“Damned Cast Into Hell”; Luca Signorelli; Pre-response to early reformation; scare protestants into questioning purgatory
“St. Francis In Ecstasy”; Giovanni Bellini; natural world without religious iconography
“Virgin and Child Enthroned”; Giovanni Bellini
“Procession of the Relic of the True Cross Before the Church of St. Mark”; Gentile Bellini; religion meets modern setting
“Room of the Newlyweds”; Mantegna; view in di sotto; foreshortening;
“Dead Christ”; Mantegna
“Primavera”; Botticelli; symbolizing fertile union and spring
“Birth of Venus”; Botticelli; commissioned by Medici’s; represents divine love; non-christian context
“Birth of the Virgin”; Ghirlandaio; patron in scene; classical and renaissance elements; religious scene in florentine home
“Nativity and Adoration of the Shepherds”; Ghirlandaio
“Christ Delivering the keys of the Kingdom to St. Peter”; Pietro Perugino; propaganda for papal authority; atmospheric and linear perspective
“The Resurrection”; Piero Della Francesca; triangular; secular setting; moral story in trees
“Baptism of Christ”; Piero Della Francesca; geometrical; foreshortening;
“The Last Supper”; Andrea del Castagno; for convent of nuns in dining hall
“battle of San Romano”; Uccello; battle between Florence and Sienna; international Gothic and perspective
“Portrait of a Man and Woman”; Fra Filippo Lippi; earliest surviving female portrait; side profile
“The Annunciation”; Fra Angelico; linear perspective; modest; resembles foundling hospital porch
“Expulsion of Adam and Eve”; Massaccio; psychological impact of expulsion vs. morality; shows underlying bone and muscle structure
“The Tribute Money”; Massaccio; allegory; Brancacci Chapel; atmospheric and linear perspective; peter is recognized by his clothes
“Trinity” Fresco; Massaccio; for Lenzi family tombstone; Tromp l’oeil
