• Tempera on canvas
• Black outlines (does not try to hide outlines)
• Human proportions out of scale 
• venus emerges fully grown from foam of sea 
• roeses scattered before her 
• left: zephyr (west wind) and chloris (nymph)
• right: handmaiden rushes to clothe her 
• figures float, not anchored to ground 
• crisply drawn (BLACK OUTLINED) figures 
• landscape flat and unrealistic, simple v-shaped waves 

• Nude--A& E only ones acceptable to be nude in the Renaissance
• Shows human proportions by showing nude figures (Classical and Northern techniques)
• Contrapposto of figures from the Italian Renaissance
• Engraved into copper plate 
• Ideal image of humans before the Fall of Man 
• Northern European devotion to detailed paintings 
• Italiam massing of forms 

• Oil and tempera on plaster 
• linear perspective; orthagonals of ceiling and floor point to jesus 
• high renaissance composition: key figure (Jesus) in the center, alone, and highlighted by the window behind (three windows in this case)
• twelve apostles grouped into threes, symmetrically balanced around Jesus, who is the focal point of the orthagonals
• Painting portrays great drama to the audience as jesus has just said "one of you will betray me" and the various reactions of the apostles can be seen: surprise, fear, anger, denial, suspicion, and, in the case of Jesus, anguish. 
• Judas falls back clutching his bag of coins, face in darkness 

• Fresco
• large, muscular figures 
• creation of light and dark 
• painted cornices frame groupings of figures in an organized way 
• many figures done for artistic expression rather than to enhance the narrative (e.g., the Ignudi)

• Fresco
• open, clear light uniformly spread throughout composition
• nobility and monumentality of forms parallel to the greatness of the figures represented
• Figures gesture to indicate their philisophical thought
• Two greatest figures in ancient greek thought are in center: Plato, with the features of Leonardo on left, pointing up/Aristotle on right
• Bramante= bald figure of Euclid on lower right 
• Michaelangelo resting on stone block writing poem 
• Raphael's overall composition influenced by Da Vinci's The Last Supper. 
• 1-point perspective 
• triumphal arch, barrel vault, pilasters (classical architecture) 

• oil on panel

Panel 1:

• Crucifixion, Dark background, dead, decomposing flesh, arms almost torn from sockets , lashed and whipped body 
• agony of the body unflinchingly shown , swooning Mary 
• Christ amputated as patients suffering ergotism (the disease the hospital the painting is in treats) would be 
• same true in the predella: Christ's legs seem amputated below the kneecaps

Panel 2:

• Christ rises from the dead on the right--his rags harm him now 

Panel 3 : 

• St. Anthony in right panel: oozing boils, withered arm, distended stomach (all ergotism symptoms) 

• oil on wood 
• hole in the center of the circular composition 
• elongation of bodies 
• high-keyed colors, perhaps taking into account the darkness of the chapel 
• hands seem disembodiesd 
• some androgynous figures 
• no weeping, just yearning
• linear bodies twisting around one another 

• oil on wood 
• hole in the center of the circular composition 
• elongation of bodies 
• high-keyed colors, perhaps taking into account the darkness of the chapel 
• hands seem disembodiesd 
• some androgynous figures 
• no weeping, just yearning
• linear bodies twisting around one another 

• Woodcut and letterpress
• Catholocism vs. Protestantism separated by tree
• Left: Judgement Day arrived 
• RIght: Christ emerges from tomb and promises salvation to all who believe in him 
• Cranach influenced by Luther 

• Oil on canvas 
• sensuous delight in the skin tones 
• looks at us directly 
• complex spatial environment: figure placed forward on the picture plane, servants in the middle space; open window with plants in the background 
• Roses contribute to floral motif carried throughout the work
• Cassoni: trunks intended for storage of clothing for a wife's trosseau
• painting became a standard for future reclining female nudes

• Oil on wood panel
• Alpine landscape, typical winter scene
• Strong diagonals lead the eye deeper into the painting 
• FIrues are peasant types, not individuals
• Landscape has high horizon line, a northern European tradition
• Endless details; nothing is static
• Hunters have had little success in the winter hunt; dogs are skinny and hang their heads