Palazzo Ducale (Ducal Palace)

ca. 1340 - mid 15th c.

Head of state lives here, goverment and religion. Gothic arches, crenilations along top, open arcades, structural stability flipped, ogee arches, looked to East for inspiration. Not afraid of internal unrest or invasion; structural stability is flipped. Indian influence; diaper pattern of brick. Gothic tracery. Lady of Justice. St. Marc

Porta della Carta, Bartolomeo Bon the Elder, 1438-42

Northwestern entrance of the ducal palace. Doge kneeling before the winged lion of St. Mark; puts religion and belief before everything else. Respect to St. Mark. Four women on each side representing the perfect government: temperence, justive, fortitude, etc.

San Marco (Church of St. Mark), 3rd version 1063, consecrated 1094

Built to hold bones of St. Mark. Venice state church. Eastern influence: 5 domes, stilted arches, no architectural sense. Patchwork political statement; recycled materials from Constantinople. Religious mosaic stories. Greek cross. Brick underlay. Dedicated to apostles.

Pentecost, 12th. c. glass mosaic, San Marco, w dome

Gold leaf between glass, tesserai. Each piece purposely layed tilted as to catch reflection and glint off the candlelight. Heaven and earth colliding. Stylized and abstract. Most important element at point, going down. Styles change throughout church bc of stylistic changes in time.

Pala d'Oro, (Altarpiece of Gold), 1st 1105, 2nd 1209, framed in 1342, San Marco

Later version, original from Constantinople. Capitol arteseans made - not locals. Enamel gold, glass paste. 1,927 semi-precious stones. Venetians made frame. Recognizes important people's significance. Irene Empress: Eastern. Balanced by commissioner doge; head removed for addition of halo. Power of image.

San Giovanni in Bragora (Church of St. John "in Bragora"), ca. 1475

Gothic arches, white columns, marble. Gold embellishment. Exterior brick w/ rose windows, gothic windows, and pilasters. Pilasters hint at interior structure: nave, aisle; three parts. Parish church; local and ordinary for community members. Wanted to respect tradition by not implementing new styles.

Santi Giovanni e Paolo (Church of Sts. John and Paul), ca. 1333 completed ca. 1460

Dominican. Gothic styles enlarged due to popularity. Exposed brick, confraternity of St. Mark as neighbor. Relied on public for decorations. Random colums, rose window, decorative arches. Tombs of doges outside. Corinthian recycled Torcello columns. All money went to tombs. Rib-vault ceiling. Aesthetic and functional purpose.

Santa Maria Gloriosa dei Frari (Church of the Glorious Mary of the Friars), ca. 1330 - ca. 1420

Franciscan. Gothic but not grand due to weight; brick ideal. Sand and clay foundation. Apse: lancid (tall, skinny, pointed) windows. Beams and pillars for structural stability. Latin cross ground plan - Christ's sacrifice. Monastic: preach in small box.

Virgin and Child with Donors, Paolo Veneziano, 1330s

Inspired by Byzantine. Cloth of honor signifying Mary's rank. Donors/comissioners at bottom. Mary presenting Christ and Universe. Communicates a message of purpose. Flat patterns - no depth. Hierarchy of scale.

Passion of Christ Polyptych, Paolo Veneziano, ca. 1350

Medieval altarpiece. Central image most important, as a whole shows Christ's story of life and death. Context: Franciscan church. Stigmota body markings: Christian cross, richly ornate and expensive appreciation and materials. Rich use of patterns flatten the images.

The Annunciation with Sts. Nicholas, James, John the Baptist, and Stephen, Lorenzo Veneziano, 1371

Glue seals pourous wood; gesso. Preliminary charcoal drawing, then gold. Punched gold: designs, scored, punchwork. Tempra: tiny touches of pain - dries quickly. Paolo as teacher; patterns and scale. *Gothic: courtly style, rarified elegance, delicate. Grounded, shared space figures

Justice and the Archangels, Jacobello del Fiore, ca. 1421

Justice: Venice. Gabriel: rarified elegance. Michael: security guard, second coming. Late gothic style: space united and consistent. Earthly but not believable. Curely, soft, rippled lines. No sense of weight and mass, not realistic. 3D painting w/ gold: built up with gesso: scales, decoration, armour, sword, halos, wings.

St. Chrysogonus on Horseback, Michele Giambono, ca. 1444, S. Trovaso

Figure is main point, martyr. Carved fram, figurative decoration. *Single panel altarpieces in Venice: late 1470s. Flat/dark and gold division. Figure almost goes out of the frame. Not realistic in weight, scale, gravity, or movement.

Baptism of Christ, Cima da Conegliano, 1492, S. Giovanni in Bragora

Historical event: lifelike quality. Interaction and conversation between figures. Clear heaven and earth division. Depth, gravity, realistic and humanistic. Holy Trinity. Fram has broken roman arch, pilasters, pediment.

The Madonna and Child Enthroned with Four Church Fathers, Antonio Vivarini and Giovanni d'Alemagna, 1446, Accademia

Northern art influence, heiressy eliminated, 3D gold, consistent platform, balanced figures, hierarchy of scale. Ornamentation, gothic doll-like proportions. *NEW: Depth and perspective, angles. Observed process of light and imitation.

