14th century Art in Europe: -100 yrs war between France and England and the Black Plague (mid 1300s) ended the age of cathedral building in Europe -Gothic style persists and many churches get completed or modernized -cycles of war and disease changed the economic fortunes of many in Europe -Guilds become powerful political groups (organized by occupation) -the Papacy splits early in the century, forming 2 Popes; one in France, the other in Rome -period of turmoil that leads into the cultural rebirth of the Renaissance in the 15th century Hundred Years' War was a series of separate wars lasting from 1337 to 1453 between two royal houses for the French throne One royal house from France, the other from England, claiming to be the kings of England and France; eventually English were expelled from France

Holy Roman Empire declines and breaks apart France and England emerge as powerful monarchies and major political forces Holy Roman Empire declines and breaks apart See rise of wealthy independent city-states in N. Italy where artists contract freely with wealthy patrons and other organizations; both religious and secular Also; rise of “the artist” in the modern sense (in Italy, especially)

14th Century Architecture in Italy -Florence in N. Italy grew rapidly in late Middle Ages -great wealth and growing individualism promoted art patronage in Northern Italy loggia ambition and self-confidence of artists who competed for commissions reflected their new economic and social freedom built around it’s Roman plan of a grid layout with city squares (in contrast to other medieval towns that were built inside walls for protection) Image shows Piazza Della Signoria (fortified building with tall bell tower); faces a lg square; civic center loggia is covered space for ceremonies and speeches; similar loggia were eventually closed in, like the one on the bottom of the Orsanmichelle (originally Florence’s grain market) Title: Piazza Della Signoria with Palazzo Della Signoria (town Hall) Date: 1299-1310 Source/ Museum: Florence, Italy Title: Loggia Dei Lanzi (Loggia of The Lancers) Date: 1376-82 Piazza Della Signoria with Palazzo Della Signoria (town Hall); 1299-1310 and Loggia Dei Lanzi (Loggia of The Lancers); 1376-82 Florence, Italy

patron saints -model shows Orsanmichelle (Florence's central grain market and medieval economic center) -the loggia on ground floor was enclosed; 13th century arches still visible -second floor devoted to offices, while the third housed one of the city's municipal grain storehouses, maintained to withstand famine or siege -late in the 14th century, the guilds were charged by the city to commission statues of their patron saints to embellish the facades of the church. There are 14. -between 1380 and 1404 it was converted into a church used as the chapel of Florence's powerful craft and trade guilds The sculptures seen today are copies, the originals having been removed to museums Artist: Andrea Orcagna Title: Tabernacle Medium: Marble, mosaic, gold, lapis lazuli Date: Probably begun 1355, completed 1359 Source/ Museum: Orsanmichele, Florence Artist: Bernardo Daddi Title: Madonna and Child Medium: Tempera and gold on wood panel Date: 1346-7

-painted just before the black plague hit Florence in 1348 -inside the Orsanmichelle is this tabernacle with a painting of Madonna and Child; special protectress of Florence -painted just before the black plague hit Florence in 1348 -image believed to have healing power; 3rd to be made for the space after 1st two were lost or damaged -tabernacle is made of marble and covered in gold and mosaics -Orsanmichelle, along with Piazza della Signoria are symbols of power and patronage in medieval Florentive Republic tabernacle; in a church, a nook, cupboard, frame or cabinet for a shrine frame around painting created impression that a flock of angles are drawing back a carved curtain to reveal the Virgin pilgrims flocked to the painting after the black death and left their estates to the fraternity that protected it Andrea Orcagna; Tabernacle Marble, mosaic, gold, lapis lazuli Probably begun 1355, completed 1359 Bernardo Daddi; Madonna and Child Tempera and gold on wood panel Orsanmichele, Florence

