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Home , Church of the Eremitani, Gothic art, Rose window

Gothic and Periods Expression of the religious and political values.

• Early Gothic – ca. 1140 to 1194 • – ca. 1194 to 1300 • Late Gothic – ca. 1300 to 1500

• Gothic style first appeared in northern France around 1140/and in southern France and elsewhere in Europe, Romanesque style still flourished.

• Gothic period/style began and ended at different dates in different regions.

• By 13th century Gothic style had spread throughout / The Gothic style was regional -to east and south of Europe Islamic and Byzantine style was still prominent. Gothic Art

• The term Gothic came about in the Architecture mid-16th century by Giorgio • followed the Romanesque Vasari, along with Ghiberti, who period used the term Gothic to ridicule and describe the late • Took advantage of some and architecture as thought to be advances in architecture Gothic art and the ideas were invented by the who were • best examples of Gothic uncouth and responsible for the architecture are found in downfall of Rome and the destruction of the classical style in cathedrals, particularly in art and architecture. Spain and France. The Pointed Arch

• the pointed arch shape is the most recognizable shape from the Gothic period

• a change from the rounded arch from the Romanesque period

• More emphasis on the vertical (arch is “pointing” upwards) French Gothic – Architecture & Architectural Decoration Abbot and -Denis •Abbot Suger: right-hand man of Louis’ VI and VII/ during Second Crusade was regent of France/ rebuilt France’s royal church Saint-Denis •Saint-Denis (Benedictine abbey church): Carolinigian was France’s royal church- symbol of monarchy/ housed St. Denis’ tomb and those of French kings •Abbot Suger began to rebuild in 1135 – erected new west façade with sculptured portals/ 1140-44 – added new choir, ambulatory and radiating chapels

Early Gothic

Birth of the Gothic

Ambulatory and radiating chapels, abbey church, Saint- Remodeled nave of Saint-Denis Denis, France, 1140–1144. Early Gothic Beginnings – , France (begun 1134)

•Building histories of urban churches often extended over decades and sometimes over centuries •Financing depended largely on collections and public contributions (not always voluntary) and lack of funds interrupted building programs as did wars, plagues, etc. Which ended in not finishing churches for years. •Chartres Cathedral construction started in 1134 during the Early Gothic period and was destroyed by fire in 1194 which led to reconstruction in the High Gothic style

Aerial view of Chartres Cathedral (from the northwest), Chartres, France, begun 1134; rebuilt after 1194. Saint-Denis: Key Monument of Early Gothic

•Suger’s sculpture for west side of abbey did not survive French Revolution •Mid-12th century structure was intact

•Had double-tower westwork/ massive walls in Romanesque tradition/ restored large rose (new feature that became standard in French / three portals with statues of Old testament kings, queens and prophets attached to columns. Plan of the east end, abbey church, Saint-Denis, France, 1140–1144 (after Sumner Crosby). Hallmarks of New French Gothic Style at Saint-Denis •Hallmarks of New French Gothic style appears: rib vaults on pointed arches covering ambulatory and chapels – these vaults enable builders to eliminate walls, open space and add stained-glass . •Suger called the colored light coming through the sacred stained-glass “LUX NOVA” (new light)

Vaults of the ambulatory and radiating chapels of the choir, abbey church, Saint-Denis, France, 1140–1144. Facade

• Facade = the front of the church

• Detailed, ornate sculpture all over the facade

Reims Cathedral Reims, France Begun 1255 Nave Elevation Comparison for Early/High Gothic Cathedrals 144 ft.

Height of nave vaults 118 ft. 107 ft.

80 ft.

