Virtual Museums Uffizi

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Asymetrix ToolBook File | 1995-11-06 | 69MB | 133,418 lines

g}y=W 2.Hw= :HDMEDIAPATH System MS Sans Serif MS Sans Serif Times New Roman :CDMEDIAPATH Sans Serif Times New Roman Small Fonts MS Sans Serif u:\flics\pass;u:\movie h>;u:\anim Times New Roman Times New Roman Small Fonts Times New Roman NumMaxSale Times New Roman Times New Roman Small Fonts mes New Roman MS Sans Serif MS Sans Serif MS Sans Serif helpino MS Sans Serif 4 \\styloserver\uffizi \\styloserver\uffizi \\styloserver\uffizi Times New Roman Sans Serif \\styloserver\uffizi Sans Serif 4 u Piazza della Signoria,Puzzle a 24 pz.,Puzzle a 32 pz. mes new roman Times New Roman Times New Roman u:\movie ass;u:\movie <BookPath> Sans Serif autore stampa name of this page = A82 is page = A140 Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif \\styloserver\uffizi mes new roman times new roman pBAsmIn Sans Serif name of this page = A20 name of this page = commenti name of this page = commenti name of this page = commenti name of this page = commenti name of this page = A82 Comment,Artist card,Full screen Picture,Back,Index,Help,Go to picture,Go to Gallery,Go right,Go left,Information on this room,Go to model,Print,Reference,Film,25 piece Puzzle,Theme route: Animals,The Arno on Film,Piazza della Signoria on Film,61 piece Puzzle,113 piece Puzzle,Theme route: Angels,Theme route: The Senses,The 1993 bombing on film Sans Serif \\styloserver\uffizieng MS Sans Serif name of this page = A140 name of this page = A80 stampa ,113 piece Puzzle,theme route: Angels,theme route: The Senses,The 1993 bombing on film attack on film 993 bomb attack on film Page video ossario commentoopera Page id 2 Mappa Page "pmappa" Page id 373 of Book "D:\UFFIZI\UFFIZI19.TBK" Page id 362 Page id 363 Page id 1324 Page "cartelli" audio enterwindowold leavewindow enterwindowold = 193 = 194 = 196 enabled Baudio leavewindow playsound ("") Page "commenti" Page "dialogo" Cartello confronti Page "confronti" glossario Page "prova" "D:\UFFIZI\UFFIZI.TBK" messaggio video chiudifilm closewindow ypixelsfromunits video pienoSchermo closewindow chiudifilm pienoSchermo flag -- grande video 0,5820 -- 120,4770 ypixelsfromunits(7470), 6570) %1230), -585) stage 7485,5858 -- 5827,4560 -- piccolo 0,2700 3450), 3465) 1725), 1440) 3450,2700 openwindow closewindow openwindow closewindow chiudifilm closewindow from pausafilm fullscreen currfilm play pienoSchermo closewindow chiudifilm pienoSchermo pausafilm 4currfilm mmposition clip mmdevicealias callMCI("play "& "&p&" fullscreen", prova Page id 1850 ge "dati" Page "prova" ge id 1722 of Book "N:\UFFIZI.TBK" indiceglossario Lettera A TabellaPosizione closewindow closewindow TabellaPosizione ("Lettera A") "indiceglossario" Page id 1722 of Book "C:\UFFIZI\UFFIZI1.TBK" 827,4560 -- piccolo 0,2700 3450), 3925) 2940), 1095) 3450,2700 Uffizi datogliere Page "sigla" page "modello" closewindow from pausafilm fullscreen currfilm play pienoSchermo closewindow chiudifilm small pienoSchermo flag -- grande video 0,5865 ypixelsfromunits(7470), &1095), .120) stage 7485,5858 -- 5827,4560 pausafilm 4currfilm mmposition clip mmdevicealias callMCI("play "& "&p&" fullscreen", -- piccolo 0,2700 3450), 3450) 5925), 3450,2700 mmposition clip mmdevicealias callMCI("play "& "&p&" fullscreen", -- piccolo 0,2700 3450), 3450) 5925), 2940), 1095) 3450,2700 s3v13 s5v15 s7v11 s9v11 s19v1 s15v5 s31v3 s19v10 s33v10 s33v1 s35v7 s35v9 s34v15 s35v14 s41v11 s43v15 s45v13 s19v11 s20v4 s15v15 s33v11 s28v4 s31v13 s46v8 s16v4 s46v1 s2v14 s4v12 s4v16 s20v14 s21v4 s27v8 s28v7 s28v9 s28v14 s29v8 s41v2 s41v6 s20v7 s20v9 s46v10 CE< s46v11 ERRORE2 s16v14 s25v5 s7v12 s7v16 s9v12 s9v16 s19v2 s19v6 s21v9 s21v14 s23v3 s27v1 s27v10 s29v1 s29v10 s32v3 s33v2 s21v7 s41v12 s41v16 indiceglossario s33v6 s16v9 s16v7 stampa s25v15 s19v12 s19v16 s27v11 s29v11 s32v13 s33v12 s23v13 s33v16 s22v4 s26v4 s46v2 s46v6 dialogo s43v8 s22v7 s22v9 s22v14 s26v7 s26v9 s26v14 s27v6 s29v2 s29v6 s34v8 s27v2 s45v4 s46v12 s46v16 s44v5 NGN< s45v9 s45v14 s18v5 timer s45v7 s43v1 s3v14 s8v15 s10v5 s15v8 s27v12 s5v10 s4v13 s29v16 s31v4 s34v1 s34v10 s41v3 s27v16 s29v12 s44v15 s43v10 s5v11 cartelli s7v13 s9v13 s31v7 s10v15 s19v3 s15v1 s15v10 s33v3 s34v11 s31v9 s31v14 s35v5 s41v13 s43v11 s18v15 XIE< passeggiate s15v11 s19v13 s33v13 s35v15 intro s43v2 s43v6 s25v8 s20v5 s23v4 s28v5 s32v4 s34v2 s34v6 s46v3 prova s25v1 s46v13 s16v5 s2v15 cover pmappa s5v12 s5v16 s15v2 s25v10 s20v15 s21v5 s23v7 s23v9 s23v14 s27v3 s28v15 s29v3 s15v2 s15v6 s32v7 s32v9 s32v14 s34v12 s34v16 glossario s43v16 s43v12 s25v11 s21v15 s15v12 s15v16 s29v13 s27v13 s16v15 s44v8 s18v8 s25v2 s4v14 s8v10 s25v6 s22v5 s26v5 s41v4 s10v8 s44v10 s44v1 noM< s18v1 s18v10 s45v5 s25v12 s25v16 s7v14 s9v14 s10v10 s19v4 s22v15 s26v15 s33v4 s34v3 s8v11 s10v1 s41v7 s41v9 s41v14 s35v8 s44v11 s43v3 s3v15 s5v13 s10v11 s15v3 s19v9 s19v7 s31v5 s19v14 s33v9 s33v7 s34v13 s35v1 s33v14 s35v10 s43v13 s45v15 s18v11 s46v4 s20v8 s28v8 s31v15 s35v11 s15v13 s44v6 s44v2 s18v2 s44v12 s2v10 s8v12 s8v16 s10v2 s10v6 s20v1 s20v10 s21v8 s27v4 s28v1 s28v10 s29v4 s18v6 s46v7 s46v9 s46v14 voceglossario s16v8 s44v16 s25v3 s18v16 s18v12 s2v11 s10v12 s10v16 s21v1 s21v10 s23v5 s27v7 s27v9 s27v14 s28v11 s29v7 s29v9 s20v11 s32v5 s35v2 s35v6 s29v14 s16v10 s16v1 modello s25v13 s23v15 s32v15 s35v12 s35v16 s21v11 s16v11 8uD< s22v8 s26v8 s28v2 s20v2 s20v6 s28v6 s16v2 s16v6 s45v8 s2v12 s2v16 s20v12 s21v2 s21v6 s22v1 s22v10 s26v1 s26v10 s28v12 s28v16 s34v4 s20v16 s44v3 s43v4 s45v1 s45v10 s16v12 s16v16 s18v3 s44v13 s43v7 s3v10 s8v13 s10v3 s15v4 s21v12 s5v14 s4v15 s22v11 s26v11 s31v8 s34v7 s34v9 s34v14 s41v5 s21v16 s43v14 s43v9 s3v11 indice s7v15 s9v15 s19v5 s10v13 s15v7 s15v9 s15v14 s33v5 s35v3 s31v1 s31v10 s41v15 s45v11 s18v13 s19v15 s22v6 s22v2 s31v11 s33v15 s26v2 s26v6 s35v13 s46v5 s25v4 s22v12 s22v16 s23v8 s26v12 s26v16 s28v3 s32v8 s20v3 commenti s45v6 s45v2 s46v15 s45v12 s3v12 s25v7 s25v9 s25v14 s2v13 s3v16 s20v13 s21v3 s23v1 s23v10 s27v5 s28v13 s29v5 s31v2 vopere s32v10 s31v6 s32v1 s16v3 s45v16 dilavoro s23v11 s27v15 s29v15 s31v12 s21v13 s31v16 s32v11 confronti sigla s16v13 giochi s44v4 s18v4 s44v14 s8v14 s10v4 s4v10 s23v2 s23v6 s26v3 s32v2 s32v6 s41v8 s22v3 s44v9 s44v7 s18v14 video ERRORE s18v9 s43v5 s7v10 s9v10 s10v7 s4v11 s10v14 s19v8 s22v13 s23v12 s23v16 s26v13 s10v9 s32v16 s33v8 s34v5 s35v4 s41v1 s41v10 s32v12 s18v7 s45v3 autori Museo DatiOpere dilavoro film1 CDBSE&File &Open... Ctrl+O &Save Ctrl+S Save &As... saveas &Import... import &Export... export Print Set&up... printsetup &Print Pages... Ctrl+P printpages Prin&t Report... printreport Send &Mail... sendmail &Run... E&xit Alt+F4 &Edit &Undo Ctrl+Z Cu&t Ctrl+X &Copy Ctrl+C &Paste Ctrl+V paste C&lear Del clear Select &All Shift+F9 selectall Select Pa&ge Shift+F12 selectpage &Size to Page F11 sizetopage F&ind... F5 Re&place... replace Aut&hor F3 author &Text &Character... F6 character &Paragraph... F7 paragraph &Regular Ctrl+Space regular &Bold Ctrl+B &Italic Ctrl+I italic &Underline Ctrl+U underline Stri&keout Ctrl+K strikeout Superscrip&t/Subscript superscriptSubscript &Normal Script normalscript Su&bscript Ctrl+L subscript Su&perscript Ctrl+Shift+L superscript &Show Hotwords F9 showhotwords &Page &Next Alt+Right &Previous Alt+Left previous &First Alt+Up first &Last Alt+Down &Back Shift+F2 &History... Ctrl+F2 history N&ew Page Ctrl+N newpage &Help &Contents F1 contents Status &Bar F12 statusbar ,!JF" ,!JFY Commenti2 txtcommenti4 Commenti1 Commenti4 Commenti3 commento txtcommenti5 txtcommenti1 Commenti5 commenti txtcommenti3 txtcommenti2 testoCommento ypixelsfromunits commento oggetto commentoopera ridimensiona `<setposizione buttonclick `<setposizione buttonstilldown `<setposizione buttonclick `<setposizione buttonstilldown `<setposizione buttonclick `<setposizione buttonstilldown `<setposizione buttonclick `<setposizione buttonstilldown pgiudiuno buttonclick `<setposizione inpiu rigavalida giudiuno pgiudiuno `<setposizione inpiu rigavalida buttonstilldown !Psudiuno buttonclick `<setposizione rigavalida sudiuno `<setposizione !Psudiuno rigavalida buttonstilldown `<setposizione rigavalida buttonclick Tabella App voceglossario glossario UVoceGlossario esegui selezione selezione inpiu setposizione 2, "Q false rigavalida 2, "Q inpiu mappa SalaCorrente dImappacorrente pmappa eImappacorrente PosizionaMappa cartelli interpretaCodici formattatesto ,%H.% l'array lo definisco a 232, controlla se l'ultimo id questo MsAccess Btxtglossario ;SQL SELECT * FROM [p2]; nomedb nulla fatto ;SQL SELECT * FROM [p1]; ;SQL SELECT * FROM [p]; hai fatto girare le query per creare le tabelle p,p1 e p2? Xaformattatesto buttonclick datiradar fatto dilavoro buttonclick 1, #b ,%H.% tabella app IndiceGlossario MsAccess regular times new roman lista errore NomeDb ;SQL SELECT [Tabella Glossario].IdGlossario, [Tabella Glossario].Voce FROM [Tabella Glossario] ORDER BY [Tabella Glossario].Voce; Ms Sans Serif idvoce oldvoce buttondown ,%H.% fatto MsAccess nulla numsale ;SQL SELECT * FROM [Tabella sale]; (closed) GYdatisale nomedb buttonclick fromsigla CoordArray SalaCorrente modello c`nomesala visore2 nomisale enterpage .&+ +E visore SalaCorrente [stopwav visore2 leavepage dovevedo UvaiaSala salacorrente buttondoubleclick CoordArray SalaCorrente NumMaxSale c`nomesala visore2 nomisale buttonclick SiglaInterrotta start.exe intro1 send exit toolbook start.tbk suonawav firstidle .&+ +E .&+ +E .&+ +E CoordArray visore mousep c`nomesala objectclass newVisore NumMaxSale #lastsu pallino spostamappa ]spostapallino dovevedo buttonstilldown 1,!JZ" 1,!KW .&, 7 .&, 7 .&, 7 mappa spostamappa w, #> #lastsu #lastsu pmappa dovevedo spostapallino pallino mappa nposmappa buttondown ,%H.% dovevedo pallino mappa UVaiASala nposmappa vaiavista buttonup buttonclick ,%H.% hai fatto girare la query per creare la tabella p?? confronti confronti1 MsAccess confronti5 nomedb nulla l'array lo definisco a 421, controlla se l'ultimo id questo ;SQL SELECT * FROM [p]; confronti2 confronti4 confronti3 buttonclick w, #> w, #> w, #> w, #> w, #> 1, #> guidedtour pausa ;helpino verso 8nomeimg testomessaggio scelta 2idopera audio confronti PathFratta PathFoto nonso `frompage PathImg verso scelta quale percorso X4MostraQuadro audio ucfrattale dialogo `frompage audio vopere frattale 2idopera VaiAOpera Resetpage GuidedTour chiudi tcfrattale `frompage pausaguidedtour buttonclick GuidedTour percorso [StopWav audio uNascondiQuadro Resetpage .&+ +E w, #> + , #> 1,!K, dialogo guidedtour HWinFif Open qSetWindowWord .UpdateWindow scelta 8nomeimg Play wquadro confronti confronti tcfrattale Window wquadro position titolo messaggio TbkBitmap autore Status wquadro size .bmp alias wquadro style child `frompage @PBF_CreateFifWindow default 2idopera Messaggio ShowWindow Uffizi MostraQuadro .&+ +E TbkBitmap Close wquadro PBF_DestroyFifWindow deleteobject HWinFif confronti .UpdateWindow uffizi tcfrattale default ShowWindow NascondiQuadro M`1zN ^X7TS @An,Pj valida AreaSale ObjectClass =numsala SetAreaSale AreaPorta objectclass numporta SetAreaPorta 2idOpera NomeAutore NomeAutore DescrOpera DescrOpera copiaTitolo w, #b w, #b NomeAutore AreaOpera NomeAutore MsAccess NomeDb BGetNomeCortoAutore ;SQL SELECT [Tabella Schede Opere].IDAutore,[Tabella Schede Opere].IDAutore2,[Tabella Schede Opere].titolo FROM [Tabella Schede Opere] WHERE (([Tabella Schede Opere].[IdSchedeOpere]= objectclass 2idopera DescrOpera Errore nel db SetAreaOpera 2idopera Areaopera objectclass SetAreaOpera setOggettiViste ,!J " ,!J " ,%H.% nSalaV \\styloserver\uffizi\viste\s ImportaViste ,!J " ,!J " ,%H.% Cancello i bordi? nSalaV Torno alla vista 1? \\styloserver\uffizi\viste\s ImportaAncora cartello MsAccess txtcartelli errore nomedb ;SQL SELECT [tabella sale].[commentosale] FROM [tabella sale] WHERE (([tabella sale].[numero sala]= cartelli interpretaCodici cartelli setTestoCartello cartello cartelli txtcartelli cartelli FissaTestoCartello ;SQL SELECT [tabella schede opere].[commento] FROM [tabella schede opere] WHERE (([tabella schede opere].[IdSchedeOpere]= MsAccess errore nomedb commento interpretaCodici commenti CFissaTestoCommento getTestiCommenti ;SQL SELECT [tabella schede opere].[commento] FROM [tabella schede opere] WHERE (([tabella schede opere].[IdSchedeOpere]= MsAccess errore nomedb commento interpretaCodici commenti setTestoCommento ,!JF" ,!JFY Commenti2 to txtcommenti of page dati to commenti of page dati Commenti1 set txtcommenti Commenti4 set commenti Commenti3 commento [num] to richtext of field commento of page commenti Commenti5 commenti Commenti3 commento Commenti2 Commenti4 Commenti1 Commenti5 FissaTestoCommento MsAccess NomeDb SetDatiPaginaOpera ;SQL SELECT [Tabella Schede Opere].[IDSchedeOpere] FROM [Tabella Schede Opere]; setTuttePagineOpere ,%H.% ;SQL SELECT [Tabella Schede Opere].idschedeOpere FROM [Tabella Schede Opere] WHERE (([Tabella Schede Opere].[ID Sale]= MsAccess NomeDb SetDatiPaginaOpera setPagineSala w, #b w, #b 2IdOpera MsAccess OtipoHot nomiautori ,setPosizioneTesti kidautore NomeDb ouIdAutore2 BGetNomeCortoAutore nuidautore2 nulla titolo v7rimando autore kIdAutore Autore ObjectClass ;SQL SELECT * FROM [Tabella Schede Opere] WHERE (([Tabella Schede Opere].IDSchedeOpere= nomiautori SetDatiPaginaOpera .&, 7 .&, 7 .&, 7 1,!JxY 1,!J-Y Regular Times New Roman $resizeFieldY Titolo Autore setPosizioneTesti resizeFieldY resizeFieldX MsAccess nomedb ;SQL SELECT [tabella autore].Nome FROM [tabella autore] WHERE (([tabella autore].IDAutore= GetNomeAutore MsAccess ;SQL SELECT [tabella autore].NomeCorto FROM [tabella autore] WHERE (([tabella autore].IDAutore= nomedb GetNomeCortoAutore MsAccess ;SQL SELECT [tabella autore].anni FROM [tabella autore] WHERE (([tabella autore].IDAutore= nomedb GetAnniAutore MsAccess nomedb ;SQL SELECT [tabella sale].[numero sala] FROM [tabella sale] WHERE (([tabella sale].[Id sale]= GetNumeroSala MsAccess NomeDb TSSetDatiPaginaAutore autore ;SQL SELECT [Tabella Autore].idautore FROM [Tabella Autore]; setTuttePagineAutori w, #> Inglese lingua rit.txt lista nomefile u7rimando OtipoHot Italiano Biografia no such file ren.txt CreaListaRimandi ,%H.% OR [Tabella Schede Opere].IDAutore2= MsAccess $resizeFieldY NomeDb #resizeFieldX ;SQL SELECT [Tabella Schede Opere].IdSchedeOpere,[Tabella Schede Opere].Titolo FROM [Tabella Schede Opere] WHERE ([Tabella Schede Opere].IDAutore= CreaCampiOpere 1, #? ,%H.% interpretaCodici Biografia MsAccess ;SQL SELECT * FROM [Tabella Autore] WHERE (([Tabella Autore].IDAutore= NomeDb prima nulla Prima biografia autore SetDatiPaginaAutore 2, "j 2, "L 2, "j 2, "j 2, "L 2, "j 2, "j 2, "L 2, "j 2, "j 2, "L 2, "j 2, "j 2, "j v7rimando ObjectClass OtipoHot interpretaCodici 1, #> ,%H.% Fine dell'indice Indice MsAccess ;QUERY PerIndice IndiceOpere f2rimandi (zoom) NomeDb TitoloOp e2rimandi Rien faire setIndiceOpere ,%H.% Fine dell'indice Indice MsAccess f2rimandi NomeDb IndiceAutori ;QUERY PerIndiceAutori e2rimandi Rien faire setIndiceAutori ,%H.% Indice MsAccess guidedtour NomeDb ;QUERY Percorso indice Rien faire setIndicePercorsi 1, #> ,%H.% 1, #> ,%H.% MsAccess ;SQL SELECT [Tabella Schede Opere].IdSchedeOpere FROM [Tabella Schede Opere]; NomeDb CreaPagineOpereECommenti 1, #> ,%H.% MsAccess NomeDb ;SQL SELECT [Tabella Autore].IdAutore FROM [Tabella Autore]; CreaPagineAutori Lettera I Lettera F Lettera Z Lettera M Lettera P Lettera J Lettera A Lettera T VadoAllaPosizione Lettera E Lettera L Lettera V Lettera G Lettera B Lettera W Lettera D Lettera C Lettera N Lettera O Lettera H Lettera R Lettera S TabellaPosizione `<setposizione lista VadoAllaPosizione `<setposizione lista resetta ,!JZ" w, #> ,!J@Y w, #> w, #> w, #> w, #> ,!J@Y w, #> w, #> w, #> w, #> `<setposizione indice 1,31,37,58,62,64,70,74,82,84,84,88,96,146,151,154,154,245,248,282,282,337,346,346,347,347 autori 1,10,32,51,57,59,68,83,84,85,85,89,104,126,130,131,131,149,157,166,166,170,186,188,188,189 opere rimandi acceso scelta keyDown indiceopere posizioneopere posizioneautori indiceautori enterpage posizioneopere chiudifilm indiceopere video posizioneautori indiceautori leavepage posizioneopere `<setposizione indiceopere indicestampe opere acceso acceso indicemedia posizioneautori indiceautori resetta w, #> w, /; w, #> settastampa dialogo ctestoCommento indice titolo intro autori opere name of this page = stampa DoveSono quale acceso selezione stampe autore $Uresettastampa e2rimandi default commenti Messaggio stampatesto w, #> .&+ + .&+ + dialogo titolo,stampa indice intro testomessaggio indicestampe prima stampa commento selezione biografia autore,anni,stampa commenti toglibianchi settastampa resettastampa toglibianchi MBqqSf SiglaInterrotta entersystem fromsigla LoadDllVarie YGInitSeq seconds )CambiaCaption setGlobalVariables enterbook BqUnLoadDllVarie MollaCaption leavebook museo mappa video enterbackground museo leavebackground w, #> w, #> TbkBitmap biografia Open Play wquadro Window wquadro position 0, 8nomeimg pmappa ]spostapallino PathTagli prima alias wquadro style child SalaCorrente nomesala scrolla NomiSale enterpage w, #> TbkBitmap cartello Close wquadro video commentoopera dueautori scelta leavepage modello J0GetMCIStatus [stopwav playing keydown Uvaiasala vopere SalaCorrente indietro ObjectClass buttondown w, #> .&+ +E -", #> w, #> +", #> AreaOpera 2idopera cartello SalaQuadro settesto stampatesto indice verso cSalaDallaPorta VaiAAutore *ShowCartello VistaDallaPorta AreaFilm UVaiASala SvaiGuidedTour vopere BCommento startfilm VaiaOpera DoveVedo glossario FrancOpera OTipoHot ObjectClass BGuida BIndietro UVoceGlossario Galleria vaiaopera commenti Bpercorso numporta anima vShowhelp BFilm VaiaVista Cavaigioco UvaiaSala BOpera AreaPorta BStampa BModello modello nuidAutore2 Closed ridimensiona voceglossario BAutore FilmCorrente u7rimando ctestoCommento commentoopera BConferma acceso [stopwav scelta salacorrente dueautori Bgioco vaiaigiochi NumVista BIndice kindietro VaiASchedaOpera kidAutore AreaCartello scelta buttonclick ObjectClass buttonup .&+ +E w, #> w, #> (zoom) 2idopera ;helpino AreaOpera AreaCartello cSalaDallaPorta NomeAutore visore DescrOpera BOpera AreaPorta tcfrattale tEhelppos helpino c`nomesala ObjectClass helpvisore ~hZoomable Areafilm numporta nomisale MouseEnter .&+ +E w, #> 2idopera AreaOpera museo AreaCartello visore AreaPorta helpino ObjectClass ~hZoomable AreaFilm MouseLeave - 5/6 - 10/14 nomisale nomesala VaiAAutore VaiASchedaOpera -", #> -", #> cartello Dovevedo mappa cSalaDallaPorta VistaDallaPorta SalaCorrente 15to18 gioco pmappa PosizionaMappa VaiASala Dovevedo SalaCorrente VaiAVista salacorrente radar SalaDallaPorta salacorrente radar VistaDallaPorta Cartello cartelli SalaCorrente =ZTestoCartello ShowCartello indice giochi PBWinHelp DirCorrente \uffizi.HLP ShowHelp .&+ +E .&+ +E anima indice giochi gioco vaiaigiochi DirCorrente puzzle.exe vaigioco TogliCRLF -", #> autore TogliCRLF PaintingBy -", #> titolo TogliCRLF PaintingTitle pathimg BitmapPath .&, " .&, " -#, #> .&, " 1, "L .&, " error ( LeggiFile + , " + , #> Puzzle {|LeggiFile Operamm.ini lista DirCorrente GetIniVar PuzzleList dafile Uffizi setPuzzleVars ,!JdY -$+"? PuzzlePic seedNum PuzzleList seconds LastPuzzle InitPuzzle +",!J +",!" +",!" +",!> InitPuzzle PuzzlePic LastPuzzle Puzzle GuidedTour 218 o218 field tour of page dati suonerei 301 o301 PathAudio 306 o306 HGvaistep startseq VaiGuidedTour Resetpage vopere vaiaopera vaistep + , # Resetpage GuidedTour vopere FineGuidedTour wFineGuidedTour notifyendseq dialogo GuidedTour VStopSeq Messaggio qPausaSeq PausaGuidedTour passo PausaSeq initSeq .&, " .&+%? timer waveaudio open seqtype comando passo TimerDelay alias seqstream TimerNow notifyseq play seqstream periodic fieldLista set seqstream time format ms TimerId type StartSeq seqtype passo notifyseq timer PausaSeq k,notifyendseq TimerId close seqstream StopSeq resume seqstream seqtype timer PausaSeq passo pause seqstream PausaSeq +%,!> +%,!Y seqtype TimerDelay TimerNow esegui timer PausaSeq status seqstream position timerNotify +",!> + +.0> +",H4 +%,!" +",!Y + +.0> +",H4 esegui passo TimerNow fieldLista Vstopseq fieldLista tempo TimerNow passo esegui + +.0> +",H4 +%, 8 + +.0> +",H4 +",!Y false passo TimerNow fieldLista false fieldLista TimerNow TimerId passo TimerId recordstep open close voce comando play voce from suonerei PathAudio type waveaudio alias voce play voce SuonaWav close voce StopWav pause voce J0GetMCIStatus playing PausaWav resume voce J0GetMCIStatus paused RestartWav false J0GetMCIStatus paused stasuonando seqstream [StopWav J0GetMCIStatus stopped VStopSeq MCINotify video Video currfilm FilmCorrente pausa video currfilm StartFilm pausa video currfilm pausafilm pausa video currfilm stopfilm video currfilm chiudifilm mappa FYdatisale confronti setPuzzleVars confronti radar datiradar MustLoadArrays nomisale loadArrays + , / + , / PathFoto SalaCorrente mappaVisibile CDRomDrive \audio\ Operamm.ini \fratnew\ PathFratta DoveVedo tagli\ foto\ PathAudio GetIniVar PathImg PathTagli cdDrive \imgsnew\ DoveSono MustLoadArrays Uffizi setGlobalVariables tb30win.dll GetWindowLong SetWindowLong SetWindowWord ShowWindow UpdateWindow WinHelp PostMessage FindWindow Operamm.ini stylofrm.dll PBF_CreateFifWindow PBF_IsFifWindow PBF_DestroyFifWindow mtb30BMP.DLL DirCorrente PBXFIF10.dll GetIniVar LoadLibrary FreeLibrary stylotbk.dll kernel tbkBitmap InstallationPath 0&RemoveCustomFrame SetCustomFrame CaptionColor getIniVar YieldApp ypixelsfromunits GetMCIStatus Uffizi LoadDllVarie tb30win.dll mtb30BMP.DLL PBXFIF10.dll kernel UnLoadDllVarie )CambiaCaption openWindow mollacaption closeWindow .&, " .&, " LoadLibrary Mini26 uffizi.dll FreeLibrary DirCorrente fSetWindowLong i\GetWindowLong SetCustomFrame MollaCaption Museo26 CambiaCaption RemoveCustomFrame MollaCaption salva salva saveas w, #> dovevedo indiceglossario indice Dresetta UvaiaSala SalaCorrente modello salva testoCommento Commenti1[70] Commenti2[70] Commenti3[70] Commenti4[70] Commenti5[70] p <= 70 commenti1 txtcommenti1 "dati" richtext commento <= 140 commenti2 txtcommenti2 /[num-70] <= 210 commenti3 txtcommenti3 P140] ` <= 280 commenti4 txtcommenti4 <= 350 commenti5 txtcommenti5 ridimensiona oggetto C<> 0) commentoopera ypixelsfromunits( buttonclick p) <> 1 p) = setposizione p = 4 p) > p p) > p) -1 p) <> 1 p) = buttonclick p) < p) +1 p) + 24 < setposizione p = 4 p) + p <= p) +p p) + 24 < p) -24 p) < p) +1 p) + 24 < buttonclick p) < p) +1 p) + 24 < setposizione p = 4 p) + p <= p) +p p) + 24 < p) -24 p) < p) +1 p) + 24 < buttonclick p) <> 1 p) = setposizione p = 4 p) > p p) > p) -1 p) <> 1 p) = buttonclick giudiuno p) + 15 - inpiu p) < xrigavalida ( p) + 15 - p) < setposizione p = 4 p) + p <= p) + p p) + 15 - p) < p) - 15 + p) + 2 p) + 15 - p) < -- verso il fondo buttonclick sudiuno p) = xrigavalida ( p) = setposizione p = 4 p) > p + 2 p) > p) -1 p) - 2 p) = buttonclick pos rigavalida( ostl setposizione esegui "Tabella App" <> "" VoceGlossario "voceglossario" currentpage oselezione -1+inpiu()) * 195 +15 ) <> 1 ) = 1 PosizionaMappa 4SalaCorrente Bsalacorrente aree "pmappa" omappacorrente <> -- posiziona clientToPageUnits( sv/2)-px sv/2)-py pallino )/2)-165+ )/2)-195+ formattatesto t cartelli temp interpretaCodici " richtext buttonclick "hai fatto girare le query per creare le tabelle p,p1 e p2?" "l'array lo definisco a 232, controlla se l'ultimo questo" 4nomedb s=NomeDb&";SQL SELECT * FROM [p];" "data" "MsAccess" closeRemote glossario1 glossario2 glossario3 <> "" -- questi numeri sono anche nello 8(setvariables) [232][2] k= setto i= (9),k) Vi+1 U(k) Fvoce i= (9),k) [p][1] Vi+1 U(k) scheda [p][2] (k) -- "nulla" <> "" k= k <> "" -- (9),k) Vi+1 U(k) -- (9),k) [p][1] Vi+1 U(k) -- [p][2] (k) -- <> "" k= k <> "" i= (9),k) Vi+1 U(k) i= (9),k) [p][1] Vi+1 U(k) [p][2] (k) -- txtglossario dati buttonclick -- riempie la struttura che mappa le porte, serve per sapere da una porta dove si va temp[48][3][2] -- array radar 48 --sala porta1(prec) G [i][1][1] dilavoro 48 -- J2(suc) [i][2][1] 48 -- [i][3][1] 48 -- vista1( [i][1][2] 48 -- vista2( [i][2][2] 48 -- vista3 [i][3][2] datiradar "fatto" 4NomeDb &";SQL SELECT [Tabella Glossario].IdGlossario, [ .Voce FROM [ , ORDER BY [ "data" "MsAccess" closeRemote "IndiceGlossario" oldvoce lista "tabella app" k= i= (9),k) -- idvoce Vi+1 U(k) "times qroman" regular "Ms Sans Serif" "fine" "errore" buttonclick 4nomedb temp[48][2] -- s= $&";TABLE [tabella sale]" s=NomeDb&";SQL SELECT * FROM [Tabella "data" "MsAccess" -- keepremote closeRemote <> "" k= -- salto il Idsala i= (9),k) Vi+1 U(k) setto il num i= (9),k) i > 1 numsale Vi+1 U(k) se c' i= (9),k) i > 1 Vi+1 U(k) -- i= (9),k) i > 1 = 1 = 17 = 24 sal = 30 -- ita chiusa)" " (closed)" -- ns= dilavoro -- fill B] order ][1] ][2] datisale "fatto" "nulla" 4logical fromsigla 4SalaCorrente ("s"& 1 -- non lo fa appena aperto visore2 nomesala( nomisale[][] y][2] <> 0 film 4CoordArray[][] reset fill modello ] order ("s"& stopwav 4salacorrente, dovevedo vaiaSala buttonclick pos NumMaxSale i][1]\ i][2]\ i][3]\ i][4] ("s"& ("s"&i) i][2] <> 0 >= "s" n = n][2] <> 0 firstidle toolbook .tbk" .exe" SiglaInterrotta suonawav intro1 mousep newVisore - 300), ( ++ 330) i][1]\ i][2]\ i][3]\ i][4] o<> 44 i-1 = ob = objectfrompoint( objectclass ob = "" Fploc >= "pallino" spostamappa -- naso Zreal alfa +(-y,x)+41* /16) /8))+1 i <> olastsu 4dovevedo spostapallino <= 90 " < 343 H120,0 >= 2000 -- dx " > -11230 H-120,0 <= 230 " < 518 H0,120 >= 2820 --giu " > -4102 H0,-120 (-180 (-195 ("n"& pmappa ("n"& (-180 (-195 -- salva anche la posizione della oposmappa -- linkDLL sysToolbookDirectory & "tb30win.dll" -- INT YieldApp() timerStart("single", 500, 100, -- + 195 + 195 timernotify ", 500, 100, "nuovo" -- unlinkDLL " timerStop(0) aree) pos - VaiASala i, -- nessuna valida -- vaiavista buttonclick buttonclick "hai fatto girare la query per creare la tabella p??" 4nomedb s=NomeDb&";SQL SELECT * FROM [p];" "data" "MsAccess" closeRemote confronti1 confronti2 confronti3 confronti4 confronti5 <> "" k= setto i= (9),k) i > 1 Vi+1 U(k) i= (9),k) i > 1 Vi+1 U(k) autore i= (9),k) i > 1 Vi+1 U(k) ubicazione i= (9),k) i > 1 Vi+1 U(k) citta "l'array lo definisco a 421, controlla se l'ultimo questo" -- questi numeri sono anche nello 8(setvariables) temp[421][5] > [p][1] Z [p][2] v [p][3] [p][4] [p][5] dati "nulla" questa pagina ci sono tutti gli che servono per gestire le opere -- quando un opera visualizzata i dati relativi 'si chiedono a VaiAOpera idopera, frompage, scelta "main" nonso verso ~ <> "" audio < 1000 -- >1000 confronti frattale < 1000 4PathFratta quale = & nomeimg < 1000 -- >1000 4PathImg 4PathFoto & "P" & "vopere" 4guidedtour <> 0 = "" -- c' del commento 2,3,4 tratto dal percorso ) pausa = 3 --angeli = 2 --animali = 4 --sensi = 299 6960,5640 8085,4920 (testomessaggio(22) dialogo && helpino MostraQuadro buttonclick -- bottoni o tocco sulla GuidedTour <> "" -- se guidato pausaguidedtour >= "chiudi" Resetpage = "" i problemi dell'notifymci nelle altre lingue lo faccio sempre StopWav NascondiQuadro come -- GESTIONE BITMAP O FRATTALI Zlogical o ZSTRING NomeImg ZWORD pal HWinFif Messaggio(21) focusWindow J = 0 o = = gdiHandle(palette 0"Uffizi") =PBF_CreateFifWindow (sysclienthandle,( &".fif"),"", 0x54800000 , ,0,0,580,462,1,1, 0x215,0) E00 , ,0,0,580,462,1,1, 0x217,0) SetWindowWord( , -12, 9009 ) ret = ShowWindow( , 5 ) UpdateWindow( > 1000 = "" -- non lo fa vedere nei titolo -1000][2] autore -1000][3] -1000][4]&" - "& -1000][5] TbkBitmap("Open "& & ".bmp alias wquadro style child") :Status ize") < 300 -- se molto stretta < 220 -- se "2,2" Play default PBF_DestroyFifWindow( pal <> 0 deleteobject( "uffizi" Close -- solo acceso <> "" >= 65 ' <=90 = "opere" rimandi = "1,31,37,58,62,64,70,74,82,84,84,88,96,146,151,154,154,245,248,282,282,337,346,346,347,347" -- ita l7,41,61,66,75,80,80,85,85,85,101,128,181,181,185,209,210,294,330,338,339,339,339,339,347" ("indice"& key-64 setposizione = "autori" "1,10,32,51,57,59,68,83,84,85,85,89,104,126,130,131,131,149,157,166,166,170,186,188,188,189" --ita 10,34,53,59,61,67,82,82,83,83,87,101,123,127,128,128,145,153,169,169,172,172,188,188,189" key = keyEnter scelta -- servono perch nella versione runtime resetta lo --ch indiceopere posizioneopere indiceautori posizioneautori isopen video chiudifilm close <> "" 5--240,25.125,100 0,25.125,100 indicemedia indicestampe STAMPA stampatesto PrinterName Messaggio(18) dialogo (selezione Zlogical sbagliato quale testoCommento "commenti" titolo ("o"& )) &CRLF&"("& autore ("o"& )&")"& "dati" "intro" DoveSono syssuspendmessages settastampa [syserrornumber Spooler resettastampa default 1440,1440,1440,1440 360,360 printerScaling custom printerSize = "a" prima biografia toglibianchi 0,0,0 ,anni, 6495,6495,6495 testomessaggio(4) -- passeggiate a tema commento 6495,9028 765,56,56 p = -)DA CANCELLARE ALLA FINE GESTIONE DATA BASE -- anche l'ultima pagina del 8contiene roba di gestione db per settare le aree attive SetAreaSale ns, val -- 0 le propriet delle =verdi sale nella mappa numsala ObjectClass valida SetAreaPorta nporta -- porte nelle pagine viste objectclass numporta copiaTitolo n nome = idop = idOpera NA = NomeAutore T = DescrOpera <> "" SetAreaOpera -- dei rett. trasp. sui quadri 4NomeDb idopera &&";SQL SELECT [Tabella Schede Opere].IDAutore,[ re].IDAutore2,[ .re].titolo FROM [ Are] WHERE (([ Pre].[IdSchedeOpere]="& &"));" "data" "MsAccess" closeRemote <> "" ) -- autore i > 1 upperCase(GetNomeCortoAutore( Vi+1 ) -- autore2 i > 1 ", " & Vi+1 "Errore nel db" setOggettiViste inizio, fine 506 -- <> "" <> "" = "Areaopera" ImportaViste nSala --importa le bmp con le di una . <= 9 nSalaV = "0" & i <= 9 nv = "0" & i nv =i = "" "s" & & "v" & i importGraphic "\\styloserver\uffizi\ \s" & & "t" & nv & ". ("s" & & "v1") ImportaAncora <= 9 ("s" & & "v1") )>= 1 i <= 9 nv = "0" & i nv =i \s" & & "t" & nv & ".bmp" "Cancello i bordi?" f"Yes" )>= 1 "Torno alla vista 1?" ("s" & & "v1") cartelli setTestoCartello nsala -- mostra ; come viene il testo -- qui si pu aggiustare gli a capi poi lanciare FissaTestoCartello 4nomedb tabella ].[commentosale] .[numero &"));" txtcartelli temp interpretaCodici " richtext cartello "errore" commenti opere getTestiCommenti primo,ultimo --349 s= schede j&"));" FissaTestoCommento j setTestoCommento nopera usato &"));" Commenti1[70] Commenti2[70] Commenti3[70] Commenti4[70] Commenti5[70] p <= 70 <= 140 <= 210 <= 280 <= 350 "&n&" txtcommenti"&n&" [num] [commenti1 [commenti2 [commenti3 [commenti4 [commenti5 setTuttePagineOpere [IDSchedeOpere] SetDatiPaginaOpera setPagineSala idsala -- prende dal db tutti i della specificata idschedeOpere e].[ID &"));" scheda 1&"));" -- keepRemote <> "" ("O" & -- -- [idautore -- [idautore2 [nomiautori -- -- [frattale -- [nomeimg -- [audio -- [NumVista -- [YPos -- -- -- k= i= (9),k) -- i > 1 "O" & IdOpera Vi+1 U(k) i= (9),k) -- i > 1 IdAutore k)) & " " --& CRLF & GetAnniAutore( lastHot= tipoHot rimando hotwordstyle totchar Vi+1 U(k) i= (9),k) -- i > 1 k <> 0 IdAutore2 ", " & -- & la seconda "Hot" Vi+1 U(k) " <> "" i= (9),k) -- i > 1 -- crea la Vi+1 U(k) i= (9),k) -- -- i > 1 ("C" & ("C" & ("O" & -- Vi+1 U(k) i= (9),k) -- tipoinv Vi+1 U(k) i= (9),k) -- tecnica i > 1 Vi+1 U(k) i= (9),k) -- dimensioni i > 1 Vi+1 U(k) i= (9),k) -- nomeimmagine -- i > 1 nimg -- Vi+1 U(k) i= (9),k) -- -- i > 1 -- 1 c' Audio -- Vi+1 U(k) i= (9),k) -- -- i > 1 GetNumeroSala( -- Vi+1 U(k) i= (9),k) -- -- i > 1 k <> 0 Frattale -- 1 c' -- Vi+1 U(k) i= (9),k) -- -- i > 1 NomeImg -- Vi+1 U(k) i= (9),k) -- migliore -- i > 1 -- Vi+1 U(k) k <> -- pos Ypos -- dimensiono e posiziono i campi di setPosizioneTesti ("O" & "nulla" --Dimensiona i base 'altezza e li posiziona "Times New Roman" "Bold" "Regular" resizeFieldY 645,6700 - - 120 - - 45 - --DIMENSIONAMENTO IN ALTEZZA DEL FIELD PER LA VISUALIZZAZIONE DI TUTTO IL TESTO oggetto = 0) 7 <> 0) LARGHEZZA resizeFieldX = 0) <> 0) GetNomeAutore idAutore &"));" -- keepremote &"));" ].anni &"));" .[Id ="&IdSala&"));" !degli setTuttePagineAutori num L = "" SetDatiPaginaAutore CreaCampiOpere CreaListaRimandi , ver = 1 lingua = "Italiano" nomefile= "rit.txt" -nglese" #"ren. r= "no such lista = J"Biografia" n = hot = ! -- %francobollini e relative etichette *"&" OR [ @"&");" >= 103 ("A"& startX = 375*15 startY = 37*15 endX = 505*15 endY = 50*15 k= i= (9),k) -- i > 1 Vi+1 U(k) ("T"&j) -- -- ("T"&j) -- ("T"&j) -- ("T"&j) -- ("T"&j) "MS Sans Serif" -- ("T"&j) -- ("T"&j) -- ("T"&j) ("T"&j) ("T"&j) ("T"&j) > 130*15 ("T"&j) = 130*15 ("T"&j) ("T"&j) + 10*15 + 13*15 -- "icone -- j <= 9 ("iconp00"&j&". -- j <= 99 1"&j&". R"&j&". -- -- importgraphic ("\\ "imgsnew\ \"&nn) -- ("p"&j) -- "FrancOpera" -- ("T"&j) -- -- -- j = 55 \icop055b. ("p"&j) ("T"&j) -- j = 191 \icop191b. ("p"&j) ("T"&j) -- j = 195 \icop195b. ("p"&j) ("T"&j) -- '&"));" <> "" ("A" & \(" biografia k= -- -- salto il i= (9),k) Vi+1 U(k) setto il i= (9),k) i > 1 pp = nn = ~(",",pp) nn <> 0 Vnn+2 U(pp) pp && nn-1 Vi+1 U(k) -- i= (9),k) Vi+1 U(k) -- NomeInOrdine i= (9),k) Vi+1 U(k) -- i= (9),k) i > 1 Vi+1 U(k) -- k <> prima JPrima nei testi .contengono codici -- mette le HotWord e =% i caratteri di controllo 6Glossario Hotword -- ^^ Confronto Fotografico -- ++ Codice Italico Non trovato n=CharCount( endpos = 1 cold= RecordField AND c= c= n=n-1 c="%" -- ho StartPos= Rstartpos ~("%",Chars cc= cc >= 48 cc <= 57 VStartpos ~("%", = k-2 -- ho cc= cc >= 48 cc <= 57 y*)-1 = k-2 c="#" -- ho ~("#", h+)-1 cc= cc >= 48 cc <= 57 ~("#", J,)-1 = k-2 c="^" -- ho ~("^", ?-)-1 cc= cc >= 48 cc <= 57 ~("^", &.)-1 = k-2 c="+" -- ho un codice di italico ~("+", = NULL c="$" -- ho un $ (= lavori corso) ~("$", c="@" -- ho un s = t = w0 = s & INDICE setIndiceOpere ZtempIdOp[] -- s= 7e] ORDER BY [ e8&";QUERY PerIndice" k= i= (9),k) -- i > 1 TitoloOp Vi+1 U(k) [aa i= (9),k) -- i > 1 (", "&( Vi+1 U(k) i= (9),k) -- i > 1 Vi+1 U(k) & " (" & a1 &aa&")") i= (9),k) -- rimandi Vi+1 U(k) -- -- i= (9),k) -- -- i > 1 -- -- Vi+1 U(k) i= (9),k) -- k <> 0 " & " (zoom)" "Fine ='indice" "Rien faire" setIndiceAutori k= i= (9),k) -- i > 1 Vi+1 U(k) setIndicePercorsi perc E=&"; k= i= (9),k) -- seq Vi+1 U(k) i= (9),k) -- k & " 10 " Vi+1 U(k) i= (9),k) -- Vi+1 U(k) k = "" -- link -- confronto ("o"&k) "guidedtour" (p&",N") Vecchie CreaPagineOpereECommenti _?