-Florence is most closely associated with its cathedral, or Duomo -sculptors and painters (not masons) designed architecture in Italy, so designs are more concerned with aesthetics than engineering -consequently, Duomo plan not completed for over 100 years because someone had to figure out how to execute the dome -octagonal, domed crossing, as wide as the nave and aisles -3 polygonal apses, each w/ five radiating chapels -main altar located under the dome (Dome of Heaven) very different exterior than we’ve seen on Gothic churches; Title: Florence Cathedral (Duomo) Date: Plan 1294, construction begun 1296, redesigned 1357 and 1366, drum and dome 1420-36 Source/ Museum: Illustration by Philipe Biard in Guide Gallimard Florence © Gallimard Loisirs Florence Cathedral (Duomo) Plan 1294, construction begun 1296, redesigned 1357 and 1366, drum and dome 1420-36

actual cathedral today Baptistry of San Giovanni baptistry of San Giovanni (St. John) stands in front of it; smaller dome building Artist: Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna, and others. Drum and dome by Brunelleschi, bell tower (Campanile) by Giotto, Andrea Pisano, and Francesco Talenti Title: Florence Cathedral (Duomo) Date: 1296-1378; 1420-36; c. 1334-50 Source/ Museum: Florence, Italy Florence Cathedral (Duomo)

Andrea Pisano; Life of John The Baptist -Andrea Pisano was awarded the commission for the doors to the baptistry -show 20 scenes from the life of John the Baptist set above 8 personifications of the virtues (name means from Pisa, not related to Nicola + Giovanni Pisano) reliefs framed in quatrefoils (innovation from Amiens cathedral) figures rendered in classicizing style inspired by painter Giotto, but also reveal soft curves of Gothic forms in their gestures and drapery top image; baptism of disciples bottom image; personification of virtue Hope Artist: Andrea Pisano Title: Life of John The Baptist Medium: Gilded bronze Size: Each panel 19 ¼ x 17” (48 x 43 cm) Date: South doors, Baptistry of San Giovanni, Florence, 1330-36. Frame, Ghiberti workshop, mid-15th century Source/ Museum: Florence, Italy Andrea Pisano; Life of John The Baptist Gilded bronze; Each panel 19 ¼ x 17” South doors, Baptistry of San Giovanni, Florence, 1330-36. Frame, Ghiberti workshop, mid-15th century Florence, Italy

14th century painting in Italy: -initially combined Byzantine style with Classical influence (Italo-Byzantine) -Cimabue used Byzantine traditions (Madonna “pointing the way” and formulas for proportioning figures), but Virgin’s thoughtful gaze and individualized faces of men (on bottom) in the image show a departure from Byzantine traditions -this depiction of solid forms showing light and shading, combined with warm, naturalistic human figures influence later Italian painting Pronounced = chi-MA-boo-ay Artist: Cimabue Title: Virgin and Child Enthroned Medium: Tempera and gold on wood panel Size: 12'17” x 7'4” (3.53 x 2.2 m) Date: c. 1280 Source/ Museum: Most likely painted for the high altar of the Church of Santa Trinita, Florence / Galleria degli Uffizi, Florence Cimabue; Virgin and Child Enthroned Tempera and gold on wood panel 12'17” x 7'4”; c. 1280 Most likely painted for the high altar of the Church of Santa Trinita, Florence

