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- 1. Renaissance Design In Italy
- 2. Saint Jerome in His Study, by Domenico Ghirlandaio, Florence, Italy, 1480
- 3. St. Jerome in His Study, Antonello da Messins, 1475, Venice, Italy
- 4. Johannes Gutenberg The invention of movable type 1439
- 9. Examples of one point perspective
- 10. The Last Super, Leonardo Da Vinci
- 13. The Annunciation, by Fra Lippi, 1443
- 14. Dome of Santa Maria del Fiore, Brunelleschi, proposed c. 1420
- 17. Brunelleschi Church of San Lorenzo, Florence
- 19. Brunelleschi - Ospedale dei Innocenti- Foundling Hospital
- 22. Lorenzo Ghiberti, Gates of Paradise
- 23. Brunelleschi, Pazzi Chapel, Florence, begun c. 1441
- 26. San Pietro in Montorio, Bramante, Rome
- 27. Alberti – Santa Maria Novella
- 28. Saint Andrea, Alberti, Mantua, Italy
- 34. Andrea Palladio
- 35. Andrea Palladio, Villa Godi, vernacular style, with classical loggia
- 36. Palladio, Villa Barbaro -Greek temple facade
- 37. Villa Barbaro, Veronese frescoes, Trompe L’oeil
- 39. Palladio, Villa Chiericati – forward-thrust portico
- 40. Palladio, Villa Emo - Flush Portico
- 42. Palladio, Villa Cornaro – double-columned loggia
- 43. Palladio, Villa Capra or Villa Rotunda, Vicenza Dome & Symmetrical on all sides
- 49. Palladio, Palazzo Chiericati, Vicenza
- 50. Palladio, Basilica Palladiana, Vicenza
- 51. San Giorgio Maggiore, Andrea Palladio, 1566, Venice, Italy
- 53. Palladio, Teatro Olimpico, Vicenza Replica of Roman form, in wood
- 55. RENAISSANCE PALAZZI Domestic Interiors and Furnishings
- 60. Palazzo Rucellai, Leon Battista Alberti, Florence, Italy, 1452-70
- 62. Interior Court, Palazzo Medici-Ricciardi, Florence
- 65. Palazzo Strozzi
- 66. Interior Court, Palazzo Strozzi
- 69. Sala delle Propettive, Villa Farnesina, c.1510
- 71. Cassoni (chests)
- 75. Cassapanca, Florence, c. 1575
- 76. Seating
- 77. Sedia (chair)
- 78. Savonarola Chair Dantesque Chair
- 79. Savonarola Chair with ability to fold
- 80. Box Stool
- 81. Sgabello Chairs
- 83. Draw Table with Trestle Ends
- 85. Farnese Table - trestle base, pietra dure top
- 87. Birth of the Virgin, Carpaccio, c. 1506
- 88. Dream of St. Ursula, Carpaccio
- 91. Gubbio Studiolo, for Duc de Montefeltro, 1439-1501, Siena, Italy
- 97. Benvenuto Cellini, Salt Celler
- 99. Majolica
- 101. Renaissance Glass
- 102. Nero’s Domus Aurea, Rome
- 103. Raphael Frescoes, Vatican, Rome
- 104. Arabesque ornament Grotesque ornament
Notas del editor
- An even more impressive illusion was achieved in the Palazzo Spada, where the architect Francesco Borromini designed a columned passage to appear 35 meters long when it was in fact just 8 meters in length:
- 608. ALBERTI. S. Andrea, Mantua. Designed 1470.609. ALBERTI. Interior of S. Andrea, Mantua.610. Plan of S. Andrea, Mantua (transept, dome, and choir are later additions)
- Andrea Palladio – Villa Godi vernacular style, with loggia
- Palladio, Villa Cornaro – double-columned loggia
- Palladio,Palazzo Thiene, Vicenza
- Palladio, Basilica Palladiana, Vicenza
- Palladio, San Giorgio Maggiore, Venice- interlocking temple fronts on basilica form
- Palazzo RucellaiLeon Battista Alberti, Palazzo Rucellai, Florence, Italy, c. 1452–1470Early Renaissance
- mmediately outside the gates of Rome, between the banks of Tiber and Monte Gianicolo, the merchant and banker AgostinoChigi had a villa built between 1505 and 1511, the present Villa Farnesina. Chigi was from Siena and had become fabulously wealthy in Rome under the Popes Alexander VI and Julius II. His business network stretched across Europe. In this new villa, designed by Baldassare Peruzzi, he held celebrated parties with popes, cardinals, and friends; there he enjoyed a refined lifestyle, surrounded by humanists and poets. Countless antiquities were placed in the garden; the loggias and halls were lavishly decorated with paintings.n the SaladelleProspettive on the upper story of the Villa Farnesina, Peruzzi revived the perspective schemes of Melozzo da Forli and Mantegna, possibly under the influence of both. The perspective was planned to function correctly when the observer is standing toward the left of the room. Peruzzi has designed a splendid architecture of dark, veined marble piers and columns with gilded capitals that incorporates the actual veined marble door frames in the room. The frescoed architecture is so precisely painted that it is almost impossible to distinguish where the real marble ends and the illusion begins. Through the lofty columns one looks out to a painted terrace that opens onto a continuous landscape.