Nave elevations of four French Gothic cathedrals at the same scale (after Louis Grodecki): (a) Laon, (b) Paris, (c) Chartres, (d) . Notre-Dame – Paris, France Early/High Gothic – Notre-Dame, France (begun 1163, remodeled after 1225) •Two of four stories in nave elevation filled by windows = thinner and taller walls = need for external support •Unknown architect introduced FLYING BUTTRESSES (exterior arches that spring from the lower roofs over the aisles and ambulatory and counter the outward thrust of the nave vaults)

FLYING BUTTRESSES: Important element contributing to the distinctive “look” of Gothic Cathedrals

General view of choir with flying buttresses Flying Buttresses

• new system engineered to redirect the weight of the walls and the roof away from the walls Flying Buttresses

• new system engineered to redirect the weight of the walls and the roof away from the walls • Shifting the weight away from the walls allows for massive windows instead. • The big difference from Romanesque, which had thick walls and almost no windows Avila Cathedral, Spain Flying buttress detail Notre Dame Cathedral, Paris, France

• Ornate windows allow beautiful coloured light to stream into the cathedral. • Windows are both decorative and / or depict scenes from the Bible. Ribbed Vaults

Romanesque Gothic Vault

ribbed vaults lighten thick walls the load • flying buttresses and ribbed vaults allow for a soaring vertical space inside New Class of Wealthy Merchants - French trader and financier Jacques Coeur/ example of Late Gothic architecture and a monumental symbol of the period’s new secular spirit/ arranged around courtyard, service areas on ground level, offices and family living upper level/ façade has large section with stained glass, , two doorways (pedestrian and horse/carriage)/ two false windows with servant statues looking down on passing people

Guild Hall – growth of secularization in urban life/ built for clothmakers of Bruges/ shows important role artisans and merchants had in Gothic society/ lofty tower was intended to compete for attention and prestige with towers of city cathedrals House of Jacques Coeur, Bourges, France, 1443– 1451. Hall of the cloth guild, Bruges, Netherlands, begun 1230 Gothic Sculpture

Sacramental Portal, Burgos Cathedral, 13th Century

Gargoyle, Notre Dame, Cathedral • Sculpture becomes more realistic, well-crafted and detailed Chartres’ Royal Portal Cathedral – Old Testament Kings and Queens •Old Testament kings and queens are considered royal ancestors of Christ/ these characters support the New Testament figures above the doorways/ they wear 12th century clothes and are regarded as images of kings and queens of France = symbols of secular as well as of biblical authority •Romanesque: linear folds in garments and elongated proportions

Gothic figures are attached to columns/ Classical statues (caryatids) replacing the columns.

Statues display first signs of a new naturalism/ they have dimensional volume w/ human faces (not masks) which individualize the portraits.

Old Testament kings and queens, jamb statues, central doorway of Alternate View - from left jamb, central Royal Portal, Chartres Cathedral, Chartres, France, ca. 1145–1155. portal (west), braided lady, two male saints Porch of the Confessors - High Gothic Spirit – of New Chartres 13th Century Gothic Sculpture was a second Classical Revolution

•Statues of saints on portal jambs are more independent from the architectural framework Great changes in Gothic sculpture seen: •Right - Architectural setting does not determine poses- the saints appear to be communicating with one another, turn slightly toward and away from each other. - Drapery folds are not stiff- fabric softly falls and laps over the bodies. - Faces have individualized features and distinctive personalities

•Left - Theodore as ideal Christian knight (Gothic crusader)/ clothed in crusader attire/ head turned to left, hip to right – body’s sway recalls Classical Greek statuary contrapposto stance

Saint Theodore, jamb statue, Porch of the Martyrs (left doorway), Saints Martin, Jerome, and Gregory, jamb statues, Porch of the Confessors (right south , Chartres Cathedral, Chartres, France, ca. 1230. doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1220–1230. Stained Glass Mystical Lux Nova •Use of stained glass in Gothic period: it does not conceal walls, but replaces them and transmits light rather than reflecting light. •Two types of stone window frames into which glass was set: plate tracery and bar tracery •Our Lady of the Beautiful Window – tall single lancet, survived fire of 1194, central section depicting Virgin Mary enthroned with Christ Child in her lap which is original from 1170 – framed by against blue background added in 13th century

Virgin and Child and angels (Notre Dame de la Belle Verrière), window in the choir of Chartres Cathedral, Chartres, France, ca. 1170, with 13th century side panels. Stained glass, 16’ X 7’ X 8”. Chartres’ A Gift From the Queen of France

•Rose window : approx. 43 ft. in diameter/ bar tracery/ center of rose is enthroned Virgin and Child/ around her are 4 doves of the and 8 angels/ square panels contain images of Old Testament kings

•Royal motifs = yellow castles and de-lis

•Lancets = St. Anne and baby Virgin in center flanked by 4 of Christ’s Old Testament ancestors

•Color of the time: Blue = heaven, Red = Passion, White = Purity, Green = Fertility, Yellow = Presence of God

Rose window and lancets, north transept, Chartres Cathedral, Chartres, France, ca. 1220. Stained glass, rose window approx. 43’ in diameter. Gothic Manuscripts Manuscripts were not always just pretty roses!