-Giotto, most famous 14th century painter from Italy -credited with “setting art upon the path that may be called the true one (for he) learned to draw accurately from life and thus put an end to the crude Greek (i.e. Italo-Byzantine) manner.” -humanism: new orientation toward humanity combined with revived interest in classical learning and literature -same subject as Cimabue, but shows groundbreaking depiction of space -shows influence of Cimabue with symmetrical composition and the position of the figures, but gone are Cimabue’s tilt to Madonna’s head and the gold detailing on the folds of her robe (Byzantine style) Giotto’s return to believable, realistic figures, part of humanist cultural movement that took place in 14th cent Italy worldview that focused on human beings; perfect individuals through the study of past models of civic and personal virtue emphasized personal effort and responsibility Virgin’s actions seem natural; holding Christ’s leg; more natural way to indicate his importance details of her torso can be glimpsed under her tunic Giotto was certainly familiar with teachings of Franciscan order monks who teach simplicity and humble devotion, and direct experience with God; ideas had powerful influence on his and later Italian art Artist: Giotto di Bondone Title: Virgin and Child Enthroned Medium: Tempera and gold on wood panel Size: 10 '8” x 6' 8 ¼ “ (3.53 x 2.05 m) Date: 1305-10 Source/ Museum: Most likely painted for the high altar of the Church of the Ognissanti (All Saints), Florence / Galleria degli Uffizi, Florence Giotto di Bondone; Virgin and Child Enthroned Tempera and gold on wood panel 10 '8” x 6' 8 ¼ “c. 1305-10 Most likely painted for the high altar of the Church of the Ognissanti (All Saints), Florence

Scrovegni (Arena) Chapel, view toward east wall Frescoes 1305-6 -early 14th century, Giotto painted this family chapel for a banker in N. Italy (Arena Chapel) -as you look toward the altar, the images on the wall tell the stories of Mary and Jesus in a series of panels -both the individual scenes and overall layout display Giotto’s skill for distilling complex narratives into coherent visual experiences -3 bands of images; life of Mary on top, then life and ministry of Jesus in middle, then Christ’s Passion on bottom (beneath that is a row of paintings of the virtues and vices and faux marble) -read vertically, each set of 3 scenes foreshadows or comments on the others called Arena chapel b/c it and the family palace were built on the site of an ancient Roman arena Artist: Giotto di Bondone Title: Scrovegni (Arena) Chapel, view toward east wall Medium: Frescoes Date: 1305-6 Source/ Museum: Padua Giotto di Bondone Scrovegni (Arena) Chapel, view toward east wall Frescoes 1305-6 Padua, Italy

-shows 2 registers from the Arena Chapel -bottom from the Passion, and middle showing life of Jesus bottom left; Lamentation (after crucifixion) is paired below wedding feast at Cana where he turned water into wine; reminder that his blood will become the wine of the Eucharist bottom right; resurrection is paired below raising of Lazarus (a reference to Jesus’s resurrection) Artist: Giotto di Bondone Title: Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation Medium: Frescoes Size: Each scene approx. 6' 5” x 6' (2 x 1.85 m) Date: 1305-6 Source/ Museum: North wall of Scrovegni (Arena) Chapel, Padua Giotto; Marriage at Cana, Raising of Lazarus, Resurrection, and Lamentation Each scene approx. 6' 5” x 6‘; North wall of Arena Chapel

Giotto; Lamentation; Arena Chapel -detail of the Lamentation shows Giotto’s skill with using color to model form -achieved a sense of depth in his landscape without relying on architectural settings -conveys real human suffering, instead of symbolic sorrow which was typical of art from the early Middle Ages drew figures as masses of color, then made shadows with deep hues and highlights with hues mixed with white this image makes the composition off center for maximum emotional effect; concentrates of the faces of Mary and the dead Jesus with minimal additional environment depicted just swooping rock ridge and single dry tree; a medieval symbol for death Artist: Giotto di Bondone Title: Lamentation Medium: Fresco Size: 6' 5” x 6' (2 x 1.85 m) Date: 1305-6 Source/ Museum: Scrovegni (Arena) Chapel, Padua Giotto; Lamentation; Arena Chapel

-Madonna and child by Bernardo Daddi in Orsanmichelle; contemporary of Giotto’s -almost all other painter’s work seen as paling in comparison to Giotto’s (in Florence) -likely inspired by courtly French style (sensitivity) and Byzantine influence with tilt of the head and proportions -sensitive, lyrical image; not realistic as we saw from Giotto Madonna and Child; Bernardo Daddi, Orsanmichelle

