1. Italy MASACCIO, Holy Trinity, ca. 1424– 1427. Fig. 8-23.

2. Italy Example: Fresco in church, donor portraits Applies linear perspective based on location of viewer’s eye Illusionistic extension of viewer’s space Classical architectural vocabulary MASACCIO, Holy Trinity, ca. 1424–1427. Fig. 8-23.

3. Italy SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.

4. Italy Example: Master of line Based on poem by humanist Created for Medici Mythology Venus inspired by classical sculpture Revival of female nude SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.

5. Italy MICHELOZZO DI BARTOLOMMEO, Palazzo Medici-Riccardi, 1445. Fig. 8-31.

6. Italy Example: Powerful patron Rustication on lower level Dressed masonry above Heavy cornice at top Plan organized around interior court with round- arched colonnade Clarity and rationality of Renaissance forms MICHELOZZO DI BARTOLOMMEO, Palazzo Medici- Riccardi, 1445. Fig. 8-31.

7. Italy LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–1470. Fig. 8-33.

8. Italy Example: Architectural theorist Treatise presents rules of Renaissance architecture Application of classical elements Temple frontal, scrolls Proportional relationships LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456– 1470. Fig. 8-33.

9. Italy LEON BATTISTA ALBERTI, Sant’Andrea, 1470. Fig. 8-36.

10. Italy Example: For princely court Temple frontal and triumphal arch Proportional relationships mean façade too short Interior coffered barrel vault Colossal order pilasters LEON BATTISTA ALBERTI, Sant’Andrea, Mantua, 1470. Fig. 8-36.

11. Italy ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.

12. Italy Example: For princely patron Propaganda Images of court life Pictorial illusionism Trompe l’oeil oculus painted di sotto in su Unified perspectival space ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.