&"; 9?e];" NewPage ("O" & ("C" & CreaPagineAutori ;@&"; 5A];" ("A" & 4logical SiglaInterrotta oo = LoadDllVarie setGlobalVariables tfromsigla InitSeq CambiaCaption da togliere serve solo per importare le robe da db 4NomeDb "english" MollaCaption UnLoadDllVarie /= "museo" "mappa" xisopen "video" mmclose -- i nomi delle pagine non devono iniziare con S, A, M, O = "O" --PageOpere ("s"&sala 4PathTagli &"ts"& nomeimg & ".bmp" TbkBitmap("Open "& &" alias wquadro style child") ypos kWindow 0,"& p) Play = "S" --PageViste NomiSale[][] SalaCorrente, dovevedo spostapallino "pmappa" "nomesala" R][1] = "A" --PageAutori prima biografia scrolla = "O" --PageDipinto Close ("s"& "commentoopera" "dueautori" "scelta" = "s" "cartello" = "modello" GetMCIStatus (voce) = "playing" stopwav -- ** perch funziona 4DirCorrente WinHelp( & "\uffizi.HLP"), 0x1, 1) indietro ) > 1 = "s" -- vado nel -- torno nelle viste se sono nella stessa = "s" ~("v", )-1 = salacorrente ~("v", vaiasala ( Vp+1 = "vopere" PROPRIETA DEL BOOK NumMaxSale ELENCO VARIABILI DI SISTEMA 48][2] array dei sale Confronti[343][5] ,dati -confronti fotografici titolo ecc. numero della sempre aggiornato) DoveSono DoveVedo avista radar[48][3][2] ], [n. ], (nsala,nvista) GuidedTour se <> "" contiene la lista idopere percorso da fare ogni g1 idopera, g2 timeout VisteVeloci[48][2] numeri precedente e sucessiva usato nei bottoni NON PIU USATA GESTIONE AREE ATTIVE -- tutti gli oggetti che reagire al Ehanno la propriet -- objectClass 5ne identifica il tipo, (alcuni ce l' -- valore: hot: una (a,i,v,o,g,f) BGalleria,Bindice,Bindietro,Bguida,Bmappa,Buscita : di navigazione generali AreaSale: area colorata N grande AreaCartello: AreaOpera: AreaPorta: FrancOpera: ...e altri ObjectClass ><> "" >= "B" -- bottone >&"bw") buttonclick ><> "" >= "hot" -- HOTWORD "Main" TipoHot >= "A" -- autore isOpen -- di un VaiaVista (rimando VaiAAutore ( >= "I" -- ingrandimento VaiaOpera ( >= "V" -- migliore 7 (dal >= "O" -- -- di un NumVista ("o"& VaiASchedaOpera ( >= "G" -- glossario VoceGlossario "voceglossario" defaultpage >= "F" -- confronto fotografico vaiaopera ( >)+1000, ( -- BOTTONI -- >= "BIndietro" -- " -- galleria vaiaSala >= "BModello" -- pianta >= "BIndice" -- >= "SalaQuadro" -- evidenziatore mappetta scheda >= "BGuida" -- Showhelp -- PAGINA OPERA >= "BOpera" -- pieno schermo verso <> "" settesto >= "BAutore" -- idAutore2 >= "BCommento" -- testoCommento "commenti" ridimensiona " -- AREA PORTA tosala SalaDallaPorta(numporta = 46 >= 3 -- giochi vaiaigiochi = VistaDallaPorta( <> 0 <> 0 ) -- animazione mmStatus clip = "Closed" mmOpen mmPlay stage " /hold wait --notify VaiASala " -- " -- CARTELLO ShowCartello >= "BStampa" -- stampa stampatesto >= "BConferma" -- conferma acceso ><> "" Z "&( >= "BFilm" >= "AreaFilm" -- filmati " -- icona FilmCorrente ("s"& -- chiamate e cannocchiali startfilm " -- FRANCOBOLLO >= "Bgioco" -- vaigioco >= "Bpercorso" -- percorsi vaiGuidedTour flushMessageQueue() >= "B" -- >&"bw") MouseEnter ><> "" nomisale[][] visore NomeAutore >& CRLF & DescrOpera Zoomable ><> "" ("p"& -- -- >= 1 <> 2 <> 16 <> 44 p = p & -- >= 2 <> 16 <> 44 <> 45 p = p & -- helpino >= "Areafilm" (helpvisore frattale <> "" "(zoom)" (helppos MouseLeave ><> "" ><> "" ("p"& i = 5 " - 5/6" = 46 i = 47 i = 48 " - 10/14" " - "&i i][1]&p NAVIGAZIONE idautore ("A"& ("O"& ("s"& numsala, numvista ,Dovevedo PosizionaMappa ("s"& &"v"& -- la fa anche al -- se e ho un aperto chiuderlo -- preload passaggi <> 0 1) <> 0 mmopen <> 0 2) <> 0 = 46 -- = 15 ("15to18") VaiAVista = "+" -- le freccie = 16 + 1) = "-" < 2 -- a volte negativo = 16 - 1) ("s"& &"v"& ][][] ][][] TestoCartello cartelli ShowHelp = "O" -- = "A" -- = "S" -- = "M" -- " -- " -- -- 7 GIOCO & "\ quale &"puzzle.exe"&& TogliCRLF stri pulita = "" <> CR <> LF PaintingBy n ("O"&p)) PaintingTitle n ("O"&p)) BitmapPath 4pathimg Pathimg LeggiFile f csysErrorNumber r"&&f& &"error ("& M&"):"&& 26 -- End Of setPuzzleVars PuzzleList = GetIniVar("Uffizi", " :", "Operamm.ini") tt = r<> "" tt = "" { <> tt = tt = "" "dafile" InitPuzzle PuzzlePic[] LastPuzzle tt = dimensions( M) <> C(tt) --Initializes the zgenerator seedNum = / 100 --Must be < 32,767 reset fill B] order ) > 0 = -1 <= 0 > 0 GUIDED TOUR VaiGuidedTour , pagina 4PathAudio suonerei = & "gui" & & ".wav" -- toppa orrenda vaistep ("301 o301") 218 o218") 96 o306") startseq (" tour"& "),"", Resetpage FineGuidedTour " -- fine del giro notifyendseq PausaGuidedTour 'PausaSeq PausaWav Messaggio(1) "dialogo" = "Si" stopWav StopSeq RestartWav oaudio AGGIUNTE PER GUIDEDTOUR initSeq passo = 0 StartSeq nomeLista, delay, nomefile, notifyseqin \TimerDelay \TimerNow fieldLista 0 -- se sequenza = 500 = 1 -- cominciamo dall'inizio (riga 1) 4seqtype = "waveaudio" callMCI(" seqstream comando i " & s &" WComando) = "timer" 4TimerId = TimerStart (periodic, /10,500), <> " <> 0 <> " resume timerNotify <> " timerNow = status -- !ora esegui \tempo ) >= K <= b -- l' scattata = "STOP" stopseq -- andiamo avanti "tanto tutto " = 1 -- skippabile se ritardo -- guardiamo il prossimo -saltare i ritardatari scaduti -- nessun problema c' ancora -- mandiamo #deve andare) recordstep j%CLIPS E AUDIO SuonaWav pfrom, pto & ". l <> "" (+", StopWav "paused" stasuonando .,", MCINotify , operation, device -- quello # = "successful ) -- S1 guidedour "stopped" mmNotify cRef, cCommand, cResult -- & = " F -- animazioni VIDEO 4currfilm mmShow Video" StartFilm pausa pausafilm mmPause stopfilm mmseek chiudifilm G,GLOBALI -- --- Questo viene chiamato -- --- 3se la var. MustLoadArrays = loadArrays --riempie l' 48][2] datisale =a struttura 4 le porte, 4sapere da J2 si va datiradar -- setto l' B-ci ( 3 ecc) \-[421][5] -- legge da operamm.ini dalla sezione Q0 il driver cdrom cdDrive "CDRomDrive", " CDDrive = "\" CdMediaPath = CdDrive -- setta il _5 e al cd , -- usata 48 -- "-i][1] salaprec dilavoro 48 -- 0suc) n-i][2] salasuc 7mappaVisibile PathFratta, PathImg, PathFoto, &"\imgsnew\" 6&"tagli\" &"\fratnew\" LINK DLL linkDLL sysToolbookDirectory & "tb30win.dll" STRING getIniVar( setIniVar( INT YieldApp() ypixelsfromunits( "InstallationPath", " 3 <> "\" 3 &"stylofrm. RemoveCustomFrame( SetCustomFrame( , DWORD ) CaptionColor( -- INT InterceptMinimize( y & "mtb30BMP.DLL" tbkBitmap ( 4 & "PBXFIF10. PBF_CreateFifWindow( PBF_IsFifWindow( PBF_DestroyFifWindow( X"USER" GetWindowLong ( ., INT) SetWindowLong ( SetWindowWord( ShowWindow( UpdateWindow( LONG PostMessage ( FindWindow ( X"kernel" LoadLibrary( FreeLibrary( ~6&"stylotbk. X"gdi" DeleteObject( X"user" unlinkDLL " CAPTION openWindow targetwindow <> <(windowHandle >), 2 closeWindow mollacaption ( M, Quale s = o, -16) 1 -- s = , -16, s + 1 + 4 + 32 + 64) , a, "Museo26", 0 ); 2 -- p=mini s = , -16, s + 1 + 2 ) , a, "Mini26", 0 ); GLI SCRIPT DI 6DATA BASE E DI COMPILAZIONE DEI DATI SONO NELL'ULTIMA -- CANCELLARLI ALLA FINE UTILITA' salva resetta = "O" ("s"& indiceglossario ("s"& visore2 ("s2") <(2) messaggio(15) = "Si" -- A 0 9 B 10 28 C 39 26 D 66 11 E 78 6 F 85 14 G 100 16 H 117 3 I 121 3 L 125 16 M 142 20 -- N 163 4 O 168 1 P 170 20 R 191 8 S 200 18 T 219 6 V 226 12 W 239 1 Z 241 To Handle TabellaPosizione Lettera Conditions When Send VadoAllaPosizione 0 AIs " XIs " oIs " Else End Numero "lista" numero +2 setposizione resetta uffizi p227b p227a p187c p187b p187a p166b p166a p163b p163a p138b p138a p109b p109a p077c p077b p077a p055e p055d p055b p055a bomba 9to10 10to9 10to15 15to10 15to16 16to15 15to18 18to15 18to19 19to18 19to20 20to19 20to21 21to20 21to22 22to21 22to23 23to22 23to25 25to23 25to26 26to25 26to27 27to26 27to28 28to27 28to29 29to28 29to31 31to29 31to32 32to31 32to33 33to32 33to34 34to33 34to35 35to34 35to46 41to43 41to46 43to41 43to45 44to45 45to43 45to44 46to35 46to41 sigla gioco movie\s2.avi movie\s4.avi movie\s5.avi movie\s7.avi movie\s10.avi movie\s16.avi movie\s18.avi movie\s19.avi movie\s20.avi movie\s21.avi movie\s24.avi movie\s25.avi movie\nord.avi movie\sud.avi movie\bomba.avi movie\2to3.avi movie\3to2.avi movie\3to4.avi movie\4to3.avi movie\4to5.avi movie\5to4.avi movie\5to7.avi movie\7to5.avi movie\7to8.avi movie\8to7.avi movie\8to9.avi movie\9to8.avi movie\9to10.avi movie\10to9.avi movie\10to15.avi movie\15to10.avi movie\15to16.avi movie\16to15.avi movie\18to15.avi movie\18to19.avi movie\19to18.avi movie\19to20.avi movie\20to19.avi movie\20to21.avi movie\21to20.avi movie\21to22.avi movie\22to21.avi movie\22to23.avi movie\23to22.avi movie\23to25.avi movie\25to23.avi movie\25to26.avi movie\26to25.avi movie\26to27.avi movie\27to26.avi movie\27to28.avi movie\28to27.avi movie\28to29.avi movie\29to28.avi movie\29to31.avi movie\31to29.avi movie\31to32.avi movie\32to31.avi movie\32to33.avi movie\33to32.avi movie\33to34.avi movie\34to33.avi movie\34to35.avi movie\35to34.avi movie\35to46.avi movie\41to43.avi movie\41to46.avi movie\43to41.avi movie\43to45.avi movie\44to45.avi movie\45to43.avi movie\45to44.avi movie\46to35.avi movie\46to41.avi movie\gioco.avi movie\cor1.avi movie\cor2.avi movie\cor3.avi movie\15to18.avi Uffizi: print artist biographytea. indice KXOvR acceso posizioneopere posizioneautori opere Pictures giochi Imaginary room media Filmsti opere acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 0,25.125,100 5--240,25.125,100 autori Artists autori acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 0,25.125,100 5--240,25.125,100 media IndiceMedia `<setposizione buttonclick selezione selezione selezione setposizione filmcorrente startfilm selezione e2rimandi scelta buttonclick pos ostl setposizione oselezione -1) * 195 +15 scelta filmcorrente rimandi startfilm s2,s4,s5,s7,s10,s16,s18,s19,s20,s21,s24,s25,nord,sud,bomba,cor1,cor2,cor3 rimandi selezione The Primitives and Giotto Room - 2 The Florentine Trecento Room - 4 The Ornate Gothic Room - 5 The Early Renaissance Room - 7 The Botticelli Room - 10 The Map Room - 16 The Tribuna - 18 The Perugino and Signorelli Room - 19 The D rer and German Masters Room - 20 The Giambellino and Giorgione Room - 21 The Miniatures Room - 24 The Michelangelo and Florentine Masters Room - 25 View of the Arno View of Piazza della Signoria The 1993 bombing on film View of Corridor I View of Corridor II View of Corridor IIIIIIIIII w, #> indice acceso scelta buttondoubleclick scelta ("indice"&acceso The Primitives and Giotto Room - 2- 20s Room - 25lli)omeo)Filippo Lippi))II)ieri)s) media acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 0,25.125,100 5 --240,25.125,100 autori IndiceAutori `<setposizione buttonclick VaiAAutore selezione e2rimandi scelta selezione selezione selezione setposizione -- serve per la compilazione (selectedtextlines indiceautori & ",") buttonclick pos ostl setposizione scelta VaiAAutore ( oselezione rimandi -1) * 195 +15 i<15 i = 15 80,34,65,124,121,36,27,183,91,87,18,53,137,140,138,13,94,59,107,157,153,82,74,75,98,125,11,32,35,58,99,134,166,150,60,152,167,88,168,139,63,100,158,130,76,62,45,51,52,169,1,39,69,97,101,56,141,126,143,186,181,92,83,47,41,187,19,109,2,46,108,10,61,4,102,5,110,43,170,81,171,154,66,188,3,24,8,145,55,28,172,21,20,173,174,116,115,48,25,155,122,182,77,103,104,6,78,54,79,144,119,15,111,68,67,73,184,106,70,120,159,84,189,112,132,7,175,179,118,9,142,89,49,17,95,72,96,127,29,22,176,26,16,50,161,190,37,85,86,151,93,42,114,38,146,160,44,128,133,123,30,117,113,162,147,129,178,136,90,71,148,12,33,149,165,163,164,40,23,14,135,31,64,57,156,180,185,177,131 rimandi selezione Albertinelli Mariotto Allori Alessandro Altdorfer Albrecht Amberger Christoph Andrea del Castagno Andrea del Sarto Antonio del Pollaiolo Araldi Alessandro Aspertini Amico Bachiacca Baldovinetti Alessio Baldung Grien Hans Barocci Federico Bassano Jacopo Bassano Leandro Beato Angelico Beccafumi Bellini Giovanni Bellini Jacopo Berckheyde Gerrit Bernini Gian Lorenzo Berruguete Alonso Boccaccino Boltraffio Antonio Giovanni Bordon Paris Boscoli Andrea Botticelli Sandro Botticini Francesco Bronzino Bruegel Jan the Elder Brusasorci Campi Giulio Canaletto Caravaggio Carpaccio Vittore Carracci Annibale Carriera Rosalba Cavalori Mirabello Chardin Jean Baptiste Sim Cigoli Cima da Conegliano Cimabue Civetta Clouet Fran Correggio Tura Costa Lorenzo Cranach Lukas the Elder Cranach Lukas the Younger Crespi Giuseppe Maria Daddi Bernardo Daniele da Volterra David G Dosso Dossi Duccio di Buoninsegna rer Albrecht El Greco Empoli Fidani Orazio Flemish school of the 17th century Florentine school of the mid 13th century Fontana Lavinia Fra' Bartolomeo Francia Franciabigio French school of the 16th century Froment Nicolas Gaddi Agnolo Gaddi Taddeo Genga Girolamo Gentile da Fabriano Ghirlandaio Domenico Giorgione Giottino Giotto Giovanni da Milano Giovanni di Paolo Giulio Romano Goya Francisco Granacci Francesco Guardi Francesco Guercino Holbein Hans the Younger Italian school of the 16th century Jacopo del Casentino Jacopo del Sellaio Jacopo di Cione Jordaens Jacob Lemberger Georg Leonardo Liotard Jean-Etienne Lippi Filippino Lippi Filippo Longhi Alessandro Longhi Pietro Lorenzetti Ambrogio Lorenzetti Pietro Lorenzo di Alessandro da San Severino Lorenzo di Credi Lorrain Claude Lotto Lorenzo Luccan school of the mid 12th century Luini Bernardino Maestro del San Francesco Bardi Maestro della Maddalena Maestro della Santa Cecilia Maineri Gian Francesco Maler Hans Mantegna Andrea Martinelli Giovanni Martini Simone Masaccio Masolino Master of Hoogstraten Master of the Baroncelli Portraits Master of the Virgo Inter Virgines Mazzolino Ludovico Meliore di Jacopo Memling Hans Memmi Lippo Metsu Gabriel Michelangelo Molenaer Jean Miense Monaco Lorenzo Moroni Giovanni Battista Nardo di Cione Nattier Jean-Marc Niccol di Bonaccorso Niccol di Ser Sozzo Tegliacci Orcagna Andrea Pagani Gregorio Palma il vecchio Palmezzano Marco Paolo Uccello Parmigianino Pencz Georg Perin del Vaga al Jean Perugino Pesellino Piazzetta Giovanni Battista Piero del Pollaiolo Piero della Francesca Piero di Cosimo Pietersz Seghers Hercules Pisan school of the late 12th century Pontormo Puligo Domenico Raphael Rembrandt Reni Guido Ridolfo del Ghirlandaio Rosselli Cosimo Rosso Fiorentino Rubens Ruysch Rachel Salviati Cecchino Samacchini Orazio Savoldo Giovanni Girolamo Sebastiano del Piombo Signorelli Luca Simone dei Crocifissi Starnina Gherardo Steen Jan Sustermans Justus The Fontainebleau School Tiepolo Giovan Battista Tintoretto Titian van Cl ve Joos the Younger van Den Hoecke Jan van der Goes Hugo van Der Weyden Rogier van Dyck Antonie van Mieris Frans the Elder van Poelenburg Cornelis van Ruysdael Jacob Vasari Giorgio Vecchietta Veneziano Domenico Veronese Verrocchio Vivarini Bartolomeo Von Kulmbach Hans S Vouet Simon Workshop of Bonaventura Berlinghieri Workshop of Tintoretto Xavier Fabre Fran Zucchi Jacopo scrolla 0L1^1 indiceautori FRECCIA OBJECTCLASS UUMNLM=M PNV/P P6VNUbU@ 0(8:8 indiceautori b8t8' FRECCIA OBJECTCLASS MN86/ UNOMMN@bTNP6P TaMI bNPbT@MMPNTU w, #> indice acceso scelta buttondoubleclick scelta ("indice"&acceso Albertinelli Mariottoesco Bardith centuryII Rosselli)omeo)Filippo Lippi))II)ieri)s) helpino Referenceechedaucessivae confermabw Indexe degli Uffizizi GuidedTour positions 301 28 o301,1406 32 o57,1408 32 o94,104 64 o104,223 27 o223,194 12 o194,74 12 o74,71 18 o71,67 19 o67,1 22 o1,1361 18 o1,1362 42 o16,1363 17 indice,1364 9 indice,1365 15 indice,1366 10 o38,170 8 o170,1405 7 o53,1375 34 o77,1376 20 o10,291 14 o291,1417 21 o309,42 23 o42,1382 16 o42,N 218 12 o218,1353 15 o218,123 34 o123,219 26 o219,1354 7 o219,1417 27 o309,1385 11 indice,1371 23 indice,1367 18 o139,310 25 o310,299 9 o299,1357 15 o299,85 18 o85,1411 16 o153,8 16 o8,50 15 o50,1370 33 indice,322 31 o322,1359 27 o322,1413 30 o208,114 27 o114,1377 29 indice,70 33 o70,1378 13 o77,1372 7 o55,137 9 o137,146 9 o146,312 39 o312,177 26 o177,1360 10 o314,314 15 o314,265 21 o265,1388 17 o37,N 306 17 o306,1400 19 o9,32 15 o32,1350 18 o32,1351 63 indice,1369 63 indice,1416 54 o308,90 52 o90,1410 15 o113,1381 25 o10,1401 9 o14,1379 17 o17,1380 13 o1,1413 19 o208,1403 29 o22,1412 16 o181,1373 46 indice,1240 19 indice,310 26 o310,1415 23 o246,1409 18 o112,1389 30 o37,1383 15 o37,1402 13 o15,202 20 o202,1414 26 o232,1407 33 o69,265 28 o265,1418 38 o316,1387 23 o336,314 30 o314,NNN presentazione Introduction glossario Glossaryo glossario indiceglossario acceso glossario acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 defaultpage "glossario" "indiceglossario" 0,25.125,100 5--240,25.125,100 presentazione intro acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 intro 0,25.125,100 5--240,25.125,100 giochi vaiaigiochi acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 vaiaigiochi 0,25.125,100 5--240,25.125,100 stampe ULW^[ Indicestampe `<setposizione buttonclick selezione selezione selezione setposizione stampatesto indice scelta buttonclick pos ostl setposizione oselezione -1) * 195 +15 scelta stampatesto indice 1,2,3 rimandi selezione Print theme route: Angels Print theme route: Animals Print theme route: SensesSensesSensesSenses w, #> indice acceso scelta buttondoubleclick scelta ("indice"&acceso Print theme route: Angelssngelssngelii9 25) Rosselli)omeo)Filippo Lippi))II)ieri)s) stampe Options stampe acceso acceso buttonclick 9@mouseenter acceso mouseleave buttonclick acceso <> "" 5--240,25.125,100 0,25.125,100 0,25.125,100 5--240,25.125,100 conferma Rbfb' Bconferma objectclass helpino 7095,6465 helppos opere selezione indiceopere `<setposizione buttonclick selezione e2rimandi VaiASchedaOpera scelta selezione selezione selezione setposizione -- serve per la compilazione (selectedtextlines indiceopere & ",") buttonclick pos ostl setposizione scelta VaiASchedaOpera ( oselezione rimandi -1) * 195 +15 i < 15 i=15 i$id2 rimandi selezione AAdam and Eve (Hans Baldung Grien) Adam and Eve (Lucas Cranach the Elder) Adoration of the Child (Filippino Lippi) Adoration of the Child with Saints (Filippo Lippi) Adoration of the Child with Saints Joseph, Jerome... (Filippo Lippi) Adoration of the Magi (Domenico Ghirlandaio) Adoration of the Magi (D rer) (zoom) Adoration of the Magi (Filippino Lippi) Adoration of the Magi (Gentile Da Fabriano) (zoom) Adoration of the Magi (G rard David) Adoration of the Magi (Leonardo) (zoom) Adoration of the Magi (Lorenzo Monaco, Cosimo Rosselli) Adoration of the Magi (Sandro Botticelli) Adoration of the Shepherds (Amico Aspertini) Adoration of the Shepherds (Lorenzo di Credi) Ahasuerus's Banquet (Jacopo del Sellaio) Allegory of Felicity (Bronzino) Angel Making Music (Rosso Fiorentino) (zoom) Angelica and Medoro (Orazio Fidani) Annunciation (Alessio Baldovinetti) (zoom) Annunciation (Filippo Lippi) Annunciation (Leonardo) (zoom) Annunciation (Lorenzo di Credi) Annunciation (Sandro Botticelli) Annunciation (Simon Vouet) Annunciation (Veronese) Annunciation (recto) and Circumcision and Nativity (verso) (Fra Bartolomeo) Annunciation and Saints (Simone Martini, Lippo Memmi) (zoom) Apparition of the Virgin Mary to Saint Bernard (Fra Bartolomeo) Artemis Weeps for Mausolo (Cecchino Salviati) Bacchus (Caravaggio) (zoom) Bacchus on a Barrel (Rubens) Badia Polyptych (Giotto) Baldassar's Banquet (Giovanni Martinelli) Bathsheba Bathing (Brusasorci) Boy with a Card House (Jean Baptiste Sim on Chardin) Calumny (Sandro Botticelli) Capriccio with Arch and Pier and Capriccio with Bridges... (Francesco Guardi) Charity (Cecchino Salviati) Charity (Piero del Pollaiolo) Christ and Mary Magdalene (Barocci) Christ Bearing the Cross (Gian Francesco Maineri) Christ Deposed (Bronzino) Christ in the Garden (Perugino) Concert (Leandro Bassano) Copper Mines (Civetta) Coronation of the Virgin (Filippo Lippi) (zoom) Coronation of the Virgin (Fra Angelico) Coronation of the Virgin (Lorenzo Monaco) Crucifix with Stories of the Passion (Luccan school of the mid 12th century) Crucifix with Stories of the Passion (Pisan school of the late 12th century) Crucifixion (Agnolo Gaddi) Crucifixion (Marco Palmezzano) Crucifixion (Master of the Virgo Inter Virgines) Crucifixion (Nardo di Cione) Crucifixion and Madonna and Child with Saints (Workshop of B. Berlinghieri) Crucifixion with Mary Magdalene and the Patrons (Hans S ss Von Kulmbach) Deposition (Bacchiacca) Deposition (Rogier Van Der Weyden) (zoom) Diptych of the Duke and Duchess of Urbino (Piero della Francesca) (zoom) Doni Tondo (Sacred Family with the Young Saint John) (Michelangelo) (zoom) Episodes from the Lives of Saints Peter and Paul (Hans S ss Von Kulmbach) Equestrian Portrait of Philip IV of Spain (Rubens) Flora (Rosalba Carriera) Flora (Titian) Fortitude (Sandro Botticelli) Fortuna (Italian school of the 16th century) Four Saints from the Quaratesi Polyptych (Gentile Da Fabriano) Fruit and Insects (Rachel Ruysch) Girl with a Shuttlecock (Jean Baptiste Sim on Chardin) (zoom) Groote Markt at Haarlem (Gerrit Berckheyde) Group of Soldiers and Characters in Oriental Costume (Vittore Carpaccio) Gypsy Girl (Boccaccino) Head of a Young Man (Gian Lorenzo Bellini) Head of the Medusa (Flemish school of the 17th century) Henriette of France Portrayed as Flora, Marie Adelaide... (Jean-Marc Nattier) Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris (Rubens) Heracles and Antaeus and Heracles and the Hydra (Antonio del Pollaiolo) Hercules Between Vice and Virtue (Jan Van Den Hoecke) Hercules Crowned by the Muses (Alessandro Allori) Herodias (Bernardino Luini) Illustrious Men (Andrea del Castagno) (zoom) Incarnation (Piero di Cosimo) Jesus Appears to Mary Magdalene (Lavinia Fontana) Joseph Presents His Father and Brothers to the Pharaoh... (Francesco Granacci) Judith (Palma il Vecchio) Judith and Holofernes (Rubens) Lady and Knight (Gabriel Metsu) Lamentation on the Dead Christ (Bronzino) Lamentation on the Dead Christ (Giovanni Bellini) Landscape with Ford (Jan Bruegel the Elder) Landscape with Shepherds and Peasants (Jacob Van Ruysdael) Leda and the Swan (Pontormo) Leda and the Swan (Tintoretto) Luncheon (Jan Steen) Madonna and Child (Alonso Berruguete) Madonna and Child (Cima da Conegliano) Madonna and Child (Florentine school of the mid 13th century) Madonna and Child (Fra Angelico) Madonna and Child (Giulio Romano) Madonna and Child (Jacopo Bellini) Madonna and Child (Masaccio) Madonna and Child (Niccol di Ser Sozzo Tegliacci) Madonna and Child between Saints and Angels (Domenico Ghirlandaio) Madonna and Child Enthroned (Taddeo Gaddi) Madonna and Child Enthroned with Angels and Saints (Bernardo Daddi) Madonna and Child in Glory (Correggio) Madonna and Child in Glory (Sandro Botticelli) Madonna and Child with a Pear (D Madonna and Child with Figures (Luca Signorelli) Madonna and Child with Saints (Alessio Baldovinetti) Madonna and Child with Saints (Filippo Lippi) Madonna and Child with Saints (Giovanni di Paolo) Madonna and Child with Saints (Master of Hoogstraten) Madonna and Child with Saints (Mirabello Cavalori) Madonna and Child with Saints (Perugino) Madonna and Child with Saints (Rosso Fiorentino) Madonna and Child with Saints Nicholas and Procolo (Ambrogio Lorenzetti) Madonna and Child with the Young Saint John (Pontormo) Madonna and Child with Two Angels (Filippo Lippi) Madonna and Saints (Vecchietta) Madonna Enthroned and Saints (Domenico Ghirlandaio) (zoom) Madonna Enthroned and Saints (Jacopo del Casentino) Madonna Enthroned with Child and Angels (Pietro Lorenzetti) Madonna Enthroned with Child and Two Angels (Hans Memling) Madonna of Humility (Masolino) Madonna of the Goldfinch (Raphael) (zoom) Madonna of the Harpies (Andrea del Sarto) (zoom) Madonna of the Magnificat (Sandro Botticelli) Madonna of the People (Barocci) Madonna of the Pomegranate (Sandro Botticelli) Madonna of the Quarry (Andrea Mantegna) Madonna of the Rose Garden (Sandro Botticelli) Madonna of the Snow (Guido Reni) Madonna of the Well (Franciabigio) Madonna with the Long Neck, Madonna and Child...(Parmigianino) (zoom) Maest (The Santa Trinita Madonna ) (Cimabue) (zoom) Man with a Monkey (Annibale Carracci) Maria Zeffirina of France as a Child (Jean-Marc Nattier) Massacre of the Innocent (Ludovico Mazzolino) Medusa (Caravaggio) Mercury and Batto (Cornelis Van Poelenburg) Moses Defending the Daughters of Jethro (Rosso Fiorentino) Moses Undergoes Trial by Fire and The Judgment of Solomon (Giorgione) (zoom) Mountainous Landscape (Hercules Pietersz Seghers) Narcissus at the Pool (Giovanni Antonio Boltraffio) Nativity (Cecchino Salviati) Nativity (Simone dei Crocifissi) Nativity of Saint John (Pontormo) Noah's Drunkenness (Empoli) Ognissanti Polyptych (Giovanni da Milano) Ognissanti Triptych (Bernardo Daddi) Open-Air Concert (Guercino) Pallas and the Centaur (Sandro Botticelli) (Giottino) (zoom) (Lorenzo di Alessandro da San Severino) (Perugino) Port with Villa Medici (Claude Lorrain) (zoom) Portinari Triptych (Hugo van der Goes) (zoom) Portrait of a Captain and Equerry (Giorgione) Portrait of a Gentlewoman (Alessandro Longhi) Portrait of a gentlewoman (Jean Perr Portrait of a Knight of Malta (Titian) Portrait of a Lady (Jacob Joardaens) Portrait of a Man (Andrea Mantegna) Portrait of a Man (Parmigianino) Portrait of a Man with a Fur Collar (Paris Bordone) Portrait of a Man with a Medal of Cosimo de' Medici (Sandro Botticelli) Portrait of a Man, said to be Thomas More (Hans Holbein the Younger) Portrait of a Musician (Giulio Campi) Portrait of a Musician (Pontormo) Portrait of a Warrior (Dosso Dossi) Portrait of a Woman (Antonio del Pollaiolo) Portrait of a Woman (Sebastiano del Piombo) Portrait of a Young Man (Franciabigio) Portrait of a Young Man (Georg Pencz) Portrait of a Young Man (Lorenzo di Credi) Portrait of a Young Woman (Rosso Fiorentino) Portrait of an Old Man (Rembrandt) Portrait of an Unknown Man (Hans Memling) Portrait of an Unknown Man (Hans Memling) Portrait of an Unknown Man (Perugino) Portrait of an Unknown Man (Ridolfo del Ghirlandaio) Portrait of an Unknown Man (Tintoretto) Portrait of an Unknown Man and his Wife (Joos Van Cl ve the Younger) Portrait of an Unknown Man, said to be Francesco Maria della Rovere (Raphael) Portrait of an Unknown Woman Holding a Volume of Petrarch (Andrea del Sarto) Portrait of an Unknown Woman with a Basket of Spindles (Andrea del Sarto) Portrait of an Unknown Young Man (Giovanni Bellini) Portrait of Barbara Pallavicino (Alessandro Araldi) Portrait of Bia de' Medici (Bronzino) Portrait of Bianca Cappello (Alessandro Allori) Portrait of Bishop Ludovico Beccadelli (Titian) Portrait of Caterina Cornaro (Titian) Portrait of Charles V on Horseback (Antoine Van Dyck) (zoom) Portrait of Christine of Lorraine (French school of the 16th century) Portrait of Cornelius Gros (Christoph Amberger) Portrait of Cosimo de' Medici (Pontormo) (zoom) Portrait of Cosimo I de' Medici (Bronzino) Portrait of Countess de Chinch n Standing (Francisco Goya) (zoom) Portrait of Eleonora of Toledo with her Son Giovanni (Bronzino) (zoom) Portrait of Elisabetta Gonzaga (Raphael) Portrait of Evangelista Scappi (Francia) Portrait of Ferdinand of Castille (Hans Maler) Portrait of Francesco delle Opere (Perugino) (zoom) Portrait of Francesco I de' Medici (Bronzino) Portrait of Francesco II della Rovere (Barocci) Portrait of Francesco Maria della Rovere and Eleonora Gonzaga (Titian) (zoom) Portrait of Francis I of France on Horseback (Fran ois Clouet) (zoom) Portrait of Galeazzo Maria Sforza (Piero del Pollaiolo) Portrait of Galileo Galilei (Justus Sustermans) Portrait of Giovanni Bentivoglio (Lorenzo Costa) Portrait of Giovanni de' Medici (Bronzino) Portrait of Giulio II (Raphael) Portrait of Guidobaldo da Montefeltro (Raphael) Portrait of Isabella Brandt (Rubens) (zoom) Portrait of Jean de Montfort (Antoine Van Dyck) Portrait of Lorenzo the Magnificent (Giorgio Vasari) Portrait of Lucas Cranach the Elder (Lucas Cranach the Younger) Portrait of Ludovico Capponi (?) (Alessandro Allori) Portrait of Margaret of Lorraine, Duchess of Orl ans (Antoine Van Dyck) Portrait of Maria de' Medici (Bronzino) Portrait of Maria Salviati (Pontormo) Portrait of Maria Teresa de Vallabriga on Horseback (Francisco Goya) Portrait of Marie Adelaide of France in Turkish Costume (Jean-Etienne Liotard) Portrait of Piero Carnesecchi (Puligo) Portrait of Pietro Secco Suardo (Giovanni Battista Moroni) (zoom) Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi... (Raphael) (zoom) Portrait of Sir Richard Southwell (Hans Holbein the Younger) Portrait of the Artist's father (D Portrait of the Poet Giovanni Antonio Pantera (Giovanni Battista Moroni) Portrait of Vittorio Alfieri and Portrait of the Countess of Albany (F. Xavier Fabre) Portraits of Bartolomeo and Lucrezia (Bronzino) (zoom) Portraits of Don Biagio Milanesi and Baldassarre of Vallombrosa (Perugino) Portraits of Frederick III The Wise and Johann I... (Lucas Cranach the Elder) Portraits of Martin Luther and Filippo Melantone (Lucas Cranach the Elder) Portraits of Martin Luther and His Wife Caterina Bora (Lucas Cranach the Elder) Portraits of Baroncelli and Maria Bonciani (Master of the Baroncelli Portraits) Predella with Stories of the Saints (Pesellino) Presentation at the Temple (Ambrogio Lorenzetti) (zoom) Presentation of the Virgin in the Temple (Niccol di Bonaccorso) Primavera (Sandro Botticelli) (zoom) Pygmalion and Galatea (Bronzino) Pyramus and Thisbe (Gregorio Pagani) Rest on the Flight into Egypt (Correggio) Rest on the Flight into Egypt (Dosso Dossi) Rinaldo abandons Armida (Giovan Battista Tiepolo) Sacred Allegory (Giovanni Bellini) (zoom) Saint Anne Metterza (Masolino, Masaccio) (zoom) Saint Anthony Abbot (Pontormo) Saint Augustine Heals the Lame (Workshop of Tintoretto) (zoom) Saint Augustine in his Study (Sandro Botticelli) Saint Barnabas Altarpiece (Sandro Botticelli) Saint Benedict and a Portrait of Benedetto Portinari (Hans Memling) Saint Cecilia and Eight Scenes from her Life (Maestro della Santa Cecilia) Saint Dominic (Cosm Tura) Saint Francis Receives the Stigmata (Cigoli) Saint George Frees the Princess from the Dragon (Georg Lemberger) Saint Jerome (Filippino Lippi) Saint John the Baptist in the Desert (Raphael) Saint John the Evangelist and Saint Francis (El Greco) (zoom) Saint Ludovic of Toulouse (Bartolomeo Vivarini) Saint Luke the Evangelist (Maestro della Maddalena) Saint Margaret (Titian) Saint Matthew and the Stories from his Life (Andrea Orcagna, Jacopo di Cione) Saint Sebastian (Andrea Boscoli) Saint Sebastian (Lorenzo Costa) Saints Vincent, James and Eustace (Antonio del Pollaiolo, Piero del Pollaiolo) Salome with the Head of John the Baptist (Alonso Berruguete) (zoom) San Marco Altarpiece (Sandro Botticelli) San Pancrazio Polyptych (Bernardo Daddi) Sant'Ambrogio Altarpiece (Sandro Botticelli) Santa Lucia dei Magnoli Altarpiece (Domenico Veneziano) Self-Portrait (Raphael) Self-Portrait (Rubens) Self-Portrait in Old Age (Rembrandt) (zoom) Sibyl and Prophet (Vittore Carpaccio) Stories of Saint Nicholas (Ambrogio Lorenzetti) Supper at Emmaus (Pontormo) Susanna and the Elders (Giovanni Battista Piazzetta) Susanna Bathing (Orazio Samacchini) Tarquinius Superbus Founds the Temple of Jupiter... (Perin del Vaga) Tavern Scene (Jean Miense Molenaer) Temperance (Piero del Pollaiolo) The Age of Iron, The Age of Silver, the Age of Gold (Jacopo Zucchi) The Apostle Saints James and Philip (D The Apparition of the Virgin to Saints John the Baptist... (Dosso Dossi) The Baptism of Christ (Verrocchio, Leonardo) (zoom) The Barbadori Altarpiece Predella (Filippo Lippi) The Battle of San Romano (Paolo Uccello) (zoom) The Birth of Venus (Sandro Botticelli) (zoom) The Blessed Humility Altarpiece (Pietro Lorenzetti) The Chastity of Susanna (Lorenzo Lotto) (zoom) The confession (Pietro Longhi) (zoom) The Crucified with Mary Magdalene (Luca Signorelli) The Death of Adonis (Sebastiano del Piombo) (zoom) The Departure and Martyrdom of Saint Florian (Albrecht Altdorfer) (zoom) The Discovery of the Body of Holofernes (Sandro Botticelli) The Dutch Charlatan (Frans Van Mieris the Elder) The Erection of a Statue of the Emperor (Giovan Battista Tiepolo) The Flea (Giuseppe Maria Crespi) The Great Calvary (D The Great Calvary (Jan Bruegel the Elder) The Holy Family (Luca Signorelli) The Holy Family with Saint Barbara and the young Saint John (Veronese) (zoom) The Holy Family with Saints Jerome, Anne and Joachim (Lorenzo Lotto) The Holy Family with the Young Saint John (Beccafumi) The Holy Family with the Young Saint John (Bronzino) (zoom) The Holy Family with the Young Saint John and Mary Magdalene (Palma il Vecchio) The Liberation of Andromeda (Piero di Cosimo) The Martyrdom of Saint Justine (Veronese) The Martyrdom of Saint Sebastian (Girolamo Genga) The Massacre of the Innocents (Daniele da Volterra) The Ognissanti Madonna (Giotto) (zoom) The Otto Altarpiece (Filippino Lippi) The Painter's Family (Giuseppe Maria Crespi) The Raising of Lazarus (Nicolas Froment) The Redeemer and Four Saints (Meliore di Jacopo) The Return of Judith from the Enemy Camp (Sandro Botticelli) The Rucellai Madonna (Duccio di Buoninsegna) (zoom) The Sacrifice of Isaac (Alessandro Allori) The Sacrifice of Isaac (Caravaggio) (zoom) The Saint Zacharias Madonna (Parmigianino) The Samaritan Woman at the Well (Tintoretto) The Sick Man (Titian) The Stigmata of Saint Francis (Maestro del San Francesco Bardi) The Thebaid (Gherardo Starnina) The Three Archangels (Francesco Botticini) The Triumphal Entrance into Antwerp... (Jan Van Den Hoecke) The Urbino Venus (Titian) (zoom) The Virgin Mary Worshipping the Child (Correggio) (zoom) The Wedding at Cana (Andrea Boscoli) Transfiguration (Giovanni Girolamo Savoldo) Triptych with the Epiphany, the Circumcision... (Andrea Mantegna) (zoom) Two dogs (Jacopo Bassano) Two Women Bathing (The Fontainebleau School) Vallombrosa Altarpiece (Andrea del Sarto) Venus (Lorenzo di Credi) Venus and Cupid (Titian) Venus and Mercury Present Their Son Anteros to Jupiter (Veronese) Venus, Satyr and Cupids (Annibale Carracci) (zoom) View of Palazzo Ducale in Venice (Canaletto) (zoom) View of the Grand Canal (Canaletto) Visitation (Mariotto Albertinelli) Vulcan's Forge (Giorgio Vasari) Witchcraft or an Allegory of Hercules (Dosso Dossi) (zoom) Youthful Self-Portrait (Rembrandt) (zoom)mbrandt) (zoom)Youthful Self-Portrait (Rembrandt) (zoom)it (Rembrandt) (zoom)embrandt) (zoom))))))))))))))))))))))))))))))) (zoom))))))))))))))oom)ait (Rembrandt) (zoom)ortrait (Rembrandt) (zoom)t) (zoom)))))))))))brandt) (zoom))))))))))))) scrolla indiceopere FRECCIA OBJECTCLASS UUMNLM=M PNV/P P6VNUbU@ indiceopere FRECCIA OBJECTCLASS MN86/ UNOMMN@bTNP6P TaMI bNPbT@MMPNTU w, #> indice acceso scelta buttondoubleclick scelta ("indice"&acceso Adam and Eve (Hans Baldung Grien)gno) (zoom) (zoom) (Francisco Goya)l Sarto))m)) (zoom)its) opere 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6/6//66/ 6/6//6/6/6 66//6/ 6/6/6/6// /66// /6/6// /6//6 6//6/6 6/66/ //6/6/ 22662 //6606 6/6/6/6 6/66066 6//6// 66266 22622 /6/66 6/6/6/6/ /66/6 //6/6/ 6/6//6/6 /66/6 /66/6 26262 +'++'+ //6/6 6/6// 66/6// 6//6/ +'++' 66/6/ 6/66// 6//66/66/ /66//6// ''+'++' 6/6/66/6 //6/6/6 //6/6 66/6 / /6/6/ 662262 /6/6//66 ++'++ //6// 6/6/66/ /66// 66//6/6 6//6/66 6//66 ++'+' 66/6/6/ ++' + '+-++ 6/6//66 /6/6/ /6/6/6/ 6//6/6/ 6/66/ 6/6/6 6/66//66/6 //6/6/6/ 6/6/6/6 6/66/ /66/6/6 '+''+- /0/6606 -/-/- 6/6/6/66/6 606060 q q ( q ( q (( ( q q) ( ( q ( q ( intro intro enterpage intro ^.^.^.^.v% Incuneato tra Palazzo Vecchio e l'Arno, l'edificio degli Uffizi una delle pi straordinarie realizzazioni architettoniche di tutto il Cinquecento europeo. Oltre ad accogliere il museo pi antico del mondo, le sue mura offrono al visitatore testimonianze di snodi cruciali della storia fiorentina: dall'aula della ex-chiesa di San Pier Scheraggio, dove nel XIII secolo si riuniva primo governo comunale e che Vasari inglob in parte della nuova costruzione a ci che resta del cinquecentesco Teatro mediceo, che fu tra i primi teatri stabili d'Europa, agli echi di Firenze capitale, quando agli Uffizi venne ospitato il Senato del Regno e venne costruito il bel Salone delle Reali Poste, tuttora visibile, al piano terra, in occasione di mostre temporanee. Gli Uffizi furono progettati nel 1560 da Giorgio Vasari su commissione di Cosimo I dei Medici quale sede delle tredici magistrature (donde il nome Uffizi) preposte all'amministrazione del Ducato di Toscana, ma gi nel 1581, ad appena un anno dal termine dei lavori, il nuovo granduca Francesco I volle destinare l'ultimo piano alla sistemazione dell' ormai ingente collezione medicea di dipinti, sculture e opere d'arte di ogni genere. E' nella celebre Tribuna di Bernardo Buontalenti, voluta dal granduca come un ricco scrigno per gli oggetti pi preziosi, che conserva l'archetipo in cui allo scadere del XVI secolo trov il suo primo concretamento l'idea stessa di museo. Fino ai primi decenni del Settecento numerosi capolavori confluirono agli Uffizi, acquistati e collezionati dai Medici - come i due fondamentali nuclei di disegni e di autoritratti raccolti dal cardinal Leopoldo -, o giunti loro in eredit , come nel caso dello splendido nucleo di circa sessanta quadri (comprendente opere di Piero della Francesca, Raffaello, Tiziano), facenti parte del patrimonio urbinate di Vittoria della Rovere, sposa di Ferdinando II; parallelamente, vari interventi decorativi trasformarono nel corso degli anni gli ambienti della Galleria. La "Convenzione" stipulata dall'ultima erede del patrimonio mediceo, l'Elettrice Palatina Anna Maria Ludovica, sorella di Gian Gastone, imped la dispersione del beni artistici di famiglia e ne sanc per sempre l'appartenenza a Firenze e allo Stato, impegnando cos anche i Lorena, che subentrarono al trono granducale. In epoca lorenese, comunque, la collezioni raccolte nell'edificio vasariano avevano raggiunto una tale ampiezza che si avverti l'esigenza di rimuoverne alcuni settori quali le oreficerie, la anticaglie, la scultura "moderna", gli strumenti scientifici e le armi: parte di questi andarono a costituire i nuclei di formazione di nuovi musei quali l'Archeologico, il Bargello o il Museo della Scienza. Un rinnovato impulso ai lavori in Galleria si ebbe sotto Pietro Leopoldo che ne promosse un radicale riordino, favorendo nel contempo l'ingresso agli Uffizi di importantissime sculture antiche, quali il famoso gruppo della Niobe. Durante l'Ottocento con le soppressioni del conventi che determinarono l'entrata di numerose opere nelle collezioni statali vi confluirono altri celeberrimi capolavori del XIII, XIV e XV secolo. Il recupero della chiesa di San Pier Scheraggio (1971), il restauro e il riallestimento del Corridoio Vasariano (1972) o quello della Tribuna sono solo alcuni degli interventi promossi negli ultimi decenni, affiancati peraltro dal continuo accrescersi della collezione con acquisizioni di opere di grande valore artistico. L'estensione del museo, attualmente limitata all'ultimo piano dell'edificio non a caso destinata a triplicarsi in futuro con il progetto dei Nuovi Uffizi: progetto che consentir di utilizzare per intero anche i due piani sottostanti, resi liberi dal trasferimento dell'Archivio di Stato (avvenuto nel 1989) alla nuova sede di piazza Beccaria; si potranno cos raddoppiare gli spazi espositivi, destinando inoltre tutto il piano terreno alle infrastrutture e ai servizi che sono indispensabili nella gestione e nella fruizione di un grande museo. Annamaria Petrioli Tofani Direttore degli Uffizizi intro Wedged in between Palazzo Vecchio and the Arno, the Uffizi building is one of the most remarkable architectural achievements of the entire sixteenth century in Europe. Apart from housing the earliest museum in the world, it also provides visitors with first hand evidence of the crucial events in Florentine history. This begins with the hall that was once the church of San Piero Scheraggio where the first Communal Government met during the 13th century. It was Vasari who incorporated this part into the new edifice. And it comprises what remains of the sixteenth century de Medici theater, one of the first repertory theaters in Europe. Moreover it also embraces the fine Salone delle Reali Poste that was built during the period when Florence was the capital and the Uffizi housed the Senate of the Kingdom. Temporary exhibitions are still held in this ground floor venue. The Uffizi was designed in 1560 by Giorgio Vasari at the behest of Cosimo I de Medici. The aim was to provide a seat for the thirteen magistrates offices (hence the name Uffizi) responsible for running the Duchy of Tuscany. The building had only been completed the previous year when, in 1581, the new Grand Duke Francesco I decided that the top floor should be used for housing what had by that time become the huge de Medici collection of paintings, sculptures and assorted works of art. The Grand Duke thought of Bernardo Buontalentis Tribuna as a magnificent jewel-case in which his most precious objects could be stored, and it is thus that the first concrete idea of a museum came into being at the end of the sixteenth century. Up to the early years of the eighteenth century the Uffizi absorbed a constant flow of masterpieces. Some of them, such as the two basic nuclei of drawings and self-portraits collected by Cardinal Leopoldo, had been acquired by the Medicis themselves, whereas others were inherited. This is the case of the splendid nucleus of nearly sixty pictures (including works by Piero della Francesca, Raphael, and Titian) that belonged to the Urbino-based heritage of Vittoria della Rovere, the wife of Ferdinando II. In the meantime the rooms in the gallery were gradually altered and embellished. The convention drawn up by the last de Medici heir, the Electoress Palatine Anna Maria Ludovica, sister of Gian Gastone, forbade the dispersion of the familys artistic patrimony and confirmed the bequest to Florence and the State. This meant that the Lorraine family that succeeded the Medicis to the Grand-ducal throne was also bound by the same decree. In actual fact under the Lorraines the collections housed in Vasaris building grew so large that certain sections had to be moved elsewhere. Jewelry, antiquities, modern sculpture, scientific instruments and arms were thus removed, part of them becoming the initial nucleus of new museum collections: the Archaeological Museum, for instance, and the Bargello and the Science Museum. New works got under way in the Gallery under Pietro Leopoldos rule, when the Uffizi was radically rearranged and space was made for a number of extremely important sculptures from Antiquity, including the famous Niobe group. With the dissolution of the monasteries during the nineteenth century the State collections were enriched with a further influx of splendid masterpieces from the 13th, 14th and 15th centuries. In more recent times the church of San Pier Scheraggio has been renovated (1971), the Vasarian Corridor restored (1972) and the Tribuna refurbished. And of course the collections have continued to grow. For the moment extensions to the Museum concern only the top floor of the building. However, in the future when the New Uffizi project is completed the available space will be trebled. The plan involves making full use of the other two floors that became vacant when the State Archive was moved to its new headquarters in Piazza Beccaria in 1989. Exhibition space will thus be doubled, leaving the whole of the ground floor free for the services and equipment required for running and making the most of a great museum. 