-Siena was rival city-state of Florence (where Giotto was from) Duccio di Buoninsegna; Virgin and Child in Majesty ; Tempera and gold on wood panel; 7' x 13' 6”; 1308-11; Central Panel from Maestà Altarpiece Siena Cathedral shows personal style with softened Italo-Byzantine figure style; linear grace and easy relationship between figures and their settings; characteristic of French Gothic bright colors; delicately patterned textiles that shimmer with gold and ornate punch work (tooled designs in gold leaf on the haloes) are characteristically Sienese shows Mary and Christ adored by angels and the 4 patron saints of Siena in the central panel Artist: Duccio di Buoninsegna Title: Virgin and Child in Majesty Medium: Tempera and gold on wood panel Size: 7' x 13' 6” ( 2.13 x 3.96 m) Date: 1308-11 Source/ Museum: Central Panel from Maestà Altarpiece Siena Cathedral. Museo dell'Opera del Duomo, Siena -Siena was rival city-state of Florence (where Giotto was from) -like Florence, Sienese painters were strongly influenced by Byzantine styles; they continued to value abstract decorative qualities and gold surfaces, like Byzantine, so art seems conservative compared with Florence/Giotto’s work -Duccio was foremost Sienese painter

-shows the large panel in context; central Mary panel is 13 ½’ x 7’ -narratives from the early life of the Virgin and Christ’s infancy are under the central panel on the front originally stood beneath a dome in the center of a sanctuary in the Siena Cathedral Title: Plan of front and back of the Maestà Altarpiece Plan of front and back of the Maestà Altarpiece -the back was dedicated to scenes from Christ’s adult life and miracles -was painted on the front and back because it was seen from both sides

in 1700s altar piece was broken up and sold Jesus shown 2x; first in manger, then with midwife below rejoicing angels fill the sky light, intense colors and linear quality recall Gothic manuscript images tentative representation of space in the shed and subtle modeling of figures point toward future developments in painting graceful, courtly style contrasts with Giotto’s monumentality Artist: Duccio di Buoninsegna Title: Nativity with Prophets Isaiah and Ezekiel Size: Predella of the Maestà Altarpiece, 17 x 17 ½ “ (44 x 45 cm) Prophets, 17 ¼ “ x 6 ½ “ ( 44 x 16.5 cm) Source/ Museum: National Gallery, Washington, D.C. Duccio di Buoninsegna; Nativity with Prophets Isaiah and Ezekiel; 17 x 17 ½; Prophets, 17 ¼ “ x 6 ½ ; Now at the National Gallery, Washington, D.C. -this image shows the nativity that was under the central panel on the front

Artist: Ambrogio Lorenzetti Title: Fresco series of the Sala della Pace, Palazzo Pubblico Size: Length of long wall about 46' (14 m) Date: 1338-40 Source/ Museum: Siena city hall, Siena, Italy Ambrogio Lorenzetti; Fresco series of the Siena City Hall; Length of long wall about 46‘; 1338-40 -another important Sienese painter, Ambrogio Lorenzetti, hired to paint allegories of good and bad government in the city hall

-most famous secular frescos at the Palazzo Pubblico in Siena Wisdom Peace “Siena” Justice Concord Artist: Ambrogio Lorenzetti Title: Fresco series of the Sala della Pace, Palazzo Pubblico Size: Length of long wall about 46' (14 m) Date: 1338-40 Source/ Museum: Siena city hall, Siena, Italy -most famous secular frescos at the Palazzo Pubblico in Siena -Lorenzetti created complicated scenes where the figures fit naturally into the surrounding environment -short wall shows figure representing the Commune of Siena, enthroned like an emperor, holding an orb and scepter and surrounded by the virtues -Justice, assisted by Wisdom and Concord oversee the magistrates. Peace lounges on a bench against a pile of armor after defeating War

wolf statue over the portal to Rome Siena Cathedral dome wolf statue over the portal to Rome Ambrogio Lorenzetti; Allegory of Good Government in the City portal to Rome divides the city from the country; above it is statue of wolf suckling Romulus and Remus; a favorite in Siena b/c of story that Remus’s son Senus founded Siena Artist: Ambrogio Lorenzetti Title: Allegory of Good Government in the City Size: Length of long wall about 46' (14 m) Date: 1338-40 Source/ Museum: Sala della Pace, Palazzo Pubblico, Siena, Italy -shows idealized representation of Siena as model city -intuitive perspective Roman wall fresco

