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| Jean Clouet, Francis I, 1530 |
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| LEONARDO DA VINCI, Virgin of the Rocks, ca. 1485 |
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LEONARDO DA VINCI, Last Supper, 1498.
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LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505
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| RAPHAEL, Marriage of the Virgin, 1504 |
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RAPHAEL, Philosophy (School of Athens and also called Raphael's Stanza), 1511 |
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| Raphael, Baldassare Castiglione, 1514 |
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| MICHELANGELO BUONARROTI, David, Florence, Rome, 1501–1504 |
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| MICHELANGELO BUONARROTI, Moses, Rome, Italy, 1515 |
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| MICHELANGELO BUONARROTI, Bound Slave, 1516 |
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| MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512 |
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| MICHELANGELO BUONARROTI, Creation of Adam (detail), ceiling of the Sistine Chapel, |
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| MICHELANGELO BUONARROTI, Pieta, St. Peter's, Vatican City, Rome |
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| MICHELANGELO BUONARROTI, Tomb of Giuliano de’ Medici, 1534 |
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| Bramante, Tempietto, 1502 |
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BELLINI, The Feast of the Gods, 1529
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| GIORGIONE, The Tempest, 1510 |
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| TITIAN, Madonna of the Pesaro Family, 1526 |
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| TITIAN, Venus of Urbino, 1538 |
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| TITIAN, Isabella d’Este, 1536 |
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| PONTORMO, Descent from the Cross, 1528 |
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| PARMIGIANINO, Madonna with the Long Neck, 1535 |
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| BRONZINO, Venus, Cupid, Folly, and Time, ca. 1546 |
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| SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and Brother, ca. 1555. |
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| Benvenuto Cellini, Saltcellar of Francis I, 1543. |
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| GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, 1538 |
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| GIULIO ROMANO, Courtyard of the Palazzo del Tè, 1535 |
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| TINTORETTO, Last Supper, 1594 |
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PALLADIO, Villa Rotonda (formerly Villa Capra), 1570. |
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| Palladio, Floor plan of the Villa Rotonda |
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| MATTHIAS GRÜNEWALD, Isenheim Altarpiece, 1515 |
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| ALBRECHT DÜRER, The Great Piece of Turf, 1503 |
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| ALBRECHT DÜRER, Four Apostles, 1526 |
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| ALBRECHT DÜRER, Knight, Death, and the Devil |
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| ALBRECHT ALTDORFER, The Battle of Issus, 1529 |
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| HANS HOLBEIN, The French Ambassadors, 1533 |
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QUINTEN MASSYS, Money-Changer and His Wife, 1514
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| PIETER AERTSEN, Meat Still-Life, 1551 |
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| CATERINA VAN HEMESSEN, Self-Portrait, 1548 |
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PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565
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| Portal, Colegio de San Gregoril, Valladolid, Spain, 1498 |
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EL GRECO, The Burial of Count Orgaz
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| literally refers to the small pedestal used for ornaments that are placed on the roof but usually has a figure of a god or goddess on it. |
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| = A panel, painted or sculpted, that is situated above and behind an altar. |
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| = A distored image that must be viewed by special means to be recognized. |
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| = Depiction of an idyllic place of rural peace and simplicity. Derived from Arcadia, an ancient district of central Greece. |
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| = Method used to create the illusion of distance, as if viewed from above. |
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| = First art school in Italy, founded in 1582 by the Carraci family. |
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| = A structure projecting from a sloping roof, usually housing a window. |
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| = Ergotism is the effect of long-term ergot poisoning due to the ingestion of a fungus which infects rye and other cereals which is Also called St. Anthony's Fire. Primarily associated with Grunewald's famous Isenheim altarpiece. |
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| = Spiritual communion with God. The ceremony practiced by Roman Catholics, where the bread and wine given during Mass symbolize the body and blood of Christ. |
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| = A contortion or twisting of the body in opposite directions, specially characteristic of the sculpture and paintings of Michelangelo and the Mannerists. |
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| = The German term for "landscape" |
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| = a long stick used by painter to support the hand holding the brush |
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| = A skull shown in a painting as a reminder of death |
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| = A style that resembles the Spanish silver metal tradition |
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| = A ceiling design with painted scenes which are arranged in panels resembling framed pictures. |
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| = A round building, eg. the Pantheon in Rome |
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| = Painted in the "dark Italian manner" using harsh contrasts of light and dark |
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| = Superb daring, immense disdain, and a terrifying determination to overcome all obstacle. This term is almost universally used to define Michelangelo |
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| = The doctrine held by Roman Catholics in which the bread and wine in the Mass are converted into the literal body and blood of Christ. |
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| = A wedge-shaped block used in the construction of an arch. |
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| = Wooden block containing a design in which the parts not intended to print are cut away to a slight depth, leaving the design raised. |
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| = Technique used to represent perspective in ceiling painting. Literally: “from below upwards.” |
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| = A concave, triangular piece of masonry (triangular section of a hemisphere). Four pendentives provide the transition from the square area to the circular base of a covering dome. Although they appear to be hanging from the dome, they actually support it. |
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| = A painted or sculpted representation of the Virgin Mary mourning over the body of Christ. |
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| = The narrow ledge on which an altarpiece rests on an altar, often with scenes painted on it. Essentially it is the base for the altarpiece. |
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| = A form of illusionistic painting that attempts to represent an object as existing in three dimensions at the surface of the painting. Literally: “fools the eye”. |
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= Roman architect, from the first century BC. Author of the famous Treatise
(Marcus) De Architectura, dealing with city planning and architecture in general. He was an admirer of Greek architecture and wished to preserve the classical traditions |
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