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Laurana Francesco Leo X Leopoldo de' Medici Ligozzi Jacopo Longhi Roberto Lorenzo di Pierfrancesco de' Medici Lorenzo the Magnificent Lorraine Louis XII Louis XV Luca di Tomm Lucas Hugenszoon Ludovico il Moro Luther Mannerism Maria de' Medici Marie Magdalene of Austria Maso di Banco Master of Fl malle Master of the Bigallo Master of the Lively Child Maximilian I Medici Melozzo da Forl Memmo di Filippuccio Mengs Anton Raphael Metsys Quentin Michele di Ridolfo del Ghirlandaio Michelozzo Miniature Montagna Bartolomeo Montefeltro Moretto Neoclassicism Neri di Bicci Nicholas V Nicol dell'Abate Orsi Lelio Pacioli Luca Palma il Giovane Pannini Giovanni Paolo Paolo di Giovanni Fei Patinir Joachim Paul III Pazzi Pellegrini Carlo Penni Giovan Francesco Perspective Peruzzi Baldassarre Petrarch Philip II Philip IV Philip of Bourbon Philip V Pinturicchio plastering Plate of Nativity Poliziano polyptych popolani Pordenone Pourbus Frans the Younger Poussin Nicolas Primaticcio Raffaellino del Garbo of 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To return to the whole picture, click the right hand button of the mouse.clic con il pulsante destro del mouse.e. 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First and foremost there are works by Pontormo, including the Saint Anthony Abbot and the sublime Supper at Emmaus. Beside these, there are paintings by Andrea del Sarto's other great disciple, Rosso Fiorentino: the Santa Maria Nuova Altarpiece, the Moses Defending the Daughters of Jethro and two portraits. Finally, there are also works by Agnolo Bronzino, a follower of Pontormo, and by other Florentine Mannerists. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando dilavoro settestocartello buttonclick buttonclick settestocartello ( num) "dilavoro" dilavoro :fissatestocartello buttonclick buttonclick fissatestocartello ( num) "dilavoro" filmbw helpino Filmmtoo Galleriaermo (frattale) Bfilm objectclass helpino 4065,30 helppos ))'') ')'') )'') Museo helpino Go to modellra visore NomeSala The Primitives and Giotto RoomLorenzo Lotto Room guidabw indicebw indietrobw indice Bindice objectclass helpino 7350,6405 helppos Indietro Bindietro objectclass helpino 8415,5250 helppos Guida Bguida objectclass helpino 8850,6510 helppos vistadbw vistad VaiAVista buttonclick buttonclick VaiAVista "+" Bvistad ObjectClass helpino 5580,6000 helppos vistasbw vistas VaiAVista buttonclick buttonclick VaiAVista "-" X#j#' Bvistas ObjectClass helpino 225,6260 helppos anima MODELLOBW Modello J*^*sE Bmodello objectclass helpino 7260,4565 helppos ( q q) ( ( q ( q ( qq qq 62626 ;e/Ld7 cubTU bicgt is`b_sifit Vdc`PUA ibf`af`au aabsf TSSTa `aaibii :XPBTT IHbbTSSMPu CLMTM B@SPPe Paci_iu ;@MCI @MUWLGfu bs_bift _`aasfgiuj iaP`di tficV asai_gt ittuiuu ``_b`ffi ttfif _agjtcuttu ciftf sftfiu ``iftfit `s_ag gftvf fVOXecttut UgaP_ `tiicut cXcWb UWsPa``e ILaM* ai`ujfuu <V`Pafif Mb`biftu cbbVQOOVW L@NO@O?>?O ?O@?Ve @@>\OOZQ? 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BERLINGHIERI NomeAutore Crucifixion and Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera MAESTRO DEL SAN FRANCESCO BARDI NomeAutore The Stigmata of Saint Francis DescrOpera (('S( .8.''(' 58.+&_( ( (( (( ( ( ( ( (( &( .''((' ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( (( (( ( ( (( ( ( ( ( (( (( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( .)( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( (( ( (( ( ( ( ( ( ( ( (( (* 8.')( ( ( (( ( ( ( ( ( (( ( ( ( q +)( (( ( ( ( ( (( ( (( ((q +( ( ( ( (( ( ( ( (A ( (( (q ( ( ( ( ( ( 8.&( ( ( ( ( ( ( (P .') 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BERLINGHIERI NomeAutore Crucifixion and Madonna and Child with Saints DescrOpera $ P / AreaOpera objectclass idopera MAESTRO DEL SAN FRANCESCO BARDI NomeAutore The Stigmata of Saint Francis DescrOpera AreaPorta objectclass numporta ctbcb ) ( )) (+q ) (+q 564665/5 465655 5.5.4 4665/ 566566 6.6.6 6./5. 56.6.66.6 55656 /5.5.6-5 02020 6.565 5.5/5 .6..5 ( (( ( 5.5.5 ( ( ( (( ( 465656 ..5.6 ( ( ( ( ( ( ( ( ( (( (( 5565.5..5. ( ( ( ( ( ( ( ( ( ( (( ( ( ( 5656566.. .6.55 ( (( (( (( q 46564 4656655 ( ( ( (q 565/6 66./.5./ ( ( ( ((q 46656556 3/202 ( (( ( q .6..4 66565 ( ( ((q /66/56 66..4 6.66565 ))" (( ( ( ( (( ( ( ( ( )( ( q(( ( ( (( (( L80 ( ( ( ( (( ( ( ( (( ( (( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( )) ) ( (( ( (( (( ( ( )) )) ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ) ) ) ( (( ( ( ( ( ( ( (( ( ) ) ) ) ( ( ( (( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( )) (( ( ( ( ( (( (( (( ( ( ( (( ( ( ( ( ( (( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( )) ( ( ( ( (( ( (( ( ( ( ) ( ( ( (( ( ( ( AreaCartello objectclass AreaOpera objectclass idopera FLORENTINE SCHOOL OF THE MID 13TH CENTURY NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera MELIORE DI JACOPO NomeAutore The Redeemer and Four Saints DescrOpera AreaOpera objectclass idopera WORKSHOP OF B. BERLINGHIERI NomeAutore Crucifixion and Madonna and Child with Saints DescrOpera d x ' AreaOpera objectclass idopera MAESTRO DEL SAN FRANCESCO BARDI NomeAutore The Stigmata of Saint Francis DescrOpera AreaPorta objectclass numporta '('(( ''+q/2 ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( (( (( ( ) ) ( (( ( (( ) ) ) ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( (( ( ( ( (( (( ( (( (( (( ( ( (( (( ( ( ( ( ( ( (( ( ( (( ( (( (( ( ( ( ) ) ) ( (( (( ( ( (( ( ( ( ( (( ( ( ( ) ( ( ( (( (( ( ( ( ( (( ) )) (( ( ( ( (( ( ( (( ( ( ( (( ( ) ( ( ( ( (( ( ( ( )) ) (( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( opere acceso AreaCartello objectclass AreaOpera objectclass idopera FLORENTINE SCHOOL OF THE MID 13TH CENTURY NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera MELIORE DI JACOPO NomeAutore The Redeemer and Four Saints DescrOpera AreaOpera objectclass idopera WORKSHOP OF B. BERLINGHIERI NomeAutore Crucifixion and Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera MAESTRO DEL SAN FRANCESCO BARDI NomeAutore The Stigmata of Saint Francis DescrOpera AreaOpera objectclass idopera LUCCAN SCHOOL OF THE MID 12TH CENTURY NomeAutore Crucifix with Stories of the Passion DescrOpera AreaPorta objectclass numporta bcctb ctbcb q'( ) )( +' )) )( ( (( ( ( ( (( ( (( (( ( (( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( (( (( ( ( ( ( ) ) ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( (( ( ( (( ( (( (( ( ( ( ( (( ( ( ( (( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ) ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( )) ) ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ) ) ) s2v10 AreaCartello objectclass AreaCartello objectclass AreaOpera objectclass idopera MAESTRO DELLA MADDALENA NomeAutore Saint Luke the Evangelist DescrOpera AreaPorta objectclass numporta AreaPorta objectclass numporta AreaOpera objectclass idopera FLORENTINE SCHOOL OF THE MID 13TH CENTURY NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera WORKSHOP OF B. BERLINGHIERI NomeAutore Crucifixion and Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera MAESTRO DEL SAN FRANCESCO BARDI NomeAutore The Stigmata of Saint Francis DescrOpera AreaOpera objectclass idopera LUCCAN SCHOOL OF THE MID 12TH CENTURY NomeAutore Crucifix with Stories of the Passion DescrOpera ' )) ( () ('' '+q+qq ( ( ) (q (( ) ) ((q (( ) (( ( ( ( ( ( (( (( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( )) ) ( ( ( (( (( ) (( ( (( ( (( ( (( ( ( (( ( (( ) ) ( ( ( ( ( (( ( ( ( ) ) ) ( ( (( ( ( ( ( (( ( ( ( (( ) ) ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) (( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( (( (( (( ( )( (( ( )( (( ) )( (( ( ( ( ( ( ( (( ( ) ) ) ( ( ) ( ( )) (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( (( ( ( (( ( ( ( ( ( ( s2v11 opere acceso AreaCartello objectclass AreaCartello objectclass AreaOpera objectclass idopera MAESTRO DELLA MADDALENA NomeAutore Saint Luke the Evangelist DescrOpera AreaOpera objectclass idopera DUCCIO DI BUONINSEGNA NomeAutore The Rucellai Madonna DescrOpera AreaPorta objectclass numporta AreaPorta objectclass numporta AreaOpera objectclass idopera FLORENTINE SCHOOL OF THE MID 13TH CENTURY NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera LUCCAN SCHOOL OF THE MID 12TH CENTURY NomeAutore Crucifix with Stories of the Passion DescrOpera ctctc q'()q (( ) 57578 58578 87857 78757 ( (( 57875 ( (( ( ( ( ( ( ( ( 877878 ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( }~}~} ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ) ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( 63232 ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( )) ) ( ( ( (( ( ( ( (( ( ( ( ( q( ) (( (( ( ( ( ( (( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ) ) ( ( ( ) ( (( (( ( (( ) ) ( (( ( (( ( (( ( (( ( (( ( ( ( ( ) ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( (( (( ( ( (( 75..7.8 ( ( ( ( ( )) ) ( (( ( ) ( (( ( (( ( ( ( ( ( (( ( ) (( ( ( ( ( ( (( ( ( (( (( ( (( ( ( (( ( (( ( ( ( (( ( ( s2v12 opere acceso AreaCartello objectclass AreaCartello objectclass AreaOpera objectclass idopera MAESTRO DELLA MADDALENA NomeAutore Saint Luke the Evangelist DescrOpera AreaOpera objectclass idopera DUCCIO DI BUONINSEGNA NomeAutore The Rucellai Madonna DescrOpera AreaPorta objectclass numporta AreaOpera objectclass idopera FLORENTINE SCHOOL OF THE MID 13TH CENTURY NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera LUCCAN SCHOOL OF THE MID 12TH CENTURY NomeAutore Crucifix with Stories of the Passion DescrOpera bbcbb (( ( (( ) ( ( ( ( q( (( q (( ( (( q( (( ( ( (( ( ( (( *( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( /( 3q ( ( ( ( ( ( ( ( ( ( (( "( ( ( ( ( 6q( ( q (( ( ( ( ( ( (( ( ( ( ( ( qq( ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( (( (( ( (( (( ( ( ( 776q ( ( (( (( ( ( ( (( ( (( 6q ) (( ( ( ( ( 756q) ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 776q ( ( ( ( ( ( ( ( (( ( .87.85 ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( -:5.. 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Ognissanti Polyptych DescrOpera (( ( }~}}~ ,qq,q, q%q%q%q% ,%q%q%,% q%q%q%q%q% q%qq,q qq%,q, ( ( ) q( ) 58/0( .--;8 ( *( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( $( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( (( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( (( ( (( (( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ((< ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (P ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( (( ( ( ( ( (W ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ($ ( (( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( UUcdd (( ( ( ( ( ( ( ( ( (( ( ) ) ) ) (( ( ( ddcUd ( ( ( ( ( ( ( ( cUcdccd ( ( ( ) ) ( ( ( ( ( ( ( dUUdd ( ( ) ) ) ) ccUdd ( ( (( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( dcUUcU ( ( ( ( ( ) )) ( ( ( ( (( (( cUUdU ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( (( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( (( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( (( 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AreaCartello objectclass AreaOpera objectclass idopera MAESTRO DELLA SANTA CECILIA NomeAutore Saint Cecilia and Eight Scenes from her Life DescrOpera AreaOpera objectclass idopera BERNARDO DADDI NomeAutore Madonna and Child Enthroned with Angels and Saints DescrOpera AreaOpera objectclass idopera GIOVANNI DA MILANO NomeAutore Ognissanti Polyptych DescrOpera q%q%q%, ,q,q,q,%q %,%,q,q ,q,q,qq, ,qq,qq ,q,q,,q ,q,qq ( ) }~~|} ) (( ~~}~~ MMLNL ) ( }~~}|} MLL8L 88LMLL +.-:M //6/6/ ( ( (( ( (( '( ( ( ( ( ( ( ( ( ( ( ( ( ( "( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( *( ( (( ( ( ( ( ( !( ( ( ( (( ( ( ( ( ( ( ( ( *( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ((3 ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (F ( ( ( ( ( ( ( ( ( (K ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ((O ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (a ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( (/ ( ( eddUU ccWdd dUcdd (( ( ( ( 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626262622 62622626 26266 TTKKT 2626262626 262262626 26226 6262626262 26262 266262 6266262 626226262 62262 6226262262 6226226226 26626 662662626 6262626 622622 6226262626 62626 62626 2626226262 262622 6262626226 2662626 266266 7KTaK 2626262 6262626262 22622 26226 2626262 626626 2626626262 62262262 226226226 26226 2626262626 26626 2662626626 2626226226 2626262 6262626262 62626 2662626262 6262626226 2262626226 262262 6262262 62662626 26626 62626 2626226262 662626 66266 2626262626 22622 6262662 62626 626262 62626 62626 2626262 26262 77578575 s5v10 AreaOpera objectclass idopera LORENZO MONACO NomeAutore Coronation of the Virgin DescrOpera AreaOpera objectclass idopera VECCHIETTA NomeAutore Madonna and Saints DescrOpera ctctb ctctct ( ( ( 62032 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( 26626 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6//2bb ( ( (( ( Ubcbs ( ( ( ( (( ( (( ( ( ( 22/26606 ( ( ( ( ( 66566 ttcbt ( ( ( 6066/2 ( ( ( ( (( ( ( ( ( ( ( tscbt ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( /606/2 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TMLCM L88J; TLMLL; 8;LLMMLM MLL8;J 6266. 22622 62262622 887L8J8 8LD8;I -88J8 62262 ;E;E;E ;J;D8L 22622 2262622 62622 22622626 2626262 262622626 262626 2622626 626262 6262626262 62622622 6262262622 6262626262 6226262 262626262 62626262 2262626262 622622 26226 226262 6262626262 ( ) ) 2626262 62626 262626 626262 62626262 262626 262626 6262626262 6262626 26226 22626262 6262626262 22622 26626 (( ( 6262626 62626 622622 26226226 62662626 2626262626 26262 622626262 626266 2626626262 62262 62262 42626626 6626626 626262 6226262 62622 62626262 2622622 62622 626226 52626 626626 66262 26262626 62662626 26226 262662 626626266 62622 26226262 26262 66262 62626 26262 2626262626 62262626 6262262 62662626 626626 2622622622 26226262 626226262 6262626 626626626 626262 262626 6226226262 6262626262 26626 6626626 6262262626 22626226 26262627 62626266 2626266 6226226262 62626 62626 62626 626262 662626 2662662 26262626 262262 2626262626 622626 6262262262 6262626 6262626262 626262626 6262626 262626262 226262 6262626262 626262626 26626 6262626262 62662 62626 6262262622 62626262 662626 66262626 6262626262 262626262 6262262262 26262 626226 62626262 226226 2626262 s5v11 AreaOpera objectclass idopera LORENZO MONACO NomeAutore Coronation of the Virgin DescrOpera AreaOpera objectclass idopera VECCHIETTA NomeAutore Madonna and Saints DescrOpera AreaOpera objectclass idopera GHERARDO STARNINA NomeAutore The Thebaid DescrOpera cctctb bbctb bcctc bctct (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( 22626 (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( 26/26 ( ( U58Uc UbbUU ( ( 26//62 NUUVUV 6//6/ UbUUbb 58UUN //622 UUNUVba 65563 3/6626 ULVUUVU NUVUab ttbbt 22662 /026/606 ( ( LLUUM 88MUN 8Ubba 66366 (( ( 60606 ( (( ( ( ( ( ( ( ( ( ( 06/22 )) ) (( (( ( ( ( //622 UVbbtbb ( ( ( ( ( ( ( ( ( ( babaT ) )) VbMLL 55MUc MM/58 7.UUc :MU78 cUUcc 58L8L8 5MUMU 8-8878 M88VU 8.:UUMUU 8UMUUc ULL88L 87:88 MNUMUM TMLLMLMNM LL@MT TLLNM MLUL; UMML8E 88L7L ;E8LE5 D;E;D;LL -88K78 62262 (( ( ( ) 62622 (( ( )) 62262 26262 22622 22622 62622622 62626 ( ) 22626 626262622 62262 6226226262 622622 22626 26262262 62622 62262 2626262262 262262622 262622 6262262626 2626226262 326226262 6262622626 26262 6226262622 262626262 2626226226 2626262626 262262 22622 626262 6262626226 62622 26262 6262626262 622626 2622626 62262626 2262626262 626226262 6266262 2626262626 2626262 226226 626226262 6262626262 6262626262 22626262 6226262626 6262626262 626262626 26262 622622622 62622 2626262626 2626262626 26262 622622 6262622 2626262626 2626262626 2626262 26226 6226226262 2622626262 62626262 262626 62626 2626262 62262262 2626226226 2626226 2626262626 2626262626 626262 226262262 262262626 26262626 2626262626 22622626 262622 6262626226 626262 26262 6262626626 2626266266 7JaaT 62262262 626226262 6626262626 2626262622 62626 62622 6262262626 226262 626262626 62626 66262622 262622 62622622 2626262626 6262626626 6262626262 62622 62622 226226262 6262626262 62626 62626262 6262626262 62262 26262 6262626262 6262626 6262626 6262626262 6262626 62262 6262262626 26262626 2626262626 262626 2626262626 26226 2262262626 2622626 6262626262 62626 626262 2626266262 262262 2622626 6262626 2626262626 2662662626 6262626262 26262 22622626 2626262 62262 2626266262 2622626226 2626262626 622626626 62262 626262 2626226262 6262626262 6626226226 6226226262 6262626262 626262626 626226 62262626 62626 262262626 2626226 62262 26226 622622622 2622622 62262 \ \ \ 4 s5v12 AreaOpera objectclass idopera LORENZO MONACO NomeAutore Coronation of the Virgin DescrOpera AreaOpera objectclass idopera VECCHIETTA NomeAutore Madonna and Saints DescrOpera AreaOpera objectclass idopera GHERARDO STARNINA NomeAutore The Thebaid DescrOpera AreaOpera objectclass idopera MASOLINO NomeAutore Madonna of Humility DescrOpera 8 P ' AreaCartello objectclass bbcct cctct ( ( ( ( ( ( qq( ) (( (( (( (( (( ( (( ( ( ( ( ( ( ( (( ( (( ( (( (( ( ( ( ( (( (( ( ( ( (( ( ((bcbU ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (bN ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( UbccbUU ( ( ( ( UUcbU NccUU ( ( ( ( UUVbM ( (( ( ( ( ( UbVcb ( ( ( ( )) ) VUUVVcU VUUVVb ( ( ( ( ( ( ( VUUVUbV 60//6 (( ( ( ( (( ( VUVUUbb 62626262 ( ( ( ( UUVUVb (( ( ( UUVUab (( ( ( ) )UVUVabb ( ( ( ( ) ) ( ( ( ( ( 663/6 ( ( ( ( ( ( ( ( ( ( ( UUVU ( ( ( ( ( ( ( ( () ( 858NU ( ( 5NNUM //.0/ abbtb fcbUVbf Vbict ( ) --..-/ Ubabba TabbTUTU LJ8L8K8L bbaa7 8:8LL U885Mcc c75U8 UccUcc MccUUV 88UcUUV 88LLUc L8:8:L L9LMLU 8LUMM MMNLL NLNMM ccU;.. TTLNMM UMNML@M @NMTa :LMLT MMNMUU ELUTMLLM UUTLL8L UUMUUNLL;8 M8;88;L8 :L;LL EL788 ;E:L;. M8;L: ;8;L8; ;E8E:ELMLM LK;L;LMLU 8;E:; ( ( (( ) )) ) ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( 22622622 622622 226262 622622 226262 262622 262262 626262 2262262 262622 62622 262622 2622622 62262 62262622 2626226 626262 2262262 622626 26226 262626 26226262 s5v13 AreaOpera objectclass idopera VECCHIETTA NomeAutore Madonna and Saints DescrOpera AreaOpera objectclass idopera GHERARDO STARNINA NomeAutore The Thebaid DescrOpera AreaOpera objectclass idopera MASOLINO NomeAutore Madonna of Humility DescrOpera AreaPorta objectclass numporta AreaCartello objectclass h | ' AreaOpera objectclass idopera Adoration of the Magi NomeAutore Adoration of the Magi DescrOpera LORENZO MONACO, COSIMO ROSSELLI ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ) (( ( ( ( (( ( ( ( (( ( (( (( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (( '(( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ((q ( ( ( ) ) ((qq ( ( ( ( ( ) ) )) ( ) ) ) 558P" ) qq .--7TTa (qq2 q( ( q( ) -:5.. K8J8J8K8 885.5- /-/885 q( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( q ( //063 ( (( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ) ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ) ) ) ) )) ) (( ( ( ( )) ) ( ( ( ( ( s5v14 AreaOpera objectclass idopera GHERARDO STARNINA NomeAutore The Thebaid DescrOpera AreaOpera objectclass idopera MASOLINO NomeAutore Madonna of Humility DescrOpera AreaOpera objectclass idopera GIOVANNI DI PAOLO NomeAutore Madonna and Child with Saints DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera Adoration of the Magi NomeAutore Adoration of the Magi DescrOpera LORENZO MONACO, COSIMO ROSSELLI bctct ( ) ) ( ( ( (( ( ( ( (( ( ( (( ( ( ( (( ( ( (( (( ( ( ( (( ( ( (( (( ( ( (( ( ( ( ( ( ( ( (( ( (( ( (( ( ( ( ( ( (( ( (( ( (( ( (( (( ( ( ( ( ( (( ( ( (' ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( 'b (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ) (qq ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ) ) ) ( ( ) )) 55-4, 5-5-4% (( ( .-.././8 8J8K8J /--.5 2/+-- ( ( (( ( ( ( ( ) ) q( ( ( ( ( ( ( ( ( q(( ( ( (( ( ( q(( ( (( ( (( ( (( (( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( (( ( ( (( ( ( (( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( ( ( ( ( ( ( (( (( ( ( ( (( ) )) ) ) ( ( ( ( ( ( (( (( ( ) ( )) (( ( ) s5v15 AreaOpera objectclass idopera MASOLINO NomeAutore Madonna of Humility DescrOpera AreaOpera objectclass idopera GIOVANNI DI PAOLO NomeAutore Madonna and Child with Saints DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera Adoration of the Magi NomeAutore Adoration of the Magi DescrOpera LORENZO MONACO, COSIMO ROSSELLI ctcct ( ( (q (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 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626262626 626262662 62262 626262 6262626262 62662626 6626262 6262262 6262626262 6626626 626626 26262626 2626262626 2626262626 626626 662662 2626262626 2626262626 2626262626 26266 662626 626626 2262262 626262 6262626262 62626262 262662 26262 2626262662 626262 66262 62626 66266( 26262 62262626 2626262626 62626 6626( 2626262 2626262 6262626626 66266 266262 66266 626262 6262626262 62626 266266 62262626 2626262626 2626262662 6262626 62662 26266266265 262626262 6262626262 66266 s7v12 AreaOpera objectclass idopera PAOLO UCCELLO NomeAutore The Battle of San Romano DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera MASACCIO NomeAutore Madonna and Child DescrOpera :8:88L 88LL8L L8;::L (q ( 26226 26226 62622622 2622622 226226 6226226 22622 22622 622622 26262 626262 2622622622 22626226 2262262 22622 2622622 26226 622622 2622622 622626 622626 62622 2626262622 26226 622622 26262 26262 62622 262622 2622622 26262262 26262 22622 26226262 62622626 6226226 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6262626 6262262622 62626262 62622626 6262626 2626262626 2262626262 226262 26262 6262626 6626262626 6262626 26262 262626 26226262 26262 26226 s7v13 AreaOpera objectclass idopera PAOLO UCCELLO NomeAutore The Battle of San Romano DescrOpera AreaPorta objectclass numporta L88LM L8L8LL L8L88LM 88L8; 22622 62262 62262 22622 26226 622622622 26226 22622 22622622 226226226 22622 262622 262622 62262 226262 22622 2262262 62622 62262622 622622 22622 22626 262622 6226226226 2622622 2622622 2622622 262622 622622 22622 26226226 22622 26226 26226 62626 2626226 6262626226 262626 62622622 626262 2262622 262262 26262 26226262 62262262 262262 2262262 2262622622 6262262262 6226226262 6262262262 22622 6262262626 2622626262 62262626 262262 2622622 262262626 2626262626 2626226262 2622626226 2626262262 22626 6226226262 226226 2262626226 6262262622 6226262262 2622622622 626262622 6262622 262262 26226 6226226262 262626 2626262626 2626262622 6262626226 622626 6262262622 22622 62626 6262262 6226226226 2262622626 2626226262 626262 26226 22622 62262262 26226226 2626262626 2626262262 6262622626 6262262626 2262262262 2622622622 622622 6262266262 2626262622 626262626 6262262262 6262622626 26262 26226 622626262 6262622622 6262626 2622626262 22622 26226 262262 62662626 62626262 62626262 6226262 626262262 62262 2262262 22626262 6262622626 2626262 6262626262 6262626262 6262626262 62622626 622622 262262 2622626262 6262626262 6262626262 6262626262 626262622 6262626 626262 626262 6262626262 626262 626262 6262626262 6262626262 6262626262 226226 6262262 262626262 62626262 2626262626 2626262626 2626262626 2626226262 626262622 6622622626 2622622 6262262626 2626226262 6226262626 262626 6262626 2626262626 2626262626 2622622 22622 6262262 62262626 2626226262 62626 2626262626 2626262626 2626262626 626262626 626262 6262626226 62622 262262 6226262266 6262626 2626266266 626266262 62626 2626226226 2626226262 22622622 6262622626 226262 626262 262626 62262 66262 62626 2626262626 2626262626 6226262622 62622622 622622 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6262262622 ( (( 226226 6262626266 2626262626 62662 62662 66266262 626262 6262626262 626262 6226226226 6262622626 2662626 2626262622 26262 262262 2622622 ( ( 622 262262 2626262262 626262 2662626 626626 66266 66262 62626266 62626 2626262 ( ( 22622 262626 626226 66266 66266 662626262 62626 62626 262622 22622 6262662 62626 626626 626262626 6262626262 ( ( ( ( ( 6226262 262262 6262626262 62626 62662 66266 2662662662 2626266262 6262262626 26226 62262 ( (( ( 2262622 262622 6626262626 66266 66262626 2626266262 ( ( (( 26226 2262262 262626226 26262626 26262 26626 6262626262 62622626 2626262626 262626 626626 6626262 626262 6262626262 62626 ( ( ( ( 26262 26226262 6262662626 62662662 26626 2626262626 6262626266 26262622 (( ( 2626262622 62262626 62662 66262662 62662 2626626262 62626 ( ( ( ( 2626226226 226262 2626262626 66266 66262 6262626262 26226 26226 262262626 26262 6262662 26626626 66266 66266266 66266262 26626 2626262626 62622 ( ( ( ( 262262 262622 62626 2626262626 66266 62626262 6262626262 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AreaOpera objectclass idopera FILIPPINO LIPPI NomeAutore Adoration of the Magi DescrOpera AreaOpera objectclass idopera FILIPPINO LIPPI NomeAutore Saint Jerome DescrOpera J ^ ' AreaOpera objectclass idopera NICOLAS FROMENT NomeAutore The Raising of Lazarus DescrOpera AreaOpera objectclass idopera FILIPPO LIPPI NomeAutore Adoration of the Child with Saints Joseph, Jerome, Mary Magdalene and Hilarion DescrOpera bccbb UMTMM UMLUb UMULUT MUTMMaa qq2/MM -L8LUMNM -L8NU -MTaTTaTU MLMUM TUMM8MM TLMMU MLLMU 6/66/6/ 6/6/q6 ( ( ( (( ( ( ( (( (( ( ( (( (( (( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ' ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( '( ( ( ( ( ( ( ( ' ( ( ( ( ( ( & ( ( ++''- ( ( & ) +''+'+ 6q' +' +''&+ +'+,// +,++q++ /++'+ 26266/ ++/66/6 (( ( 6/6//6 ) ( (( ( ( ( ( ( ( ( (q ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ((q ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( )) ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( (( (( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ) ) ( ( ( (( (( (( ( ( 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idopera FILIPPO LIPPI NomeAutore Coronation of the Virgin DescrOpera AreaPorta objectclass numporta AreaCartello objectclass bctctb btcbb /5 (( q( ))5/)( 05 (( ( ((6 /66qq MTbsTs (('((' ( ( ( ( ( ( (( ( ( )(()( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ) ) ( ( ( ( (( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( (( ( ( (( (( ( ( (( ( (( ( (( ( ( ( ( (( ( (( ( (( (( ) ) ( ( ( (( ( ( ( ( ( (( ( ( ( ) )) ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( (( ( (( ( ( ( (( (( ( ( ( ( (( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ) ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( (( (( (( ( ( ( ( ( ( ( (( ( ) )) ( (( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ) ) opere acceso AreaOpera objectclass idopera NICOLAS FROMENT NomeAutore The Raising of Lazarus DescrOpera AreaOpera objectclass idopera FILIPPO LIPPI NomeAutore Coronation of the Virgin DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera FILIPPO LIPPI NomeAutore Annunciation DescrOpera ( )) ( ) )) )('+q 656556 56656465 65665 46565/5 46566565 66566/ 565/565 .5566 656.65/ .5566 56.6/ 56.5.66.5. .5.6-55 -5.56566 56/566 .56656 5.556656. 56566 6.5656 65656 6.56565 46565/ ..5.54 656566. 656656 65/5665 65./56.6 ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( (( ( (( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ) ( ( ( ( ( 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AreaOpera objectclass idopera FILIPPO LIPPI NomeAutore Coronation of the Virgin DescrOpera AreaOpera objectclass idopera ALESSIO BALDOVINETTI NomeAutore Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera FILIPPO LIPPI NomeAutore Madonna and Child with Saints DescrOpera ^ r ' AreaOpera objectclass idopera PESELLINO NomeAutore Predella with Stories of the Saints DescrOpera ctctc btabt 7T7TTa cUUMU cUUMUN UUMU8L MLULU VUUMUU MUMUU (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( (( (( )) ) ( (( ( ( ( ( (( (( ( (( (( ) ) ( (( (( 62323 (( ( (( 606//0 ( (( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (( (( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( 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NMLUU ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 6/6/606 0606/60 //6//60 /6/66 /6/6/ ( ( ( ( ( ( ( ( ( L8L88L8L8L (( ( ( ( ( ( ( ( ( ( ( ( ( +qq+qq+qq ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( (( (( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ) ) ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) )) ( (( (( (( ( ( ( ( (( (( ( ( (( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( (( ( (( ( ( ( ( ( (( ( ( ( (( (( ( ( ( (( ( (( ( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( 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objectclass numporta AreaOpera objectclass idopera ALESSIO BALDOVINETTI NomeAutore Annunciation DescrOpera bTasb ( ( ( ( (( ( ( ( ( sa7Ts ( ( ( ( q J7JKTa77 26/65 q( ( ( q (( ( ( ( ( ( ( ( ( ( ( 23220 ( (( ( ( (( ( (( (( ( (( ( ( ( ( (( ( ( (( ( (( ) ) (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ($ (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (' ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (1 ( ( ( ( ( ( ( ( (( ( ((3 ( ( ( ( ( ( ( ( ( (6 ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 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idopera SANDRO BOTTICELLI NomeAutore Fortitude DescrOpera AreaCartello objectclass AreaPorta objectclass numporta ( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ssaTKT ( ( ( ( ( ( ( (( ( ( ( (( ( tsaTT ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( Tsars sb_7KT JKTJT ( ( ( ( (( ss_TK ( ( ( (( (( ( KKJTT sTrKs ( ( ( ( ( ( s^JKKJ ( ( ( ( )) ) KJKKT aTT__s ( ( ( ( ( ( ^Ts__K_a ( ( ( ( ( ( ( ( ( ( TaaTT ( ( ( ( K_TKKMT ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( T_KrJa ) ) (( ) ( (( (( ( (( ( ( (( ( ( ( (( ( ( (( (( ( ( (( (( ( ( (( ( (( (( (( ( ( ( (( ( ( (( ( (( ( ( (( ( (( (( ( )) ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( 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( ( (( ( ( ( ( ( ( ( ( (E (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ) ) ( (( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ) ) ( ( ( ( ) ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ) ) ( (( ( ( ( (( ( ( ( (( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( )) ) ) )) (( ( (( ( )) ) ( ( ( qq( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ) (( ) s9v15 AreaOpera objectclass idopera LORENZO DI CREDI NomeAutore Portrait of a Young Man DescrOpera AreaOpera objectclass idopera ANTONIO DEL POLLAIOLO NomeAutore Portrait of a Woman DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore The Return of Judith from the Enemy Camp DescrOpera zoomable : V / AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore The Discovery of the Body of Holofernes DescrOpera zoomable AreaOpera objectclass idopera ANTONIO DEL POLLAIOLO NomeAutore Heracles and Antaeus and Heracles and the Hydra DescrOpera zoomable AreaOpera objectclass idopera ANTONIO DEL POLLAIOLO, PIERO DEL POLLAIOLO NomeAutore Saints Vincent, James and Eustace DescrOpera FrancOpera ObjectClass FrancOpera ObjectClass francopera objectclass cNNeVddVcObeb ~~~~~ ~~~~~ cNU~~ ~~~~~ PV?Vt b>QQd ?>Q>b WcWWd f>S>?tW dcUVQ WNUUd NNN=Q?tO Qb>tdU cWPUdV>>`ca cdOtd cP@Sb?@e aVQ>bdVe >PPSd OSSQab >QQ?e R`ae` b``Qb` >?@QAc `aQaa` efffff :9<G?d c99UU ~~~~~~ QPaVRbd OPPO@Q OR~OPfe faWSP PNOPQVWQS WWaSf PQRPR OaOQWbt OPP>> Q@PO>` QSPSAe >OeVVdt bdcUd d@P?SP >@?@aOV dP>SQW U>?O@?aWWf S?SPPf @@O?PSb SPV`a >S??aWP?b VVPS??PP ufiie PPP`P>?>?POSS a^affi ?SaQaW OOPa?WbW c@QQQ>Rd f`f`_ VNX`QbfQc fS?V@VaV aPa?>??? ***** dQQSQ` QQS@@OPQe [=c>? 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OhQ?R VVQ??SaW *&*&) aSQ@P@Q cZ?@S ~P>QaQVa ***** *wO@> aO>?S>P --&/.- ---***** @SOaV@??A %&-*-&W .c9LUO QSPea>>ea &----..- W@OPOS?PV?Ve *.6/.--....-+ P>OS>a ---&--% -..-%-. dbSP?PXQS &--%O ---&* --&--.---N daeS? UXZXXORO@Z %66.-.& ./.--5..-...5.46..-..-:. eSPWdg4 8UWZXf --.-.-. -&Ud[e .6.6..-.5-...656.66. ASOSQ .545564 55...65 ...-64466.-...-- ..6... /..... ***** 45./.. 5..5* 5...-* .55--+& 55555 5555.6W-.5 4....* qrBr^jT2 IqG^n^IpBqot_ I^GsrTrno Iqmrn IoGqn^nr I^nB^o BrA^z Gq^Fn sqIzlJ rqFnv /###, ImDrm qGmIzT^os B^^]_k^qt nGno] r*Iq^olor B*rrono] s^n^mq r^^n^ ^rqFG^^t sqnyt. ttkt xttxT x}/x $ lnnjonj plzlnqo ~~~~~ ~~~~~ Od|<=YX} }{||}{{<w{ {ONw{ -%-354 444%300- 0004044 ,#+5} /003% !%$$-O $$#$$ ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( (( ((q (( ( ( ( (( (( ( ( ( ((= ( (B (( ( ( ( ( (M ( (( ( (* ( ( ( ( ( ( ( ( ( ( ) )) ) ) )) ) ) q ) ) ( ( ) (( & (( ( (( ( (( (( ( (( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( (( ( ( (( (( ( ( (( (( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( (( s10v1 opere acceso AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Madonna of the Rose Garden DescrOpera AreaOpera objectclass 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NomeAutore Primavera DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Madonna of the Pomegranate DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Adoration of the Magi DescrOpera ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( (( ( (( ( ( 6TKJs /+622 ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( q( ( ( ( ( ( ( ( $ (( ( ( ( ( ( (( (( ( ( ( ( JJIJI2 $ ( IIJIJD_D $ (( ( ( ( ( ( ( ( ( q ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( (( (( (( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ( ( ( ( ( ( (( (? s10v5 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Calumny DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Primavera DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Madonna of the Pomegranate DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Adoration of the Magi DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Portrait of a Man with a Medal of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Sant'Ambrogio Altarpiece DescrOpera tt{tt ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( (( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ^7s6s (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( vzttz ( ( (( ( ( ( ( vvkt{ tvztz ( (( ( ( ( tztkt ( ( ( ( ( 6,&q2 vtztk ( ( ( ( vtztk ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( -/626 ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( 63003 ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( )) ) ( ( ( ( ( ( ( ( ( ( (( ( ) ) ( ( ( (( ( (( (( ( ( (( ( (( ( (( ( ( ( ( ) (( (( ( ( ( ( ( ( ( ( (( ( ( ( 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Altarpiece DescrOpera tt{tt ) )) ) KJJDD 8LJK8JEJ ( ( KKMCMM (( ( )'&)*& KKLMMTMBKD ( ( ( (( ( (( ( ( (/ ( ( ( 6 (( ( ( ( ( ( ( ( ( JKTJK ( ( ( JEDED CKKDKB 60623 (( ( ( ( .*&)). 