Ambrogio Lorenzetti; Allegory of Good Government in the Country Security Artist: Ambrogio Lorenzetti Title: Allegory of Good Government in the Country Size: Length of long wall about 46' (14 m) Date: 1338-40 Source/ Museum: Sala della Pace, Palazzo Pubblico, Siena, Italy Ambrogio Lorenzetti; Allegory of Good Government in the Country -view of country shows Security above the city gate warning people to come in peace, if not the gallows with hanged man is reminder of the consequences

14th Century Art in France -weakened by the 100 years’ war, artistic production shifted from cathedral building to the production of sculpture and other luxury goods -much of it related to the cult of the Virgin Mary -Rayonnant or Court Style, started at end of Gothic, continues -private prayer books, “book of Hours” became popular; were carried like jewelry this is a prayer book made for Queen Jeanne d’Evreux; queen is illustrated in the initial on the left page on left page, Mary gets visit from Gabrielle, “joy”; foretelling birth of Christ; juxtaposed with “sorrow” of the betrayal of and arrest of Christ (shows Judas embracing Christ, which gave him away to the Romans) style is a synthesis of French Court Style with English and Italian art; from English-merged Christian narrative with allegory (image of children under the annunciation that may symbolize a game of tag; allegory of Judas later “marking” or tagging Christ) from Italian; presentation of space with figures in believable architectural settings Artist: Jean Pucelle Title: Pages with Betrayal and Arrest of Christ, Folio 15v. (Left), and Annunciation, Folio 16r. (Right), Book of Hours of Jeanne d'Evreux Medium: Grisaille and color on vellum Size: Each page 3 ½ x 2 ¼ “ (8.9 x 6.2 cm) Date: c. 1325-38 Source/ Museum: Paris / The Metropolitan Museum of Art, New York. The Cloisters Collection 1954 (54.1.2) Jean Pucelle; Book of Hours of Jeanne d'Evreux Grisaille and color on vellum Each page 3 ½ x 2 ¼ “; c. 1325-38

-religious subjects become more expressive Sculpture: -religious subjects become more expressive -tales of love and valor become popular subjects -Virgin statue shows S-curve pose; characteristic of 14th century -Virgin’s youthful face, and graceful pose based on 13th century precedents like Master of the Smiling Angels Title: Virgin and Child Medium: Silver gilt and enamel Size: Height 27 ⅛” ( 69 cm) Date: c. 1339 Source/ Museum: Given by Jeanne d'Evreux to the Abbey Church of Saint-Denis, France / Musée du Louvre, Paris Virgin and Child Silver gilt and enamel Height 27 ⅛”; c. 1339 Given by Jeanne d'Evreux to the Abbey Church of Saint-Denis, France

don’t know purpose of this box; jewelry? love tokens? tales of romance like this were originally told by musician-poets called Troubadours; first accounts of love as passionate devotion; our modern idea marked shift away from portrayal of women as sinful daughters of Eve to damsels in distress Title: Attack On The Castle of Love Medium: Lid of an ivory box with iron mounts Size: Panel 4 ½ “ x 9 11/16 “ (11.5 x 24.6 cm) Date: c. 1330-50 Source/ Museum: Paris / The Walters Art Museum, Baltimore Attack On The Castle of Love; Lid of an ivory box with iron mounts; Panel 4 ½ “ x 9 11/16 “; c. 1330-50 -14th century had strong market for personal luxury goods like boxes, mirrors and combs, with secular scenes -“Attack of the Castle of Love”; tournament takes place in front of the castle; on left, knights use a cross-bow and catapult to hurl roses at the castle; in center, 2 knights joust in front of ladies; on right, tournament victor meets his lady-love