• Paris- renowned center for production of fine books • Gothic Period: book manufacture shifted from monastic scriptoria to urban workshops staffed by laypersons/ these Gothic shops were the forerunners of modern publishing houses • Inspiration for page design from Gothic stained-glass windows (Chartres and Sainte-Chapelle)

The Martydom of Thomas a Becket Carrow Psalter 13th Century Jean Pucelle – Belleville Breviary

•Subject: and Saul •Placed his fully modeled figures in 3-D architectural settings rendering convincing perspective (3/4 view of Saul on throne) •Pucelle may have visited and was influenced by ’s work •Rendering of birds, dragonfly, butterfly, monkey, etc. in border shows interest in close observation of natural world •Pucelle’s name and name of assistants appear at end of book along with payment they received (was a professional guild member and was like a brand name which guaranteed quality of their work) •The centuries-old monopoly of the Christian Church in book production had ended Figure 18-34 JEAN PUCELLE, David before Saul, folio 24 verso of the Belleville Breviary, from Paris, France, ca. 1325. Ink and on vellum, 9 1/2” X 6 3/4”. Bibliothèque Nationale, Paris. Gothic Painting • still uses very flat space • more realistic depiction of people The Calling of the Apostles Peter and Andrew Duccio di Buoninsegna 1308-11 Tempera on Wood : Master Painter • figures show lots of emotion

• they are less “wooden” in their body positioning

• one of the few painters of the time period who was not a nameless craftsman

Lamentation Giotto c. 1305 Arena Chapel, , Italy •Renaissance culture due to several factors: spread of humanism, political and economic fluctuations throughout Italy and a fortunate abundance of artistic •Principles: emphasis on education and expanding knowledge (esp. of classical antiquity), exploration of individual potential and desire Renaissance to excel, commitment to civic responsibility and moral duty •Invention of movable metal type by German Johann Gutenberg around 1445 – initiated printing and wide distribution of books. •Recognizing Achievement - Encouraged individual improvement and rewarded excellence through fame and honor Wealth and Power •Those who struggled for power: Condottieri (military leaders), Developments in Art: Princely courts (Urbino and Mantua) Early Renaissance (ca. 1400 – 1500) •Princely courts emerged as cultural and artistic centers – the elite and powerful were in the best position to commission art •System of perspective •Medici Family – lavish patrons of arts/ big banking family (illusionism)/ depicting anatomy accurately/ Art Functioned As: revival of portraiture •Evidence of princely sophistication and culture/ form of prestige/ commemorative/ public education/ propaganda/ demonstration of wealth/ source of visual pleasure – Competition of 1401 – East Doors of Baptistery •Traits characterizing : new pictorial illusionism, patronage as civic imperative and self-promotion, esteem accorded to artists •Competition Theme: Sacrifice of Isaac (shows Abraham’s devotion to God) •7 finalists chosen – only two panels survived (Ghiberti’s and Brunelleschi’s) •1402 selection committee chose Ghiberti’s panel •Brunelleschi’s: French Gothic frame/ emotional agitation/ his figure’s demonstrate his ability to observe carefully and represent faithfully all the elements of the biblical narrative

FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery of , Florence, Italy, 1401–1402. Gilded bronze , 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. Ghiberti Wins! •Grace and smoothness •Abraham = Gothic “S” curve pose •Isaac = Greco-Roman statuary/ first truly classicizing nude since antiquity •Interest in how muscular system and skeletal structure move the human body •Ghiberti was painter and goldsmith/ interested in spatial illusion (landscape and foreshortened ) •Cast his in two pieces = lighter and cost less •Completed 28 door panels 1424

