1. THE RENAISSANCE

2. THE BAPTISTRY DOORS
LORENZO GHIBERTI

3. MADONNA & CHILD ENTHRONED
GIOTTO

4. THE MADONNA AND CHILD
Masaccio

5. THE EXPULSION OF ADAM AND EVE
Masaccio

6. DAVID DONATELLO Donatello trained w/ Ghiberti
David – first nude statue of the Ren; first bronze

7. MAGDALEN
DONATELLO
Gothic style – expressive ugliness to give statue a life of its own

8. RESURRECTION
Piero della Francesca

9. THE FLAGELLATION
Piero della Francesca

10. THE LAST SUPPER
LEONARDO DA VINCI

11. MONA LISA
LEONARDO DA VINCI

12. THE VIRGIN OF THE ROCKS
Leonardo Da Vinci

13. Vitruvian Man (Man of Perfect Proportions)
Leonardo Da Vinci

14. THE ASSUMPTION OF THE VIRGIN
Correggio

15. CEILING OF THE SISTINE CHAPEL
MICHELANGELO

16. THE CREATION OF ADAM
MICHELANGELO

17. EXPULSION
MICHELANGELO

18. DELPHIC SIBYL
MICHELANGELO

19. THE LAST JUDGMENT
MICHELANGELO

20. DAVID
MICHELANGELO

21. PIETA
MICHELANGELO

22. Moses
Michelangelo

23. THE ASSUMPTION OF THE VIRGIN
TITIAN

24. RAPE OF EUROPA
Titian

25. SCHOOL OF ATHENS
RAPHAEL

26. SISTINE MADONNA
Raphael

27. St. Jerome Punishing the Heretic Sabinian
Raphael
This painting was one of three predella panels that were originally framed below Raphael's Crucifixion, painted for a church in the central Italian town of Città di Castello. Although one of Raphael's earliest works, the painting already reveals the delic ate grace which distinguishes his mature style. The subject of this panel is extremely rare in Renaissance art. After his death, St. Jerome appears in the sky to rescue Bishop Sylvan, a good Christian falsely accused of heresy. As St. Jerome halts the executioner's sword, the head of the true heretic, Sabinian, is miraculously severed from his body.

28. BIRTH OF VENUS
SANDRO BOTTICELLI

29. ALLEGORY OF SPRING (LA PRIMAVERA)
Sandro Botticelli

30. The Adoration of the Child
Sandro Botticelli
The circular shape of this panel, called a tondo from the Italian word for "round," has symbolic significance: during the Renaissance, the circle was considered the most perfect geometric form, just as Christ personified perfection. The circular format w as well-suited to Botticelli's affinity for line and rhythmical movement. The ornate frame--carved in Florence during the 1950s--is based on the type that would have originally surrounded the painting. As is frequently the case with other Renaissance paintings, this work contains many Christian symbols. The wheat stalks emerging from the thatched roof and beneath Christ's pillow refer to Bethlehem (literally "house of bread") and to the bread of the Eucharist, served at communion to symbolize Christ's body. In the middleground, Botticelli includes the approach of the three magi and their retinues, who have come to pay homage to the newborn king of the Jews.

31. The Assumption of the Virgin
Lodovico Caracci
Although the story of the Virgin Mary's Assumption, when her body was borne aloft into heaven by a multitude of angels, is not described in the Bible, it was a popular subject for artists, who knew the story from popular literary texts. In this altarpiece, Carracci combines the Virgin's Assumption with the discovery of her empty tomb by the apostles, much as Massimo Stanzione does in his rendition of the same subject at the far end of this gallery. The outward gaze of the apostle John draws us into the composition, making us participants in the miraculous drama that unfolds. To make the Assumption as realistic as possible, Carracci portrays the apostles with individualized features and gestures. By showing the Virgin triumphantly borne above funerary monuments of the Roman (on the left), Egyptian (the obelisk inscribed with hieroglyphs in the center background), and Jewish (the sarcophagus on the right that bears a relief of the stone tablets of Moses) religions, the artist asserts the superiority of the Christian (in this case Catholic) faith over them.

32. Madonna and Child in a Landscape
Giovanni Battista Cima da Conegliano
Cima's Madonna and Child exemplifies three related characteristics of Venetian painting of the High Renaissance: the refinement of the oil medium, a remarkable sensitivity for light, and a profound affinity for landscape painting. Through mastery of the oil medium Cima captures in his paintings the ethereal quality of the light that suffuses the countryside around his birthplace of Conegliano, located some 40 miles north of Venice. The refinement of his technique can also be seen in the exquisite modeling of the heads of the two figures and in the delicate rendering of the Madonna's headdress.
>Equally masterful is the artist's treatment of the spiritual aspects of the painting. The Madonna seems lost in thought, as if contemplating the destiny of her son. Cima positions the figures between a monastery at lower left and a hill town (probably Conegliano) at right, so that they form a link between the spiritual/contemplative world of monastic life and the secular/active world of everyday life.

33. ARNOLFINI WEDDING PORTRAIT
Jan Van Eyck

34. ERASMUS
Hans Holbein the Younger

35. The Last Supper
Hans Holbein the Younger

36. PEASANT WEDDING
Pieter Bruegel the Elder

37. PEASANT DANCE
Pieter Bruegel the Elder

38. Self Portrait at Twenty-Seven
Alfred Durer

39. The Adoration of the Magi
Albrecht Durer