7DJKE KDKBDKC ( ( ( ( DBKAKKD ( ( ( JKMMTTMK ( ( ( ( ( KKJKCKC BKCDEEDKM FDKKCDDCK ||{|} ( ( tvz{{|{{ JKKDJED (( ( ( tz{|| (( ( ( ( ( ( ( ( tv{|}|}} ( ( ( (( ( ( ( ( tt{v{{ ( () ( ( MKDEIK ( ( ( ( ( ( ||{v{{ tvtkt DKKJJ tjvvt (( (( ( ( 2 02322+ ( ( ( ( ( (( ( ( ( ( ) (( ( ( (( ( ) ( ( ( ( ( ( ( ( ( ( ( (( ( 606// ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ) ) ( ( ( (( ( ) ) (( ) s10v8 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna and Child between Saints and Angels DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Adoration of the Magi DescrOpera AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Adoration of the Magi DescrOpera AreaOpera objectclass idopera HUGO VAN DER GOES NomeAutore Portinari Triptych DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Portrait of a Man with a Medal of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Sant'Ambrogio Altarpiece DescrOpera ) q ( ( ( ( ( ( (( (( ( ( ( ( ( ( KKJJ7 ( ( ( ( ( JJD8E ( ( ( ( ( TMKJ' ( ( ( ( ( ( ( ( ( ( ( ( ( MKLDK ( ( ( ( ( ( ( (( ( ( ( DKKDE (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( IDTKD ( ( '(('(' (( (( ( DKEKKDED ( ( ( ( ( (( ( ( ( ( EDDMT DKMKK ( ( (( '(( ( EJEKM '(() ( DKKDDKB FIKED IKJEJK ( ( ( ( ( {{t{t ( ((q ( ( ( (( ( ( (( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( (( (( ( (( ( (( ( (( ( (( (( ( ) ) ) ) ) (( ( ( ) ( ( )) )) ) (( ( (( ) ( s10v9 AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna Enthroned and Saints DescrOpera AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Adoration of the Magi DescrOpera AreaOpera objectclass idopera HUGO VAN DER GOES NomeAutore Portinari Triptych DescrOpera AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna and Child between Saints and Angels DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Sant'Ambrogio Altarpiece DescrOpera tt{tt tt{tt tt{tt t{tt{ ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( EJEJKJ ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( MDEI; ( ( ( (( ( ( ( ( KMTMMK ( ( ( ( ( (( ( ( ( ( JDDEEIEI ( ( )( ( ( ( |{{}| IIJDEJEEK t{v|| KFFDK 7KJJEII KKDDEIKT (( ( ( KBKDDI ( ( (( ( (( (( JKDEJD ( (( ( {||6qq DIEJDK KJIEJD ( ( (( KKEIE tststt ( ( (( ( ( ( ( ( 3(('( ( ( ( ( (( ( ) ( ( ( ( ( ( ( (( ( ( (( ( ( (( ( ( (( ( (( ( (( ( ( ((q ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s10v10 AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna Enthroned and Saints DescrOpera AreaOpera objectclass idopera HUGO VAN DER GOES NomeAutore Portinari Triptych DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Annunciation DescrOpera AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna and Child between Saints and Angels DescrOpera t{tt{ tt{tt ) ) )(' ( ( EJEDKK ( ( ( ( ( ( MDIEJ KCKBM DDKDK ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( IEEDDJEDEE KKMKMM IEJMTJ JKJDKJ DJIKT DDKBK DBDEI DDJED JEDK7 TJJIEJ KJKJJ (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( |uv|~ ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( 0( ( ( ( ( ( ( ( ( ( )( ( (( ( ( ( ( ( 2 ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (,qq ( ( ( ( (( (( ( ( (( ( ( (( ( ( ( qq(( ) ) ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( )) ( ( ) ( ( ( ( ( ( ) ( ) ( ) ( ) ( ) s10v11 AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna Enthroned and Saints DescrOpera AreaOpera objectclass idopera HUGO VAN DER GOES NomeAutore Portinari Triptych DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Annunciation DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore San Marco Altarpiece DescrOpera ^ r ' AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna and Child between Saints and Angels DescrOpera tt{tt ( ( ( ( ( (( ( ( ( ( ( () 'q (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( ( (( (( ) (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( () ( ( ( ( ( ( (( ( EKKDKK ( (( (( ( 6JJKKT ( ( ( ( ( (( ( ( (( (( ( ( ( (( ( ( (+ ( (( ( ( ( (( ( ( ( ( EKMMT KBDDL ( ( ( ( ( ( (q KEKKD ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( q (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( DDEKK (( ( ( ( ( ( ( qq+( ( ( ( EDKTMT ( ( ( ( ( ( ( ( ( ( ( EKKDED BKKCDJ ( ( ( ( ) + KKCDKDE ( ( ( ( ( ( ( ( KFDDK ( ( ( KFJDEDDKM ( ( ( ( ( ( ( ( JJDJEDD ( ( ( ( ( sstst ( ( ( ( ( JEJDLJ ( ( ( (( (( ( EIEEJ ( ( ( (( ( ( ( ( ( ( q((' ( 262 # q'((' ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( q(( ( (( ( ( ( ( ( 75.&+ ( ( ( ( ( ( ( .&'++- ( ( ( ( (( (( (( ( ( ) ) ( (( (( ( ( ( ( ( ( ( ( 65J887 BBMMTK ( ( ( MTMTMMTT /KTMKL CMLULCL 8;<;L;; ( (( CL;<6 LL<<L LM58<< ( ( ;LL=M L<<E;M ( ( ( ( -;C;7. ) ) ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( ( ( ( ( ( ( ( U7JJEK ( ( (( K7LE; ( ( ( MBKAK BBMKAAK ( (( ( KAAKAK TKAKAK MBTAKBK (( (( BBAKT CBAKA AKAKAKT KMKCJ2 AK^KAKAK AKAKK CL<C<C AKAKAKAK D^JKAKAKAK LKMLJL _K_KKAAK^F BDMLK TTK^K KAKAKAKBKA KADAKAKKI AKAKAK TAKA^KKAJI AKAKK MTMCML TAK^K^ KAKK^ ( ) (qq (qq s10v12 AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna Enthroned and Saints DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Annunciation DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore San Marco Altarpiece DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Saint Barnabas Altarpiece DescrOpera d x ' AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna and Child between Saints and Angels DescrOpera t{t{t ( (( ( ( (( &( ( (( ( (q ( /( ( ( ( ( ( q( ( ( (( ( ( ( (( ( (( ( (( (( ( ( (( (( (( ( ( ( ( (( ( ( (( ( (( ( ( (( ( ( ( ( (( ( (( +( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( (( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( () ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( 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( ( ) L:<<LL .&+-6 ( (( ( ( (( CLLE<C< ( ( ( ..+C<L ( (( ( ( ( ( ( ( (( (( ( (( ) ) (( (( ( ( ( ( ( ( ( (( ( ( -LLMCM ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( (( <L<<L (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( KAKAJ ) ) AAKBI ( ( ( ( KKAKK ( ( ( (( 8*7;8L ( (( BAKAK AKAKADA AKADAKAKAK ) ) ( ( ( LC<<C<L TKAADK^ KAAKDCDLK TK^KKAKAAK AKAKJ LLMLL TKAKADAKAD CC;L; L<CCL AKAAKAI MAKAKAAD KCCLMML TKADK TAD^J ) )) ( ( ( ( ( s10v13 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera DOMENICO GHIRLANDAIO NomeAutore Madonna Enthroned and Saints DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Annunciation DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore San Marco Altarpiece DescrOpera AreaOpera objectclass idopera SANDRO BOTTICELLI NomeAutore Saint Barnabas Altarpiece DescrOpera ( ( ( (( 6( (( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ) ( (()( ( ( (( '(('( (( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( () ( ( ( ( ( ( ( ( ( ( ( ()( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ttett 5.5+. 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( ( (( ( (( ( )) )) )) ) s16v2 ( ((' (( (('( ( )(( ) ( ( ''() ( ('( (( )) ) (( (( ) (( ( (( ) )) (( ) ( ( ( ( ( ) ( (( (( ( ( (( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ) (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( (( (( (( ( ( (( (( ) (( ) ( )) ) ) )) ) ) (''q LULUU qq(( ccVVU ) ) ) ( ( ( ( ( ( ( ( ( s16v3 AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera bcctb euefX XefXeXd XedXdfdXde eeYfe dXdee edXeXXfXXe XdXfXeXXeX eefeb ffdfd eXYdWWXdXX XXdXXbVcce tdcXXbb WXWXcXXbcc (('' dcVVcVWWdW cUVdWcdd dcdcVWdcU ) ) )(( ( ) (( ( ) )) (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( (q ,qq,qq UcUcU dcVNUc ) ( cUccVU UVWcc cUdccd WUcdccU dcdcd UUdcd dVdWcdd s16v4 eufXee XefXd XdffXf XefdXdXee YeXXe ccedd dXcce WWXdWXcbc WcWXdWXWXc XXcdd VWWdbcU dWddcc dccVWdc (( ) ) ) (( ( (( ( ( ) ) ) ) dVUccVccd ccWWV dUcUd cUUccWcUc Udcdd OUVUcd WUcdc UUcWU ) (( s16v5 opere acceso cctctct bcctb bctct bcbbct eeXeu feuefXefXe eXeffXXffX XdXee dfdXde XdXXd dfXfXd YWWXdXX XWdXbcdd cVVWccb VdWdc UUWVU 5UdUd WUccVUcc U99NN UWcddc 2UVcc UddWdd s16v6 AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera tctctct bcctc bcctc ueede dXeueefffXfeeu eXYefffffdXedee fYefXeXdXYfXdee eddeXeXXXXefXddXee dddXXXfdfXYXdXdfde ccccdddYXXXffXfXXXeeet bXeXXdXdXdXXXXXdff dXXfXfXXXXdXXXXXdfc tcdXbXXXWWWXXXXcfcc eWWdWdXXWWXWXXWccce cUVWWdWWWdWdXbcdd ccUVcWdWcWcdb ddcVWdccU ~{t{t }v{tt bstt2 tvvv{ cWVUcU dcddW UVcVc UUccU ccUcU UUUUc LULUU UUUUUUcUU dUdWU WcVdc UVUccU dUUUc }~~~~~} ~~~}~ ~~~~~ cdcdc ~~~~~ dcdccc WddWd UUUUUUU ~~~~~ UUWccc dcccUdd s16v7 AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera bcbcb bcbtb btcct ccbtb WXeuu uXXeeu XfdXdd eedffXefXd XXdXdee efYeXdXee Yfded YWWXdW dfbcc dcXdb Wdbcc cWWdXWWXXc VdWWXcXbcd VcUVVdWXWc ddccVcdcV +/q,+,q q(qq/ UcUUdd ccdcc dUcUc UccWd UUcUc VVWVcd s16v8 opere acceso AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera ctctb tssas tsaas sasst 2/qq+q saass 2+qq6 ttstt cWUUc s16v9 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera bcctbb ctcct ctbbt q'q+/ s16v10 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera FRANCESCO BOTTICINI NomeAutore The Three Archangels DescrOpera AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera tstbs sasbts 060/6 s16v11 opere acceso AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera ctcct ctctc ststt sbstt tsbst 22626 s16v12 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera ROGIER VAN DER WEYDEN NomeAutore Deposition DescrOpera bbcbb jtjtt ) sbsst 32002 266// 206332 s16v13 AreaCartello objectclass bbcbbcb tctcb bbcbb ccbbcb bccbb ~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~ 22236 22222 222222 222222222 222222 22222 62222 262626 223222 62222 22222222 66/66 66//666 6666/ 22622 222262 ///666 60/66 /6//6/ ///// 66630 22222 22222 06322 ~~~~~~~~ 202222 ~~~~~}~~ ~~}~~ ~~~~~~~~ }~~~~~~~~ ~~~~~~~~~~~ s16v14 (( ) (( ) ( ( ( ( ( ( ( (( (( (( )(( (( (( ( ) ) ( q ) 26//6 30232 233/6 3066/ ( ( ( (( ) (( ) s16v15 bcctc btctct )) )( ('( (' qq(qq (( ( ( ( (( (( (( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( (( ( ( ( ( ( ( ( ( ( (" ( ( ( ( ($ (( ( ) ) ( (( ( ( ) ) ( ) (( 22626 /6/66 ( ( ( ( ( ( (q ( ( (( ( /66322 ( ) ( ) ( (( (( ( ( ( ( (( (( ( ( (( (( ( ( ( ( ( ( ( ( (( (( ( ) (( )) (( ) (( ( ) ) (( s16v16 opere acceso () ) ) )() )( (( (( ( ( ( ( ( ( ( (( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( (( (( ( (( ( ( (( (( ( ( ( ( ( ( ( ( (( ( (( (( ( 0(( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( (( ) ( (% (() ( ( ( ( (( ( ) (( (( ) ( ) (( +( ) ,( )( ( ( ( ( ( ( ( ( ( ( ( ( ( ( /6/6/6/ ( ( (( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( s18v1 opere acceso AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Charity DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass idopera RAPHAEL NomeAutore Saint John the Baptist in the Desert DescrOpera AreaOpera objectclass idopera FRANCIABIGIO NomeAutore Madonna of the Well DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Francesco I de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Maria de' Medici DescrOpera AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Portrait of Bianca Cappello DescrOpera 2262626 6/6/6 262266266 qq(( ( ( ( 26266 22/22 /6226 2662626 22626 66/6/ +(+(+ +''++ ++q+'+ '+'+q +q+qq 62622 tctts 303300, 55230//62 /30/, 30/03 0203033 330,, 0//,, 400/,0 3//06 /0600 30/0// ,+/02 ,,632 0/33/ 06/,,62 88062 030,/ 30,040,0 30//0 330,, 033", --03"# 03/,/ /45/48 4//005+)'0 /,,00 30203323 -4/",0 33033 00%,0 034/-34 0/6&q/ L0-((6 0,(+2 0030/ ,00/0/ -,0400 0/-/6 //,,03/ 4300/ 223/-q ",,%% ",,0 60/60// ,/004 6//2323 s18v2 AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass idopera RAPHAEL NomeAutore Saint John the Baptist in the Desert DescrOpera AreaOpera objectclass idopera FRANCIABIGIO NomeAutore Madonna of the Well DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Francesco I de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Maria de' Medici DescrOpera AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Portrait of Bianca Cappello DescrOpera AreaOpera objectclass idopera GIULIO ROMANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Giovanni de' Medici DescrOpera //66/ 262622 q+q'+qq ttbtt btbtt tbtst tbtbts ttbtt tbtbt ,-0/- 622600 533// 30300 03403 230060 0/0// 0//33 /,/30/ ,020% 3/326 00,-62 3623/ ,,%,%,-0 330// %,04300 003550 /03033 +/q(/2 0300/ 0/00, 33/34 4,!,4 -0/00 -,,/0 ,0%,/- ,4/,/454 22660 --0043 ,0,0- / q/6 003660/0 %,-/0 33034 33006 06/-,+ 36062 0//00 00/00/q 22/62 5//62 33/46 033/, 30033,0 2//43 2(q//' 0q/0-3 ,,/-2 30034 4/",-03 00/060 0,,"044 ,--//,,/00 , ,00 /04/-,,36 040",,/ 36//60 30233 ,,% &, --3/% , /4554584 33432 606/(&- 3300/ /06/- 4060/0 ,,-%,0# 364458 0340/3 ,//'% 56323 2/,// 30230/ s18v3 AreaOpera objectclass idopera RAPHAEL NomeAutore Saint John the Baptist in the Desert DescrOpera AreaOpera objectclass idopera FRANCIABIGIO NomeAutore Madonna of the Well DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Francesco I de' Medici DescrOpera ^ r ' AreaOpera objectclass idopera GIULIO ROMANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Giovanni de' Medici DescrOpera AreaPorta objectclass numporta 62262 2626262 26622 26266 6/6/6 62262 2262626 6262622 q++' (( +qq+q+ 262626226 ttbtt ,--00 6//620 /0,0,, ,,-0/ !,430 55330 00//30/ 30-,, 3/,,0 330,, 230/6 00630 ,,%/0 0+232 00/0/, 28860 00,-0 /006,+ 3/00,,-6 /04,% 3,,0034 330,0 0,023 -,03// 0,-044 /+//(q0 /34/" 300/3 ,030%,/ 00"#- /0/,/ #,-,00%% 05/45 30/34 -340, "0"q,- -04846 //30,,0 33/33 4//00 330330 --04-,0 02203 ,0403 -//-% 4/,/./ ,#%,/0044/ /006-,03 /00332 646356/,00 s18v4 AreaOpera objectclass idopera RAPHAEL NomeAutore Saint John the Baptist in the Desert DescrOpera AreaOpera objectclass idopera FRANCIABIGIO NomeAutore Madonna of the Well DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Francesco I de' Medici DescrOpera AreaOpera objectclass idopera GIULIO ROMANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Giovanni de' Medici DescrOpera AreaCartello objectclass AreaPorta objectClass numporta AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Bia de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera 2//62 !('++ q ( 266/6 q++q+q+ 62626 226226 62262 62622 22662 bccbcbb 33632 ttstt tbttbtt tbtbt 885755 -,,030 ,-0-0 ,-300 0330,- 34533 0,,00 0033-,/ 0/,/0 26/q/ %,0/04 00--// 330,/33-, //0q,62 3/,,62 00330 /0033 -6-%/2 26/22 ,"q%%, 4/,04 00550 33/0/2 33652 33/,-3 2(//q 0030# %,#-, 30-,,0 06606 -,4/%,4 /0&,/, /4505 3, (, 0/0/3 ,,0,0 626/0 0/306,' 0/,,0 /,'-/63 3003/ 3-',3 00,%q 320243 0044/ 30660 886/60 /,/30 300/6 0/%,3 30/02 //' '0 00330 3//53 /'),/ /q300 2/0/0 03445 ,//,' 0'//,3 2,303 /0632 -04,"#, 6/044/,#03 0/626// //060/0 -04,&%/5 065855/0 ,,-4/,,45 4/0//0 -,033004 0//-++ 33443 0,/33./ 06//0 %,%,0%% 33233/54 0q66, s18v5 AreaOpera objectclass idopera RAPHAEL NomeAutore Saint John the Baptist in the Desert DescrOpera AreaOpera objectclass idopera GIULIO ROMANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Giovanni de' Medici DescrOpera AreaCartello objectclass 6 J / AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Bia de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera AreaOpera objectclass idopera DANIELE DA VOLTERRA NomeAutore The Massacre of the Innocents DescrOpera AreaPorta objectclass numporta 22666626 26266 66262 266662 66222 626262662 ++qq+ 66666 666666 2222222 +++++ 22222 66666/ 666622 662222 6///6 66666 622266// 666666 66222 226262 62226 666626 q+q++q+ q+q++++ 22222 /6666 qqqqqqq 62222222 66666 222222 q+q+q+++ +qq++ 2666/s +''+'+ ++'++'+ 22222 +q+'+ q+++q+ 22222 62222 222222 +++'+ 666/66 222222 22222 66666 62622 226662 62626222626 ~~~~~ ~~~~~ 226626222 q+++q 66626 6662222 266666 26666 26662 22622 +++++ q+++'++q+ qqqqqq 2666/ 22262 22222 ~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~ 222222 222222222 626222 2222262 6262226 22222222 ~~~~~ ~~~~~~ 2222222 26222 2222622 2626222 222222 222626 ~~~~~ ++++++ +++++ ~~~~~ ~~~~~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~~ ~~~~~ ~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~ ~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~~ ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt tttttt tttttt ttttt ttttt tttttt tttttttt tttttt ttttt ttttttt tttttt ttttttttttt tttttt ttttttt ttttttttt ttttt tttttt tttttttt tttttt ttttt ttttt tttttt ttttt ttttt tttttttt tttttt tttttt tttttt ttttt tttttt tttttttt ttttt ttttttt tttttt ttttt tttttttt ttttttttt tttttt ttttt ttttt ttttt tttttt ttttt tttttttttt tttttt ttttttt ttttt ttttttt ttttttttt tttttttt ttttt ttttt ttttttt ttttt ttttt ttttt ttttt tttttt tttttttt ttttt tttttt ttttt tttttt ttttt ttttt tttttttt ttttt ttttt ttttt ttttt ttttt tttttttt ttttt ttttttt ttttttt ttttt ttttt ttttt tttttt ttttt tttttttt ttttt ttttt ttttttt ttttttt ttttt ttttt tttttt tttttt tttttt ttttttt ttttt ttttt ttttttt tttttt ttttt ttttt ttttt tttttt ttttt ttttt ttctt ttttttt ttttt tttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt stttt ttbtt ttcttt btbts 00330004 233330 330443 0/000 ,,,-/-00 3000030 20322 236220 30///6 ,,,," 43033 5330///6 0//030 3/03/ ,,,,,,,,,#0 0/,00 0,,,,,q,,,, 03333 ,-300 ',,,,,,,, 3330,, 30,,,/ ,,,-, 20//, 85336/60 ,0000/,-0 3430,, 853300/6 0040/0 ///0/ 33333 336//6 ,0///03 34///2 00/00 /,,03 ,,/62 000030,/ 0/00+ 0/,,/62 333/3 /4/,- 3/06/ (%0//3 00342 02,/3 0-0333 3/,/0//0/3 23666 ,033/ 0///32 0034/,,034 040", 300/,/32 05"#,3 360// 04"%,4 /0,,62 /4" ,4454 0-/.%/2 0///0 0,,,, ,-3/%/4//59 0--040, 3303303 40548 0//0/5q'q3 3323024 0,/,30 /00,,0 0033333044 0/+'- 433330 003230 04/#, 33333 0-004- 33,3,04 0300333 33033 /0,,-- ,/6 '02 000/0 30/59- -034/,0 6'(/2 ,3,00 3044/4 3/0-q/3 8/,)'2 /q&-2 ,00003/33 300,4 0/,,,0 40306-q 0,,/400 0/-000 /,-,% 660/6 (//,%', 0q,/,, "%--// 0//60 30033 %,,,044 4///4/-,,36 3/,"%,0000// 20////646343/00 323//+ 0,"%, ,,,,, 000/06/56/,03 ,00,',3 ",,%( 3,/303 /,(+3 s18v6 AreaPorta objectClass numporta AreaOpera objectclass idopera GIULIO ROMANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Giovanni de' Medici DescrOpera AreaCartello objectclass AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Bia de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera AreaOpera objectclass idopera DANIELE DA VOLTERRA NomeAutore The Massacre of the Innocents DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Cosimo I de' Medici DescrOpera AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Portrait of Lorenzo the Magnificent DescrOpera 26262 662626 /6626 66666 22266/ 62222 66666 ++++q (( q(''+ +q++q ( (( 66666 22226 666666 66666 (+'+(+ 6266666 6266666 +++q++ q+q+' +'++++ 6626666 26666 ++++++ '+'+q+ 6/662 2266/6 +++++ +++'+ ++''''' 666266 +'''' +++++' 66666 ++''''+ ++q+++ 666666 22226 +++++q'++ q+q++ ++'+q 6666666 +q++'+q '+'++'+++q+++ /6/6/6 662666 ++++++++ ''''+'q++ 22222 +++++++ ~~~~~ 22222 622262666 +qqqqq 66666666226222 622222 ~~~~~ 62226 ( 222222 2266626 +++++ 622222 66266 66222 22222 2622262 222222 2222222 6626222 qqqqqqqqqqqq 26222 2222222 (q+ 62626 q (( 626662 6666222 26222222 ( ( ~~~~~ 26262662 +q+++ 22222 ~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~ qq'q' ~~~~~ ~~~~~~~ ++++2 22622 ~~~~~~ (q 22222 ~~~~~ ~~~~~~ 22222 ~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~ ~~~~~~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~ 26266 ~~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~ ~~~~~~~ ttttt ttttt ttttt tttttt tttttt ttttt tttttt qqqqqqq ttttttttt qqqqqq qqqqqqq tttttttt ttttt qqqqq tttttt ttttt ttttt ttttt tttttt ttttt ttttt tttttttt qqqqq tttttt tttttt qqqq, ttttt ttttt qqqqqqq ttttt ttttttt tttttttttt ttttttt ttttt ttttt ttttt ttttttttttt ttttt tttttt tttttt tttttttt tttttt ttttttttttttt ttttt ttttt tttttttt ttttttt tttttt tttttttt tttttttttt ttttttt ttttttt ttttttt ttttt tttttt tttttttt ttttttt ttttttttt ttttt ttttt ttttt tttttt tttttt ttttt ttttttttt ttttttt tttttttttt tttttt ttttttttt tttttttt ttttttt ttttttttttt ttttttt ttttt ttttt tttttttttt tttttt tttttt tttttttttttttt tttttt ttttttttt tttttttt ttttttttt tttttttttttttttttttttt ttttt ttttttttt ttttttttttttttttttttt tttttttttttttttt tttttt ttttttt tttttttt ttttt tttttttttt ttttt tttttttt ttttttttt ttttttt ttttt tttttt ttttttt tttttt ttttttttt ttttttt ttttttt tttttttt ttttt tttttttt ttttttt tttttttttt ttttttt ttttt tttttttttt ttttt tttttt tttttt ttttt ttttt tttttttt ttttttt ttttttttttt tttttt ttttttttt ttttt tttttttt ttttttt ttttttt ttttttt tttttttttttttttt tttttttttt tttttt tttttt tttttt ttttt ttttt ttttt tttttttttttt tttttttttttttt ttttt ttttttt ttttt tttttt tttttt ttttt ttttt tttttttttttt tttttttttttt tttttt ttttt ttttt ttttttt ttttt ttttttt tcttt ttttttttt ttttttttt ttttt tttttt tttttttt ttttttt tttttttttt tttttttt tttttt ttttttttt tttttt tttttt ttttttt ttttt ttttttttttt ttttttttttt ttttt ttttttt ttttttttt ttttt tttttttt ttttttttttttttt ttttt ttttttt ttttttttt tttttttttt ttttttttt ttttt ttttt tttttttttt tttttt ttttttttt tttttt ttttttt ttttt ttttt ttttttt ttttt tttttt tttttt tttttt ttttt tttttttt ttttttttt ttttt ttttt tttttt ttttttt tttttttt ttttt tttttttttt ttttt ttttttt ttttttttt ttttt tttttttt ttttttttt ttttttt ttttt tttttt tttttt tttttttttt ttttttt tttttttt tttttttt tttttt ttttttt tttttttt tttttttt tttttttttt ttttttt ttttt ttttt tttttt tttttt ttttttttt ttttt ttttttt tttttt tttttt ttttt ttttt ttttttttttt ttttt ttctt tttttttt ttttt ttttt tttttttttttttt ttttt ttttt ttttt tbttt stttt ttttttttttttttttt tttttt ttttt tttttt ttttttttttttttttttt ttttt stttt ttttt ttttt tttttt ttttt ttttt ttttt stttttttttt ttttt ttttt ttttt ttttt asttttttttt ttbtt tttttt tttttttt ttttttttt tcttbtttt stttttttt tttcttt ttttt tttttt tttttttt tbttbt tttttt sttttt tttttttttt tttst tttttttttttttt tbttctt tstttt ttttttttttt stttttttttt ttbtst tbtbs btstt tbttttt sttttttt tbtbt ttttt sttttt tttttt tctbts tbstt btbtt sctctt 85878 btbst 85787 88588 58787 0/030 /0000343 2360/ /033033 ,,#,- 62236 ,,,,,,,% %,,,,,, 85330//6 03330,, 038033 00////,, 30//6 330/00/00 ,0330,- /0,-0 0,-0/044 //003 4/,/0// 23362 00000 ,/34- 000333 300033 00030- 06026 /06/%/6 26666 30333 -,,,-0 0563//// /-/226 /0033 000300/ ,,,,,,, 530// 0,,,00// 3,,,,q%,,- 0.//// 22223 ,,#,,,/ //602 3222232 33033330 033000 005500 26660 -030,,03 ,,,,,,,% 3//60 ,--30",/ // )02 5/////03333 -,,00 ,,,,,#,,#%, 0,-,30, 00%"/ 043000 32/03,,,,,%q,,,,,,0 30/,, ,00%%/ 0//,, 00000 00,,,,,% %,,,,,3 30,,,, 30/,,- /0%,- -33-,4464 -0/00 q,,,%,,-,%, 3330/%& 300/,,/0 40333333 0/000 300333,,,- -/00/,, /,/053 0/0004 00040003 004/03334334 33330 22323662 4//00 ,%-/0 ,0,000 /0//0/, 030,,3 /0//, ,58/0 3336,/ ,//-/,, 3-%,0 //-,,, 33300 3-006,% 8//(- ,00///00,, +..-' 000000 3,//, 0,-./-q 0/05/%,3 46/66 0/04/+, 0/,0333 22/66 30//6 0000344 ,//q) ,//+&q- ,,,00/ 030,, 000340,, 03445 3/,,,034 //-,,060 32//3330, 00440%,,/4 06343//03 33233 0//,( %%,00444/04./,, ,034/, 040,,# 0//6636450/ /0/,, 00033 ///,0 40"#,,44454 0000/-,063 ,-")&#, /0326/ -,,-,05"!( 45555 0//6/q 323003 /00603 /5,(%/46/5558400 333000 /,/000/00 0,#,,,,/4/, 54//-6588000 ,))q3 6/003 305322 s18v7 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Bia de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera AreaOpera objectclass idopera DANIELE DA VOLTERRA NomeAutore The Massacre of the Innocents DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Cosimo I de' Medici DescrOpera AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Portrait of Lorenzo the Magnificent DescrOpera AreaPorta objectclass numporta q+qq' 6226226 26/66 62622 6/6/66 ttctt 0,,0/ ,,%%, 0/,,- /-330,/ 05500 336// 30330 //0-, 33-,, 30,%/03 2200/ 30/62 30/06 -00/03 /,033 0-,/0- ,,.32 /00/",/6 ,004/ 3,,0034 q/.'+ 0/0/003 30/033 2606/ -,03// 334,,004 0040%, 033",,3 06/0230q 0,,-,04" /4,&,45645 0-040, -,,040,045 558403 ,48840 --30, 30340 4/-006/ 003003 04#,/ 33030/44 0/00. 60%,/ 04,,0 ,550/ ,0/04 0//q+/ 40036/+ //662 -,/0/ 30303 366// /,(&, 45//44/%, 3/,03 30,#%, 336,0 //636 //0/0 /0203 6,('3 s18v8 AreaCartello objectclass AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Bia de' Medici DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera AreaOpera objectclass idopera DANIELE DA VOLTERRA NomeAutore The Massacre of the Innocents DescrOpera $ 8 ' ` t / AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Cosimo I de' Medici DescrOpera AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Portrait of Lorenzo the Magnificent DescrOpera AreaPorta objectClass numporta AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Angel Making Music DescrOpera 262666 22222 22222222 66266 622222 26222 66/62 2226262 +q+++ +q++++q+q+ 222226 6666666 s6666 +q+q+q+qq 6/666 qqq++ 26/// 66666 2226666 26666666 62666 66222 26666 ~~~~~~~~ 262662 26/66666 6666666 266/66 ~~~~~ 226266 ~~~~~~~~ qqqqqqq ~~~~~ qqqqq qqqqqq ~~~~~ /66/66 22222222226262 22222 66262 ~~~~~~~ 22222 ~~~~~~~ ~~~~~ ~~~~~~~ 66666662 26666 ~~~~~~~ 22666 ~~~~~~ ~~~~~~~ 66666 ~~~~~ ~~~~~ ~~~~~ ~~~~~ /666266 666262 /6662 ~~~~~ ~~~~~ 66622 ~~~~~ ~~~~~ ~~~~~~~ 22266 222262 ~~~~~~ 62226 ~~~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~ 66622 ~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~ 666666 ~~~~~~ ~~~~~ '() ()) ~~~~~ ) ) (+ q+(( q '()) ()q ~~~~~~ )((('q ~~~~~ ~~~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~ +qqqqq ~~~~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~~~ ~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~ ~~~~~~~~ ~~~~~~~ ~~~~~~ tttttt eececce ccccc Uccccd tttttt ttttt ttttt ttttt ttttt ttttt ttttt tttt2 ttttt tttttttt ttttt ttttt ttttt tttttt ttttt ttttt tttttt ttttt ttttttt ttttt ttttt ttttttttttt 02222 22202 tttttttt tttttttt ttttt ttttt tttttt ttttttt ttttt tttttttt ttttttttt ttttttt ttttt ttttttt ttttt tttttt ttttt tttttttt tttttt ttttt ttttttttttttttt tttttt ttttt ttttt ttttttt ttttt tttttt ttttttt tttttttttttt tttttttttt ttttt tttttt tttttt tttttt ttttttt ttttttt tttttttt ttttt ttttt tttttt ttttt tttttttt tttttt tttttttt ttttttt ttttttttt tttttt tttttttt tttttttttttt ttttt ttttt ttttttttttttttttt ttttttttttt ttttt tttttt tttttttttt tttttttttt ttttt tttttttttttt ttttt ttttttttttt ttttt ttttt tttttttttt ttttttt tttttt ttttt ttttt tttttt tttttt ttttt ttttt ttttttttt ttttt ttttttttt tttttttt tttttt ttttt ttttt ttttt tttttt ttttt tttttttttt ttttttttttttttt ttttttt tttttttttttt ttttt ttttt tttttt tttttt ttttttt tbttt tttttttttt ttttttttttttttttt tttttt tttttttttttttt tttttttttt tttttt tttttttt ttttttttt tttttttttt ttttt tttttttttttttt tttttt tttttttttttttt tttttttt ttttt tttttt ttttttt tttttttt ttttttttttt ttttttttttttt ttttttttt tttttt tttttt ttttt ttttt ttttt ttttt ttttt tttttt tttttttttttt ttttt tttttttttttttt tttttttt ttttt tttttt ttttttttt ttttt ttttt ttttttt tttttttttttttttttttt tttttt ttttt ttttttttttt ttttt tttttttt tttttttttt ttttttt ttttttttttttttttttttt tttttttttt ttttt ttttt ttttt tttttt tttttttttttt ttttttttt ttttttt ttttt ttttttt ttttttt tttttttttttt tttttt tttttttttt ttttt tttttt tstttt tttttttttt ttttt ttttt ttttttttttttttt tttttt ttttt tttttt ttttt btttttttttt ttttt tttttt ttttt ttttttttt tttttttttt tttttt tttttttttttt tttttt tttttt ttttttttt tttttttt ttttttt ttttt ttttttttttt ttttt ttttttt ttttttttttttt ttttttt tttttttttt tttttt ttttttt ttttttt tttttttttttttt tttttt ttttttt ttttt tttttt tttttt ttttt ttttttttt ttttt tttttt ttttttt tttttttttt ttttttt ttttt ttttttttttt tttttt ttttttt ttttt ttttt tttttt tttttt tttttttt ttttt ttttt ttttttttttt ttttt tttttttt ttttttttttttttt ttttt ttttt ttttt tttttt ttttt tttttttttttt stttt ttttt ttttt ttttttttt ttttt tttttttt ttttttt ttttttt tttttttttttt tttttttttttttt tttttt ttttttttt stttt tttttt stttt tttttttttttttttttt ttttttt tttttttttttttttt ttttt ttttttt ttttttt tttttttttt tttttttt attttt tttttttt ttttt ttttt tttttttttt ttttttt tbttbt tttttt ttttt ttttt ttttttt ttttttttt ttttt tttttttttt tttttt tttttttt stttt tttttt ttttttttt ttttt tttttttttttt ttttt tttttt ttttttt ttttt tttttt tttttttt ttttttttttttt ttttt ttttt ttttt ttbtt ttttttt sttttttttt tttttttt ttttt ttctt tttttt stttttttt tbtts ttttttttttt asttttttttttt tsttt tttttttttttt ttcttt tttttt tcttttt ttcttt sttbt sttttttt 8578587 tttts bttttttt 85878 sttttcttt ttctt btbtt ttttt tctct sttbt tcttt ttttt sttbt 87885 btbtbtt 85857 ttbts btbtt tbtctt btbtt 8585885 40033 0340,, 33330030- %,,,,%,0 530//6 30030 ,,q,, 36//6 00000 -,,,, 30,0333 2230060,, /3360 0000,,0 //,/,03/, 0-004 336222 3/,0/////4 223632 33030004 0q005,, /%/3// 223332 /,-32 3003330 000440 0/,/62 2/660/-/23/ //03- 0003- 0.326./// 0/6,,/2 0623/ 5.40/.// 2%/.' ,,,,,,,/ ,,,,,,-,-0 /////0 22222 33333300 0,,,,%q%,- 47.430//// 33/// 0334, 33333 ,,%,#, 3/,,0 3300/ 0,033,,04 -00303 ,%,330003330 03/223 ///q/0/,-0300000/0 -,,,,,," -/4#, ///''/ ,,,,,,,,#,,%% 3033333 /0300 0,,,0,, ,/4"( 0/000 000030/ %,,",,, 03300 ,0%#/- 0/00/ 0/00,,,,, (q,,,,,0 00-,#,, 30-,, 30303 44-48 %,,,%,,-,,&0 330/,%,00000 03333 33333 ,,-,, //0/,, ,/603 ,0-000333 34404 32333 34000#%% 0050003 300// 22333 30,%,/ -0///-/0 36//6 003,43 4/000+ q2 300346/03 ,%'-/022 60622 2/0300 03,88/ 330030 /0/// ,',-66 302336 33606 4/,%/3 /0/,',- 5/q-2 330000000 33366 30-30/,',/62 34062 0///00 3/,-..'q 3,//, 22266/ 4//60 0//3/,(0 ,0./q 33333 /56/+,0/04/-& /,4004 30030 3000034566 0)-// ) /,,,/6/ 0//43 034484 ,%,,345 0,,-///,, 34454 46//6//,,3/ 00333 ,,30,% 0440-", 232/// 060344/ 2/0232323 05/",0 30//0 3///64 ##,#%,, 23030033330363 //0036 -04-##,/ 00-%%# 335032 030000 0320/ ,/4-" ,/45455 30402 -/4/%( 65//5584603 0/032 040/03 #,,,,,4/,,/45 -/588400/ /0/6')) 6/04/,32 s18v9 opere acceso AreaPorta objectclass numporta AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Eleonora of Toledo with her Son Giovanni DescrOpera AreaOpera objectclass idopera DANIELE DA VOLTERRA NomeAutore The Massacre of the Innocents DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Cosimo I de' Medici DescrOpera AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Portrait of Lorenzo the Magnificent DescrOpera AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Angel Making Music DescrOpera AreaOpera objectclass idopera ANDREA DEL SARTO NomeAutore Portrait of an Unknown Woman Holding a Volume of Petrarch DescrOpera 66662 666666 ''+q+ 66626 ''+'++ 26666 66666 66666 666/6 6666s /666666 66666 22222 22222 66626 22222222 66222 226626 q+qqq 22222 66222 26662 /666666666666666/ 2222222 22626 66666 66666 22222 66666 /6/66 222222 222222 6666622 22222 ~~~~~~~~ 666666 ~~~~~ 666666 222222 226266 62222 62222266 266/6 222222226 622262 62222 22222 222222 ~~~~~ ~~~~~~ 222222 ~~~~~~~~ 222222 ~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~~ 262666 ~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~ q) ) )( q' ( ( ~~~~~ ~~~~~ ~~~~~ ~~~~~~~~ q ) 'q ((('q ~~~~~ ~~~~~~~~ ~~~~~ ~~~~~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~ qqq+qqq ( (' ~~~~~~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~~ ttttt ttttt ~~~~~~~ ttttt tttttt ttttttttttt 666666 ttttt tttttt ttttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt tttttt ttttt tttttt ttttt ttttt ttttt tttttt ttttt ttttt tttttttt ttttt ttttt ttttt ttttt tttttt ttttt tttttt ttttt ttttt ttttt ttttt tttttt ttttt ttttt tttttt ttttt tttttt tttttttttt ttttt ttttt ttttt ttttt ttttttt tttttt ttttt tttttttt tttttt tttttttt ttttt ttttt ttttt ttttt ttttt tttttt ttttt tttttt ttttt ttttt ttttttt tttttt ttttttt tttttttt tttttttt ttttt ttttt ttttttt tttttt ttttt ttttt ttttt tttttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttt ttttttt ttttt ttttttttt ttttttt ttttt tttttt ttttt ttttt tttttt tttttt tttttt tttttttttt ttttt ttttt ttttt tttttt tttttt ttttt tttttt ttttt ttttt tttttt tttttt ttttttt ttttt ttttttttt ttttt tttttttttt tttttt ttttttt ttttt ttttttt ttttttt ttttt ttttttt ttttt tttttt ttttt ttttt ttttt ttttttttt tttttt ttttt ttttt tttttttt ttttt tttttt ttttt ttttttttttttt tttttt tttttttt tttttttt ttttt tttttttt ttttttttttttttttt tttttt ttttt ttttt ttttt tttttttt ttttt ttttt tttttt ttttt ttttt ttttttt ttttt tttttttttt ttttt ttttt ttttt tttttt tttttt tttttttttttt ttttt stttt ttttt ttttttt ttttt ttttt ttttt tttttttttt tttttt ttttttt ttttttt tttttttttttt ttttt tttttt tttttt ttttt tttttttttttt ttttt tttttt ttttttt tttttt ttttt tttttttttttt tttttt tttttttt ttttt ttttt ttttt tttttt ttttttttt sttst tttttttttttt ttttt ttbtt btttttt tttttttt ttttttt ttttt ttttt ttctt tctst tttbt tbtbt stctt btbts btbtt tctbt 785858 85578 030-00 3003300 30330 000/033- /000, 03033 ,,#,,- 66//23 ,%%#/-, ,#,,,/ 3/.//2 ,,0000333 5630///6 00/3303330000 03000003 320030, ,,,,,,#%,3300 ,,,%,,,,,, 3//033 ,%q,q%,,,,0 33333 ",330 ,q,,,,-,%0 0000330 -,,03 30////00/,0 426660 3-,0030-,-0 0/0//- 0"',00043 ,-30,0 -/0/00 000303 4///2 /////-,/3 300/0 0//00, 30,,00/ %q/322 /0%q-62 0-3/,,/6 3%,0/ /000063 000600 ,/30/0//3 2(-/q 0-043",-3 ,-/+),6 333333 04,,,4 0//q+,/ 33302 30/// 4"#,4 3300/2 063,,62 /4% ,0454 +6/q/ 0,,,/-#, ,,4/"/45/45455 -04/03 ,/,%, ,043/046/5580/ /33/0 004,, 00303 0/3433 ///06-)'0 033004/0 33-3,/4 00000 33003 q/0qq0 3/06695/ /06,' 20/6/2 0/44/ 3/3300 0003300 0%&-4 30333 '05/, ,,,06 60266 5/,q, ,,0/,3 /-/%,00/ -qq/6/630-/2 06/66 '//,),32/%,,,04484/-// 0/+q/ 3/,"% 00440//06/, 3400// 24//+0 0"&", ,,-02 ///60 3,",,% -,-// 0//302/ /,000 s18v10 AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Cosimo I de' Medici DescrOpera AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Portrait of Lorenzo the Magnificent DescrOpera AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Angel Making Music DescrOpera D ` / AreaOpera objectclass idopera ANDREA DEL SARTO NomeAutore Portrait of an Unknown Woman Holding a Volume of Petrarch DescrOpera AreaPorta objectClass numporta AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Madonna and Child with the Young Saint John DescrOpera 626226 26262 '+q+qq +q+'' s2s2s 2626262 q+q+q+q+q 662662 26266 26262 62622 26626 ttstt ttctt ttctt ttbtt ttbtt ttctt sttst sttst bttbt tctst stbttctt 88575 ctbtt 00/0330 ,/3/0 0/300 00/63 40//0 3300630 00/0/ /q,003 33/30 00/060 //-00 26/30 30,,62 0/6/, %%',/-, 0/626 4330,,0 ,%#3300 "%q/33/-0 #,#,,%, 4-#,0 /00/0 /%%,,%& 330,, 004/0 %,-,,% //40-, 0//00 -0300 606-/0 "'-/0 00/04 0/006 30-,-0 0/,/- 330044 30030/'& 030-0 /0-%, /6/-%, 602232 0,,6/- 0/06,& /,033 33662 -q//33/ 34006 5/0062 6/602 ",-0445 ,/+/2 ,/344 03/"",/ /6440//0 /05//,, 06"%"/44 63605/ //36//6 0//-,063 ,-06, &,45,/5584 0//'&+ 30330 566// 46055 //00.q 346322 4-0/3 30033 s18v11 AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Angel Making Music DescrOpera AreaOpera objectclass idopera ANDREA DEL SARTO NomeAutore Portrait of an Unknown Woman Holding a Volume of Petrarch DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Madonna and Child with the Young Saint John DescrOpera AreaPorta objectclass numporta AreaPorta objectclass numporta hisD* 22622 262662 62622 226266 +q++q 62662 /6/62 ''q+q+q 626262 262622 ( ( ) tcttctt 88585 03300 3003440 ,0030 43266/0 6/620 26223 ,%,4303 03803 34/06 //0// 3-,/3 /,,/32 3/00-, /2/300 020q0 00//003 43/"-0 /660/ -0/,/3 -4/%, 04458 00//0 ,,0,#,- 58460 ,04// 430,03 40//06 0/00, 0030,3 30/0,44 -,40,,0 33033 ,,300 6.-/2 //,)0 5/,#/ //003 6064430/0/ 223//q ,,-,((q s18v12 AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Angel Making Music DescrOpera AreaOpera objectclass idopera ANDREA DEL SARTO NomeAutore Portrait of an Unknown Woman Holding a Volume of Petrarch DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Madonna and Child with the Young Saint John DescrOpera AreaPorta objectClass numporta AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass idopera RIDOLFO DEL GHIRLANDAIO NomeAutore Portrait of an Unknown Man DescrOpera 26622 ++q+q++ 26622 s2s6s 2262262 22626 tbstt ttctt ttcstt ttbts 78.85 bttbtst 23033 4306/6 33006 0033/ 43306 303/, 23362 00630 00-00 0//-q/2 26/23/ 4306/ /022/0 30-03 43//03 0' /2 3003, /04/3 ,0#,/ 0//q-6 /0/03 ,,-00 30330 /00#0 //0/,, /0340 %,/-/0 0/304 324603 %,/032 344840 4,//-2 030/,3 %,/62 6/,-2 3/,,0 3//36/q%q /,/03 04/,'0 30033 30663 0'0/- //--6 226// 0,,30 0440-" /06340/ 33232 20/0, %"-003 44/,, /064664/ //,022/ 04-#,,0 //,-63 03303 30363 03006 --04-% 30432 ,,/4/ 330306 3300/ 4//058 6//00/ s18v13 AreaOpera objectclass idopera ANDREA DEL SARTO NomeAutore Portrait of an Unknown Woman Holding a Volume of Petrarch DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Madonna and Child with the Young Saint John DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera X l ' AreaOpera objectclass idopera RIDOLFO DEL GHIRLANDAIO NomeAutore Portrait of an Unknown Man DescrOpera AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Charity DescrOpera AreaPorta objectclass numporta 226266 7s6s2s2 ++q+q qq+q+ ttzts ttztt ttctt tbttctt ttctt tbtbst btstt bttct 88757 858585 30033 0-003 0/623 26020 003300303 366./ 300//6 462603 %,4330 330// 00-030 336//6 33243 330,, /6330 0,033 0/0/,,/ /,,/2 0/0603 03//0/3 '/6) ,034-,-3 -/4,# %0.,/2 ,",-,-34,0 44/45840 4/04/ 040,-3 00340 3//006+ 02300303 03303004 0/,+-2 0330336 /0+q0 00,,/- 066/2 300300 33003 40036/ 330/0 -,,3/ 4830,,- 34/04 ,"&%# -/,(, s18v14 AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Cosimo de' Medici DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Madonna and Child with the Young Saint John DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass idopera RIDOLFO DEL GHIRLANDAIO NomeAutore Portrait of an Unknown Man DescrOpera N b ' AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Charity DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Portrait of Maria de' Medici DescrOpera AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Portrait of Bianca Cappello DescrOpera AreaPorta objectClass numporta q++q+ 26266 tztzt ttztz tzttz ttstt ttctts sttbtt sttbt tbttbts tbtbt 300300 ,00/0 33006 0330,/ 00,/0 43030 00303 30033 /0,,/ 603322 /0030 530// 00300 ,,#%,33 03303 03#,0 -00",/ /-04,%0 03300,, 44/48 /00543 34603 /,-/0 300-4 4/036 -0//, ,-/622 2/33/3 30980 //0//-, 40,,/ ,/033 6,q,/62 303630 33063 300/0 00/00 00/4/ 0q,0064/ 30043 ,-//( ,00,/3034 /%,q- 26//6/ 62636// ,,/020 ",034 30//6/0,,0 06//6 30/00 34-#,,3 60445/,3 00/0/ 04/,,030 -04/##,0 //606//6/ #,/,% 4/" ,04545 0-%%, 45/65 /0323 ,-,40 /,045 400//0 ,0,", //006/ 35/033 ,-,,0,% ,06/0 0324/02 s18v15 opere acceso AreaOpera objectclass idopera BRONZINO NomeAutore Portraits of Bartolomeo and Lucrezia DescrOpera AreaOpera objectclass 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( (( ( ( ( ( (!'' ( (( '((' ' (!'