•Ghiberti, "Gates of Paradise," east doors of the Florence Baptistery

LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. Perspective Systems in the Early Renaissance •Utilizing perspective involves constructing a convincing illusion of space in two-dimensional imagery while unifying all objects within a single spatial system. It made possible the “rationalization of sight”. •The Greeks and Romans were well versed in perspectival renderings. •Renaissance perspectival systems include: LINEAR AND Depicting ATMOSPHERIC PERSPECTIVE •Brunelleschi developed LINEAR PERSPECTIVE (allows Objects in artists to determine mathematically the relative size of rendered objects to correlate them with the visual recession Space into space/ either one- point or two-point) Examples of one-point linear perspective: ’s Holy Trinity and Leonardo’s •ATMOSPHERIC/AERIAL PERSPECTIVE: the farther back an object is in space, the blurrier, less detailed, and bluer it appear/ color saturation and value contrast diminish as the image recedes into the distance/ sfumato = misty haziness Examples of atmospheric/aerial perspective: Leonardo’s Virgin of the Rocks and Mona Lisa •Shared the humanist – A Feast in Perspective enthusiasm for Roman virtue and form •Astute observer of human life (diverse ages, ranks, conditions) •Advanced both naturalistic illusion and classical in sculpture •Feast of Herod: severed head of John the Baptist is offered to King Herod •Pictorial perspective – opened space of action well into the distance – background (two arched courtyards and groups of attendants) •Ancient Roman illusionism had returned

Figure 21-3 DONATELLO, Feast of Herod, from the baptismal font of Cathedral, Siena, Italy, ca. 1425. Gilded bronze relief, approx. 1’ 11” x 1’ 11”. Gates of Paradise – Baptistery, Florence Cathedral •GHIBERTI – designed 10 panels (reliefs set in plain moldings) which depict scenes from the Old Testament for the east doorway •Panel: Isaac and His Sons – creates illusion of space (building and floor in one-point perspective)/ creates aerial perspective by making the figures in the foreground almost fully round in contrast with the background which is barely raised and forms are less distinct.

LORENZO GHIBERTI, east doors (“Gates of Paradise”), baptistery, Florence LORENZO GHIBERTI, Isaac and His Sons (detail ), east doors, baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 17’ high. Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 Modern copy, ca. 1980. 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. Inspired by Late Gothic – by FABRIANO •Influenced by the International style of the 1400’s •Elaborate gilded Gothic frame/ to please the lavish taste of the wealthy patron, Palla Strozzi •Elaborate costumes, exotic and ornamental animals/ rainbow of colors with extensive use of gold •Scene sanctifies the aristocracy in the presence of the and Child •Fabriano does insert bits of radical naturalism – animals at different angles and foreshortened •Predella – ledge at base of / we see modern architectural setting and first nighttime Nativity scene with central light source, the Christ Child

GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Santa Trinità, Florence, Italy, 1423. Tempera on wood, approx. 9’ 11” x 9’ 3”. Galleria degli Uffizi, Florence. Leading Innovator in Early 15th Century Painting - MASACCIO

•MASACCIO – studied the work of his contemporaries and created a new style of painting form and content •Tribute Money – 3 episodes within same fresco - Christ enters town, Christ directs St. Peter to shore to get money from fish’s mouth, Peter pays tax collector.

MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 1” x 19’ 7”. Early 15th Century Architecture Brunelleschi The First Acknowledged Renaissance Architect •He had broad knowledge of Roman construction principles and solved the engineering problem of the design and construction for the of the Florence Cathedral. •Problem was a space too wide to be spanned (140 ft.) •Solution = raised center of dome and designed it around an ogival (pointed arch) section – reduced outward thrust at base/ minimized structure’s weight with thin double shell (first in history) around a skeleton of 24 ribs/ anchored top with heavy lantern

Brunelleschi, Dome of the Cathedral of Florence

FILIPPO BRUNELLESCHI, dome of Florence Cathedral (view from the south), Florence, Italy, 1420–1436. Brunelleschi’s Santo Spirito – Centralization Effect •Echoes the clarity and classically inspired rationality that characterized much of his architecture •Inspired by classical buildings such as Roman •Santo Spirito fully expresses the new Renaissance spirit that placed its faith in reason rather than in the emotions