- CassonePlace of origin:Mantua, Italy (possibly, made) Urbino, Italy (possibly, made)Date:ca. 1488 (made)Artist/Maker:unknown (production)Materials and Techniques:Wood, painted in temperaMuseum number:47-1882Gallery location:Medieval and Renaissance, room 64, case 10Download imageSummaryMoreinformationMapDownload PDF versionThis travelling chest bears the coats of arms of Elizabetta Gonzaga of Mantua (1471–1526) and Guidobaldo da Montefeltro, Duke of Urbino (1472–1508). It was probably made for their wedding in 1488. The emblems on this chest include the ‘flames of love’, the symbol of the CompagnadellaCalza, an order of knights based in Venice, to which Guidobaldo’s illustrious father Frederico (1422–1482) had belonged. Chests with this distinctive shape were often strapped to the backs of mules or used as household furnishings. The married couple’s life involved much travel and a brief spell in exile following the sacking of Urbino in 1502.
- The Meeting of King Salomon and the Queen of ShebaObject:CassonePlace of origin:Florence, Italy (made)Date:1450-1475 (made)Artist/Maker:Apollonio di Giovanni, born 1411 - died 1465 (Circle of, production)Materials and Techniques:tempera on walnutMuseum number:7852-1862Gallery location:In StorageDownload imageSummaryMoreinformationMapDownload PDF versionThis cassone is a Florentine wedding chest from the mid-15th century. Italian marriage chests of this type were frequently decorated with religious and mythological stories and the present chest shows the Meeting of King Salomon and the Queen of Sheba, a popular subject at this time because it exemplifies such sought after virtues as wisdom and determination. Although certainly executed in Florence in the mid-15th century, and close to Apollonio di Giovanni's (1416 - 1465) style, the present panel was dubiously executed in his workshop. This chest seems to have survived quite substantially in its original conditions.
- Cassone with painted front panel depicting the Conquest of TrebizondAttributed to workshop of Apollonio di Giovanni di Tomaso (Italian, Florence ca. 1416–1465 Florence)Maker: and workshop of Marco del BuonoGiamberti (Italian, Florence 1402–1489 Florence) Date: after ca. 1461 Culture: Italian, Florence Medium: Poplar wood, linen, polychromed and gilded gesso with panel painted in tempera and gold Dimensions: H. 39-1/2 x W. 77 x D. 32-7/8 in. (100.3 x 195.6 x 83.5 cm) Classification: Woodwork Credit Line: John Stewart Kennedy Fund, 1914 Accession Number: 14.39This artwork is currently on display in Gallery 604
- CassapancaDate: third quarter 16th century Culture: Italian, Florence Medium: Walnut Dimensions: a) H. 61 x W. 86-1/2 x D. 24-1/2 in. (154.9 x 219.7 x 62.2 cm); b) H. 5-3/8 x W. 91-3/4 x D. 31-1/2 in. (13.7 x 233 x 80 cm) Classification: Woodwork Credit Line: Purchase, funds from various donors, 1958 Accession Number: 58.19a, bThis artwork is currently on display in Gallery 503ShareAdd to MyMetSignatures, Inscriptions, and MarkingsInscription: Label inside lid: [1] Comitato Italia Francia/Mostrad'arteItaliana a Parigi/ProprietarioCollezione Pisa. S.A. Leonardo/Firenze/Cassapanca in noce con figure giacenti/Inventario N. 362 [2] Mostranazionaleantiquaria/Citta di Firenze. Palazzo Strozzi/N. 444; [3] No d'inventario/362 (crossed out with) 69
- ArmchairPlace of origin:Italy (made)Date:1550-1850 (made)Artist/Maker:unknown (production)Materials and Techniques:Carved oakMuseum number:7196-1860Gallery location:Medieval and Renaissance, room 62, case WN, shelf FSDownload imageSummaryMoreinformationMapDownload PDF version'X-frame' chairs were originally folding campaign stools, used by Roman Generals. They were adopted by emperors and potentates, although, by 1550, they had become less symbolic of power and authority than they had been in earlier centuries. This example, although heavily restored, dates from about 1550, and would probably have been placed in a hall or chamber of a grand house. It formerly belonged to Jules Soulages of Toulouse (1812-1856), very much a pioneer in collecting decorative arts of the Renaissance. This type of chair was much copied from about 1880, when such tastes had become more fashionable, and most surviving examples date from about then.