! ' (! )!' ((' )!) ) (!' )!' ( ) )!q !' (! q''!(( ) ) +'&)' ++&)' +'&))' ))'-6 ) ) q )' '( ( q ' (( ( , )( ,)!' ( (( (( ( ( (( ( ( ( (( ( ( ( ( btbtbtb ( (( (( ( (( ( (( (( ( (( ( ( (( ( (( (( (( ( ( (( ( ( (( (( (( ( ( ( (( (( ( ( (( (( ( (( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 262622 (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( )) 62626 ( ( ( 22626 ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( (( ( (( ( ( ( ( ( ( ( q('( ( s19v12 AreaOpera objectclass idopera FRANCIA NomeAutore Portrait of Evangelista Scappi DescrOpera AreaOpera objectclass idopera GIROLAMO GENGA NomeAutore The Martyrdom of Saint Sebastian DescrOpera AreaCartello objectclass AreaPorta objectclass numporta 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Melantone DescrOpera AreaOpera objectclass idopera JAN BRUEGEL THE ELDER NomeAutore The Great Calvary DescrOpera AreaOpera objectclass idopera LUCAS CRANACH THE ELDER NomeAutore Portraits of Frederick III The Wise and Johann I, Electors of Saxony DescrOpera (('('(( ( ( ( ) )) ( ( ) ( ( ( ( q ( ( ( ( ( ( ( (( ) (( ) q(( ) q(( (( ( ( ( ( ( (( ( (( ((q ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( (( ( ( (( ( (( ( ( ( ( ( *( ( ( ( ( ( ( ( )( ( ( ( ( ( (( (( -( ( (( ( ( ( ( ( ( (( ( (( (( ( ( ( ( $( ( ( ( ( ( (( ( (( ( (( ( (( ( ( ( ( (( ( ) ( (( ( ( ( ( (('(( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( (( (( (( ( (( (( ( ( ( ( ( ( (( (( (( ( ( ( (( ( ( (( ( ( ( (( (( (( ( (( ( ( ) ) (( (( ( ( ( ( ( (( (( ( ( ( ) ) ( ( ( ( ( ( ) ) ( ((' ) ) s21v1 opere acceso AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Portrait of a Captain and Equerry DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera & B / AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Lamentation on the Dead Christ DescrOpera AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Sacred Allegory DescrOpera ) ( ( (( (( ( ( (( (q ( ( ( ( ) (( ( (( ( ( (( (( ( (( (( ( ( qq( (( ( ( (( (( (( ) (( (( ( (( ( ) ((q (( ((q(( (() ((q 0 )) (q( q( (( q( ( ( (( ( ( ( (( ) )(( ( () ( )( (( ( ( ( 0 ) () ( ) () (() ( ( ) () (( (( ( ) ( 0 () ) ) ) ) (( ) ( ) ) ) (q(('q (( (() (()() (( ) )(( ( ( ( (( ( ( ( ( ( ( ( ( ( ! 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GIOVANNI BELLINI NomeAutore Lamentation on the Dead Christ DescrOpera AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Sacred Allegory DescrOpera AreaPorta objectclass numporta ( ( (( ( () ( ( (( (( ( ) (( ( ( ( (( (( ( ( ( (q(( ( ( ( (( ( ( ( ( ) )) ( (( () ( ( ) ( ( (( ( ( (( ( ( ( ( (( ( ( (( (( ) ( ( ( (( !( (( ( ( (( ) ) ( ( ) ( ( ) ) ) ) ( ( (( q (( (q (( q (( (( ( q ( ( ( (( (( ( ( ) ( ) q ('(, 26262 226q( s21v4 AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Lamentation on the Dead Christ DescrOpera AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Sacred Allegory DescrOpera AreaPorta objectclass numporta (( ( (( ( ( ( ( ( ( ( ( ($ ( ( ( ('(('' ( ( ( ) ) ) ) ) ) ( ( ( ( ( ( ( ( (( ( ( q(( ( s21v5 AreaCartello objectclass AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Sacred Allegory DescrOpera AreaPorta objectclass numporta AreaOpera objectclass idopera BARTOLOMEO VIVARINI NomeAutore Saint Ludovic of Toulouse DescrOpera ( ( ( (( ( ( (( ( ( 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NomeAutore Portrait of an Unknown Young Man DescrOpera AreaOpera objectclass idopera VITTORE CARPACCIO NomeAutore Sibyl and Prophet DescrOpera (( ( ( ( (( ( ( (( ( (( ( ( (( (( ( ( ( (( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( q(( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( q)( ( ( ( ( ( ( ( ( ( ( (* (( ( ( '( ( (( ( (7 )) ) , ) ) ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) )) ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( q(( ( (( ( ( ( q(( ( ( s21v8 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera BARTOLOMEO VIVARINI NomeAutore Saint Ludovic of Toulouse DescrOpera AreaOpera objectclass idopera CIMA DA CONEGLIANO NomeAutore Madonna and Child DescrOpera AreaOpera objectclass idopera GIOVANNI BELLINI NomeAutore Portrait of an Unknown Young Man DescrOpera AreaOpera objectclass idopera VITTORE CARPACCIO NomeAutore Sibyl and Prophet DescrOpera AreaOpera objectclass idopera VITTORE CARPACCIO NomeAutore Sibyl and Prophet DescrOpera ,qq,q ('(('.( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( (( ( ( ( .-..4 ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (' (( (( ( ( ( ( ( ( ( ( ( (( ( ( (( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (% ( () (, ( (/ (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ) (( ( ( ( ( ( (( (( (( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ( (( ( (( (( ( ( ( ( (( ( ( ) ) ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( 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( ( ( ( ( (( ) ) ( (( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ) )) s21v12 AreaOpera objectclass idopera TURA NomeAutore Saint Dominic DescrOpera AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera AreaOpera objectclass idopera VITTORE CARPACCIO NomeAutore Group of Soldiers and Characters in Oriental Costume DescrOpera '(('' q ( ( ( ( q ( ( q ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( q ( ( ( ( (( (( ( (( ( (( ( ( (( (( ( (( (( ( (( (( (( ( ( ( ( ( ( s21v13 opere acceso AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera GIORGIONE NomeAutore Portrait of a Captain and Equerry DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera AreaOpera objectclass idopera VITTORE CARPACCIO NomeAutore Group of Soldiers and Characters in Oriental Costume DescrOpera ('((' (( ( (('(' (() ( ( '(('( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( ( (( (( s21v14 AreaPorta objectclass numporta AreaOpera objectclass idopera GIORGIONE NomeAutore Portrait of a Captain and Equerry DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera ( ( ( ( ( ( ( ('( (()( ( ( ( ( ( ( ( ( ( s21v15 AreaPorta objectclass numporta AreaOpera objectclass idopera GIORGIONE NomeAutore Portrait of a Captain and Equerry DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera AreaOpera objectclass idopera GIORGIONE NomeAutore Moses Undergoes Trial by Fire and The Judgment of Solomon DescrOpera ( (( (( (( ( )(( ( ( ( ( (( ( (( ( ( (( ( ( ( (( (( ( (( (( ( ( (( qq qq ( ( qq((qq ( ( (( ( ( ( qq (q q( q( (q (( (( (( (q 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objectclass idopera FRANCESCO GRANACCI NomeAutore Joseph Presents His Father and Brothers to the Pharaoh and Joseph Led to Prison DescrOpera ,qq',q ,q,q' ,qq,qq,q 7J7J7 7J7J7 ( ( ( ( ( ( ( ( ( ( ++q+q+q ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ) ( (( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( (( ( ( ( ( ( ( ( ( ) ) ( (( ) ) (( ( ( (( ( ( ( ( (( ( ) ) ( (( (( ( ( ( ) ) ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( )) ) ( (( ( ( ( (( ( (( ( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ) ) ) ) ( ( (( ( ( ( ( ( ( (( (( ( ( )) )) ( ( ( ( ( ( ( ( ( ( ( ( ) )) ( ( ( ( s25v14 AreaOpera objectclass idopera FRANCESCO GRANACCI NomeAutore Joseph Presents His Father and Brothers to the Pharaoh and Joseph Led to Prison DescrOpera AreaOpera objectclass idopera FRANCESCO GRANACCI NomeAutore Joseph Presents His Father and 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NomeAutore Pygmalion and Galatea DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore Lamentation on the Dead Christ DescrOpera AreaOpera objectclass idopera BACCHIACCA NomeAutore Deposition DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore The Holy Family with the Young Saint John DescrOpera ( ( ) ( ((q( (( (( q (( q( (( (( 26266 ( (( (( (( (( ( () ( ( ( ( (( (q q(' ( ( (( (( (( ( (( '( ( ( (q ( ) ( ( (( (( ( (( ( ( ( ( ( ( ( ( (( )( ( )( ( 6.6.5 ) ( ( s26ss /62662/62 ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( ( ( (( ( ( ( ( ( ( (( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( (( ( ( ( ( (" (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ) ) (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( 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(( ( ( ( ( ( ( ( ( ( ( ( (@ ( (( ) ( ( ( ( ( ( (G ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( (( ( (( ( ) ( ( ( ( ( ( ( ) ) ( (( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ) ) ( ( ( ( ( ( ( (( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( )) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ) (( ) (( (( ) s27v8 AreaOpera objectclass idopera BACCHIACCA NomeAutore Deposition DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore The Holy Family with the Young Saint John DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Nativity of Saint John DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Saint Anthony Abbot DescrOpera D X ' h t \ AreaPorta objectclass numporta (( () ( (( (( ( (( (( (( ( ( (( ( (( ( ( ( ( () (() ( (( (( ( aa7aMLTM M:LUT :NUTLM ( ( ( (( ( (( ( ) ( a2ztzt (( ( ( ( )) ) (( ( (( ( ( ( ( ( ( ( ( ( (( (( ( 5( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( "( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( (1 ( ( ( ( ( ( ( (4 ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (> q( ( ( ( ( ( (( (( ( ( ( (( (( (( q(( ( (( ( (( (( ( ( ( ( )) ) ) ( ( (( ( (( ( ( (( ( ( ( q ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( q ( (( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( ) ) q ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( (( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ) ) (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( (( (( ( (( ( ( ( ( ( ) (( ( ( ) ) ) )) ( (( ( (( (( (( ( ( (( (( ( ( ( ( (( ( ( (( ( (( ( ) ) ) ( ( ( ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ) ) ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ) ) (( ( ( (( (( ( ( ( )) ( ( ( ( ( ( (( ( (( (( ( ( ( (( ( (( ( ( ( (( ( ) (( ( ( ( ( (( ) ) ( (( ( ( )) )) ( ( ( ( ( s27v9 AreaOpera objectclass idopera BACCHIACCA NomeAutore Deposition DescrOpera AreaOpera objectclass idopera BRONZINO NomeAutore The Holy Family with the Young Saint John DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Nativity of Saint John DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Saint Anthony Abbot DescrOpera L ` ' p | \ AreaPorta objectclass numporta AreaCartello objectclass LL9:U T8LMT LU8:U K9LMM 58MM: T9:LL ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( (( ( ( ( (( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( (( (! 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Musician DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera MTBLMTM M;::T 8LM8:LU L;;:U bbtsts bstts btstst tstst 322322 btstt /0/06 0-//- 26/0/ //-// 266/050 /-/66 //,/63 22322 bsbb2 623/q-/ //0/4 ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (& ( (( (( ( ( ( ( ( ( ( ( ( (* ( (( ( ( ( ( ( ( ( ( ( (/ ( ( ( ( ( ( ( ( ( (5 ( (( TUUMU ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ((= ( ( ( ( ( ( ( ( ( ( ) ) ) ) (( ( ( ( ( ( ( ( ( ) ) ) ( (( ( ( UUMMU (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( (( (( ( ( ( (( ( ( (( (( ( ( (( (( (( (( ( ( (( ( ( ( ( ( ( ( (( (( ( ( (( (( ( (( ( qq (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ) q ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( s27v11 AreaOpera objectclass idopera PONTODORMO NomeAutore Nativity of Saint John DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Saint Anthony Abbot DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of a Musician DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera TbTaT MLL9N MLM=9N 9:LLM LLUUT 8L;ML9;N MM8:;:U :LM:L ::NL: 9:L:L btsts /0/63 58595 3/002 26//0 2/-,q-/ /-,/6 -855-:- -/36/60 ba26066/60 5.5-55 /qq-0 /-/-0 6-qq/-//6 8.557 5.55.55 ( ( !(( (( ( ( (( ( ( ( '(( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( LMMUM ( ( ( ( ( ( (( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ()( ( ( ( ( ( ( ( (( q+262 (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( ( ( (( ( (( '02/ ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (< ( ( ( ( ( ( ( (( ( ( ( ( ( ( (> ( ( ( ( (( ( ( ( ( ( ( ( ( ( (B ( ( ( ( ( (( ( ( (( ( ( ( ( (J ( ( ( ( ) ) ( (( ( ( ( ( (K ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ) ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( (( ( ( ( ) ) ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( qq,q ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( (( ( (( ) (( ) s27v12 AreaOpera objectclass idopera PONTODORMO NomeAutore Saint Anthony Abbot DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of a Musician DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Moses Defending the Daughters of Jethro DescrOpera 3/632 /,-,,- //62/- 66/60603/ //.0- 06/./6--q- /-//- 66/-q- .-8:LT 5.575 ( ( ( $( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( !( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( (( ( (( (( ( ( (( ( ( ( ( ( ( ( ( (( /2/26 ( (( ( (( (( ( ( (( ( ( ( (( ) ) ) ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( (( ( ( (( ( ( (( ( ( ( ) ) ( ( ( ( ( ( ( ( (( q( (( ( ( (( (( ( ( ( qq( (( ( ( ( ( ( ( ( ( (( ( ( ) ) q ( ( ( ( ( ( ( ( ( ( ( ( ( q (( ( ( ( ( ( ( ( ) ( (( ( ( ( ( (( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( (( ( ( (( ) ) ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( (( ( ( ( ( (( ( ( ) ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( (( ( ) (( (( (( ) ) )) ) s27v13 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of a Musician DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Moses Defending the Daughters of Jethro DescrOpera AreaOpera objectclass idopera MIRABELLO CAVALORI NomeAutore Madonna and Child with Saints DescrOpera AreaPorta objectclass numporta -/062 0060636030 6063063063 063006300 2-qq6 2266/-/0 ,-+/32 -q,+-62 .-95-: -:9as 0/0/00/ /6//- 6-,-/63 q-q-q2 --+,- -q+,+- /+--/ .-85. ( (( ( (( ( (( (( ( ( ( ( (( (( (( ( ( ( ( (( ( (( (( (( (( ( (( ( ( ( (( ( (( (( (( ( (( ( ( ( (( ( (( ( ( ( ( ( 262626 66262/6/ 62626 ( (( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( (( ( ( ( ) ) ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( (( ( ( (( (( ( )) )) ( ( ( (( ( ( ( ( s27v14 AreaCartello objectclass AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of a Musician DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera $ @ / AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Moses Defending the Daughters of Jethro DescrOpera AreaOpera objectclass idopera MIRABELLO CAVALORI NomeAutore Madonna and Child with Saints DescrOpera AreaPorta objectclass numporta ..56-/ 6/5// /66/. 6//6962 /-//602 L5-9L885: 2662/ /-//602 32622 +,+,+, 2230-q- 20//--/ -2662 /-6023 .--5- 6/./-6/2-, 60-,-/26- 30//3 6/6/.-- /-6.,- +q+q6 --q+q2 +,+,-- 576-6 ('(('('(' .-.2) 3 ( (( ( (( ( ( ( 2 ( ( (( ( ( (( ( (( ( ( (( ( (( ( ( 52)( ( ( (( ( ( ( ( ( ( (( ( ( (( (( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( (( ) ) ( (( /+( 6+() (( (( 66/++( 262/6 /)( ) ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ) ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( (( (( ( ( (( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ) ) (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( ( ( (( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) )) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( s27v15 AreaCartello objectclass AreaOpera objectclass idopera PONTODORMO NomeAutore Supper at Emmaus DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Moses Defending the Daughters of Jethro DescrOpera D b / AreaOpera objectclass idopera MIRABELLO CAVALORI NomeAutore Madonna and Child with Saints DescrOpera AreaPorta objectclass numporta AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Maria Salviati DescrOpera /00/003 30//0 340//0 /3303 066//06 6/660 -q-/0 02362 32622 6223226 --/-- 2200//3 6..575 5--..5- 5..85 ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( (( ( ( (( ( +( ( ( ( (( ( ( ( ( ( ( (( ( !( ( ( ( ( ( ( ( <( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( "( ( ( (( (( ( (( ( ( ( ( ( ( ( (( (( (( ( (( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( (( ( (( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (3 ( ( ( ( ( (( (( ( (( ( ( ( ( ( (( ( ( ( ( (( (( (( (( ( ( ( (( 6/+ ( ( (( ( ( (( (( ( ( ( ( ( ( ( (() (( ( ( ( ( ( ( ( ( () ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( (( ( ( )) ) (( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ) ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) ( ( ( ( ( ( ( (( ( (( ( ( ( ( (( (( ( ( ( ( (( (( ( (( ( ( ( (( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ( ( ) ) (( ( ( ( ) (( ( ( ) s27v16 AreaCartello objectclass AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Portrait of a Young Woman DescrOpera AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Moses Defending the Daughters of Jethro DescrOpera AreaOpera objectclass idopera MIRABELLO CAVALORI NomeAutore Madonna and Child with Saints DescrOpera 8 D \ AreaPorta objectclass numporta AreaOpera objectclass idopera ROSSO FIORENTINO NomeAutore Madonna and Child with Saints DescrOpera AreaOpera objectclass idopera PONTODORMO NomeAutore Portrait of Maria Salviati DescrOpera 23004 ababb ( '( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( (( (( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (! 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( (( ) (( (( ( ( (() ) ( ( .5.558 ( ( ( ( ( () q ( () ( ( ) ) (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ('(()) ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( (( (( ( ( (( ( ( ( ( ( (( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ) )) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (" ( (( ( ( ( ( (( ( (( ( (( ( (( ( ( ( (( ( ( ( ( ('(( ( ( s28v3 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera TITIAN NomeAutore Flora DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Caterina Cornaro DescrOpera AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore The Holy Family with the Young Saint John and Mary Magdalene DescrOpera ( ( ( (( (( (( ( ( ( (( (( q( ( 6030/0/ () ) ) q ) ( ( ( ( ) ( ) ( ( ) ) ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ((+ ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( (I ( ( ( ( ( ( (( ( ( ( (( (I ( ( ( ( ( ( ( ($ ( (( (( (( ( (' ( ( ( ( ( (( (( ( (( ( ( (( (( (( (( ( ( ( ) ) ( (( ( ( (( ( ( ( ( ( ) ) ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ) ) ( ( ( ( ( ) ) ( ( ( (( ( ( (( (( ( ( ( ( q(( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( q(( ( ( ( ( ( (( ( ( ( ( ( ( ( q ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( + ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ) (( (( ( ) (( ) s28v4 AreaCartello objectclass AreaOpera objectclass idopera TITIAN NomeAutore Flora DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Caterina Cornaro DescrOpera AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore The Holy Family with the Young Saint John and Mary Magdalene DescrOpera 626262 ( (( ( (( ( (() ( ) ( ()( (( ( ( (( (( ( ( ( ( (( ) ( ) ( 66558 ( ) ()( ( )) ) ( ( ( ( ) ) ( ) ( ( ( (( (( ( (( ( ( ( (( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( (q ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ) ) ) (( ( ( ( ( ( (( ( ( ( (( ( (( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( (( (( (( ( ( (( ( (( ( (( ( (( (( ( ( ( ( ( ) ( ( ( (( ) ( (( ( ( (( ( (( ( ( ( ( (( ( ( ( (( ( ( (( ( ( ( ( ( (( (( (( ( )) ) ( ( ( ) ) ( ( ( (( )) )) ( ( ( )) (( s28v5 AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Caterina Cornaro DescrOpera AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore Judith DescrOpera AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore The Holy Family with the Young Saint John and Mary Magdalene DescrOpera ( ( (( ) ( ( ( ) (( ( (( () (( (( ( (( ( ( q ) ()(( ( ( ( () ( ) ( ( ( ( ( ( ) ( ( () (( ( (( ( ( ( (( ( ( ( (( ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( '(( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( ( ( 2262622 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ) ) (( ( ) ) )) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s28v6 AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Caterina Cornaro DescrOpera AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore Judith DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Francesco Maria della Rovere and Eleonora Gonzaga DescrOpera ( ( ( ( (( (( ( ( (( ( ( ) ( (( ( ( ( ( ( ( ( q ( ( ( ( ) q ( ( ( ( ( + ( ( (( ( ( ( ( q (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( (( (( (( ( (( ( ( ( ( ( ( ( ( ( (( ( ( q ( ( ( (( ( (( ( ( ( (( ( ( ( (( ( ( ( (('( (( ( ()( ( ( ( ( ) 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( ( ( ( ( ( ( ( ( ( ( ( ( ( ( !( ( ( ( !( ( ( ( (2 ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( (( ( (( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ) s28v8 AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore Judith DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Francesco Maria della Rovere and Eleonora Gonzaga DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of a Knight of Malta DescrOpera AreaCartello objectclass AreaPorta objectclass numporta ( (( ) (( )( ( ( ( ( (( (( ( ( ( ( ( (( ( ) (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( (= ( ( ( ( ( ( ( ( ( ( ( ( ( (G ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ) ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ) ) ( ( (( ( ( (( ( (( ( (( (( ( ( q( ( (( ( (( ( (( ( (( ( ( (( (( (( ) (( ( ( ( ( ( s28v9 AreaOpera objectclass idopera PALMA IL VECCHIO NomeAutore Judith DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Francesco Maria della Rovere and Eleonora Gonzaga DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of a Knight of Malta DescrOpera AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera TITIAN NomeAutore The Sick Man DescrOpera 626626 ( (( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (3 ( ( (( (( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ((E ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ) ) ( ( ( (( (( ( (( ( ( ( ( (( (( ( ( ( ( ( (( ( (( ( ( (( ( (( ( (( ( ( ( ( ( ( ) ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( (( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( s28v10 AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Francesco Maria della Rovere and Eleonora Gonzaga DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of a Knight of Malta DescrOpera AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera TITIAN NomeAutore The Sick Man DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera 88788 J7L7K78 ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( (( ( (( ( ( (( ( ( (( ( ((, ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (B ( ( ( ( ( ( ) ) ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( )) ( ( ( (( (( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ) )) (( ( ( ( ( ( )) ) ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ) ) ( (( (( ( (( ( ( ( ( (( ) ) ( ( ( ( ( (( ( ( ( ( ( ( (( ( )) s28v11 opere acceso AreaOpera objectclass idopera TITIAN NomeAutore Portrait of a Knight of Malta DescrOpera AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera TITIAN NomeAutore The Sick Man DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera 78J7J ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( (( ( (( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( (( ( ( ( ( ( (( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (1 ( ( ( ( ( ( ( ( ( ( ( ( (2 (( (( ( ( ( ( ( ( ( ( ( ( ( ( (? (( ( ( ( ( ( ( ( ( ( ( ( (( ( (B ( (( (( ( ( ( ( ( ( ((! ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (+ ( ( ( ( ( ( ( ( ( ( ( ( (. ( ( ( ( ( ( ( (1 ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (3 ( ( (( ( ( ( ( ( ( ( ( ( ) ) ) ) ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( (( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( (( (( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( (( ( (( ( (( ( ( ( ( ( (( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ) ) ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( (( ( ( ( ( ( ) ( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( (( (( (( (( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( )) )) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ) ) ( ( (( ( ( ( ( ( ( ) ) ) ) ) ) ( )) (( ( (( (( ) s28v12 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera TITIAN NomeAutore The Sick Man DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera b v ' AreaOpera objectclass idopera TITIAN NomeAutore The Urbino Venus DescrOpera 22606 36/0- 26/663 26266 77J87J ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( (( (( (( ( (( ( (( ( (( ( ( (( ( ( ( ( ( ( (( (( (( (( (( ( ( ( ((( ( ( ( (( ( ( ( ( ( ( (( (( ( (( ( ( ( ( (( ( (( ( ( ( (( ( ( ((3 (( ( ( ( (( ( ( ( (( (( ( ( (( ( (& ( ( ( (( ( ( (( ( ( (5 (( ( ( ( ( (( (- ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (< ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (D ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (O ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ( ( (( ( ( (( ( ( ( ( ( (( (( ( (( (( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ((! (( ( ( ( (( (( (( (( ( ( ( ( ( ) )) ( ( (( ( ( ( ( ) ) ( (( (( ( ( ( ( ( (( (( (. ( ( ( ( ( ( ( ((0 ( ( ( ( ( (2 ( (( ( ( ( ( ( ( ) ( (( ( ( ( ( ( ) )# ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ))! (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( (( ( ) ) (( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ) ) (( ( ( ( (( (( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ) ) (( (( ) ( ( (( ( ( ( ) ( )) (( )) ( ) )) (( ( )) ( ( s28v13 AreaPorta objectclass numporta AreaOpera objectclass idopera TITIAN NomeAutore The Sick Man DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore The Urbino Venus DescrOpera 36/66 66066 7K787 J7J7J7 //66/ +q+q+ ( (( (( (( (( ( ( ( ( ( ( (( ( ( (( (( ( ( (( ( ( ( (( ( (( ( ( ( ( (( ( ( (( (( ( (( (( ( (( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( (( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (/ (( (( ( ( ( ( ( (s ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ))- (( ( ( ( ( ) ) ) ) ( ( (( (( ( ( ( ( ) ) ) ) (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( ( ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( (( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( (( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ) )) (( (( ( ( (( ( ( ( ( ( ( ( (( ( s28v14 AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore The Urbino Venus DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Saint Margaret DescrOpera , @ ' P \ \ AreaPorta objectclass numporta J7J7J7 36622 7J77J7 ( (( (( ( ( 1( ( (( (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( (( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( (( ( ( (* ( ( ( ( (6 ( ( ( ((> ( ( (( ) ))# (( ( ( (( ( (= ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ) ) (( ( ( ( ( ( ( (( ( ) ) ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( q ( ( ( ( ( (q ( ( (( ( ( (( ( ( ( ( q ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( )) ) ( (( ( ( ( ( (( ( ( ( ( ( ( )) ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( (' ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s28v15 AreaOpera objectclass idopera TITIAN NomeAutore Venus and Cupid DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore The Urbino Venus DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Saint Margaret DescrOpera 4 H ' X d \ AreaPorta objectclass numporta AreaCartello objectclass J7J7J 06/6/ J7J7K /6//66 7J7J7 2//63 ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( %( ( ( ( ( &( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( (, ( (( ( ( ( (( ) ) ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (; ( ( ( (( ) ( (( (( ( ( ( ( ( ( (( ( ( ( ( (B ( (( ( ( (( (( ( (( ( ( ( ( ( ( ( (H (( ( ( ( (( (( ( ( ( ( (P ( ( ( ( ( ( ( ( ( (( ( ( (( ) ( (C ( ( (d ( (( ( (^ ( ( ( ( ( (] ( (( ) ) ) (( (( ( ( ( ) )A ( ( ( ) ) ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( (( )) ) ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ) ( (( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( )) ( ( ( )( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( (( ) (( (( ( ) ( ) s28v16 AreaOpera objectclass idopera TITIAN NomeAutore Portrait of Bishop Ludovico Beccadelli DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore The Urbino Venus DescrOpera AreaOpera objectclass idopera TITIAN NomeAutore Saint Margaret DescrOpera AreaPorta objectclass numporta AreaCartello objectclass f z ' AreaOpera objectclass idopera TITIAN NomeAutore Flora DescrOpera 02260 00226 236// 855.5-5 ( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( +( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( (( ( (( ( ( ( ( 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DescrOpera (('(('(( (( (( ( ( ( (( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( (% ( ) & )) )) (( ( ( ( (( (( (( 3( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( ( (( ( (( (( (( (( ( ( (( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( (( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (3 ( (( ( ( ( (6 ( ( ( (( ( ) ) ) (( (( ) ) ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( (( (( ( (( ( (( ( ) ) ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) s29v2 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera PARMIGIANINO NomeAutore Madonna with the Long Neck, Madonna and Child with Angels DescrOpera AreaOpera objectclass idopera PERIN DEL VAGA NomeAutore Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio DescrOpera ( ( q ( ( (( (( ( ( ( (( ) ) ) ) ) ( ( (( ( & ((' 32262 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( 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(( ( ( (( ( ( ( !(( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ) (( ( ( ( ( (( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( /(( ( ( ( ) )) ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ) ) ( ( ( ( ( ( ( ( ( ( (( ( ) ( (( (( "( s29v13 AreaOpera objectclass idopera LUDOVICO MAZZOLINO NomeAutore Massacre of the Innocent DescrOpera AreaOpera objectclass idopera AMICO ASPERTINI NomeAutore Adoration of the Shepherds DescrOpera AreaOpera objectclass idopera BECCAFUMI NomeAutore The Holy Family with the Young Saint John DescrOpera AreaPorta objectclass numporta 8 ' AreaCartello objectclass AreaOpera objectclass idopera PERIN DEL VAGA NomeAutore Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio DescrOpera AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Nativity DescrOpera 6/6360 )( ( #( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( "( ( ( ( ( ( (( ( (( (( )( ( ( ( (( ( ( ( ( ( ( ( () ( ( ( ( (( ( ( (( (( (( ( ( ( ( ( ( (( ( ( ( ( (( ( (( ( (( ( ( (( ( ( ( (( ( ( ( (( (( ( ( (( ) ) ) ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ( (( ( ( (( (( (( ( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( (( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( (( ( ( ( ) ) ( ( ( ( ) ( ( (( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ) ) ( ( (( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s29v14 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera PERIN DEL VAGA NomeAutore Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio DescrOpera AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Nativity DescrOpera AreaCartello objectclass /6/6/ 6/6/6/6 ( ( ( ( ( ( ( ( ( ,+q,,+q ) )()(&((' (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )! 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NomeAutore Witchcraft or an Allegory of Hercules DescrOpera AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Rest on the Flight into Egypt DescrOpera AreaCartello objectclass AreaPorta objectclass numporta ( ( ( ( (( ( ( (( ( ( ,,'( ,q'() ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ) ( (( (( ( ( ( ( ( ( ( ( (( ( ) 6 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( (( (( (( ( ( (( ( ( ( ( ( ( %( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( )( (( ( ( +( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( (( (( ( ( (( ( (( ( ( (( ( ( ( (( (( ( (( ( ( (( ( ( (( ( ( ( ( (( ( ( ( (( ( ) ) ( ( ( (( ( ( (( ( ( ) )2 ( ( ( ( (( ( (( (( ( (( ) ) ) (( ( ( (( ( (( (( ( (( ( ( ( (( (( ( ( (( ( (( ( (( ( 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( ( ( )) ) ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( s31v6 opere acceso AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Rest on the Flight into Egypt DescrOpera AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera 606605 66363 ) ((' +qq,qq (( ( (( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ) ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ) ) ( ( ( (( ( ( (( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( (( ( (( ( (( ( (( ( (( ( ( ( (( ( ( (( ( ( ( ( (( ( )) ( (( ( ( ( )) ( ( ( s31v7 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera abtst 060663 ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( (( ( ( ( ( ( (( ( (( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( (( ( (( (( ( ( (( ( (( ( ( ( ( ) ) (( (( ( ( (( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( qq ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( q( ( (( ( ( ( ( (( ( q( (( ( (( ) ) ) ( ( ( (( ( ( (( ( ( ( ( ( (( ( (( ) ) (( ( ( ( ( ( (( ) ) ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( )) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (! s31v8 AreaPorta objectclass numporta AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera 046463603 ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ) ) ( ( ( (( ( ( ( (( ( ( ( (( ( ( ) ) ) ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( (( (( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ($ ( (( ( ( ( ( ( ( ( ( ( ( () (( (( ( ( ( ( ( ( ( (( ( (0 (( ( ( ( ( ( ( (4 ( (( (( ( ( ( ( ( ( ( (: (( ( ( ( ( ( (> ( ( (( ( ( ( (( ( ( ( (C ( ( ( ( ( (J ( ( ( ( ( ( ( ) )) ( ( ( ) ) ) ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ) ) ( (( ( ( ( ( (( ( ( ( ( (( ( (( (( ( (( ( ( ) ) ) ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( (( ( ( ((1 ( ( ( 1 ( ) s31v9 AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera basbt 55465 063660 242/-+ 355--. 36532 &%&-& 663646 23663 MTMMTM M7KMJ TMTMT +-+.- J8JJ8K J8KK8MM //6/6 ( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (6 ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ) ( (( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ) ) ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ) ) ) ( (( ( ( ) ) ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( (( ( ( (( ( ( (( ( (( ( (( ( ( ( ( ( ( (( s31v10 AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera ttsat 5.-.-. 45.55.44 506556562 -&++-.3 TLMTT ;JJLM J8JLJ8M ( $( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (- ( (( ( ( (( ( ( ( (0 ( (( ( ( ( (( (( ( ( (( (( ( (( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( (( ( (( (( ( (( ( ( (( (( ( ( ( ( ) ) ( ( ( (( ( ( ( (( (( (( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( (( ( ( ( (( ( (( ( ( ( ( ( s31v11 AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Portrait of a Warrior DescrOpera AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera Tassa assasa asaat 23..3 5/564 5..5-5 66.5. 78MMTT LJLMT MTMMD:D 8MUTT K;;K; T7K;E;D;. TUTaTb (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (9 ( ( ( ( ( ( ( ( ( (= ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) ( (( ( ( (( (( ( ( ( ( ( )) ) ) ) ( (( ) ( ( (( (( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( s31v12 AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera 6-024-5 .55.--. ..--7 MTT7D; 8KMUaT7 TTUTT LMTUa MK:K;J 8JL8L UaTaTTU D8E;E- aUaUa UTbba aTbaTb aTTUaT ababb UTaTaTT (( (( (( (( ( ( ( ( ( ( ( ( (( (( ( (( (( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ((H (( ( ( (( ( ( )) ) ( (( (( ( ( (( ( ( ( ( ( ( ( )) ) s31v13 AreaOpera objectclass idopera DOSSO DOSSI NomeAutore The Apparition of the Virgin to Saints John the Baptist and John the Evangelist DescrOpera 556558 8.55.5. ) ) LLMTaU TMMK: MUaa7 MTTUa L;J;8 KLCL;8 .;8LL ML;LK;.8 2.;LKL Uaabb aUaTUaTU KLELLD Uaababb aTaTUTUT abbab .;LLK aUbabb .4.-.; MUTba UaTaaTUT UbUTb qq(( s31v14 objectclass AreaPorta numporta AreaPorta )) (( s31v15 objectclass AreaPorta numporta objectclass AreaCartello AreaPorta )) ( ) (( (( ( ( (( ( (( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( (% ( ( ( ( ( ( ( ( ( ( (# (( ( ( ( ( ( ( ( ( ( (( ( (( (( (( ( ( ( ( ( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( )) )) s31v16 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera DOSSO DOSSI NomeAutore Witchcraft or an Allegory of Hercules DescrOpera 665662 (( ( (( (( ( ( (( &( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( (( ( (( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (- ( ( ( (0 ( (( ( ( ( ( ( ( ( ( ((? 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( (( ( (( ( ( ( (( 6.-// .5-65 qq-/6 56.-/ ././- ( ( ( ./../-- -..-5 ( (( ( ..-.- /626/ ( (( (( 66/6/ ( (( (( ( (( ( ( ( (( 262266 ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( (( q!!qq ( ( !q!q!qq!q! 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DescrOpera zoomable AreaOpera objectclass idopera CHRISTOPH AMBERGER NomeAutore Portrait of Cornelius Gros DescrOpera zoomable AreaOpera objectclass idopera BRONZINO NomeAutore Christ Deposed DescrOpera AreaOpera objectclass idopera FLEMISH SCHOOL OF THE 17TH CENTURY NomeAutore Head of the Medusa DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore The Sacrifice of Isaac DescrOpera zoomable FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass ^$t$' FrancOpera ObjectClass B)X)' FrancOpera ObjectClass &.