1. Renaissance Art in 15 th Century Italy Chapter 19

2. Why do the condottieri support the arts?  Because they serve the glory of God, the honour of the city, and the commemoration of myself” ~Giovanni Rucellai ~Giovanni Rucellai

3. Key terms and people  Condottieri  Lorenzo de Medici  Government of Florence  Trompe l’oeil  Intarsia

5. Florence Baptistry Filippo Brunelleschi 1420-1436

6. Inside the Duomo Filippo Brunelleschi 1420-1436

7. Close-up of the the Duomo Filippo Brunelleschi 1420-1436

9. Baptistry of San Giovanni Florence, Italy c. 1059

10. Brunelleschi’s Sacrifice of Isaac Ghiberti’s Sacrifice of Isaac

11. Lorenzo Ghiberti ”Gates of Paradise”, baptistery, Florence Cathedral 1425-1452 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.

12. Lorenzo Ghiberti Isaac and his sons (”Gates of Paradise”), baptistery, Florence Cathedral, Florence 1425-1452 EARLY ITALIAN RENAISSANCE

15. Filippo Brunelleschi west facade of the Pazzi Chapel Florence, 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

16. 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 Brunelleschi west facade of the Pazzi Chapel Florence, Italy begun ca. 1440 Applying Roman Mathematical Logic

17. Pazzi Chapel Brunelleschi c. 1440

18. Hospital of the Innocents