St. Sabina Polyptych, Antonio Vivarini and Giovanni d'Alemagna, 1443, San Zaccaria, San Tarasio Chapel

Jerome: translator of bible, "Church Father." Evocation of deaths represented in figures portraits. Cohesion of portraits: grounded by rose bush. Mass and artistic evolution happening simultaneously: interest in naturalism, spirituality one reason for this.

Virgin and Child Enthroned with Sts. John the Baptist and Andrew, Bartolomeo Vivarini, 1478, S. Giovanni in Bragora

Not all shared space, but all are grounded accurately. Integration of figures and space. St. John recognizable through animal skins and pointing at Christ. Christ is finally child-like and chubby. Tempera.

Risen Christ, Alvise Vivarini, 1498, S. Giovanni in Bragora

Oil allows for softer transition, proportions realistic. Emotional and humanistic. Landscape background. Figure has weight. Clothes less exaggerated and more realistic.

Madonna and Child Blessing, Jacopo Bellini, ca. 1455, Accademia

Private devotional work, Byzantine, iconoism portraiture. Interactive windowframe. Assimilating mainland italian art. Cast shadows, more humanistic and realistic. Protective and thoughtful.

Pietá, Giovanni Bellini, ca. 1467, Milan, Pinacoteca di Brera

St. Vincent Ferrer Polyptych, Giovanni Bellini, late 1460s, SS. Giovanni e Paolo

St. Job Altarpiece, Giovanni Bellini, late 1470s, Accademia

Franciscan Church, single panel w/ many figures. Francis addressing the viewer. Test subject: faithful, disease, illness. Relatable to Venice: plague. *OIL: define textures and surface. Barrel-vault ceiling, holy luminosity, divine presence, glowing w/ holiness.

San Zaccaria Altarpiece, Giovanni Bellini, 1505, San Zaccaria

Semi-dome w/ architectural elements, gold imitation. Use layering of color itself to create effect. Development of oil techniques. Western in character: Renaissance effect of work.

S. Maria dei Miracoli, Pietro and Tullio Lombardo, 1481-89

Miracle painting contained. Pietro from Padua. Influence similar as of Cadussi. Sculptures/architects shared material. Ornately decorated: community. All marble exterior. 1st version. Free-standing. pove-free marble. Pilasters regularized the grid. Cornice dentals. Level revealed and hidden. Nuns/monk's choir. Claire, Francis, Gabriel, Mary.

structure and interior of S. Maria Formosa, Mauro Codussi, 1492 - 1504

High-end neighborhood. Parish church: mingling of classes, 3rd version, community. Two façades. Pivotal central point. Interest in classical revival. Greek cross, pivet at dome. Tradition and functionality. 3 door at arms. Math and nature, square and circle rotate around eachother. Antiquity of Byzantine not roman.

Palazzo Corner-Spinelli, Mauro Codussi, 1490-1504

Roman language: super impose. Exterior and interior integration. Fram and display wealth: glass. Portigo, double columns, androme, stilted arches. Venetian politician: collective identity. Spacial formula of homes has remained consistent. Unusual heavy rustication on ground floor.

St. Mark Preaching in Alexandria, Gentile and Giovanni Bellini, 1504, for Confraternity of St. Mark, now in Milan, Pinacoteca di Brera

Healing of the Possessed Man, Vittore Carpaccio, ca. 1502 - 7, for Confraternity of St. John the Evangelist, now Accademia

Tomb of Doge Pasquale Malipiero, Pietro Lombardo, ca. 1470, SS. Giovanni e Paolo

Revival of classical roman ideas. Women on top:representational of charity, justive, and peace. Covered in gold and paint. Griffens support sarcophogas. Roman decorative shell motif

Tomb of Doge Pietro Mocenigo, Pietro Lombardo, 1476-81, SS. Giovanni e Paolo

Military activity. Doge on top: lifelike presence. Attic extention. Story of 3 Mary's: risen Christ. Hercules: republican virtue and alliance. Souls rise from dead due to virtuous behavior.

Life of the Virgin and Life of Christ: Marriage at Cana, Lamentation, Massacre of the Innocents and Meeting at the Golden Gate, Giotto, 1304-5, Padua, Scrovegni Chapel

Made Michaelangelo. Imitated nature, illusion, and naturalism. Perspective and architecture. Scientific direction of light. Real emotions. Fresco, planning, prep of stucco, preliminary drawings, cheap, fast.

Equestrian Statue of Erasmo da Narni, or "Il Gattamelata," ca. 1443-54, Padua, in front of Church of St. Anthony

cradle of Renaissance. Classical antiquity and human nature/behavior. Acheivements of ancient arts. New and old bronze techniques. Cast and sautered, didn't know old methods. Natural proportions. Contemporary technology.

Stories of the Life of St. Christopher, Andrea Mantegna, 1448-59, Padua, Church of the Eremitani, Ovetari Chapel

Christopher: protector of travelers, bearer of Christ - weight of the world. Creation of space: detail in back/foreground. Unearthing physical Roman past. Obsessed w/ reconstruction of antiquity. Fictive sculpture and architecture. Linear perspective, contrapposto, foreshortening and scale.

Old Sacristy, Filippo Brunelleschi, 1421, Florence, San Lorenzo