- StoolPlace of origin:Italy (made)Date:16th century (made)Artist/Maker:unknown (production)Materials and Techniques:Walnut wood, carved and partly gildedMuseum number:23A-1891Gallery location:Medieval and Renaissance, room 62, case WS, shelf EXPDownload imageSummaryMoreinformationMapDownload PDF versionDuring the period 1500 to 1600 in Italy, stools were usually placed in more intimate settings than chairs, or for the use of less important members of a household in the hall. Like many surviving examples of this period, this stool and its pair (also in the Museum) have some replacement parts. It was acquired in 1891 from Stefano Bardini (1836 - 1922), the most famous Italian dealer of his day. His clients ranged from private collectors like Isabella Stewart Gardner of Boston and Albert Figdor of Vienna, to museums like the Louvre in Paris and the Hermitage in St Petersburg, as well as the South Kensington Museum, London (now the V&A).
- TablePlace of origin:Italy (made)Date:1500-1550 (made)Materials and Techniques:Walnut with boxwood, rosewood and bone inlay, the trestle support with iron chainsMuseum number:236:2-1869Gallery location:Furniture, room 135, case BY13, shelf EXPDownload imageSummaryMoreinformationMapDownload PDF versionFolding tables, due to their versatility and ingenious design which allowed them to be easily moved, were extremely popular items of furniture, but rarely survive. Ideally suited for informal meals both indoors or outdoors, or as a support to table games, this example combines practicality with the refinement of its inlaid decoration.The removeable, hinged top could of course be placed either way up on the trestle - either to show off the intricate inlaid top, or the plain side for more practical purposes, when it might also be covered with a cloth.
- Birth of the virgin,carpaccio, c. 1506
- Bed from Davanzati PalaceDate: second half 15th century Culture: Italian (Florence) Medium: Walnut Dimensions: H. (bed and dais): 56-3/4 in. (144.1 cm) W. (dais) 85-1/2 in. (217.2 cm) L. (dais) 102-7/8 in. (261.3 cm) H. (dais) 15-7/8 in. (40.3 cm) Gr. H. (bed at headboard) 40-7/8 in. (103.8 cm) Gr. W. (bed at headboard) 58-1/2 in. (148.6 cm) L. (bed) 88-1/2 in. (224.8 cm) Classification: Woodwork Credit Line: Gift of George R. Hann, 1965 Accession Number: 65.221.1This artwork is not on displayShareAdd to MyMetProvenanceDavanzati Palace, Florence, Italy (EliaVolpi)Count EliaVolpi (before 1911–16; sale, American Art Galleries, New York, November 21–28, 1916, no. 453; to Hamilton); Carl W. Hamilton (1916–after 1926) ; George R. Hann (until 1965; to MMA)
- Studiolo, from Ducal Palace, Gubbio, for Duc de MontefeltroStudiolo from the Ducal Palace in GubbioDesigned by Francesco di Giorgio Martini (Italian, Siena 1439–1501 Siena)Maker: Executed under the supervision of Francesco di Giorgio Martini (Italian, Siena 1439–1501 Siena) Maker: Executed in the workshop of Giuliano da Maiano (Italian, Maiano 1432–1490 Naples) Maker: and Benedetto da Maiano (Italian, Maiano 1442–1497 Florence) Date: ca. 1478–82 Culture: Italian, Gubbio Medium: Walnut, beech, rosewood, oak and fruitwoods in walnut base Dimensions: H. 15 ft. 10 15/16 in. (485 cm), W. 16 ft. 11 15/16 in. (518 cm), D. 12 ft. 7 3/16 in. (384 cm) Classification: Woodwork Credit Line: Rogers Fund, 1939 Accession Number:
- Wall fountainSimone Mosca (Italian, Settignano 1492–1553 Orvieto)Date: 1527–34 Culture: Italian, Florence Medium: Grey sandstone (pietraserena) Dimensions: H. 16'3" (4.953 m.); W. 12'9-1/2" (3.899 m.) Classification: Sculpture Credit Line: Harris Brisbane Dick Fund, 1971 Accession Number: 1971.158.1This artwork is currently on display in Gallery 50The AnnunciationObject:AltarpiecePlace of origin:Florence, Italy (made)Date:ca. 1510-1520 (made)Artist/Maker:Robbia, Giovanni della, born 1469 - died 1533 (workshop of, sculptor)Materials and Techniques:White and porphyry, enamelled terracottaMuseum number:7235:26-1860Gallery location:Medieval and Renaissance, room 50b, case WN, shelf EXP