<.' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass 7777.. 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FKTMM }~~}~ ~~}~} *M|tM $$!$$$$$ $$$$!$ +6 ) (( ( ( ((q s33v2 !~&b+F0*5 AreaCartello objectclass AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Artemis Weeps for Mausolo DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Hercules Crowned by the Muses DescrOpera zoomable . B ' j ~ / AreaOpera objectclass idopera BRONZINO NomeAutore Allegory of Felicity DescrOpera zoomable AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Vulcan's Forge DescrOpera zoomable AreaOpera objectclass idopera EMPOLI NomeAutore Noah's Drunkenness DescrOpera zoomable AreaOpera objectclass idopera ORAZIO SAMACCHINI NomeAutore Susanna Bathing DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Portrait of Ludovico Capponi (?) DescrOpera zoomable AreaOpera objectclass idopera CHRISTOPH AMBERGER NomeAutore Portrait of Cornelius Gros DescrOpera zoomable AreaOpera objectclass idopera BRONZINO NomeAutore Christ Deposed DescrOpera AreaOpera objectclass idopera FLEMISH SCHOOL OF THE 17TH CENTURY NomeAutore Head of the Medusa DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore The Sacrifice of Isaac DescrOpera zoomable FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass (">"' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass 7777.. JKK;K JEJK8M JHEJJT FDEII KsJKTII FIJDDI IIII* $$$$! $$) $#$$! !!!$!$ $!!$$ !!!!$$$$ !!$!$$#$ =eUTTUT@TMNBB@BBCCCB=B CCACBB C@L@BCN@B@TMBC@CC L<E;88;L<;CE H<EHE;M;CC<8CLg <FCCC< <CLCC< HC<<F< IIIMJ VSfwe NBI{`P IP@u` *IKBgP /2222226 LCBcP JTUUUU LKUUME LMTUMU BUcPb bbcbb VVUUUUVU UVUcbVVVUb aUTVbaUU ccbcbbVa UUNUVU <;=;:N=NUN OUNNUNN ta`\P fX^?` bR\RS WbVVUVUVWW UWcVWVWd cWWcWVWcdc dcVWVcUVWc LLN9N =;>L:=>L== ==;L=LL=LN UPVUUOUOU UVUVVUN=NL >==N= LNNMN tttvtv }|}|}} LMKLMMKDKCMEH IEIMPLMKLKEMK;EJDKK |}|}| }}}}} MMKMU }}}}| }}}}}} |}}|}| }}}}}}} }|}|||| |}}}} }}}}}|}| }|}||}|| }}}|| cKMcbUc }||~| |}}}}}}|}}MHC }}||} uLTHE |}||} MEIMb KHMMTb }}}||| JIHJH ||}|| |}}}| KMbDIc }||}| |}}|} IFIIII }}|||} }}~}|| }|}|}|} |}}}M |}~|| }|}||} |FE7I }|}|} K8KK8KEEK |}}}|| }|~}}}~| eJLLP }~}}}}}}}}}} }|}}}~}}}|}} }|}}} |}}}||} }|}}}}|}}}}}}}}}}}}}}}|}}|} |}}}}|| }|}}}}}}}|}}}}|}} |}}}| ||}}}}} }}}|}}} }|}}|}|}| ||}}}|}|}|}}}}|}}} }~}}}|||}||}}| |}}}}}}|}} ||}}}||||}}}}}||||||||||| JMKTLUTM KMTMKUM MMMTTJIMTUDMKMTCIJ PbbUabL 77777 77767 56.65. k2z2s 3644. *6./5.. FKTMM }~~}~ ~~}~} *M|tM $$!$$$$$ $$$$!$ +6 ) '(('(( ( ( ( ( ( ( ( ((qq ( ((q ) ) ( s33v3 %x*\/ opere acceso AreaCartello objectclass AreaOpera objectclass idopera EMPOLI NomeAutore Noah's Drunkenness DescrOpera zoomable AreaOpera objectclass idopera ORAZIO SAMACCHINI NomeAutore Susanna Bathing DescrOpera zoomable < P ' AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Portrait of Ludovico Capponi (?) DescrOpera zoomable AreaOpera objectclass idopera CHRISTOPH AMBERGER NomeAutore Portrait of Cornelius Gros DescrOpera zoomable AreaOpera objectclass idopera BRONZINO NomeAutore Christ Deposed DescrOpera AreaOpera objectclass idopera FLEMISH SCHOOL OF THE 17TH CENTURY NomeAutore Head of the Medusa DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore The Sacrifice of Isaac DescrOpera zoomable AreaOpera objectclass idopera OIS CLOUET NomeAutore Portrait of Francis I of France on Horseback DescrOpera zoomable AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore Saint Sebastian DescrOpera zoomable AreaOpera objectclass idopera JEAN PERR NomeAutore Portrait of a gentlewoman DescrOpera zoomable FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass >!T!' 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JKK;K JEJK8M JHEJJT FDEII s33v14 AreaOpera objectclass idopera Fortuna OF THE 16TH CENTURY NomeAutore Fortuna DescrOpera AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Artemis Weeps for Mausolo DescrOpera zoomable FrancOpera ObjectClass ITALIAN SCHOOL OF THE 16TH CENTURY 7777.. JKK;K JEJK8M JHEJJT FDEII s33v15 AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Artemis Weeps for Mausolo DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Hercules Crowned by the Muses DescrOpera zoomable FrancOpera ObjectClass FrancOpera ObjectClass 7777.. JKK;K JEJK8M JHEJJT FDEII KsJKTII FIJDDI IIII* $$$$! $$) $#$$! !!!$!$ $!!$$ !!!!$$$$ !!$!$$#$ s33v16 AreaOpera objectclass idopera CECCHINO SALVIATI NomeAutore Artemis Weeps for Mausolo DescrOpera zoomable AreaOpera objectclass idopera ALESSANDRO ALLORI NomeAutore Hercules Crowned by the Muses DescrOpera zoomable AreaOpera objectclass idopera BRONZINO NomeAutore Allegory of Felicity DescrOpera zoomable AreaOpera objectclass idopera GIORGIO VASARI NomeAutore Vulcan's Forge DescrOpera zoomable AreaOpera objectclass idopera FRENCH SCHOOL OF THE 16TH CENTURY NomeAutore Portrait of Christine of Lorraine DescrOpera zoomable AreaPorta objectclass numporta AreaCartello objectclass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass 7777.. 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NomeAutore Portrait of an Unknown Man DescrOpera AreaOpera objectclass idopera VERONESE NomeAutore Annunciation DescrOpera AreaOpera objectclass idopera VERONESE NomeAutore The Martyrdom of Saint Justine DescrOpera 87878 262662 663363 362623 60263 ( (( ( (( ( 7J7J7 qq+q+q+q+ ( ( ( (( ( ( ( ( ( ( (( ( (( ( (( ( ( ( ( ( ( ( ( ( ) ( (( (( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ) ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 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LEANDRO BASSANO NomeAutore Concert DescrOpera AreaPorta objectclass numporta (( ( ( ( ( ( ( ( ( (( (( ( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( 75.55. 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" " 0 s35v3 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera WORKSHOP OF TINTORETTO NomeAutore Saint Augustine Heals the Lame DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Christ and Mary Magdalene DescrOpera AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera ( (( ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( (( ( ( ( ( (( (('(( ( ( ( ( ( ( ) ) ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( )) ) ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( (( ( ( ( ) ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( (( (( (( ( ( (( (( s35v4 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera WORKSHOP OF TINTORETTO NomeAutore Saint Augustine Heals the Lame DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Christ and Mary Magdalene DescrOpera AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore The Samaritan Woman at the Well DescrOpera ( (( ( ( (( ( ( ( ( ( ( (( ( ( / (( ( ( ( ( ( (( (( ( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( (( (( ( ( ( ( ( ( ) (( (( ( ( ( (( ) ) (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ) ) ( ( ( ( ( (( ( ( ( qq) ) ( ( ( ( (( ( (( ( ( (( qq ) ) (( (( (( (( ( ( ( ( ( (( ( ( (( ( (( ( (( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ) (( ( ( (( ( (( ( (( ( (( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ) (( ( ) ) (( ( ( (( (( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s35v5 AreaOpera objectclass idopera WORKSHOP OF TINTORETTO NomeAutore Saint Augustine Heals the Lame DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Christ and Mary Magdalene DescrOpera AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore The Samaritan Woman at the Well DescrOpera d x ' AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera CIVEZ( 8455~ ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( (( ( (( ( ( ( (( (( (( ( ( ( (( ( (( (( (( (( ( ( ( ( ( ( ( )) (( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( (( ( ( ( (( (( ( ( ) ) ( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( )) ( ( ( ( ( ( s35v6 AreaOpera objectclass idopera BAROCCI NomeAutore Christ and Mary Magdalene DescrOpera AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore The Samaritan Woman at the Well DescrOpera AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera > R ' AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera (( ( & (( ( ( ( ( ( ( ( ( ( ( (( &( ( ( ( ( (( ( (( ( ( ( (( ( ( ( ( ( (( ( (( ( 9588588 ( ( ( ( ( ( ( (( ( ( ( ( ( (( (( ( (( ( ( (( ( ( ( ( ( ( ) ) ( (( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( (q ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( q ( ( ( ( ( ( (( ( ( ( ( ( q (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ) ) ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( (( ( (( ) ( ( ( ) ( ( (( ( (( ( ( ) )) (( ( (( ( ( ( ( ( ( (( ( ( ) s35v7 AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore The Samaritan Woman at the Well DescrOpera AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera T h ' AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera 78.55 ( ( ( ( (( ( (( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( //-/4 ( ( ( ( ( ( ( ' ( ( ( ( ( ( ( 336/63 ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ) ) ( (( ( ( ( ) ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( )) ) )(' ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( (( (( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) )) (( ( ( ) ( ( ( ( ( )) ( ) s35v8 AreaOpera objectclass idopera GREGORIO PAGANI NomeAutore Pyramus and Thisbe DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore The Samaritan Woman at the Well DescrOpera AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera \ p ' AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Portrait of Francesco II della Rovere DescrOpera 55.55 ( ( (( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( 44535/-./4 (( ( ( ( ( (( ( (( ( ( ) ) (( ( ( ( ( ( ( ( ( (( ( ( ( ( ) ( ( +q+q+ ( ( ( (( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ) ( (( (( ) ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( (( (( (( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ) ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ) ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( )) ( (( ( ( ( ) (( ( ( ( ( (( ( ) )) ( ( (( ( ( ( ( ( ( ( ( ) s35v9 opere acceso AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Portrait of Francesco II della Rovere DescrOpera AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera 55-55 ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( '( ( ( ( ( .-//3 ( (( ( ( ( ( ( ( 5/./6/6/.0 .--/.644 & ( ( ) )( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( +'q+qq+q+' ++q++' ''+'+q ++q+q ++q+q + ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ) ) ( ( ( ( ( ) ) (( (( ( ( ( ( (( (( (( ( ( (( (( ( ( ( ( ( (( ( ( ) ) ( ( ( ) ) ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( )) ( ( ( ( ( s35v10 AreaOpera objectclass idopera JACOPO BASSANO NomeAutore Two dogs DescrOpera AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Portrait of Francesco II della Rovere DescrOpera X l ' AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( 2 ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( )( ( ( 33.6--. 456-4 ( 44..--+ ./5/5 64/.-/.04 ) ) ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( (( (( ( (( ( ( ( (( ( ( ( (( ( ( (( ( )) ( ( ( (( ( ( (( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( 2 ( ( ( ( ( (( ( (( ( (( ( ( (( ( ( MLMUq ( ( ( ( ( ( ( (( ( ( ( ::;:9 ( ( ( ) ) ) ( ( ( ) ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( )) ) ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ) ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) L8L;; s35v11 AreaOpera objectclass idopera EL GRECO NomeAutore Saint John the Evangelist and Saint Francis DescrOpera AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Portrait of Francesco II della Rovere DescrOpera AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera \ p ' AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera ( ( ( (( ( ( (( (( ( ( ( ( ( ( (( (( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( & (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( (( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ,' ( ( ( ( (()( ( ( ( (( (( ( (( ( ( ( ,(( ( (( )( ) ( (( ,( ( ($ ,& (' ,) (' , )' ) )) 757878 ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( '++(() ( ( (( ++'+(( ( (( (( ( ( ( ( ( ( ( ( ( ) ( ( ( ( (( ( (( ( ( ( (( (( ( (( ( ( ( (( ( (( (( ( ( ( ( ( ) ( ( ( ( ) ) )) ( (( ( ( ) KTKTKT ( (( JTKTK ( ( ) ( (( TKKTK BLKTT ( ( ( DEKKM ( ( ( ( ( ( ( ( ( KMK;EK ( ( ( ( ( ( TKMKCL;H (( ( KTKMMLE KKMKLK; LLKMKL; L8L:; 88LL88 ( + ;;E;D :L8L;: ;E:L;E 88;88 <;J:J 8;J88;8; 8L88:8 8E8;88 E8DL88L8L LJ8L8D ( '+ :8E8:88L ( ('+- ( (+- (+-/ )) )) (( s35v12 AreaOpera objectclass idopera TINTORETTO NomeAutore Leda and the Swan DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Portrait of Francesco II della Rovere DescrOpera AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera B V ' AreaOpera objectclass idopera LEANDRO BASSANO NomeAutore Concert DescrOpera ,q,q, q,,qq q,q, q 46//- 8..-. 6/0-/ ( (( ( ( ( (( ( (( (( ( q ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( q ( ( q (( ( ( ( ( ( (( ( (( (( ( ;;88; ( (( ( (( ( ( ( (( (( ) ) (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( sJKKTJT (( ( ( ( TKTJK ( ( ( (( sJ_JKT ( (( ( ( ( KEKKM8 ( ( ( ( ( ( (( ( (( ( ( ( (( ( ( ( (( ( ( (( ( ( (( ( (( ( ( KKMK;E ( (( ( ( (( ( ( ( ( (( KMKKLK ( ( ( 88DKK;K< ( ( ( (( ( ( ( ( ( ( ( ( 8;88L (( ( ( ( ( ( ( ) ) ( )) ( ( ( (( (( ( ( ) <;E;E ( ) ( ( ( (( (( (( ;;8E8E ( ( ( ( ( ( (( (( (( ;J88LJ; ( ( ( 88;8; ( ( ( ( ( ( (''++ ( ( ( ( ( ( ( ) )) 2(( ( (( ( ( ( ( ( ( (( ( ( ( ( s35v13 AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera AreaOpera objectclass idopera LEANDRO BASSANO NomeAutore Concert DescrOpera ,,q,qq, 536,,-,- 36.326,// ( (( (( ( (( ( ( ( ( ( (( ( ( ( ( 58558 ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( ) )) ( ( ( ( ( ( ( (( (( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( (( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( L;K;: ( ( ( D:8L; ( ( ( ( ( )) ) ( (( (( ( ( ( ( ( ( ( ) (( (( (( ( s7KKT ( ( ( KKJKT ( ( ( ( ( ( ( ( ( ( ( (( ( JKELM ( ( ( KDKMK;< ( ( ( (( ( (( ( ( ( ( ( ( ( :88L88 LLJ8L ( ( ( (( ( ( ( C;88L8;8 L8;;E ( (( ( ( ( ( ( ( ( ( ( ( ( <;;J8; ;E8;8L LJ88L 8E88L ) ) ;8;8; ( ( (( ( ( ( ( (( ( s35v14 AreaOpera objectclass idopera ANDREA BOSCOLI NomeAutore The Wedding at Cana DescrOpera AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera AreaOpera objectclass idopera LEANDRO BASSANO NomeAutore Concert DescrOpera AreaOpera objectclass idopera CIGOLI NomeAutore Saint Francis Receives the Stigmata DescrOpera 56.64 656564 5855. 646556 464646564 56./- +,-/36 3/-63 ( (( .+'(( ( (( ( '(('(( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( 55858 88:88 8+(( ( 8+(( :L8LL ::;:L: ;L:L::8: 2 (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( 2 ) ()( ;;8:;8 ( (( ( ( ( (( (( ( ( ( ( ( 99N99NU ( ( ( ( ( L9::9 9ULPPc M8L:: L9UccU ( ( ( ( ( ( ( NcUOU ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ::;;: ( ( 9:;:;: ( ( ( ( ( ( (( ( ( (( ( 9:;:; :9:9;; ( ( ( ( (( ( =9::- ( ( ( ( ( ( ( q ( ( ( ( ( .::;: :8::V9 ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( 9:;:;:9 UL::;::; ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ;;L;; (( (( N=U:=:: ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( (( .::;: ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( TKTKTK ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( KEKMK:;: (( ( ( (( ( ( ( ( ( (( ( ( a7KTKTE ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( KTKLK; ( ( ( ( ( KMKLE ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( KKLKLH (( ( (( LJKMK; 8;8;88 ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ;;E;E8L8:8 ( ( ( <;EL8: ( ( (( ( K8L878 ( ( ( ( ) ;E:;K8 ( (( (( ( ( ( ;8L8:88L ( (( ( ( (( ( ( +'(( ( ( ( ( ( ( (( (( ( ( (( ( ( (( ( (( ( ( ( ( ) ) ) ) s35v15 AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera AreaOpera objectclass idopera LEANDRO BASSANO NomeAutore Concert DescrOpera AreaOpera objectclass idopera CIGOLI NomeAutore Saint Francis Receives the Stigmata DescrOpera AreaPorta objectclass numporta ( ( ( ( ( ( ( (( ( (( ( (( (( ( ( !( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) )) ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ;:;NLNT ( ( ( ( ( ;::9:UP (( ( ( ( L:;:;:949U ( ( ( ( (( ( ( ( ) ) L;;:;; ( (( ( ( ( ( ( (( (( ( ( ( ( ( 99::; ( ( ( ) ) ( (( :;;:9; (( ( ( ( (( ( ( ( (( ( ( ( (( (( ( 9:LN9 ( ( ( ( ( ( ( :;:;; ) (( (( =9NM; )(( ( ( & ( (( 9=N:; '(( ( ( -::;; ( ( (( ( ( ( ( 'q ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( L;;L; ;LLE; ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( TKTKT ( (( ( ( ( ( s7KTK ( ( ( M;<KL;; ( (( MK:<;; (( ( ( TD;;M KDMKMD ( ( ( ( JKTKL; ( ( ( KMKL< ( (( TKMMD ( ( ( 8MKTKM ( (( ( (( ) ) ( ( 88KMKL <<;;< KMKK:E ;88:L88L ;LDMMD <<;E;E;E L;L8L L;;L;:8L L;E;; D;;L8;88L8 LL;D; L8;K8L8L8 ) MLJ;E K:;;L8L88 LL88L8 ;;:LL8L8 ;E8L88L8 L8L8L8L ;88L8L8 ;;:L:L8 ( ) ;;8;8;; ;8;88L88 '( ( ( ( (( s35v16 AreaCartello objectclass AreaOpera objectclass idopera BAROCCI NomeAutore Madonna of the People DescrOpera AreaOpera objectclass idopera LEANDRO BASSANO NomeAutore Concert DescrOpera AreaOpera objectclass idopera CIGOLI NomeAutore Saint Francis Receives the Stigmata DescrOpera AreaPorta objectclass numporta f z ' AreaOpera objectclass idopera WORKSHOP OF TINTORETTO NomeAutore Saint Augustine Heals the Lame DescrOpera ( (( ( (( ( ( (( ( ( (( ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( (( ( (( ( ( ( ( ( ( 5.5..95 ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( (( ( ( (( ( (( (( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ;;::LU (( (( ( (( ( ( UNUL85 3'( ( ( ( (( ( ) (( ( ( ( ( & ( ( ( L:;:L ) ( ;6& ) :9:N: (( ( (( ::;;::N ;:;:;U ;5( ) ;5( ) qqUMM ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( )) ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( '( ( ( (( ( (( (( (( ( ( ( !( ( (( ( ( ( ( ( ()( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( ( ( ( ( )) ) MLLMU ( ( LMLLM (( ( ( ( MLM:LL ( (( ( ( ( ( )( ( ( ( ( ( (( ( (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( 8::;8 ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( L9L:L ;;9L:L ( ( ( (( ( ( ( L:L8L8 :L:LL 8L8LL s41v1 AreaOpera objectclass idopera RUBENS NomeAutore Equestrian Portrait of Philip IV of Spain DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera ANTOINE VAN DYCK NomeAutore Portrait of Margaret of Lorraine, Duchess of Orl DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Portrait of Isabella Brandt DescrOpera AreaOpera objectclass idopera ANTOINE VAN DYCK NomeAutore Portrait of Charles V on Horseback DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Self-Portrait DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris DescrOpera AreaPorta objectclass numporta ctcbc 5/, q 595858 (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( (( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ( ((2 ( ( ( -,( ( ( ( (2 - (( ( ( -( ( -() ) +'q++q +q+q+q (( ( ( (( ( )) ( ( ( ) ( (( (( ( ( ( (( (( (( ) )) (( ( (''(' )()(()( ( ( ( ( (( ( ( ( ( ( (( s41v2 AreaOpera objectclass idopera RUBENS NomeAutore Equestrian Portrait of Philip IV of Spain DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera ANTOINE VAN DYCK NomeAutore Portrait of Margaret of Lorraine, Duchess of Orl DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Portrait of Isabella Brandt DescrOpera AreaOpera objectclass idopera ANTOINE VAN DYCK NomeAutore Portrait of Charles V on Horseback DescrOpera AreaOpera objectclass idopera RUBENS NomeAutore Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris DescrOpera AreaPorta objectclass numporta btcct ,q,qq 65564 665655 5665/5 5/565644 ..5656 .5.5656564 66566. .5.5.66.65 6-5/.565 (( ( .6.66 .5.465 8M8M7 ( ( ( (( 656565 .5.545 .5656 .5/566-546 ( (( ( 65654 ( ( 56556 ( ( (( ( ( ( (( 66554 ( ( ( ( ( (( (( ( ( ( ( (( ( (( ( (( ( ( ( ( ( ( 655656 q-6/- -' (( ( ( ( ( ( 6.5/54 ') ( ( ( ( ( ( 656565 ( (( -& ( (() ( ( ( ( ( ( ( )(( ( ( ( ( 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( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ) (( ( (( ( ( ( (( ( ( ( ( ( ( ))( ( ( ( ( ( ( ) ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( qq,qq, ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( (( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( s43v12 AreaOpera objectclass idopera CARAVAGGIO NomeAutore Bacchus DescrOpera AreaOpera objectclass idopera CARAVAGGIO NomeAutore Medusa DescrOpera AreaOpera objectclass idopera CLAUDE LORRAIN NomeAutore Port with Villa Medici DescrOpera AreaOpera objectclass idopera SIMON VOUET NomeAutore Annunciation DescrOpera 32232 66/6/2 5./-/-// ./.-/- /2622 .6/.//- 32206 200// 26//6 ././- /-/-/- -/-// -/-..-- ( ( (( (( ( (( ( (( '( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( 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objectclass idopera CARAVAGGIO NomeAutore Bacchus DescrOpera AreaOpera objectclass idopera CARAVAGGIO NomeAutore Medusa DescrOpera AreaOpera objectclass idopera CLAUDE LORRAIN NomeAutore Port with Villa Medici DescrOpera AreaOpera objectclass idopera SIMON VOUET NomeAutore Annunciation DescrOpera Tsass 60220 ( (( (( (( ( (( ( ( ( ( ( ( ( ( ( '( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( (% ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (< ( (( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ) ) )# ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ) ) ) (( ( ( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( (( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( (( ( ( ( ( ( ( ( ( (( ) ) (( (( ( ( ( ( (( ( ( ) ) ) ) ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( (( (( ) ) ( (( ( (( ( ( ( (( ( ( (( ( (( ( ( ( (( ( ( ( (( (( ( (( (( ( (( ( (( ( ( ( ( (( ( (( ) ) ) (( ( (( ( ( 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(( ( 606/60/0/ ( ( ( ( ,qq+q+q+ ( ( ( (( ( ( ( ( (( (( (( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( (( s45v2 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera GIUSEPPE MARIA CRESPI NomeAutore The Flea DescrOpera AreaOpera objectclass idopera CANALETTO NomeAutore View of the Grand Canal DescrOpera AreaOpera objectclass idopera FRANCISCO GOYA NomeAutore Portrait of Maria Teresa de Vallabriga on Horseback DescrOpera AreaOpera objectclass idopera JEAN-ETIENNE LIOTARD NomeAutore Portrait of Marie Adelaide of France in Turkish Costume DescrOpera AreaOpera objectclass idopera FRANCISCO GOYA NomeAutore Portrait of Countess de Chinch n Standing DescrOpera AreaOpera objectclass idopera ALESSANDRO LONGHI NomeAutore Portrait of a Gentlewoman DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore Rinaldo abandons Armida DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Henriette of France Portrayed as Flora DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( () ( ( ( ( ( ( ( (. 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( (( ) ) ) )) ) ) 6/262 236034 0//0/0//02 ('((' /0//-/ -//6060504 /./6656 460463 .66/6/6604 /-//-50/6/ 60633 -5/0/060 00.66. 60330 30636 606/6/.5 36363 060/0 ( ( (( ( ( (( ( ( ( ) ( ( ( )( ( (( ( ( ( ( )( ( ( (( ( ( (( (( ( ( (( ( (( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ) )) ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( s45v3 AreaCartello objectclass AreaPorta objectclass numporta AreaOpera objectclass idopera FRANCISCO GOYA NomeAutore Portrait of Countess de Chinch n Standing DescrOpera AreaOpera objectclass idopera ALESSANDRO LONGHI NomeAutore Portrait of a Gentlewoman DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore Rinaldo abandons Armida DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Henriette of France Portrayed as Flora DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera AreaPorta objectclass numporta ( (( ( (( ( ( ( ) ) ( ( ( ( (( ( ( ( ( ( ( ( ( (( ) ( ( ( ( ( ( ( ( (( ( (( ( ( qq' ) (( (( ( ( (( ) (( (( ( (( ) ) ( (( (( ( ( ( (( ( ) ) ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ) ) (( ( ( (( ( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ) ) ) (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ) ) (( ) s45v4 AreaOpera objectclass idopera FRANCISCO GOYA NomeAutore Portrait of Countess de Chinch n Standing DescrOpera AreaOpera objectclass idopera ALESSANDRO LONGHI NomeAutore Portrait of a Gentlewoman DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore Rinaldo abandons Armida DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Henriette of France Portrayed as Flora DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera AreaPorta objectclass numporta qq226 qq226 (( ( ( ( ( (( ( (( &( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (# ( ( ( ( ( ( ( ( ( ( ( ( ( ( (1 (( ( ( ( ( ( ( ( (6 ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( (> ( (( ( (( ( ( ( (D ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ) ) ) ) ) ( ( ( ( (( ( ( ( (( ( ( ( ) ) (( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ) ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ) ) ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( (( (( ( ( ( ( (( ( (( ) (( ) (( ) ( )) (( ) s45v5 AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore Rinaldo abandons Armida DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Henriette of France Portrayed as Flora DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera AreaPorta objectclass numporta ,qq+qq ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( (( (( (( ( ( ( (( (( (( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (# ( (( ( ( ( ( ( ( () ( ( (( (( (( ( ( ( ( ( (, (( ( ( ( ( ( ( (5 ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (? ( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( (( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( (( ( ( ( (( (( ( ( ( ( ( ( (( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( (( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( s45v6 AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Henriette of France Portrayed as Flora DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Boy with a Card House DescrOpera ( ( ( ( ( ( ( ( ( ( ( /( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( (( (( ( ( ( ( ( ((. ( (( ( ( (( ( ( ( (( (( ( ( ( ( (; ( ( ( ( ( ( (> (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ) (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( (( ( ( (( ( ( ) ) ( (( ( (( ( ( ( ( (( (( ( ( (( ( ( ( ( ( (( ( ( (( (( (( ( ( (( ( ( ( ) ) (( ( (( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ) )) ( (( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( s45v7 AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Marie Adelaide of France Portrayed as Diana DescrOpera AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Boy with a Card House DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera ( (( ( ( (( ( ( ( (( ( ( (( ( ( ( (( 2( ( ( ( ( ( (( ( ( ( (( (( ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ) ) (( ( ( ( ( (( ( ( (( ( ( ( ,( ( ( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ( ( ( ( (2 (( ( (( (( ( (6 ( ( ( ( ( (; ( ( ( (( (( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( )) ) (( ( ) ) ( (( ( ( ( ( (( ( ( (( ( (( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ) ( ( ( (( ( ( (( ( ( (( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( )) ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ) )) (( ( (( ( ( (( )) )) ( (( ( ( ( ( ( ( (( ( ( ( s45v8 AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Boy with a Card House DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera PIETRO LONGHI NomeAutore The confession DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore The Erection of a Statue of the Emperor DescrOpera ('((q(( +q'++q (( ( (( ( (( ( ( ( ( ( $ ('+ ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( ( ( ( ( ( ( q(+'+ ( ( ( ( ( ( ( (( (( ( ( ( ( ( ) ) )) ) ) ) ) a7+!q $!$qq$$ $$#$q(++ +'))+ ++'')' ))'++ ( ) ) (( ( ( ( (( ( ( )( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( (( ( ( (( (( ( ( ( (( ( ( ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( (( ( (( ( (( ( ) ) (( ( ( ( ) ) ( ( ( ( (( ( ( (( ( (( ( (( ( ) ) (( ( ( ( ( ( ) ) (( (( ( ( ( ( ( ( (( ( ( ( ) (( )) (( s45v9 opere acceso AreaPorta objectclass numporta AreaCartello objectclass AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Boy with a Card House DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera R n / AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera PIETRO LONGHI NomeAutore The confession DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore The Erection of a Statue of the Emperor DescrOpera AreaOpera objectclass idopera GIOVANNI BATTISTA PIAZZETTA NomeAutore Susanna and the Elders DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Girl with a Shuttlecock DescrOpera (( (( +( ( ( ( ( ( ( ( ( ( (( ( ( ( +q+'+q ( ( ( ( (( ( (( ( ( ( (( (( ( ( (( (( ( (( ( ((qq((+ ( ( ( ( ( (+q(( ( ( ( ('+(+ ( (( ( ( '++''( ( ( ( ' //023 ( (( ( ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( (( (( ( &&'+' )(( ( ( (( ( ( ( ( ( ( '++- ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( (( (( ( (( ( (( ( ( ( (( ) ) ) ( ( ( ( ( ( ( (( ( (( ( ( ( ( ( (( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( s45v10 AreaCartello objectclass AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Boy with a Card House DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera FRANCESCO GUARDI NomeAutore Capriccio with Arch and Pier and Capriccio with Bridges over a Canal DescrOpera AreaOpera objectclass idopera PIETRO LONGHI NomeAutore The confession DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore The Erection of a Statue of the Emperor DescrOpera AreaOpera objectclass idopera GIOVANNI BATTISTA PIAZZETTA NomeAutore Susanna and the Elders DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Girl with a Shuttlecock DescrOpera AreaOpera objectclass idopera CANALETTO NomeAutore View of Palazzo Ducale in Venice DescrOpera ( ( ( ( %( ( ( ( ( ( ( '( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( ))+ (( ( ( (( ( (( ((' ) ) ) ) ) ) ))++ ) +q ( ( s45v11 AreaOpera objectclass idopera PIETRO LONGHI NomeAutore The confession DescrOpera AreaOpera objectclass idopera GIOVAN BATTISTA TIEPOLO NomeAutore The Erection of a Statue of the Emperor DescrOpera AreaOpera objectclass idopera GIOVANNI BATTISTA PIAZZETTA NomeAutore Susanna and the Elders DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Girl with a Shuttlecock DescrOpera AreaOpera objectclass idopera CANALETTO NomeAutore View of Palazzo Ducale in Venice DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Maria Zeffirina of France as a Child DescrOpera q+q+q++ +q'q+ ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( (( ( ( (( +q'+q ( ( ( (( (( (( ( (( ( (( ( ( ( ( (( (( ( ) 62662 266262 ) ) ) )) ) -+''+ -+''& &''+- &'')() + ) )++- )) '+ ) '++ ' '( 6266/ ( ( ( ( ( ( (( ) ( ( ( (( ( (( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) ( ( ( ( ( (( ( ( ( ( (( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ) ) (( ( ( (( ( ( ( (( ( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( (( (( ( ( ( ( (( ( ( ( ( (( ( (( )) s45v12 AreaOpera objectclass idopera GIOVANNI BATTISTA PIAZZETTA NomeAutore Susanna and the Elders DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera * R / AreaOpera objectclass idopera JEAN BAPTISTE SIM ON CHARDIN NomeAutore Girl with a Shuttlecock DescrOpera AreaOpera objectclass idopera CANALETTO NomeAutore View of Palazzo Ducale in Venice DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Maria Zeffirina of France as a Child DescrOpera AreaOpera objectclass idopera GIUSEPPE MARIA CRESPI NomeAutore The Painter's Family DescrOpera ( ( !( ( ( ( ( ( ( ( ( ( ( (( #( (( ( ( (( ( ( ( ( ( (( ( ( ( (( ( ( ( ( ( ( (( ( ( ( ( ( (( ( (( ( ( ( ( #( ( ( ( (( ( ( ( ( (( ( ( ( (( ( ( ( (( (( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (. (( ( ( ( ( ( ( (( (( ( (: ( ( ( ( ( ( ( ( ( (F ( ( ( ( ( ( ( ( ( (H ( ( (( (( (( ( (( (( ( (( ( ( ( ( ( ( ( ) ) ) ( ( ( ( ( ( ( ( ( ( ( (( ( (( ( ) ) ) (( ( ) ) (( ( (( (( ( ( ( ( ( ) ) ( ( ( ( ( ( ( ( ( ( ) ( ( (( ( (( ( (( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ) (( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ('(( ( (( ( ) s45v13 AreaOpera objectclass idopera GIOVANNI BATTISTA PIAZZETTA NomeAutore Susanna and the Elders DescrOpera AreaOpera objectclass idopera CANALETTO NomeAutore View of Palazzo Ducale in Venice DescrOpera AreaOpera objectclass idopera JEAN-MARC NATTIER NomeAutore Maria Zeffirina of France as a Child DescrOpera AreaOpera objectclass idopera GIUSEPPE MARIA CRESPI NomeAutore The Painter's Family DescrOpera AreaOpera objectclass idopera ROSALBA CARRIERA NomeAutore Flora DescrOpera AreaOpera objectclass idopera OIS - XAVIER FABRE NomeAutore Portrait of Vittorio Alfieri and Portrait of the Countess of Albany DescrOpera ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (( ( ( (( ( ( ( ( ( ( ( ( ( (( ( ( ( ( ( (( ( ( ( ( (+ (( ( ( ( ( (( (5 ( (( (( ( ( ( ( ( ( (8 ( ( ( ( ( ( (; ( (( (( ( ( ( ( ( ( ( ( (? 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Much acclaimed up to the nineteenth century, it wascommissioned by the merchant Jacopo Bongianni, a follower of Savonarola's who probably features in the painting, for the church of Santa Chiara. It bears witness to the period in which Lorenzo di Credi's work reflected that of Fra Bartolomeo and Rapha.a.a.a.Moorish servant to the left of the guards at the back). The flowery field in the foreground with the flask and the rough canvas bag is distinctly reminiscent of Flemish painting.g.erences to Saint Augustine's writings. However, the main figures have traditionally been identified with certain exponents of the de' Medici branch of the Popolani.he members of the de' Medici family as the Three Wise Men. A similar commission was undertaken by Benozzo Gozzoli in the frescoes for the Chapel of the Magi. The Epiphany was a fairly common subject in Florentine painting of the time and Botticelli had already produced two versions of it.t.t. ADORATION OF THE SHEPHERDS (LORENZO DI CREDI) CHARDIN) FRANCIA RAPPRESENTATA COME DIANA (JEAN-MARC NATTIER) dilavoro settestocommento buttonclick buttonclick settestocommento ( num) "dilavoro" dilavoro Cfissatestocommento buttonclick buttonclick fissatestocommento ( num) "dilavoro" commento These nine frescoes were taken down from the loggia at Villa Carducci at Legnaia, near Florence, in 1847. Painted around 1450 by Andrea del Castagno, the cycle also comprised a Madonna and Child flanked by the figures of Adam and Eve, fragments of which are still to be found in situ. The iconographic source of the cycle would appear to be the medieval tradition of portraying famous men to create an example for good moral and civic conduct. Thus there are portrayals of three women of antiquity, originally set in a false niche: Esther, Queen of Persia; Tomiris, Queen of the Shiites; and the Cumaean Sibyl. There are also six men who left their mark on Florentine history and culture: the three condottieri Pippo Spano, Niccol Acciaiuoli and Farinata degli Uberti; and the three poets Dante, Petrarch and Boccaccio. The elegant poses and severe expressions of these characters recall the tangible solidity of the figures painted by Masaccio and Piero della Francesca. Andrea del Castagno thus proves himself to be a master of Renaissance rhetoric. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando -/-/- /66/6 ++'++ '+'++ '+'+' ++-++ '++'++ ++-++ 66//6/6 /6//6 6/6// 6//6/ //6/6//6 //6/6 /6//6 /66/6 //6 / 6//6/6/6 /6/6//6// /6/6/66/6/ /66/66 6//6/ 6/6/6 66/66/ 66/6/6/ 6066/6 6/6/66 //6/6// //6/6/6 6/66/ //6/6/ /6/66 6/6// 6//6/6/ /66/6 6/6/6 66//6//6// 6/6/6//6 //6/6 6/6/6 /6/6/6 62662 /6/6/6//6/ 6//6/6//6 6/6/6/6//6 6/6/6 6/6/6//6/6 6//6//6/6 /6//6 6/6/6/6//6 /6//6/6 6/6/6/6/ 6/6/6/ 6/6/6/6/6/ /6/6// //6/6/6/6 /6//6 /6/6/6/6// 6//66/6/6/ /6/6/6/6/6 /6/6/6/6// 60606 6/6/6 66/6//6// 6/66/66/ 66/6//6 /6/6//6/ /66/6/66/6 /66/6/6/6 6/6//6/6/6 6/6// 606066 6/66/6/66 /6/6/66/6/ 6//6//6/6/ 66/6/6//6/ //6// 262622 /66/66/6/6 /6/6/6/ 6/6// 6/6/6 /6/6/6/6// //6/6 66/6/6/6// 6//6/6/ 6/6/6// 66/6/66//6 /6//6/ //6/6// 6//6/6 /6/66/ /6/6/6/6// 6/6/6//6/ /66/6/6/66 //66/6/6// 6/6/6//6/6 //6/6// 66/6/6/6/ /66/6 6/6//6/6/6 66/66 66/6/ 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helpino 8850,6510 helppos $~ r4 dueautori autore2 nomiautori autore1 settesto settesto autore1 nomiautori autore2 messaggio[25] "nome" Di quale autore vuoi la biografia??? 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IKCIH >?OO?QO?N@ =?NOOQOO 66266 66266266 226226 ?@?OQOPQVO WQ?>OObWcc 2626266 266262 ZOQOVdcfct XROVge`QVb 262626 266266 62626 @OVNPOSO ffWR`eXba` 266266 2662626262 OQQ??