FILIPPO BRUNELLESCHI, interior of Santo Spirito (view facing northeast), Florence, Italy, begun ca. 1436. Santo Spirito – Modular Design by Brunelleschi •Cruciform building laid out in either multiples or segments of the dome-covered crossing square - creates harmony throughout interior •Nave is twice as high as it is wide, the arcade and clerestory are of equal height which means height of arcade equals the nave’s width and so on •Aisles are subdivided into small squares covered by shallow, saucer-shaped vaults and run all the way around the central space which is covered with a flat roof •No space for wall frescoes because they would interrupt the clarity of his architectural scheme

FILIPPO BRUNELLESCHI, early plan of Santo Spirito (left) and plan as constructed (right), Florence, Italy. Donatello DAVID Verrocchio Left: first freestanding nude since ancient times/ Donatello reinvented the classical nude/ commissioned by Medici for the Palazzo Medici courtyard/ David is the symbol of the independent Florentine republic/ David possesses the relaxed classical contrapposto stance and proportions and of Greek gods – this appealed to Medici who was a humanist

Right: Verrocchio directed studio- shop in Florence and had many students (Leonardo da Vinci as one)/ this David displays a narrative – shows sturdy, wiry youth who stands with jaunty pride/ depicts muscles and veins

DONATELLO, David, late 1420s – late 1450s. Bronze, 5’ 2 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. 1/4” high. Museo Nazionale del Bargello, Florence Bronze, approx. 4’ 1 1/2” high. Museo, Florence Pollaiuolo – The Human Figure in Action Right: small-scale sculpture, Heracules and Antaeus, commissioned by Medici/ displays stress and strain of the human figure in violent action/physical conflict/ subject of Greek mythology and emphasis on human anatomy = Medici preference for humanist imagery/ symbolizes glory of Florentine republic Below: , technique, Battle of Ten Nudes/ interest in realistic presentation of human figures in action/ developed figures lean and muscular- appears ecorche (as if without skin)/ variety of poses and from numerous viewpoints (like Greek vase painters)/ preferred parallel hatching in reference to the engraving.

The emergence of engraving of an art form. The became easier to create from the innovations of the time.

ANTONIO POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving, approx. 1ANTONIO 3” x 1’ POLLAIUOLO, Hercules and Antaeus, ca. 1475. Bronze, approx. 1' 6” 11”. Metropolitan Museum of Art, New York (bequest of Joseph Pulitzer, 1917). high with base. Museo Nazionale del Bargello, Florence. Images of Piety and Devotion •FRIAR ANGELICO: His art focused on serving the Roman •Late 1430’s commissioned to produced frescoes for the San Marco monastery

Annunciation – appears at top of stairs leading to friar’s cells/ shows simplicity, serenity/ painted with pristine clarity/ it reflects the artist’s simple and humble character

Fra Angelico, The

FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1440–1445. Fresco, 7’ 1” x 10’ 6”. , The Arnolfini Portrait Giovanni Arnolfini portrait shows how he was a wealthy cloth merchant. The lack of religious in this work is significant of several cultural changes. 1. the rise of wealthy merchants; those who were then able to achieve success through individual accomplishment rather than hereditary wealth within the nobility. Giovanni Arnolfini, the male in the piece, had earned great wealth and was able to commission this work. 2. additionally, while this piece does feature a secular setting and subject matter, it still has sacred symbolism and meaning. Crystal prayer beads hang by the mirror, and the mirror has a border featuring scenes from Christ's Passion. It has been suggested that the round shape of the mirror could also be symbolic of God being omnipresence, or all- seeing.

Jan Van Eyck, The Arnolfini Portrait, tempera and oil on wood, 1434 (National Gallery, ). Botticelli’s Birth of Venus – Inspired by Poetry •Botticelli – best known artist who produced works for the Medici/ Zephyrus (west wind) blows Venus to her sacred island of Cyprus, nymph runs to meet her with mantle/ nude female figure = innovation/ influenced by Hellenistic Aphrodite of Knidos and could have caused trouble for Botticelli but he was protected by powerful Medici/ he created a style of visual poetry that ignored certain areas of perspective and anatomy.