- his tapestry probably belonged to a set of sixteen, though some are now untraceable. The subject is Venus admonishing Cupid, from the story of Cupid and Psyche, as related by the Latin author Lucius Apuleius in the Golden Ass. The V&A has two other tapestries from the set: Venus seeking vengeance on Psyche and Psyche's Punishment in Venus's Service. The story was a favourite pictorial theme during the Renaissance.The tapestry shows Venus reproaching her son, Cupid, for his affair with Psyche. The Goddess is seen entering from the left gesturing forcefully in an accusatory fashion, her billowing drapery accentuating the dynamism of her pose. In contrast, Cupid reclines on a bed with a chastised expression, his hand over his heart and his bow and quiver laid aside.The design for this tapestry, executed by Giovanni Battista Castello (1509-1569), and in the National Galleries of Scotland, shows Venus in a greater state of undress, indicating that when the tapestry came to be woven, the composition was altered to allow an extra fold of fabric to cover her form, resulting in a more modest display.
- pothecary jar (orciuolo)perhaps workshop of Giunta di Tugio (Italian (Florence), active ca. 1430–1466)Date: probably 1431 Culture: Italian, Florence Medium: Maiolica (tin-glazed earthenware) Dimensions: H. 12 3/8 in. (31.5 cm) Classification: Ceramics Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.1061This artwork is currently on display in Gallery 950ShareAdd to MyMetProvenanceAlfred Israel Pringsheim, Munich, later Zurich (1850-1941); sale*, Sotheby's, London, July 19, 1939, lot 207, ill.; [Julius Goldschmidt, London, for Lehman]; acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939. *In March 1939, the German Ministry of Trade authorized export of Pringsheim's Majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by TjarkHausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87.
- Dish (piatto): Man Washing the Mouth of an AssDate: ca. 1550–60 Culture: Italian, Deruta Medium: Maiolica (tin-glazed earthenware) Dimensions: Diam. 15 13/16 in. (40.2 cm) Classification: Ceramics Credit Line: Robert Lehman Collection, 1975 Accession Number: 1975.1.1039This artwork is currently on display in Gallery 950ShareAdd to MyMetDescriptionMaiolica is the term given to the refined, white-glazed pottery of the Italian Renaissance. The white, opaque glaze results from the presence of tin-oxide; the glazed surface is smooth and shiny, but not brilliant. In the sixteenth century, workshop procedures applied a second, clear glaze to majolica objects, which produced a brilliantly shiny surface and enhanced the color decoration. The twice-fired painted earthenware was adorned with a final layer of painting in compounds containing silver or copper, then fired again and burnished to an iridescent sheen. Florence led the way in the manufacture of majolica but, by the sixteenth century, production of this precious pottery had proliferated in other regions.The small town of Deruta in central Italy produced wares noted for a harmony of shape and ornamentation combined with impressive decorative effect. This large plate carries a lively genre subject. A donkey, seated in a chair with a towel around his neck, is having his head scrubbed, a reference to a moralizing medieval Italian proverb: "E inutile lavare la testaall'asino" ("It is useless to wash an ass's head."). The inscription on the chair, "Chi lava el ch[a]po a l'asen[o] se perderanno el sapone," (He who washes an ass's head wastes the soap) tells of the wasteful, worthless task of this hapless soul.
- DishPainted in the manner of Fra XantoAvelli da Rovigo (ca. 1486–1582)Artist: After an engraving by Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna (?)) Artist: Possibly after a composition by Raphael (RaffaelloSanzio or Santi) (Italian, Urbino 1483–1520 Rome) Artist: or after a composition by Giulio Romano (Italian, Rome 1499?–1546 Mantua) Date: ca. 1530–35 Culture: Italian (Urbino) Medium: Maiolica (tin-enameled earthenware) Dimensions: Overall (confirmed): 2 1/8 x 18 1/2 in. (5.4 x 47 cm) Classification: Ceramics Credit Line: Samuel D. Lee Fund, 1941 Accession Number: 41.49.4
- Nero’s DomusAurea, Rome