14th century Art in England: -famous tradition of fine embroidery and pictorial needlework seen on the Bayeux Tapestry continues -opus anglicanum; “English Work”; name given to English embroidery -used to make court dress, banners, cushions, bed hangings and other secular items -few secular pieces survive because they were worn out or discarded as fashion changed; religious examples mostly remain -image shows life of the Virgin: -Annunciation (bottom) -adoration of the Magi -coronation of the Virgin (top) resembles manuscript illumination arches are ogee (s-shaped) style court dress was just as rich and colorful—could get so heavy, people had to have help to move Title: Life of The Virgin, back of the Chichester-Constable Chasuble Medium: Red velvet with silk and metallic thread and seed pearls Size: Length 4' 3” (129.5 cm), width 30” (76 cm) Date: 1330-50 Source/ Museum: From a set of vestments embroidered in opus anglicanum from southern England. The Metropolitan Museum of Art, New York. Fletcher Fund, 1927 (28.162.1) Life of The Virgin, From a set of vestments embroidered in opus anglicanum from southern England Red velvet with silk and metallic thread and seed pearls Length 4' 3”, width 30”; 1330-50

-Exeter Cathedral is the most complete “Decorated Style” building -English 14th century architecture shows development of “Decorated Style”; similar to Court Style in France -Exeter Cathedral is the most complete “Decorated Style” building -interior is a “stone forest” of colonnettes, moldings and vault ribs -vault shows intersecting cross-ribs with additional ribs that made a complex linear pattern (bosses: carved knobs that cover the intersections of the ribs) -longest, uninterrupted vaulted ceiling in England, 319’ Title: Exeter Cathedral ate: Thomas of Whitney, Choir, 14th century; Bishop's Throne, 1313-17; Robert Lesyngham, East Window, 1389-90 Source/ Museum: Exeter, Devon, England Exeter Cathedral 1389-90

-views of the Bishop’s throne at Exeter -originally painted a gilded -Bishop in his embroidered gold garments and gold, painted throne represented the power and authority of the Church

-especially shown in the church’s window tracery -work on Exeter was stalled after the Black Death so when it restarted, tastes had changed -shows characteristics of the later Perpendicular style; characterized by linear patterns and sharp angular shapes -especially shown in the church’s window tracery -became England’s national style and a popular style emulated in the US for church and college buildings today -window shows Virgin and Christ Child in center surrounded by 4 female saints at the left, and 4 male saints at the right makes a band of color, reinforcing the rectangular pattern of the window Exeter Cathedral Perpendicular Style

14th century in the Holy Roman Empire: -Italian territories had established independence -Germany became further divided -patronage of the arts, showing regional influences continued, despite turmoil -emperor Charles IV of Bohemia establishes capital at Prague, mid 1300s -Church of the Holy Cross in SW Germany, designed by Parler family of architects, in the manner of a Hall Church -unity of the space enhanced by the net vault that eliminated transverse and rib vaults Artist: Heinrich and Peter Parler Title: Church of the Holy Cross, interior Date: Begun in 1317 by Heinrich Parler; choir by Peter Paler begun in 1351; vaulting completed 16th century Source/ Museum: Schwäbisch Gmünd, Germany Heinrich and Peter Parler Church of the Holy Cross, interior Begun in 1317 by Heinrich Parler; choir by Peter Paler begun in 1351; vaulting completed 16th century Germany

-complexity that is influential in later Renaissance design -plan shows increasing complexity of rib design in the Church of the Holy Cross -complexity that is influential in later Renaissance design Title: Plan of Church of The Holy Cross Source/ Museum: Schwäbisch Gmünd Plan of Church of The Holy Cross

