall.

BRUNELLESCHI & DONATELLO travel to Rome, where he studies ancient ruins and writing about architecture. They visit the Pantheon, the most iconic domed structure in the ancient world, and determine that the crossing of the Florence cathedral is too large to support a comparable dome.

Pantheon, Rome

G. SANDRO BOTTICELLI is a favorite of the Medici, the leading family of Florence, who were its de facto rulers. Their wealth allowed them to collect ancient art and literature, and organized informal academies to make work that furthered the Neo-Platonic pursuit of melding pagan philosophy with contemporary Christian theology.

SANDRO BOTTICELLI Favorite of the Medici family

A. BRUNELLESCHI The Dome of Santa Maria del Fiore, 1420-36, becomes the symbol of Florence.

The final solution that saves the dome issue. For the Florentine people the dome (duomo) is iconic.

DONATELLO & VERROCCHIO produce monumental Bronze Equestrian Statues for Gattamelata (Erasmo da Narni) and Bartolommeo Colleoni respectively. While ostensibly based on the power of nature theme promulgated by the Marcus Aurelius, statue, unlike the ancient prototype, the riders are perfectly suited to their steeds, which they control with alternating pomp and swagger.

VERROCCHIO "Equestrian Monument of Colleoni" ca. 1483-1488. Bronze. Venice Commissioned by the republic of Venice to execute a large bronze equestrian statue commemorating a venetian army commander, Bartolommeo Colleoni. Colleoni requested a statue in his will.

irony of a bashful Venus, the gesture is the same as Eve from "Expulsion"

Venus is replicating into Christian image

Cont. BRUNELLESCHI: Ospedale degli Innocenti

added facade, running arcade. Arch so much of a classical reference, covered walk-way, width is equal to height of rational space.