Botticelli, Birth of Venus

SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 8” x 9’ 1”. Galleria degli Uffizi, Florence. Fra Filippo Lippi Madonna and Child with Angels •Friar Lippi was unsuited for monastic life – indulged in misdemeanors from forgery to embezzlement/ Medici’s intervention on his behalf at papal court kept him from severe punishment and total disgrace. •At age 18 met Masaccio and witnessed decoration of Brancacci Chapel. He was also influenced by relief sculptures of Ghiberti and Donatello.

Madonna and Child with Angels: master of line – fluid line unifies the composition and contributes to the precise and smooth delineation of forms Like many artists he used live models for reference when painting/ preferred real landscapes (site specific) – features of Arno River Valley/ here humanizes this theme

FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, Giotto's Ognissanti Madonna Pope Sixtus IV - Summons artists to decorate walls of Sistine Chapel

•PERUGINO – Christ hands keys to St. Peter with 12 Apostles and Renaissance contemporaries looking on/ one point perspective is used – vanishing point located at centrally planned temple/ triumphal arches (Arch of Constantine, Roman influence – tie between St. Peter and Constantine) frame composition and create triangle with temple in middle/ created foreground, middle and background space which is symmetrical/ orderly

PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”. Masaccio’s Holy Trinity , Florence

•Embodies two principal Renaissance interests: Realism based on observation/ application of mathematics to pictorial organization (perspective) •Upper level: coffered barrel-vaulted chapel (like Roman triumphal arch) with Virgin Mary, St. John, crucified Christ and God the Father with dove of Holy Spirit/ donors knee in front of pilasters/ figures are in pyramidal composition •Lower level: tomb containing skeleton with inscription, “I was once what you are, and what I am you will become” •Uses one-point linear perspective – vanishing point (eye level) at foot of cross = viewers have to look up at the Trinity and down at the tomb

Figure 21-12 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”. Ceiling of Room of the Newlyweds – “di sotto in su”

Trompe l’oeil – Deceives the Eye

•MANTEGNA decorated the room’s ceiling with the first “di sotto in su” (from below upwards) perspective

• ceiling painters developed this technique

•The is an “eye” looking down

•Cupids (sons of Venus) are FORESHORTENED/ painted spectators smile down on the scene/ peacock is symbol of Juno (Jupiter’s bride) who oversees lawful marriages

•This illusionistic painting climaxes almost a century of experimentation with perspective

Andrea Mantegna, ceiling of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco, 8’ 9” in dia. •Camera degli Sposi (Room of the Newlyweds) – took 9 Gonzaga’s years for Mantegna to finish the fresco series/ scenes of Gonzaga and family showing activities of courtly life Palazzo Ducale •MANTEGNA created first completely illusionistic decoration decorated by of an entire room using Actual architectural elements and mural paintings integrated together similar to style in MANTEGNA Pompeii.

Andrea Mantegna, interior of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco. Mantegna – Unusual Viewpoints

•1455 – Fresco in Ovetari Chapel (largely destroyed in WWII) •St. James Led to Martyrdom – condemned saint stopping, on his way to death, to bless a man who rushed from the crowd and kneels before him •Mantegna did his research – motifs on barrel- vaulted triumphal arch, antique attire served as model for soldier’s costume, etc. •Unique perspective – we are below looking up at the scene •Linear perspective is confusing/inconsistent for the right side of the composition (buildings)

ANDREA MANTEGNA, Saint James Led to Martyrdom, Ovetari Chapel, Church of the Eremitani (largely destroyed, l944), Padua, Italy, ca. 1455. Fresco, 10’ 9” wide. Dead Christ – Realistic Study in FORESHORTENING?

MANTEGNA –Dead Christ.

Overwhelming power/ he reduced the size of the figures feet (would have covered much of body) so the viewer could fully see the dead body of Christ/ serves the purpose of devotion.

ANDREA MANTEGNA, Dead Christ, ca. 1501. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, .