Peter Parler and workshop -splendor of art in Prague exemplified by this icon shrine made by Peter Parler’s (architect of the choir at the Church of the Holy Cross) workshop in Prague -shrine is in the reliquary chapel of St. Wenceslas; walls are encrusted with semiprecious stones and gold Artist: Peter Parler and workshop Title: Saint Wenceslas Chapel, Cathedral of Saint Vitus Medium: The walls were encrusted with slabs of jasper, amethyst, and gold; forming crosses, tabernacle, gilded iron Date: Begun 1356; walls, 1370-71; tabernacle, c. 1375 Source/ Museum: Prague, Bohemia (Czech Republic) Peter Parler and workshop Saint Wenceslas Chapel, Cathedral of Saint Vitus The walls were encrusted with slabs of jasper, amethyst, and gold; forming crosses, tabernacle, gilded iron Begun 1356; walls, 1370-71; tabernacle, c. 1375 Prague

-walls similarly covered in jewels; -has 130 paintings of the saints -Charles IV commissioned another chapel like the one for St. Wenceslas, outside Prague -walls similarly covered in jewels; -has 130 paintings of the saints -paintings served as reliquaries, too, because relics were inserted into their frames -figures are crowded into, and extend over, their frames; emphasizing their size and power -image shows Theodoric’s persona; style of heavy bodies, oversized heads and hands and gloomy faces with soft, modeled drapery; “Beautiful Style” Artist: Master Theodoric Title: Saint Luke Medium: Paint and gold on panel Size: 45 ¼ x 37” (115 x 94 cm) Date: 1360-64 Source/ Museum: Holy Cross Chapel, Karlstejn Castle, near Prague Master Theodoric; Saint Luke Paint and gold on panel 45 ¼ x 37”; 1360-64 Holy Cross Chapel, Karlstejn Castle, near Prague

-spread through central and N. Europe -Theodoric’s style merged with French Gothic style to become “Beautiful Style” -spread through central and N. Europe -this Virgin and Child is typical of the style -shows complex drapery and naïve expression -style seems to represent an escapism from the ugliness of the civil and religious unrest of the 14th century Title: “Beautiful” Virgin and Child Medium: Limestone with original paint and gilding Size: Height 33 ⅛” (84 cm) Date: c. 1390 Source/ Museum: Probably from the Church of Augustinian Canons, Sternberk “Beautiful” Virgin and Child Limestone with original paint and gilding Height 33 ⅛” c. 1390

-blood gushes from the rosettes on Christ’s hands and feet -in contrast to Beautiful Style, difficulties of the 14th century also inspired a mystical religiosity that emphasized both ecstatic joy and extreme suffering -made devotional images, like this one, designed to inspire the worshipper to contemplate Jesus' first and last hours, especially during evening prayers -through these exercises, worshippers hoped to achieve understanding of the divine union with God -blood gushes from the rosettes on Christ’s hands and feet -mingling of horror, shock, pity and grief have a profound impact on later German art and beyond Title: Vesperbild Medium: Wood Size: Height 34 ½ “ ( 88.4 cm) Date: c. 1330 Source/ Museum: From Middle Rhine region, Germany. Landesmuseum, Bonn Vesperbild Wood Height 34 ½ “ c. 1330 From Middle Rhine region, Germany

work by High Renaissance artists Leonardo da Vinci and Michelangelo Da Vinci’s Last Supper, c. 1495–1498 Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, began in Florence in the Late Middle Ages and later spread to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform across Europe, this is a general use of the term. As a cultural movement, it encompassed a resurgence of learning based on classical sources, the development of linear perspective in painting, and gradual but widespread educational reform. Traditionally, this intellectual transformation has resulted in the Renaissance being viewed as a bridge between the Middle Ages and the Modern era. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man" Sistine Chapel, Creation of Adam; c. 1508 – 1512; Michelangelo

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