@W cf`da 262626 262626 2626262 Ofbaff cebcfcdbcc 26266 N>=@WVN@ 262626626 662262 UUP@L> >PefQ?? 26262 626262 UUVVN= ONVWQQO>O` d`P?f 62622 266266 L<UUVC OZOOd 26262 =LNUU PddccfWOOf cVNXc ;NONN@>NOV bbcbQ 22622 26262 OUOZX cceWcet 62662 W?UbW NNVNUO 22626 62626 626226 26626 626262 262626266 2626262622 26626262 262262 662626 62262662 6/6/6 262622 26262 66/66 26262 262626 6262622 26262 6262662 626262 6626266 6626262622 6626266 66266262 262262 2622626262 662662626 62622622 26626262 2662262626 226262 6/6/6 2662622 cKIKb 2626262 aCKTc 626262 62626262 TFTTb 662626262 bBBTP 22622 62626266 626266 TBPTP 6626626266 TBBFMb 62662 22622 caBMc 262626226 262626 66/66/ 6266266 262662 TPcJI 2626262626 22626 6/6/6 TMTKIMc 626262 66/66 662262622 26262 662662 662662 66262 62262 62662 66/66/ 62626 a_aa__ 2626262 6266262 2662662662 266262 TTP_T BBKPSMTTBB aTMCKTT 262266 66/6/66 BBTJFICB 22622 2662626 6/6/66/ 266262622 MTSBD7 6262262 62622 23626266 22322 /66/6 6262626266 6/6/6 //6/6 66/6/ 26262626 622622 262626 266266262 22626262 66//6 22623 MDIJI 22622 22622622 626266 6626262626 262626 622662 6/6//6 66/66 62626 6/6/6 22636 22332 2662662662 322323632 3232232232 26626 662626262 3633232322 322323223 3262322 3223 2 626626 6226262 6262622 3632236362 32323632 22622 23606 632023 22323 32632422 22626262 /6/6/6/ /66/6 6600626 232636 36363232 32233 226262 66066 66/6/6/ //6/6 2626626 263362 3233636233 6330323 6262626 26266262 603662622 33623 232233 262626 6626262 06066 06062236 03323 3620623 3630233063 2662622 626366 232663 232336363 63602322 26226 06006 233663062 36326 03362233 62626626 66066236 32636 2233632 236363033 22323 626262 620602 66302 26363636 2233232 2323223 6/6/6 626262 06060 603636 00322 22322 3636233 232332 600606 263033 223236363 2363066 262262 62662662 603323 32322363 636322 323223 22622 23363302 322322 26262 3660622322 3262302322 33232 2622626266 2626262 62626266 6266363 6232323 26262626 62662 6060/606 2626626 326033 322422 323323 626626 62662626 600/6 362326 6363223 332323232 3323223 23223 62262 6262626 606/062323 223662 3233232 233232 3263232 6/66/66 6262626 262626226 23223223 23322 6633232232 233233632 322322 226226226 360/006236 236322 323233 332232 32232 26226 66262 66/66 26226 66363 323223 26332323 32332332 26262 26262 36632 33236363 62323223 23323 2262262 626626 2266262622 363322 0603323233 2233203033 633223 3232323 226262 26626 /66/6/ 62322 3220236360 03662 2323363632 323323 226226262 626626 626226262 66362 36363 66366 3232322 6030033263 32232 3263233 32323 26262 626626 33606 0632363232 3233633 22362 6262662 6/66/6 626262 232322 233633 3623233 33633026 66266 06060 603636 00322 22322 232332 26226 62626 66/6/66 62626 600606 263033 223236363 6262626626 /6/6/ 6262626 22622 603323 32322363 66266 262622 6626626 626262262 22622 3660622322 6262632626 22622 62626266 6266363 262626 6060/606 2626626 326033 322422 26226 62626 662626266 26262 6262262 600/6 362326 6363223 26262 236262 626262 606/062323 223662 23232 6262622 626262 6633232232 33233 66266 26626 360/006236 32323 26262 262622 66363 32322 26332 66266 62662 33236363 26262 363322 33060 33223 3203033633 32323 226262626 626262 62622 62322 22622 6262626 66262 66362 36363 603003 32323 6262626262 62262 33606 2363232 32336 22626262 2622626 326223 23232 23363300 3623233 22622 26262 660332 32233 6262262 33233 26262 626626 62662626 3636300 2626623 26262 30300 233232 32322332 226262 2662626 23226 36003 3223232 623323 22622 26262 66266 336336 62662 262626 26266 26262 262622 32330 30033 2626262 626626626 33603 2262262 36226 626262 26226 22622 662626 23236 62626 62626 62626262 626262 223262 626266 26626262 6262626262 62626 32233 626262 2626262 00/600 2626262626 62626 662626 22622 32302 33223233 2626262626 2626262626 2626262 2626262626 2626262 6262626262 2662626 2626262626 2623622626 6262626 33223 262626 266262262 22622 33232 62622 26262 22626 6262626 32332 26262 3232323 2626236 62262 62262 262262 332232 26262 26226262 226223 223262 22622 30300 2262262 26262 cbaPa MLKMTP KJEIHE8 JJIJJ CLMTa MMLC;HH KMJIIEL ;CCLU JLUT/ HEMMUMUbc IEU@C; ;LCC;MC bdbcdbV UPPVB LLPT00 HKMNP CLMUbV IEELU I<LPc VUMVc /0/00 LLFIH KMKCM ;K8LLE8; HGIHGGHFGH 8MLM:C;L <CIH< GF<FH HGEFGG H<HF=H C7KNBL; MM=CL @M99;7E CK9CE LMTJB DLLMM 262622 22622 626622 262266 226226 22622 22622 62622 22622 26262262 62626 622626 262626 626232 22622 6226226 22662 622622 262262 62622 626262 6226262 62622 26226 22626 26622 26226 26262 2262262 6262262326 26262 26262 62626 262262 62626 62262 26623 626262662 2262262 22626 62662 622626 26262 26266 62626 6266226 22662 66266 62622 62266 22622 62626 66262 22626 26262626 62626262 26262622 26226 6226226 IdOpera IdAutore NomeImg NumVista autore PIETRO LORENZETTI = tipoHot ObjectClass rimando titolo The Blessed Humility Altarpiece tipoHot ObjectClass rimando cm 128 x 57 (center), cm 45 x 32 Tempera on wood IdOpera IdAutore NomeImg NumVista autore AMBROGIO LORENZETTI ? tipoHot ObjectClass rimando titolo Stories of Saint Nicholas tipoHot ObjectClass rimando cm 96 x 35 (each panel) Tempera on wood IdOpera IdAutore Frattale NomeImg NumVista autore AMBROGIO LORENZETTI Y tipoHot ObjectClass rimando titolo Presentation at the Templey tipoHot ObjectClass rimando cm 257 x 168 Tempera on wood IdOpera IdAutore NomeImg NumVista autore AMBROGIO LORENZETTI ? tipoHot ObjectClass rimando titolo Madonna and Child with Saints Nicholas and Procolo tipoHot ObjectClass rimando cm 171 x 57 (center), cm 141 x 43 (sides) Tempera on wood ObjectClass IdOpera rimando IdAutore NomeImg autore Presentation of the Virgin in the Temple tipoHot titolo NICCOL DI BONACCORSO tipoHot ObjectClass rimando avola NumVista cm 50 x 34 Tempera on wood rimando rimando IdOpera IdAutore NomeImg autore Madonna and Child tipoHot ObjectClass titolo NICCOL DI SER SOZZO TEGLIACCI tipoHot ObjectClass NumVista cm 85 x 55 Tempera on wood rimando Nativity IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo SIMONE DEI CROCIFISSI tipoHot ObjectClass NumVista cm 47 x 25 Tempera on wood IdOpera IdAutore IdAutore2 Frattale NomeImg Audio NumVista SIMONE MARTINI ,LIPPO MEMMI nomiautori autore SIMONE MARTINI, LIPPO MEMMII tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo Annunciation and Saints tipoHot ObjectClass rimando cm 184 x 210 Tempera on wood IdOpera IdAutore NomeImg NumVista autore WORKSHOP OF BONAVENTURA BERLINGHIERI tipoHot ObjectClass rimando titolo Crucifixion and Madonna and Child with Saintsss tipoHot ObjectClass rimando cm 103 x 122 Tempera on wood rimando IdOpera IdAutore NomeImg autore The Stigmata of Saint Francis tipoHot ObjectClass titolo MAESTRO DEL SAN FRANCESCO BARDI tipoHot mando ObjectClass rimando NumVista cm 81 x 51 Tempera on wood rimando IdOpera rimando IdAutore NomeImg autore Saint Luke the Evangelist tipoHot ObjectClass titolo MAESTRO DELLA MADDALENA tipoHot ObjectClass NumVista cm 132 x 50 Tempera on wood The Rucellai Madonna IdOpera IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass rimando titolo DUCCIO DI BUONINSEGNA tipoHot rimando ObjectClass NumVista cm 450 x 290 Tempera on wood ObjectClass rimando IdOpera IdAutore Frattale NomeImg Audio autore The Ognissanti Madonna tipoHot titolo tipoHot ObjectClass rimando GIOTTO NumVista cm 325 x 204 Tempera on wood IdOpera rimando IdAutore Frattale NomeImg Audio NumVista opere acceso autore Maest (The Santa Trinita Madonna ) tipoHot titolo tipoHot ObjectClass rimando ObjectClass CIMABUE cm 385 x 223 Tempera on wood Badia Polyptych IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GIOTTO NumVista cm 91 x 334 Tempera on wood ObjectClass rimando IdOpera IdAutore NomeImg autore The Redeemer and Four Saints tipoHot mando titolo tipoHot ObjectClass rimando MELIORE DI JACOPO NumVista cm 85 x 210 Tempera on wood IdOpera IdAutore NomeImg NumVista opere acceso autore FLORENTINE SCHOOL OF THE MID 13TH CENTURY tipoHot ObjectClass rimando titolo Madonna and Child tipoHot ObjectClass rimando cm 98 x 60 Tempera on wood IdOpera IdAutore NomeImg NumVista autore LUCCAN SCHOOL OF THE MID 12TH CENTURYU tipoHot ObjectClass rimando titolo Crucifix with Stories of the Passion tipoHot ObjectClass rimando cm 247 x 200 Tempera on wood LUCCAN SCHOOL OF THE MID 12TH CENTURY IdOpera IdAutore NomeImg NumVista autore PISAN SCHOOL OF THE LATE 12TH CENTURY tipoHot ObjectClass rimando titolo Crucifix with Stories of the Passion tipoHot ObjectClass rimando cm 377 x 231 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando GIOTTINO NumVista cm 195 x 134 Tempera on wood Crucifixion IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando AGNOLO GADDI cm 59 x 77 Tempera on wood Ognissanti Triptych IdOpera IdAutore NomeImg autore activate tipoHot ObjectClass titolo tipoHot ObjectClass rimando BERNARDO DADDI rimando NumVista cm 144 x 194 Tempera on wood IdOpera IdAutore NomeImg NumVista autore BERNARDO DADDI tipoHot ObjectClass rimando titolo Madonna and Child Enthroned with Angels and Saints tipoHot ObjectClass rimando cm 56 x 26 Tempera on wood tipoHot IdOpera IdAutore NomeImg autore ObjectClass rimando cm 165 x 85 (centar), cm 127 x 42 (each sides), cm 31 x 17 (each panel of the cusp) Tempera on wooddddon wood titolo ObjectClass rimando San Pancrazio Polyptych BERNARDO DADDI tipoHot NumVista ObjectClass rimando IdOpera IdAutore NomeImg autore Madonna and Child Enthroned tipoHot titolo tipoHot ObjectClass rimando TADDEO GADDI NumVista cm 154 x 80 Tempera on wood IdOpera IdAutore NomeImg NumVista autore activate GIOVANNI DA MILANO tipoHot ObjectClass rimando titolo activate Ognissanti Polyptych tipoHot ObjectClass rimando activate cm 132 x 39 (each panel), cm 49 x 39 (each predella section) Tempera on wood IdOpera IdAutore NomeImg NumVista autore JACOPO DEL CASENTINO tipoHot ObjectClass rimando titolo Madonna Enthroned and Saintsa tipoHot ObjectClass rimando cm 39 x 42 Tempera on wood Crucifixion IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando NARDO DI CIONE rimando NumVista cm 145 x 71 Tempera on wood IdOpera IdAutore NomeImg NumVista autore DOMENICO GHIRLANDAIO tipoHot ObjectClass rimando titolo Madonna and Child between Saints and Angelsss tipoHot ObjectClass rimando cm 168 x 197 Tempera on wood IdOpera IdAutore NomeImg NumVista autore MAESTRO DELLA SANTA CECILIA G tipoHot ObjectClass rimando titolo Saint Cecilia and Eight Scenes from her Lifeee tipoHot ObjectClass rimando cm 85 x 181 Tempera on wood IdOpera IdAutore IdAutore2 NomeImg NumVista ANDREA ORCAGNA ,JACOPO DI CIONE nomiautori autore ANDREA ORCAGNA, JACOPO DI CIONE tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo Saint Matthew and the Stories from his Life tipoHot ObjectClass rimando cm 291 x 265 Tempera on wood Madonna and Child IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando JACOPO BELLINI cm 69 x 49 Tempera on wood IdOpera IdAutore NomeImg NumVista opere acceso autore GIOVANNI DI PAOLO [ tipoHot ObjectClass rimando titolo Madonna and Child with Saints tipoHot ObjectClass rimando cm 247 x 212 Tempera on wood IdOpera IdAutore NomeImg NumVista autore GENTILE DA FABRIANO A tipoHot ObjectClass rimando titolo Four Saints from the Quaratesi Polyptycho tipoHot ObjectClass rimando cm 200 x 60 (each panel) Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista autore GENTILE DA FABRIANO q tipoHot ObjectClass rimando titolo Adoration of the Magi tipoHot ObjectClass rimando cm 300 x 282 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Coronation of the Virgin tipoHot titolo tipoHot ObjectClass rimando mando LORENZO MONACO cm 450 x 350 Tempera on wood IdOpera IdAutore IdAutore2 NomeImg NumVista LORENZO MONACO ,COSIMO ROSSELLI nomiautori autore LORENZO MONACO, COSIMO ROSSELLI tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo Adoration of the Magi tipoHot ObjectClass rimando cm 115 x 177 Tempera on wood LORENZO MONACO, COSIMO ROSSELLI Madonna of Humility IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando MASOLINO cm 110,5 x 62 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore The Thebaid tipoHot ObjectClass titolo GHERARDO STARNINA tipoHot ObjectClass rimando cm 80 x 216 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Coronation of the Virgin tipoHot titolo tipoHot ObjectClass rimando mando FRA ANGELICO cm 112 x 114 Tempera on wood Madonna and Child IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando FRA ANGELICO cm 134 x 59 Tempera on wood rimando IdOpera IdAutore Frattale NomeImg autore Madonna Enthroned and Saints tipoHot ObjectClass titolo DOMENICO GHIRLANDAIO tipoHot ObjectClass rimando tavola NumVista cm 190 x 200 Tempera on wood Adoration of the Magi IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass rimando titolo DOMENICO GHIRLANDAIO tipoHot ObjectClass rimando tavola diam. cm 172 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Madonna of the Rose Garden tipoHot titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando tavola cm 124 x 64 Tempera on wood ObjectClass rimando IdOpera rimando IdAutore NumVista NomeImg autore Madonna and Child in Glory tipoHot titolo SANDRO BOTTICELLI tipoHot ObjectClass Tempera on wood cm 120 x 65 Tempera on wood rimando IdOpera IdAutore NomeImg autore Sant'Ambrogio Altarpiece tipoHot ObjectClass titolo tipoHot ObjectClass rimando SANDRO BOTTICELLI NumVista cm 170 x 194 Tempera on wood IdOpera IdAutore NomeImg NumVista autore SANDRO BOTTICELLI A tipoHot ObjectClass rimando titolo Portrait of a Man with a Medal of Cosimo de' Medici tipoHot ObjectClass rimando cm 57,5 x 44 Tempera on wood Adoration of the Magi IdOpera IdAutore Audio NomeImg autore tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando rimando NumVista cm 111 x 134 Tempera on wood IdOpera IdAutore NomeImg NumVista autore DOMENICO VENEZIANO tipoHot ObjectClass rimando titolo Santa Lucia dei Magnoli Altarpiecei tipoHot ObjectClass rimando cm 209 x 216 Tempera on wood IdOpera IdAutore NomeImg NumVista autore MASACCIO tipoHot ObjectClass rimando titolo Madonna and Child tipoHot ObjectClass rimando cm 24,5 x 18,2 Tempera on wood IdOpera IdAutore IdAutore2 Frattale NomeImg NumVista MASOLINO ,MASACCIO nomiautori autore MASOLINO, MASACCIOO tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo Saint Anne Metterza tipoHot ObjectClass rimando cm 175 x 103 Tempera on wood IdOpera IdAutore Frattale NomeImg NumVista autore PAOLO UCCELLO W tipoHot ObjectClass rimando titolo The Battle of San Romanou tipoHot ObjectClass rimando cm 182 x 220 Tempera on wood Temp false verso verso enterpage verso IdOpera IdAutore Frattale NomeImg 2,7,10,11, verso 2,7,10,11, doppio Audio NumVista autore PIERO DELLA FRANCESCA tipoHot ObjectClass rimando titolo Diptych of the Duke and Duchess of Urbino tipoHot ObjectClass rimando cm 47 x 33 (each panel) Tempera on wood verso close wquadro verso Open false Window wquadro position 0, 8nomeimg Play wquadro PathImg verso alias wquadro style child tagli\ts TbkBitmap buttonclick nella pagina verso buttonclick (nomeimg &"v") TbkBitmap("close wquadro") 4PathImg &"tagli\ts"& p & ".bmp" DOpen "& &" alias G style child") ypos Window 0,"& p) Play false verso verso ObjectClass bUUaT PNOMTNUbPP U@TTOT false rimando IdOpera IdAutore NumVista NomeImg autore Madonna and Child with Saints tipoHot ObjectClass titolo ALESSIO BALDOVINETTI tipoHot ObjectClass rimando tavola cm 176 x 166 Tempera on wood Annunciation IdOpera IdAutore Frattale NomeImg autore tipoHot ObjectClass rimando titolo ALESSIO BALDOVINETTI tipoHot rimando ObjectClass NumVista cm 167 x 137 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore The Raising of Lazarus tipoHot ObjectClass titolo tipoHot ObjectClass rimando NICOLAS FROMENT cm 175 x 200 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Madonna and Child with Saints tipoHot titolo tipoHot ObjectClass rimando FILIPPO LIPPI cm 196 x 196 Tempera on wood IdOpera IdAutore NomeImg NumVista autore FILIPPO LIPPI ; tipoHot ObjectClass rimando titolo AnnunciationM tipoHot ObjectClass rimando cm 57 x 24 (each panel) Tempera on wood ObjectClass rimando IdOpera IdAutore Frattale NomeImg Audio autore Coronation of the Virgin tipoHot mando titolo tipoHot ObjectClass rimando FILIPPO LIPPI NumVista cm 200 x 287 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore The Barbadori Altarpiece Predella tipoHot titolo tipoHot ObjectClass rimando FILIPPO LIPPI cm 40 x 235 Tempera on wood tipoHot IdOpera IdAutore NomeImg autore Adoration of the Child with Saints Joseph, Jerome, Mary Magdalene and Hilarion ObjectClass titolo tipoHot ObjectClass rimando FILIPPO LIPPI rimando NumVista cm 137 x 134 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Adoration of the Child with Saints tipoHot titolo tipoHot ObjectClass rimando FILIPPO LIPPI cm 140 x 130 Tempera on wood IdOpera IdAutore NomeImg autore Predella with Stories of the Saints tipoHot rimando titolo tipoHot ObjectClass rimando mando PESELLINO NumVista ObjectClass cm 32 x 144 Tempera on wood Madonna and Saints IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando VECCHIETTA NumVista cm 156 x 230 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore Madonna of the Magnificat tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando tavola diam. cm 118 Tempera on wood Primavera rimando IdOpera IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot rimando ObjectClass NumVista cm 203 x 314 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista opere acceso autore SANDRO BOTTICELLI tipoHot ObjectClass rimando titolo The Birth of Venus tipoHot ObjectClass rimando cm 172,5 x 278,5 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore Pallas and the Centaur tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando tela cm 207 x 148 Tempera on canvas IdOpera IdAutore NomeImg Audio NumVista autore SANDRO BOTTICELLI W tipoHot ObjectClass rimando titolo Madonna of the Pomegranatew tipoHot ObjectClass rimando diam. cm 143,5 Tempera on wood Oil on IdOpera IdAutore NomeImg NumVista autore SANDRO BOTTICELLI C tipoHot ObjectClass rimando titolo Saint Barnabas Altarpiece tipoHot ObjectClass rimando cm 268 x 280 (pala) Tempera on wood IdOpera IdAutore NomeImg NumVista autore SANDRO BOTTICELLI C tipoHot ObjectClass rimando titolo AnnunciationU tipoHot ObjectClass rimando cm 150 x 156 Tempera on wood ctCl IdOpera IdAutore NomeImg NumVista autore SANDRO BOTTICELLI C tipoHot ObjectClass rimando titolo San Marco Altarpiece] tipoHot ObjectClass rimando cm 378 x 258 (pala) Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Saint Augustine in his Study tipoHot mando titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando cm 41 x 27 Tempera on wood Calumny rimando IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot rimando ObjectClass cm 62 x 91 Tempera on wood Portinari Triptych IdOpera IdAutore Frattale NomeImg Audio 3,7,10,11,12 verso 3,7,10,11,12 doppio autore tipoHot ObjectClass titolo HUGO VAN DER GOES tipoHot ObjectClass rimando rimando NumVista opere acceso cm 253 x 586 Oil on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Madonna and Child with Two Angels tipoHot titolo tipoHot ObjectClass rimando FILIPPO LIPPI cm 95 x 62 Tempera on wood IdOpera IdAutore NomeImg NumVista autore FILIPPINO LIPPI = tipoHot ObjectClass rimando titolo Saint JeromeO tipoHot ObjectClass rimando cm 136 x 71 Tempera on wood Temper 9 The Otto Altarpiece IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando FILIPPINO LIPPI cm 355 x 255 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore Adoration of the Child tipoHot ObjectClass titolo tipoHot ObjectClass rimando FILIPPINO LIPPI cm 96 x 71 Tempera on wood Adoration of the Magi IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando FILIPPINO LIPPI cm 258 x 243 Tempera on wood Fortitude rimando IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo SANDRO BOTTICELLI tipoHot rimando ObjectClass cm 167 x 87 Tempera on wood IdOpera IdAutore NomeImg NumVista autore SANDRO BOTTICELLI ? tipoHot ObjectClass rimando titolo The Return of Judith from the Enemy Camp tipoHot ObjectClass rimando cm 31 x 24 Tempera on wood ObjectClass IdOpera rimando IdAutore Audio NomeImg autore The Discovery of the Body of Holofernes tipoHot titolo SANDRO BOTTICELLI tipoHot ObjectClass rimando NumVista cm 31 x 25 Tempera on wood Ahasuerus's Banquet IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass rimando titolo JACOPO DEL SELLAIO tipoHot ObjectClass rimando avola cm 45 x 63 Tempera on wood rimando IdOpera IdAutore NumVista NomeImg autore Portrait of a Young Man tipoHot ObjectClass titolo tipoHot ObjectClass rimando LORENZO DI CREDI cm 53 x 35 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PIERO DEL POLLAIOLO A tipoHot ObjectClass rimando titolo Charity tipoHot ObjectClass rimando cm 167 x 88 Tempera on wood Temperance IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass rimando titolo PIERO DEL POLLAIOLO tipoHot rimando ObjectClass cm 167 x 88 Tempera on wood Portrait of a Woman IdOpera rimando IdAutore Audio NomeImg autore tipoHot ObjectClass rimando titolo ANTONIO DEL POLLAIOLO tipoHot ObjectClass NumVista cm 55 x 34 Tempera on wood IdOpera IdAutore IdAutore2 NomeImg NumVista ANTONIO DEL POLLAIOLO ,PIERO DEL POLLAIOLO nomiautori autore ANTONIO DEL POLLAIOLO, PIERO DEL POLLAIOLO tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo Saints Vincent, James and Eustace tipoHot ObjectClass rimando cm 172 x 179 Tempera on wood IdOpera IdAutore NomeImg NumVista autore ANTONIO DEL POLLAIOLO C tipoHot ObjectClass rimando titolo Heracles and Antaeus and Heracles and the Hydra tipoHot ObjectClass rimando cm 16 x 9, cm 17 x 12 Tempera on woodd ObjectClass IdOpera rimando IdAutore NumVista NomeImg autore Portrait of Galeazzo Maria Sforza tipoHot titolo PIERO DEL POLLAIOLO tipoHot ObjectClass rimando cm 65 x 42 Tempera on wood Annunciation IdOpera rimando IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando LEONARDO NumVista cm 98 x 217 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista opere acceso 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IdOpera IdAutore IdAutore2 Frattale NomeImg NumVista VERROCCHIO ,LEONARDO nomiautori autore VERROCCHIO, LEONARDOO tipoHot ObjectClass rimando tipoHot ObjectClass rimando titolo The Baptism of Christ tipoHot ObjectClass rimando cm 180 x 152 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PIERO DI COSIMO A tipoHot ObjectClass rimando titolo Incarnation tipoHot ObjectClass rimando cm 206 x 172 Oil on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Adoration of the Shepherds tipoHot titolo tipoHot ObjectClass rimando LORENZO DI CREDI cm 224 x 196 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore The Crucified with Mary Magdalene tipoHot titolo tipoHot ObjectClass rimando LUCA SIGNORELLI cm 247 x 165 Tempera on canvas ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Madonna and Child with Saints tipoHot titolo tipoHot ObjectClass rimando PERUGINO cm 178 x 164 Tempera on wood Christ in the Garden IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando PERUGINO cm 166 x 171 Oil on wood rimando IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass PERUGINO cm 168 x 176 Tempera on wood rimando acceso IdOpera IdAutore Frattale NomeImg autore Deposition tipoHot ObjectClass titolo ROGIER VAN DER WEYDEN tipoHot ObjectClass NumVista opere rimando cm 110 x 96 Tempera on wood IdOpera IdAutore NomeImg Audio NumVista autore FRANCESCO BOTTICINI Y tipoHot ObjectClass rimando titolo The Three Archangelss tipoHot ObjectClass rimando cm 153 x 154 Tempera on wood Tempera ObjectClass rimando IdOpera IdAutore NomeImg Audio autore Portrait of Lorenzo the Magnificent tipoHot titolo tipoHot ObjectClass rimando GIORGIO VASARI NumVista cm 90 x 72 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista autore PontormoMO titolo Portrait of Cosimo de' Medici tipoHot ObjectClass rimando cm 86 x 65 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PONTORMOMO titolo Madonna and Child with the Young Saint John tipoHot ObjectClass rimando cm 89 x 74 Tempera on wood rimando Charity IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo CECCHINO SALVIATI tipoHot ObjectClass NumVista rimando cm 156 x 122 Tempera on wood IdOpera IdAutore Frattale NomeImg 2,8,10,11, verso 2,8,10,11, doppio Audio NumVista autore BRONZINO tipoHot ObjectClass rimando titolo Portraits of Bartolomeo and Lucrezia tipoHot ObjectClass rimando cm 104 x 84 and cm 102 x 85 Tempera on wood rimando IdOpera IdAutore NomeImg autore Saint John the Baptist in the Desert tipoHot titolo tipoHot ObjectClass rimando ObjectClass RAPHAEL NumVista cm 165 x 147 Oil on canvas Madonna of the Well IdOpera rimando IdAutore NomeImg NumVista autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando FRANCIABIGIO cm 106 x 81 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista autore ROSSO FIORENTINO tipoHot ObjectClass rimando titolo Angel Making Music tipoHot ObjectClass rimando cm 39 x 47 Tempera on wood cm 68 K IdOpera IdAutore Frattale NomeImg Audio NumVista autore BRONZINO tipoHot ObjectClass rimando titolo Portrait of Eleonora of Toledo with her Son Giovanni tipoHot ObjectClass rimando cm 115 x 96 Tempera on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Giovanni de' Medici tipoHot titolo tipoHot ObjectClass rimando BRONZINO Audio NumVista cm 58 x 45,6 Tempera on wood ObjectClass IdOpera IdAutore NomeImg autore Portrait of Bia de' Medici tipoHot titolo tipoHot ObjectClass rimando rimando BRONZINO NumVista cm 63 x 48 Tempera on wood ObjectClass IdOpera IdAutore NomeImg autore Portrait of Cosimo I de' Medici tipoHot titolo tipoHot ObjectClass rimando rimando BRONZINO NumVista cm 71 x 57 Tempera on wood ObjectClass IdOpera IdAutore NomeImg autore Portrait of Maria de' Medici tipoHot titolo tipoHot ObjectClass rimando rimando BRONZINO NumVista cm 52,5 x 38 Tempera on wood IdOpera IdAutore NomeImg NumVista autore BRONZINO tipoHot ObjectClass rimando titolo Portrait of Francesco I de' Medicia tipoHot ObjectClass rimando cm 58,5 x 41,5 Tempera on wood ANNI IdOpera tipoHot IdAutore NomeImg NumVista autore Portrait of Bianca Cappello titolo tipoHot ObjectClass rimando ALESSANDRO ALLORI ObjectClass rimando cm 75 x 52 Fresco IdOpera IdAutore NomeImg NumVista autore ANDREA DEL SARTO tipoHot ObjectClass rimando titolo Portrait of an Unknown Woman Holding a Volume of Petrarch tipoHot ObjectClass rimando cm 87 x 69 Tempera on wood ObjectClass rimando IdOpera IdAutore NomeImg autore The Massacre of the Innocents tipoHot titolo DANIELE DA VOLTERRA tipoHot ObjectClass rimando avola NumVista cm 51 x 42 Tempera on wood rimando IdOpera IdAutore NomeImg autore Portrait of an Unknown Man tipoHot ObjectClass titolo RIDOLFO DEL GHIRLANDAIO tipoHot rimando ObjectClass NumVista cm 43 x 33,5 Tempera on wood IdOpera IdAutore NomeImg Audio NumVista opere acceso autore PONTORMOMO titolo Leda and the Swan 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autore tipoHot ObjectClass titolo tipoHot ObjectClass LORENZO DI CREDI cm 151 x 69 Oil on canvas Annunciation IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando LORENZO DI CREDI cm 88 x 71 Tempera on wood The Holy Family IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando LUCA SIGNORELLI diam. cm 124 Tempera on wood IdOpera IdAutore NomeImg NumVista autore LUCA SIGNORELLI ? tipoHot ObjectClass rimando titolo Madonna and Child with Figuresc tipoHot ObjectClass rimando cm 170 x 117,5 Tempera on wood IdOpera IdAutore Frattale NomeImg autore Portrait of Francesco delle Opere tipoHot rimando titolo tipoHot ObjectClass rimando ObjectClass PERUGINO NumVista cm 52 x 44 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of an Unknown Man tipoHot titolo tipoHot ObjectClass rimando PERUGINO cm 37 x 26 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PERUGINO tipoHot ObjectClass rimando titolo Portraits of Don Biagio Milanesi and Baldassarre of Vallombrosa tipoHot ObjectClass rimando cm 28,5 x 26,5 and 26 x 27 Tempera on wood Crucifixion IdOpera rimando IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando MARCO PALMEZZANO cm 112 x 90 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore The Liberation of Andromeda tipoHot titolo tipoHot ObjectClass rimando PIERO DI COSIMO cm 70 x 123 Oil on wood IdOpera IdAutore Frattale NomeImg 2,9,13,14, verso 2,9,13,14, doppio autore ANDREA DEL CASTAGNO tipoHot ObjectClass rimando titolo Illustrious Men tipoHot ObjectClass rimando Height about 150 cm (each panel) Detached frescoes mounted on canvas) Detached frescoes mounted on canvass IdOpera IdAutore NomeImg NumVista autore LUCAS CRANACH THE ELDER I tipoHot ObjectClass rimando titolo Adam and Eve[ tipoHot ObjectClass rimando cm 172 x 63 Oil on wood 1 x 16 IdOpera IdAutore NomeImg NumVista autore LUCAS CRANACH THE ELDER I tipoHot ObjectClass rimando titolo Portraits of Martin Luther and His Wife Caterina Bora tipoHot ObjectClass rimando cm 36,5 x 23 and cm 37 x 23 Oil on wood IdOpera IdAutore NomeImg NumVista autore LUCAS CRANACH THE ELDER G tipoHot ObjectClass rimando titolo Portraits of Frederick III The Wise and Johann I, Electors of Saxony tipoHot ObjectClass rimando cm 20 x 15 (each) Oil on wood IdOpera IdAutore NomeImg NumVista autore LUCAS CRANACH THE ELDER G tipoHot ObjectClass rimando titolo Portraits of Martin Luther and Filippo Melantone tipoHot ObjectClass rimando cm 21 x 16 Oil on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of Lucas Cranach the Elder tipoHot titolo LUCAS CRANACH THE YOUNGER tipoHot ObjectClass rimando Oil on wood cm 64 x 49 Oil on wood IdOpera IdAutore NomeImg NumVista autore HANS BALDUNG GRIEN tipoHot ObjectClass rimando titolo Adam and Eve tipoHot ObjectClass rimando cm 212 x 85 (each) Oil on wood 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IdAutore NumVista NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando cm 62 x 42 Oil on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of the Artist's father tipoHot titolo tipoHot ObjectClass rimando cm 47,5 x 39,5 Oil on wood IdOpera IdAutore NomeImg NumVista autore RER 5 tipoHot ObjectClass rimando titolo The Apostle Saints James and Philip tipoHot ObjectClass rimando cm 46 x 37 and cm 45 x 38 Tempera on canvas Adoration of the Magi IdOpera rimando IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando NumVista cm 99 x 113,5 Oil on wood IdOpera IdAutore NomeImg NumVista autore RER 5 tipoHot ObjectClass rimando titolo Madonna and Child with a Pear tipoHot ObjectClass rimando cm 43 x 31 Oil on wood 68 x ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of an Unknown Young Man tipoHot titolo tipoHot ObjectClass rimando mando GIOVANNI BELLINI cm 31 x 26 Oil on wood Sacred Allegory IdOpera rimando IdAutore Frattale NomeImg Audio autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GIOVANNI BELLINI NumVista cm 73 x 119 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg NumVista autore Lamentation on the Dead Christ tipoHot titolo tipoHot ObjectClass rimando mando GIOVANNI BELLINI cm 74 x 118 Tempera on wood IdOpera IdAutore NomeImg NumVista autore VITTORE CARPACCIO C tipoHot ObjectClass rimando titolo Group of Soldiers and Characters in Oriental Costume tipoHot ObjectClass rimando cm 68 x 42 Oil on canvas IdOpera IdAutore NomeImg NumVista autore VITTORE CARPACCIO A tipoHot ObjectClass rimando titolo Sibyl and Prophet tipoHot ObjectClass rimando cm 186 x 87 (each)) Oil on canvas rimando IdOpera IdAutore NumVista NomeImg autore Saint Ludovic of Toulouse tipoHot ObjectClass titolo BARTOLOMEO VIVARINI tipoHot ObjectClass rimando avola cm 68 x 36 Tempera on wood Madonna and Child IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass rimando titolo CIMA DA CONEGLIANO tipoHot ObjectClass rimando avola cm 66 x 57 Tempera on wood ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of a Captain and Equerry tipoHot titolo tipoHot ObjectClass rimando GIORGIONE cm 90 x 73 Oil on canvas IdOpera IdAutore Frattale NomeImg 2,9,10,11, verso 2,9,10,11, doppio NumVista autore GIORGIONE tipoHot ObjectClass rimando titolo Moses Undergoes Trial by Fire and The Judgment of Solomon tipoHot ObjectClass rimando cm 89 x 72 (each) Oil on wood IdOpera IdAutore NomeImg NumVista autore TURA tipoHot ObjectClass rimando titolo Saint Dominic tipoHot ObjectClass rimando cm 51 x 32 Tempera on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Giovanni Bentivoglio tipoHot titolo tipoHot ObjectClass rimando LORENZO COSTA NumVista cm 55 x 49 Tempera on wood IdOpera IdAutore Frattale NomeImg 2,9,10,11, verso 2,9,10,11, doppio NumVista autore ALBRECHT ALTDORFER tipoHot ObjectClass rimando titolo The Departure and Martyrdom of Saint Florian tipoHot ObjectClass rimando cm 81,4 x 67 and cm 76,4 x 67,2 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Sir Richard Southwell tipoHot mando titolo tipoHot ObjectClass rimando HANS HOLBEIN THE YOUNGER NumVista cm 47,5 x 38 Oil on wood IdOpera IdAutore NomeImg NumVista autore HANS HOLBEIN THE YOUNGER tipoHot ObjectClass rimando titolo Portrait of a Man, said to be Thomas More tipoHot ObjectClass rimando cm 42 x 36 Oil on wood ined i IdOpera IdAutore NomeImg NumVista autore MASTER OF THE BARONCELLI PORTRAITS tipoHot ObjectClass rimando titolo Portraits of Pierantonio Baroncelli and Maria Bonciani tipoHot ObjectClass rimando cm 56 x 31(each panel) Oil on wood rimando IdOpera IdAutore NomeImg autore Madonna and Child with Saints tipoHot ObjectClass titolo MASTER OF HOOGSTRATEN tipoHot ObjectClass rimando NumVista cm 84 x 70 Oil on canvas Adoration of the Magi IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando RARD DAVID NumVista cm 95 x 80 Tempera on canvas IdOpera IdAutore NomeImg NumVista autore HANS MEMLING tipoHot ObjectClass rimando titolo Saint Benedict and a Portrait of Benedetto Portinari tipoHot ObjectClass rimando cm 45,5 x 34,5 and cm 45 x 34 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of an Unknown Man tipoHot titolo tipoHot ObjectClass rimando HANS MEMLING NumVista cm 38 x 27 Oil on wood ObjectClass rimando NumVista IdOpera IdAutore NomeImg autore Portrait of an Unknown Man tipoHot titolo tipoHot ObjectClass rimando HANS MEMLING cm 35 x 26 Oil on wood IdOpera IdAutore NomeImg NumVista autore HANS MEMLING tipoHot ObjectClass rimando titolo Madonna Enthroned with Child and Two Angels tipoHot ObjectClass rimando cm 57 x 42 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of a Young Man tipoHot mando titolo tipoHot ObjectClass rimando GEORG PENCZ NumVista cm 91 x 70 Oil on wood IdOpera IdAutore NomeImg Audio NumVista 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tipoHot ObjectClass rimando ALESSANDRO ARALDI NumVista cm 46,5 x 35 Tempera on wood Gypsy Girl IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass BOCCACCINO rimando NumVista cm 24 x 19 Tempera on wood Narcissus at the Pool IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando GIOVANNI ANTONIO BOLTRAFFIO NumVista cm 19 x 31 Tempera on wood Herodias rimando IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass BERNARDINO LUINI NumVista cm 51 x 58 Tempera on wood IdOpera IdAutore NomeImg NumVista autore GIAN FRANCESCO MAINERI tipoHot ObjectClass rimando titolo Christ Bearing the Crossg tipoHot ObjectClass rimando cm 50 x 42 Oil on wood IdOpera IdAutore Frattale NomeImg 3,7,10,11,12 verso 3,7,10,11,12 doppio Audio NumVista autore ANDREA MANTEGNA tipoHot ObjectClass rimando titolo Triptych with the Epiphany, the Circumcision and the Ascension tipoHot ObjectClass rimando cm 86 x 161,5 Tempera on wood Madonna of the Quarry IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ANDREA MANTEGNA NumVista cm 29 x 21,5 Tempera on wood IdOpera IdAutore NomeImg NumVista autore ANDREA MANTEGNA A tipoHot ObjectClass rimando titolo Portrait of a Man tipoHot ObjectClass rimando cm 40,5 x 29,5 Tempera on wood x 1950 IdOpera IdAutore NomeImg NumVista autore MARIOTTO ALBERTINELLI E tipoHot ObjectClass rimando titolo VisitationU tipoHot ObjectClass rimando cm 232 x 146 (Visitation), 23 x 150 (predella) Tempera on wood IdOpera IdAutore NomeImg NumVista autore FRANCESCO GRANACCI tipoHot ObjectClass rimando titolo Joseph Presents His Father and Brothers to the Pharaoh and Joseph Led to Prison tipoHot ObjectClass rimando cm 95 x 224 and cm 96 x 130 Tempera on wood Madonna and Child IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ALONSO BERRUGUETE NumVista cm 89 x 64 Tempera on wood ObjectClass 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".bmp" DOpen "& &" alias G style child") ypos Window 0,"& p) Play false verso verso ObjectClass bUUaT PNOMTNUbPP U@TTOT false IdOpera IdAutore Frattale NomeImg Audio NumVista autore MICHELANGELO tipoHot ObjectClass rimando titolo Doni Tondo (Sacred Family with the Young Saint John) tipoHot ObjectClass rimando cm 120 diam. Tempera on wood IdOpera IdAutore NomeImg NumVista autore ANDREA DEL SARTO tipoHot ObjectClass rimando titolo Portrait of an Unknown Woman with a Basket of Spindles tipoHot ObjectClass rimando cm 76 x 54 Tempera on wood rimando IdOpera IdAutore Frattale NomeImg autore Madonna of the Harpies tipoHot ObjectClass titolo tipoHot ObjectClass rimando ANDREA DEL SARTO NumVista cm 207 x 178 Tempera on wood IdOpera IdAutore NomeImg NumVista autore ANDREA DEL SARTO tipoHot ObjectClass rimando titolo Vallombrosa Altarpiece] tipoHot ObjectClass rimando 23,5 x 89,5 (left predella), 23,5 x 91,5 (right predella) Tempera on wood IdOpera IdAutore NomeImg NumVista autore FRANCIABIGIO tipoHot ObjectClass rimando titolo Portrait of a Young Man tipoHot ObjectClass rimando cm 60 x 47 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PULIGO tipoHot ObjectClass rimando titolo Portrait of Piero Carnesecchi[ tipoHot ObjectClass rimando cm 59,5 x 39,5 Tempera on wood cm 86 0 tipoHot IdOpera IdAutore NomeImg autore Portrait of an Unknown Man, said to be Francesco Maria della Rovere titolo tipoHot ObjectClass rimando ObjectClass rimando mando RAPHAEL NumVista cm 48 x 35,5 Tempera on wood IdOpera IdAutore NomeImg NumVista autore RAPHAEL 7 tipoHot ObjectClass rimando titolo Portrait of Elisabetta Gonzaga[ tipoHot ObjectClass rimando cm 52,5 x 37,3 Tempera on wood 1 x 980 Self-Portrait IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass RAPHAEL NumVista rimando cm 47,5 x 33 Tempera on wood IdOpera IdAutore NomeImg NumVista autore RAPHAEL 7 tipoHot ObjectClass rimando titolo Portrait of Guidobaldo da Montefeltro tipoHot ObjectClass rimando cm 70,5 x 49,9 Tempera on wood ObjectClass IdOpera IdAutore NomeImg autore Portrait of Giulio II tipoHot titolo tipoHot ObjectClass rimando rimando RAPHAEL NumVista cm 108,5 x 80 Tempera on wood IdOpera IdAutore Frattale NomeImg NumVista autore RAPHAEL S tipoHot ObjectClass rimando titolo Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi tipoHot ObjectClass rimando cm 155,5 x 119,5 Tempera on wood ObjectClass rimando IdOpera IdAutore Frattale NomeImg Audio autore Madonna of the Goldfinch tipoHot titolo tipoHot ObjectClass rimando RAPHAEL NumVista cm 107 x 77 Tempera on wood Deposition IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass BACCHIACCA rimando NumVista cm 93 x 71 Tempera on wood ObjectClass IdOpera IdAutore NomeImg autore Lamentation on the Dead Christ tipoHot titolo tipoHot ObjectClass rimando rimando BRONZINO NumVista cm 105 x 100 Tempera on wood Pygmalion and Galatea IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando BRONZINO NumVista cm 81 x 64 Tempera on wood IdOpera IdAutore Frattale NomeImg NumVista autore BRONZINO tipoHot ObjectClass rimando titolo The Holy Family with the Young Saint John tipoHot ObjectClass rimando cm 117 x 93 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PONTORMOMO titolo Portrait of a Musician tipoHot ObjectClass rimando cm 88 x 67 Tempera on wood f a 0 IdOpera IdAutore NomeImg NumVista autore PONTORMOMO titolo Saint Anthony Abbot tipoHot ObjectClass rimando cm 78 x 66 Oil on canvas IdOpera IdAutore NomeImg NumVista autore PONTORMOMO titolo Portrait of Maria Salviati tipoHot ObjectClass rimando cm 87 x 71 Tempera on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Madonna and Child with Saints tipoHot titolo tipoHot ObjectClass rimando mando MIRABELLO CAVALORI NumVista cm 73 x 61 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PONTORMOMO titolo Nativity of Saint John tipoHot ObjectClass rimando diam. cm 59 Tempera on wood IdOpera IdAutore NomeImg Audio NumVista autore PONTORMOMO titolo Supper at Emmaus tipoHot ObjectClass rimando cm 230 x 173 Oil on canvas IdOpera IdAutore NomeImg Audio NumVista autore ROSSO FIORENTINO tipoHot ObjectClass rimando titolo Moses Defending the Daughters of Jethro tipoHot ObjectClass rimando cm 160 x 117 Oil on canvas IdOpera IdAutore NomeImg NumVista autore PALMA IL VECCHIO tipoHot ObjectClass rimando titolo The Holy Family with the Young Saint John and Mary Magdaleneee tipoHot ObjectClass rimando cm 87 x 117 Oil on canvas rimando IdOpera IdAutore NomeImg autore Portrait of a Young Woman tipoHot ObjectClass titolo tipoHot ObjectClass rimando mando ROSSO FIORENTINO NumVista cm 45 x 33 Tempera on wood Judith rimando IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass PALMA IL VECCHIO rimando NumVista cm 90 x 71 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg NumVista autore Madonna and Child with Saints tipoHot mando titolo tipoHot ObjectClass rimando ROSSO FIORENTINO cm 141 x 112 Tempera on wood IdOpera IdAutore NomeImg NumVista autore TITIAN tipoHot ObjectClass rimando titolo The Sick ManK tipoHot ObjectClass rimando cm 81 x 60 Oil on canvas IdOpera Flora IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando mando TITIAN NumVista cm 79,6 x 63,5 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of a Knight of Malta tipoHot titolo tipoHot ObjectClass rimando TITIAN NumVista cm 80 x 64 Oil on canvas IdOpera IdAutore Frattale NomeImg 2,8,10,11, verso 2,8,10,11, doppio NumVista autore TITIAN tipoHot ObjectClass rimando titolo Portrait of Francesco Maria della Rovere and Eleonora Gonzaga tipoHot ObjectClass rimando cm 114 x 103 (each) Oil on canvas IdOpera rimando IdAutore NomeImg autore Portrait of Bishop Ludovico Beccadelli tipoHot titolo tipoHot ObjectClass rimando ObjectClass TITIAN NumVista cm 117,5 x 97 Oil on canvas Saint Margaret IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando TITIAN NumVista cm 116,5 x 98 Oil on canvas Venus and Cupid IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando TITIAN NumVista cm 139,2 x 195,5 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Caterina Cornaro tipoHot titolo tipoHot ObjectClass rimando TITIAN NumVista cm 102,5 x 72 Oil on canvas IdOpera IdAutore Frattale NomeImg Audio NumVista autore TITIAN tipoHot ObjectClass rimando titolo The Urbino Venus tipoHot ObjectClass rimando cm 119 x 165 Oil on canvas on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Adoration of the Shepherds tipoHot mando titolo tipoHot ObjectClass rimando AMICO ASPERTINI NumVista cm 44,5 x 34 Tempera on wood IdOpera IdAutore NomeImg NumVista autore LAVINIA FONTANA ? tipoHot ObjectClass rimando titolo Jesus Appears to Mary Magdalene tipoHot ObjectClass rimando cm 80 x 65,5 Oil on canvas rimando IdOpera IdAutore NomeImg autore Massacre of the Innocent tipoHot ObjectClass titolo LUDOVICO MAZZOLINO tipoHot ObjectClass rimando avola NumVista cm 49 x 59 Tempera on wood IdOpera IdAutore NomeImg NumVista autore BECCAFUMI ; tipoHot ObjectClass rimando titolo The Holy Family with the Young Saint John tipoHot ObjectClass rimando diam. cm 84 Tempera on wood canvas ObjectClass rimando IdOpera IdAutore NomeImg autore The Saint Zacharias Madonna tipoHot titolo tipoHot ObjectClass rimando PARMIGIANINO NumVista cm 75,5 x 60 Tempera on wood Portrait of a Man IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando PARMIGIANINO rimando NumVista cm 88 x 68,5 Tempera on wood IdOpera IdAutore Frattale NomeImg Audio NumVista autore PARMIGIANINO tipoHot ObjectClass rimando titolo Madonna with the Long Neck, Madonna and Child with Angels)) tipoHot ObjectClass rimando cm 219 x 135 Tempera on wood IdOpera IdAutore NomeImg NumVista autore PERIN DEL VAGA tipoHot ObjectClass rimando titolo Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio tipoHot ObjectClass rimando cm 148 x 197 Detached fresco on a canvas support rimando Nativity IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo CECCHINO SALVIATI tipoHot ObjectClass NumVista rimando cm 85 x 108 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Rest on the Flight into Egypt tipoHot titolo tipoHot ObjectClass rimando DOSSO DOSSI NumVista cm 52 x 42,6 Tempera on wood IdOpera IdAutore NomeImg NumVista autore DOSSO DOSSI = tipoHot ObjectClass rimando titolo The Apparition of the Virgin to Saints John the Baptist and John the Evangelist tipoHot ObjectClass rimando cm 153 x 114 Tempera on wood transferred onto a canvas support Portrait of a Warrior IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando DOSSO DOSSI NumVista cm 86 x 70 Oil on canvas IdOpera IdAutore Frattale NomeImg Audio NumVista autore DOSSO DOSSI k tipoHot ObjectClass rimando titolo Witchcraft or an Allegory of Hercules tipoHot ObjectClass rimando cm 143 x 144 Oil on canvas IdOpera IdAutore NomeImg NumVista autore PARIS BORDONE = tipoHot ObjectClass rimando titolo Portrait of a Man with a Fur Collar tipoHot ObjectClass rimando cm 107 x 83 Oil on canvas mVis0 Bathsheba Bathing IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando BRUSASORCI NumVista cm 91 x 98 Oil on canvas ObjectClass rimando IdOpera IdAutore Frattale NomeImg autore The Chastity of Susanna tipoHot titolo tipoHot ObjectClass rimando LORENZO LOTTO NumVista cm 66 x 50 Tempera on wood IdOpera IdAutore NomeImg NumVista autore LORENZO LOTTO = tipoHot ObjectClass rimando titolo The Holy Family with Saints Jerome, Anne and Joachimw tipoHot ObjectClass rimando cm 69 x 87,5 Oil on canvas cm 45 0 Portrait of a Woman IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass rimando titolo SEBASTIANO DEL PIOMBO tipoHot ObjectClass NumVista cm 68 x 55 Tempera on wood rimando IdOpera IdAutore Frattale NomeImg Audio autore The Death of Adonis tipoHot ObjectClass titolo SEBASTIANO DEL PIOMBO tipoHot ObjectClass NumVista rimando cm 189 x 285 Oil on canvas rimando IdOpera IdAutore Frattale NomeImg autore Portrait of Pietro Secco Suardo tipoHot ObjectClass titolo GIOVANNI BATTISTA MORONI tipoHot ObjectClass rimando NumVista cm 183 x 104 Oil on canvas IdOpera IdAutore NomeImg NumVista autore GIOVANNI BATTISTA MORONI tipoHot ObjectClass rimando titolo Portrait of the Poet Giovanni Antonio Pantera tipoHot ObjectClass rimando cm 81 x 63 Oil on canvas Transfiguration IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando GIOVANNI GIROLAMO SAVOLDO NumVista cm 139 x 126 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of a Musician tipoHot titolo tipoHot ObjectClass rimando GIULIO CAMPI NumVista cm 74 x 58 Oil on canvas Annunciation IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando VERONESE NumVista cm 143 x 291 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore The Martyrdom of Saint Justine tipoHot titolo tipoHot ObjectClass rimando mando VERONESE NumVista cm 103 x 113 Oil on canvas IdOpera IdAutore NomeImg NumVista autore VERONESE tipoHot ObjectClass rimando titolo Venus and Mercury Present Their Son Anteros to Jupiter tipoHot ObjectClass rimando cm 150 x 243 Oil on canvas IdOpera IdAutore Frattale NomeImg Audio NumVista autore VERONESE tipoHot ObjectClass rimando titolo The Holy Family with Saint Barbara and the young Saint John tipoHot ObjectClass rimando cm 86 x 122 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of an Unknown Man tipoHot titolo tipoHot ObjectClass rimando TINTORETTO NumVista cm 30 x 22 Oil on wood IdOpera IdAutore NomeImg NumVista autore BAROCCI 7 tipoHot ObjectClass rimando titolo Portrait of Francesco II della Rovere tipoHot ObjectClass rimando cm 113 x 93 Oil on canvas Madonna of the People IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando BAROCCI NumVista cm 359 x 252 Oil on wood IdOpera IdAutore NomeImg NumVista autore BAROCCI 7 tipoHot ObjectClass rimando titolo Christ and Mary Magdalene tipoHot ObjectClass rimando cm 122 x 91 Oil on canvas Two dogs rimando IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass JACOPO BASSANO rimando NumVista cm 85 x 126 Oil on canvas Concert rimando IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass LEANDRO BASSANO NumVista cm 114 x 178 Oil on canvas rimando IdOpera IdAutore NomeImg autore Saint Francis Receives the Stigmata tipoHot titolo tipoHot ObjectClass rimando ObjectClass CIGOLI NumVista cm 247 x 171 Tempera on wood Pyramus and Thisbe IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GREGORIO PAGANI rimando NumVista cm 239 x 160 Oil on canvas The Wedding at Cana IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ANDREA BOSCOLI NumVista cm 127,5 x 191 Oil on canvas Leda and the Swan IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando TINTORETTO rimando NumVista cm 162 x 218 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore The Samaritan Woman at the Well tipoHot titolo tipoHot ObjectClass rimando TINTORETTO NumVista cm 116 x 93 Oil on canvas rimando IdOpera rimando IdAutore Frattale NomeImg autore Saint Augustine Heals the Lame tipoHot ObjectClass titolo WORKSHOP OF TINTORETTO tipoHot ObjectClass Oil on canvas NumVista cm 186 x 108 Oil on canvas IdOpera IdAutore Frattale NomeImg NumVista autore EL GRECO tipoHot ObjectClass rimando titolo Saint John the Evangelist and Saint Francis tipoHot ObjectClass rimando cm 110 x 86 Oil on canvas Baldassar's Banquet IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo GIOVANNI MARTINELLI tipoHot ObjectClass rimando NumVista cm 228 x 341 Oil on canvas Angelica and Medoro IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ORAZIO FIDANI rimando NumVista cm 230 x 340 Oil on canvas Madonna of the Snow IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GUIDO RENI rimando NumVista cm 250 x 176 Oil on canvas IdOpera IdAutore NomeImg NumVista autore JACOB JOARDAENS ? tipoHot ObjectClass rimando titolo Portrait of a LadyW tipoHot ObjectClass rimando cm 68 x 50 Oil on canvas Self-Portrait IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass RUBENS NumVista rimando cm 78 x 61 Oil on wood ObjectClass rimando IdOpera IdAutore Frattale NomeImg autore Portrait of Isabella Brandt tipoHot titolo tipoHot ObjectClass rimando RUBENS NumVista cm 86 x 62 Oil on wood Bacchus on a Barrel IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando RUBENS NumVista cm 152 x 118 Oil on canvas IdOpera IdAutore NomeImg autore Equestrian Portrait of Philip IV of Spain tipoHot titolo tipoHot ObjectClass rimando ObjectClass rimando RUBENS NumVista cm 337 x 263 Oil on canvas Judith and Holofernes IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando RUBENS NumVista cm 113 x 89 Oil on canvas IdOpera IdAutore NomeImg Audio NumVista autore RUBENS tipoHot ObjectClass rimando titolo Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris tipoHot ObjectClass rimando cm 367 x 693, cm 380 x 692 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Galileo Galilei tipoHot titolo tipoHot ObjectClass rimando mando JUSTUS SUSTERMANS NumVista cm 66 x 56 Oil on canvas IdOpera IdAutore Frattale NomeImg NumVista autore ANTOINE VAN DYCK tipoHot ObjectClass rimando titolo Portrait of Charles V on Horseback tipoHot ObjectClass rimando cm 191 x 123 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Jean de Montfort tipoHot mando titolo tipoHot ObjectClass rimando ANTOINE VAN DYCK NumVista cm 123 x 86 Oil on canvas IdOpera IdAutore NomeImg NumVista autore ANTOINE VAN DYCK tipoHot ObjectClass rimando titolo Portrait of Margaret of Lorraine, Duchess of Orl tipoHot ObjectClass rimando cm 204 x 117 Oil on canvas ovaldo0& tipoHot IdOpera IdAutore NomeImg autore The Triumphal Entrance into Antwerp of the Cardinal Infante Ferdinando of Spain titolo tipoHot ObjectClass rimando ObjectClass rimando JAN VAN DEN HOECKE NumVista cm 405 x 328 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Hercules Between Vice and Virtue tipoHot titolo tipoHot ObjectClass rimando JAN VAN DEN HOECKE NumVista cm 145,5 x 194 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore Hercules Crowned by the Muses tipoHot mando titolo ALESSANDRO ALLORI tipoHot ObjectClass rimando NumVista cm 39 x 29 Oil on copper rimando IdOpera IdAutore NomeImg autore The Sacrifice of Isaac tipoHot ObjectClass titolo tipoHot ObjectClass rimando ALESSANDRO ALLORI NumVista cm 94 x 131 Oil on wood ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of Ludovico Capponi (?) tipoHot titolo tipoHot ObjectClass rimando ALESSANDRO ALLORI NumVista cm 45 x 36 Tempera on wood rimando IdOpera IdAutore NomeImg autore Portrait of Cornelius Gros tipoHot ObjectClass titolo tipoHot ObjectClass rimando mando CHRISTOPH AMBERGER NumVista cm 53,4 x 43 Tempera on wood Saint Sebastian IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ANDREA BOSCOLI rimando NumVista cm 45,5 x 26 Tempera on wood Noah's Drunkenness IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando EMPOLI NumVista cm 31 x 25 Oil on copper ObjectClass rimando IdOpera IdAutore NomeImg autore Portrait of a gentlewoman tipoHot mando titolo tipoHot ObjectClass rimando JEAN PERR NumVista cm 37 x 27 Tempera on wood rimando IdOpera IdAutore NomeImg autore Artemis Weeps for Mausolo tipoHot ObjectClass titolo CECCHINO SALVIATI tipoHot ObjectClass rimando tavola NumVista cm 35 x 24,5 Tempera on wood Susanna Bathing IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando ORAZIO SAMACCHINI NumVista cm 34,5 x 29 Oil on wood IdOpera IdAutore NomeImg Audio NumVista autore FLEMISH SCHOOL OF THE 17TH CENTURY tipoHot ObjectClass rimando titolo Head of the Medusa tipoHot ObjectClass rimando cm 49 x 74 Oil on wood Oil 0 IdOpera IdAutore NomeImg NumVista autore FRENCH SCHOOL OF THE 16TH CENTURY tipoHot ObjectClass rimando titolo Portrait of Christine of Lorraine tipoHot ObjectClass rimando cm 39,5 x 32,5 Oil on wood 2 x 66 IdOpera IdAutore NomeImg NumVista autore BRONZINO titolo Allegory of Felicity tipoHot ObjectClass rimando cm 40 x 30 Oil on copper Christ Deposed IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando BRONZINO NumVista cm 42 x 30 Oil on copper Two Women Bathing IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando THE FONTAINEBLEAU SCHOOL NumVista cm 129 x 97 Oil on wood IdOpera IdAutore NomeImg NumVista autore ITALIAN SCHOOL OF THE 16TH CENTURY tipoHot ObjectClass rimando titolo Fortuna tipoHot ObjectClass rimando cm 46 x 27 Oil on wood IdOpera IdAutore Frattale NomeImg NumVista autore OIS CLOUET Y tipoHot ObjectClass rimando titolo Portrait of Francis I of France on Horseback tipoHot ObjectClass rimando cm 27,5 x 22,5 Tempera on wood Vulcan's Forge IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GIORGIO VASARI NumVista cm 38 x 28 Oil on copper IdOpera IdAutore NomeImg NumVista autore JACOPO ZUCCHI = tipoHot ObjectClass rimando titolo The Age of Iron, The Age of Silver, the Age of Gold tipoHot ObjectClass rimando cm 50 x 39 (the first) and cm 50 x 38,5 (the other) Oil on copper (the former) and oil on wood (the other two) IdOpera IdAutore Frattale NomeImg Audio NumVista autore CARAVAGGIO tipoHot ObjectClass rimando titolo Bacchus tipoHot ObjectClass rimando cm 95 x 85 Oil on canvas ObjectClass rimando IdOpera IdAutore Frattale NomeImg autore The Sacrifice of Isaac tipoHot mando titolo tipoHot ObjectClass rimando CARAVAGGIO Audio NumVista cm 104 x 135 Oil on canvas IdOpera IdAutore NomeImg Audio NumVista opere acceso autore CARAVAGGIO tipoHot ObjectClass rimando titolo Medusa{ tipoHot ObjectClass rimando diam. cm 55 Oil on wood faced with canvas rimando IdOpera IdAutore Frattale NomeImg autore Venus, Satyr and Cupids tipoHot ObjectClass titolo ANNIBALE CARRACCI tipoHot ObjectClass rimando NumVista cm 112 x 142 Oil on canvas Man with a Monkey IdOpera IdAutore NomeImg autore tipoHot ObjectClass titolo ANNIBALE CARRACCI tipoHot ObjectClass rimando rimando Audio NumVista cm 68 x 58,3 Oil on canvas Head of a Young Man IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando GIAN LORENZO BELLINI NumVista cm 63 x 62 Open-Air Concert IdOpera rimando IdAutore Audio NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GUERCINO NumVista cm 34 x 46 Oil on copper Annunciation IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando SIMON VOUET NumVista cm 120,5 x 86 Oil on canvas IdOpera IdAutore Frattale NomeImg Audio NumVista autore CLAUDE LORRAIN tipoHot ObjectClass rimando titolo Port with Villa Mediciiii tipoHot ObjectClass rimando cm 102 x 133 Oil on canvas rimando IdOpera IdAutore NumVista NomeImg autore Groote Markt at Haarlem tipoHot ObjectClass titolo GERRIT BERCKHEYDE tipoHot ObjectClass rimando cm 56 x 64 Oil on canvas Landscape with Ford IdOpera IdAutore NumVista NomeImg autore tipoHot ObjectClass rimando titolo JAN BRUEGEL THE ELDER tipoHot ObjectClass rimando cm 24 x 35 Oil on copper IdOpera IdAutore NomeImg NumVista autore CIVETTA 7 tipoHot ObjectClass rimando titolo Copper MinesI tipoHot ObjectClass rimando cm 83 x 114 Oil on wood Lady and Knight IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando GABRIEL METSU NumVista cm 56 x 50 Oil on wood Tavern Scene IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo tipoHot ObjectClass rimando JEAN MIENSE MOLENAER NumVista cm 69,5 x 115 Oil on wood Fruit and Insects IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando RACHEL RUYSCH Audio NumVista cm 44 x 60 Oil on wood IdOpera IdAutore NomeImg NumVista autore HERCULES PIETERSZ SEGHERS K tipoHot ObjectClass rimando titolo Mountainous Landscape tipoHot ObjectClass rimando cm 55 x 99 Oil on canvas glued onto wood Luncheon rimando IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass JAN STEEN NumVista cm 41 x 49,5 Oil on wood rimando IdOpera IdAutore NomeImg autore Mercury and Batto tipoHot ObjectClass titolo CORNELIS VAN POELENBURG tipoHot ObjectClass NumVista rimando cm 35,5 x 48 Oil on copper ObjectClass IdOpera rimando IdAutore NumVista NomeImg autore Landscape with Shepherds and Peasants tipoHot titolo JACOB VAN RUYSDAEL tipoHot ObjectClass rimando cm 52 x 60 Oil on canvas ObjectClass rimando IdOpera IdAutore Frattale NomeImg autore Youthful Self-Portrait tipoHot titolo tipoHot ObjectClass rimando REMBRANDT NumVista cm 62,5 x 54 Oil on wood IdOpera IdAutore Frattale NomeImg Audio NumVista autore REMBRANDT i tipoHot ObjectClass rimando titolo Self-Portrait in Old Age tipoHot ObjectClass rimando cm 74 x 55 Oil on canvas ctClass ObjectClass rimando IdOpera IdAutore NumVista NomeImg autore Portrait of an Old Man tipoHot titolo tipoHot ObjectClass rimando REMBRANDT cm 104 x 86 Oil on canvas IdOpera IdAutore NomeImg NumVista autore FRANS VAN MIERIS THE ELDER tipoHot ObjectClass rimando titolo The Dutch Charlatan tipoHot ObjectClass rimando cm 46,6 x 37,7 Oil on wood ObjectClass rimando IdOpera IdAutore Frattale NomeImg autore View of Palazzo Ducale in Venice tipoHot titolo tipoHot ObjectClass rimando CANALETTO Audio NumVista cm 51 x 83 Oil on canvas ObjectClass rimando IdOpera IdAutore NomeImg autore View of the Grand Canal tipoHot titolo tipoHot ObjectClass rimando CANALETTO NumVista cm 45 x 73 Oil on canvas Flora rimando IdOpera rimando IdAutore NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass ROSALBA CARRIERA NumVista cm 47 x 32,5 Pastel on paper IdOpera IdAutore NomeImg NumVista autore JEAN BAPTISTE SIM ON CHARDIN tipoHot ObjectClass rimando titolo Boy with a Card House tipoHot ObjectClass rimando cm 82 x 66 Oil on canvas ....).0 rimando IdOpera IdAutore Frattale NomeImg autore Girl with a Shuttlecock tipoHot ObjectClass titolo JEAN BAPTISTE SIM ON CHARDIN tipoHot ObjectClass rimando NumVista cm 82 x 66 Oil on canvas IdOpera IdAutore NomeImg Audio NumVista autore FRANCESCO GUARDI tipoHot ObjectClass rimando titolo Capriccio with Arch and Pier and Capriccio with Bridges over a Canal tipoHot ObjectClass rimando cm 30 x 53 (each) Oil on canvas The confession IdOpera rimando IdAutore Frattale NomeImg autore tipoHot ObjectClass titolo tipoHot ObjectClass rimando PIETRO LONGHI NumVista cm 61 x 49,5 Oil on canvas rimando IdOpera IdAutore NomeImg autore Portrait of a Gentlewoman tipoHot ObjectClass titolo ALESSANDRO LONGHI tipoHot ObjectClass rimando NumVista cm 100 x 80 Oil on canvas IdOpera IdAutore NomeImg NumVista autore JEAN-MARC NATTIER A tipoHot ObjectClass rimando titolo Henriette of France Portrayed as Flora, Marie Adelaide of France Portrayed as Diana tipoHot ObjectClass rimando cm 94,5 x 128,5; cm 95 x 128 Oil on canvas; Oil on canvas ObjectClass IdOpera rimando IdAutore NumVista NomeImg autore Maria Zeffirina of France as a Child tipoHot titolo JEAN-MARC NATTIER tipoHot ObjectClass rimando cm 70 x 82 Oil on canvas IdOpera IdAutore NomeImg NumVista autore JEAN-ETIENNE LIOTARD tipoHot ObjectClass rimando titolo Portrait of Marie Adelaide of France in Turkish Costume tipoHot ObjectClass rimando cm 50 x 56 Oil on canvas IdOpera IdAutore NomeImg NumVista autore OIS - XAVIER FABRE I tipoHot ObjectClass rimando titolo Portrait of Vittorio Alfieri and Portrait of the Countess of Albany tipoHot ObjectClass rimando cm 93 x 73 (each) Oil on canvas rimando IdOpera IdAutore NumVista NomeImg autore Susanna and the Elders tipoHot ObjectClass mando titolo GIOVANNI BATTISTA PIAZZETTA tipoHot rimando ObjectClass cm 100 x 135 Oil on canvas IdOpera IdAutore NomeImg NumVista autore FRANCISCO GOYA tipoHot ObjectClass rimando titolo Portrait of Maria Teresa de Vallabriga on Horseback tipoHot ObjectClass rimando cm 82,5 x 61,7 Oil on canvas iuva0 IdOpera IdAutore Frattale NomeImg NumVista autore FRANCISCO GOYA tipoHot ObjectClass rimando titolo Portrait of Countess de Chinch n Standing tipoHot ObjectClass rimando cm 220 x 140 Oil on canvas ObjectClass IdOpera rimando IdAutore NomeImg autore The Erection of a Statue of the Emperor tipoHot titolo GIOVAN BATTISTA TIEPOLO tipoHot ObjectClass rimando NumVista cm 420 x 175 Oil on canvas rimando IdOpera IdAutore NomeImg autore Rinaldo abandons Armida tipoHot ObjectClass titolo tipoHot ObjectClass rimando GIOVAN BATTISTA TIEPOLO NumVista cm 70 x 132 Oil on canvas The Painter's Family IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo GIUSEPPE MARIA CRESPI tipoHot ObjectClass rimando NumVista cm 28 x 24 Oil on copper rimando The Flea IdOpera IdAutore NomeImg autore tipoHot ObjectClass rimando titolo GIUSEPPE MARIA CRESPI tipoHot ObjectClass Audio NumVista cm 46,5 x 34 Oil on copper IdAutore prolific painter neglected by contemporary sources and briefly mentioned by Vasari. He appears to have been a member of the Doctors and Apothecaries' Guild and was a counselor to the Company of San Luca. His work seems to be indebted to Giotto's later output, especially the frescoes with the Stories of Saints Stephen and Lawrence in the Pulci Berardi Chapel at Santa Croce and the Ognissanti Triptych at the Uffizi. His later work reveals elements of Sienese influence traceable to Ambrogio Lorenzetti; The Madonna at the Accademia in Florence belongs to this period, as does the predella with the Legend of the Sacred Girdle in Prato and the San Pancrazio at the Uffizi. His last works include the Cappellone degli Spagnoli Polyptych and the Madonna Enthroned with Eight Saints at the church of Orsanmichele. At the Uffizi there is also a Madonna and Child Enthroned with Angels and Saints..5....5#....#.#.#....#.#.#.#.5#....#....5#....5#....#.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ^ l ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando BERNARDO DADDI Florence 1290 ca.-1348 Ognissanti Triptych Madonna and Child Enthroned with Angels and SaintsI San Pancrazio Polyptych FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass QdXOWVPVaV Wbdfcefcde }dceeXe cV@CU=B=N <GHGHTT LMLLM CL@MBMNLE N?NO= O@OOVVOUVU ELUUCUMM; HN;;HLE VQVQ{w UXG|we ||uX|| ef@<C N@MF@ {dUZw 8CEC? 8MCBVX \>wRVX PUMBPS OHMLC H;bPP |cEEbQd~ PE<LLVMA HPc~P? etf`g fQXfW W{tbfTP FO=N= P@@OAR PeeV@ P@@PP >AOhN CP>NOOH PT=CC@PC< CH<=P< <LCLH= <>=<?@V C=@=CC U;MMP <=C<= WU||f HMPUUM UMMe@5 @P=<Z MPhO~ H<<CG <CCEC< GWhWU CVbL@ MUUPC GQcGb aNTcT H<=CM @QUCe MbaMH 8UVMI EcUM8N VbbUUTM q}{x{{xx Cte`\}yiwl |{wwx|cbc PUbhf {j|cb Q`ZQXQRg ST~UM eCBd~aC BaB`CBP MTLMT MBfMBGC GCHGH UMCC<C FMLVH H}MGU< MPMCC< VPLFBHL F<HEZ BGHHC UCLtPM bFP;HEE VHPE<EM f>NOO>== >NNR\\ VNNL> VUMWU VGcdU NdbZWbLZ WUUNLN NqqVOqq NWXhc XLPLdQQh .PU@^ W@NCWWQZ dhX>V WNLH>@fZR VCNCUX 8@ZXO fZZWZW=? 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6/66//6/6/ 6//6/6//6/ 6//6// /6/6/ 66//6 //6/66/6// 6//66// 6//66// /6/6/ 6/6//6/6 6//6// 6/66/ /6//6/6/6/ 66//6 //6// 6//6/6/6/6 6/6/6/6 66/6/ 6//6// 6//6/6/6/6 6//6/6/6 6//6/6 /6/66 6/66/6/6/6 //66/6 /6/66 /6//6/6/6/ 6/6/6/ 66/6//6 6/6//6 6/6//6/6// /66//66/6/ /6//6 22/22 //6//6/6// //6/6 6/66/66/ 6//6/6/ 6/6// 66060 6606/ //6/6 66/6//6//6 /6//6/6 //6/66 /6066 /6/6/ 6/6/6//6// //6/6/ /60606 6//6/6/ 6//6 / /6/6/6 /6/66 //6/6 6//66/6 6//66 //6// //6//6/6/6 6/6/66 6066/ 66/6/6/6/ 6/6/6/6 6/6//6//6 6/6//6/6/ 6/6/6/ 66262 /6/6/ 6//6/6// 6/6/6/ 66//6/66 /6//6 /6/6// /6//6/ 66/6/ /66//6 6/6/6/6 66//6 66066/ 6/6/6/6 066/6 6/6/6 6/6// 6//6/ 6//6/66 66/6/6 22626226 6/6// 6/6/6//6 //6/6 /6/66/ 66066 6/6/6 6//66 /6/6/6/6 /6/6//6 66/6/6 6//6//6 //66/6//6 /6//6 /6//6 66060 6/6//6 /6/66 6//66 66/66 6/6/6/6/6 6//66 /6/66 /6/6/6/66/ //6/6/6/6 6/66/6/ /6//6 /6//6// 6//6/6 6/6/6//6 6//6/ 06/6/ //6//6/ 6/66/ 262626 /6//6//6 66/662 /6//6//6// /6//6 //6//6 6/6/6 6/0/66 6/6//6 6/6/6 //6//6// 6/6/6/ 6/6/66 6//6 / //6// 6//6/6 6/6/6 6//6/6 22626 /66// 6//6/ 6/6/6/ 6/6/6//6// /6/6/ 6066/ 66/6//6/ /66/6 66/6/ 6/6/6/6/6 60606/6/6/ -//-/-/-/- /-/-/-/-/- 6/6/6/6/06 /06060060 22222222 222222222 22222222222 22222 222222 222222 22222 2222222 222222 222222 22222222 22222 22222 22222 22222 22222 22222 22222 222222 2222222 222222 222222 22222222 22222222 22222 22222222 22222222222 2222222222 22222222222 222222 222222 2222222 22222 66666 222624 66622 662222 0266222 36222 IdAutore entioned by Cennini as one of Giotto's disciples and collaborators, he was already a master by 1330, when he enrolled in the Doctors and Apothecaries' Guild and painted the important cycle with the Stories of the Virgin in the Baroncelli Chapel at Santa Croce. The two lunettes with the Annunciation and the Ascension in the Sacristy at Santa Croce as well as twenty-six wardrobe panels with Stories of Christ and Saint Francis, currently divided up between Berlin, Munich, and Florence, also date back to around this period. The modeling of the figures and the use of perspective speak for the influence of Giotto, but the fondness for iridescent colors, the attempt to capture the crepuscular light and the taste for complex and fantastic spatial settings are highly individual. Inspired by the art of Maso di Banco, he painted a Deposition from the Cross and a Deposition in the Tomb, both found in the Florentine church of Santa Croce. During the last years of his life, he worked on a number of commissions, but without his earlier originality. These include the Ognissanti Crucifixion, the Madonna and Child Enthroned at the Uffizi and the frescoes in the Refectory at Santa Croce..e....e.e.e.e.e.e.ce....ce....e.e.e.e.e.e.ce....ce....e....M tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando H V ' f t t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando TADDEO GADDI Florence doc. from 1330-1366 Madonna and Child Enthroned FrancOpera ObjectClass WfXZeeeXdXOOVO??OOOOOOOOO[W[VONL[QX @{{x{{xx hhgZgihhihliwilwlxywl A|{{{{ymzlnqolylmnmnnlolllihommqplhR`we CePBMM wqlmlqoqnl]nUd gqlhqqqooqnq @xxxwAO fnqolhq]]qhq]qqi fa|<HF }C9M8E =HGRPt GR`PSTBASAS_PQV GbBGGRLc S?\RA?B GC~~PeGCH GxHCTNF UPMCg B@CMMMMECCNL @ER?A XUFBEH tVMgB lPPeaVB L>gfB P`>G@ AbM@GfUNxI tubQCe qSPaCfd{Q BPFPHqh UP=LPw FPSCCB pnm]B nnomq?qq] q]]]qqih qnn]^@qq] \]q]q]]ql onn=8\qq ]]]]]]ho oqoE\qqq? qqitZ ?A>]o qF?]] 8MG\q qqpC< HCPGG GGCXh CCHHGFG GR>GR QR`>GGPS \Q?SCCPP?A R@ROC?fP @Rf@SACQ\ QGOPCQPC@B Z`@?SUPh>C7 C<GZUCgAGZ RRR>R MUHGQb R?RA@ C`@?Q RS>R@bRP AZCQB Z?QQFWe T@MHAABX fG?@R? @HGSQ ZXHfCgCC?A VPPCGS h<eSZ GA?C\ Ng?PR c\A>GROGXRXP HfXgCPg?QRC ??QQQ `XX@UZgS\B? ]CAGXZQLQPZ ROGhC=@RXXQCP\ gORAC>@A>fRS><h QZOREg?AX@PRA eZBA@WZS@ZQ XweX@OOgXQZ Eg{fC IdAutore e is mentioned in a document from 1339 as one of the founders of the Company of San Luca, and is recorded by Vasari as a pupil of Taddeo Gaddi. However, his work appears to be closer to the Giottesque idiom, interpreted in distinctly gothic terms. His works include numerous paintings on canvas, including the Madonna Enthroned Between Saints in the Tabernacle of the Wool Guild in Florence, the San Miniato in the Florentine church of the same name, the Madonna Enthroned and Saints at the Uffizi and the Madonna in the Oratorio at Scarperia. He is also documented as working as a miniaturist..30....0 ........ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JACOPO DEL CASENTINO Florence 1297- post 1358= Madonna Enthroned and Saints5 h ~ ' FrancOpera ObjectClass <;@MNLNML UMMU9 MMUNLMNMLM C<<ENHL MsKBBs H<LBJ <CsB: <LC;M MLL<M LCLLC <<EL9N LUHLLC L;LC<L E;LHLL<L <L:LC IdAutore on of Stefano, disciple of Giotto. For many years complex questions of attribution revolved around this artist. Erroneously confused with Maso di Banco, he was thought to have painted the frescoes in the Bardi Chapel at Santa Croce. His true artistic identity was only recognized in the 20th century. Two fine works that are certainly his are the detached fresco with the Madonna and Child with Saints, in storage at the Gallerie Fiorentine, and the Piet at the Uffizi..i....i.i.zi....zi.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOTTINO[ Florence doc. in the second half of the 14th century FrancOpera ObjectClass dbedcc }|}|c dVd;= VaNO@ ;=MPPab U\ZQZZR oqq]qnl nnonl c=A>?ZOR RQ[R>`d g]]q^pqooh gR@RO r]^qhol \?>==OO@S edcdecdq] ^]]R]oohu l]Rqn]cQ^Z V\<H=<@R<> ZMW@VZ HH<>>= }?C@T >eTL@=BX L<Rh=N O=ON@f CUc@?> llQNwF myLbP L?;b@ iq>I. bSBh<C c@]nRRx^ vRR`i ROC>PE =Q\cLPH ePqo]M @?Caw U;HwW H<<dwN HbeeC {bw<H HbML; HHNebxP H;LCH =R<<H H;<LH FNH=?C HH=NH<Cc LCUCE ;<HLH ;H;L; <I;ML=UL H<E<H;U @?<C=<< LNHEHC CLC;<=C E<LC< <ELH@@<<HC ;LL<H <ML<; HE<LMCE<<H >?NCNLL NEELC;E CLE<L<H@RC ;<<L<H<EN; H<;F< =POWPEHH MWN<<N CC;LLM =WOQO OZM<L;CMN MZNO@?UK @hQOO@QQOP POQOPPOQOP OQOVN@Og< OQOROZ OQO\O?R>>? ORZO@>@@? @C=@@P@NN@ QO@OC==@NC =N<LC <UMMU =<H=;;MHOW <?=NOO @=;E<C< EMMCH ;HLCLL =ENL;M;H ;C<HEH QVOWQ ;LE;EH;Q ;UULMLE< MNVWPO UULQb UXPM<=H lnPoqrhmM; L;UUo BhP]BaChLN LLMM` aPQQgQlC hnjllmMEL VNUUPML9; J;H@UU ML;=NLU NMULC:L N<CL< IdAutore orn in Caversaccio, near Como, his earliest experience as an artist probably took place in Lombardy, where several Tuscan painters of the Giotto school were working. His name is mentioned in Florence in 1346, on a list of the Guild of Doctors and Apothecaries, and twenty years later, he became a Florentine citizen. Much of his earlier work has been lost, and it is only from the mid-1350s that certain attributions can be made. There is a polyptych at the Museo Civico in Prato dating back to this period, a polyptych divided between Williamstown, Paris and Pisa, and the Ognissanti Polyptych at the Uffizi. Moreover, the Piet now in the Du Ruart Collection in Paris and the Madonna Between Saints at the Palazzo Venezia Museum in Rome are also stylistically similar to these works. Toward the mid-1360s he was working on his main achievement, the Rinuccini Chapel at Santa Croce with the Stories from the Life of Mary Magdalene and the Virgin. Here the artist showed how he had mastered and could reconcile the different pictorial idioms of Lombardy and Tuscany that he had absorbed during his training. Next came an original Piet , now at the Accademia in Florence and the painting of the Eleven Saints at the Galleria Sabauda in Turin. This latter work is the left-hand section of a polyptych whose central panel belongs to the Contini Bonacossi Collection in Florence. The artist exercised great influence over Gentile da Fabriano, Masolino and Sassetta..00....0 ....0 .....0 ....0 ....0 tipoHot ObjectClass rimando 0 > ' N \ t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI DA MILANO Como 1325- post 1369 Ognissanti Polyptych FrancOpera ObjectClass <<==>>N?>N L>=L=>NNON?ONN>LO= =>==N UWN=> ;:;;; WUc== cN?UUON =VNNVUO NNUUOUOc NVbNU NcNMU UVNNV= UUMVcU>Nc PUUtt UVUcV cUVUUUc VUU9U 9cNaU==N cUVUO UUVUN ccUULNVU<LM UUWcL UNcUU NVV=VN UVd=U =H;;O> cdUN> NNNUU >cO== Oibta ;NU=cOUU NNU=c <;<Uc =8NU; LL=>UOW< L9LNN NML=N:LNcO;;N<=;: ELL=N;? NNV=8L <NW;; ;N<;;N= ;;ULLdV ;=UL>Ud N:=L< NcL;UH==;;<<; U9L=L:dd M;UVH NL;;;; =NL;N; cLL<9 :OONcd <=;UVU =?UUN< =OZO< NLdU==<N ;9dd; LL:UNL: dccWUUdULc LL<L;;88UcdUNN=LNNUVd cNNLNL< HLLVVW ;Uc=NN NcW;<N: 5UNUbVddcUWUU=NU; >L<?LNO dNMUWN OONOV ;OON=dL=WN;UO< =LNL;;<;L NNUcUWL<>LL ;H;=;;;; ?=H?=HM NUVPVWbVVN dUNO; N:;;; .*8L9L;:::LL; IdAutore rt historians have tried to trace this painter's life beginning with the altar-frontal with Saint Cecilia and Eight Scenes from her Life kept at the Uffizi. The frescoes with the Apostles in the last two bays at Santa Croce and two paintings in the Florentine church of Santa Margherita a Montici with the Virgin Enthroned and Saint Margaret and Stories from her Life are also attributed to him. He may have worked on the decorations of the Upper Basilica in Assisi with a Giotto, who certainly influenced his pictorial idiom..om....m.m.m.m.m.m.....m....m.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MAESTRO DELLA SANTA CECILIA act. in Florence from 1300 to 1320 ca. 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LG;=>=ON@Pa=>@N@NN?NN>=N@>==NaONN=>= NCO<<NN= CVONPN?@@ON@ NNOUO@OVNONN?OVOUNPVUONO@=L@>?N@N=NOV@>N=N @>>N===N>PV@P?NNONP=>@NN@UOVOOVUOWVVPONNP@OP@?N@OOL=N==NNNNNNC @@?@N@=A=@NUVN@ONNNPP?@ C==NNNN=NNN= H<@=<NbNNNUVObOOVPVPOPVUOVVNONVPON@@>>@= =N>NN= <<=====N>N =NN;WN== dcVbbb VPVaVbVaVaVPWbfVbaaaaPaBUUPVULPNPPMNPPcPPUPPPVVbbbbW ccdcbc >PPNPUPPNOPaVPVVVcVbcbVVPVVcVPbccVVcUOPVVUVVccVVVc VUVVUVPVPOUVVVOVQPO@OSN>NOPPVPPONVOUVPVVVVVVcdcVVcWcddccWVVVVVVVVbVVPPVPPPVP@O>?@@@>A >??N= =N>?ONNNOUOOVON@NN@NNPN? @=@ON@@N@N==@N@NNNN? @N@UO>O @>>@@NNNONNONN>NONNN>>>> bbetd fbfbffbbfb`b bbaaaaaabbbbbbaVfaVaPbabbbbafVabP bbb`cbaabaf bbbbbfb IdAutore rother of Jacopo di Cione and of the better known Andrea, known as Orcagna, much of this artist's fame is due to the Judgement, Inferno and Paradise that decorates the Strozzi Chapel of Santa Maria Novella in Florence. While he clearly turned to Dante for iconographic inspiration, in his actual painting, he was clearly influenced by Maso di Banco, though he was unable to master the latter's handling of space. Controversy surrounds his participation in the church's other frescoes, which are more likely to have been painted by his school. Among the paintings that are attributed to him, mention should be made of the Coronation of the Virgin at the Victoria and Albert Museum in London and the Crucifixion at the Uffizi..i....i.i.....zi....zi....zi............ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando NARDO DI CIONE Florence doc. from 1346-1365/66 Crucifixion FrancOpera ObjectClass NUVUONWLNULLNNN=; E=NO@NUNUNONONUUU; dWVVWWVOWUVOOOWPO @NN[O@=NUOOOOWUN d=cdW ?deNO ~?N:e ONVd>ddOWONNO=eNNOOONe?d[U[NWU Od[WWe O?eXX WXf[OXOLXXO?eNOXXXW;VU dccWddccWVVXWcW=L>NNWWOOdcOddXddWc=W =WWcVVOWVWWdddWVOOVOcdWdWVWUVdVWWVNNU ?VdU~ fdXXXQ XwVXdV ePbWe? e=cae?OO; dwe@V feUVOc>>OL HdXaPUeU>>OUc NXXhX =aU<?9U NfdPX afTUN <E<;C <<=L;H LLU[?=N;<< <;;;=N;NN; OONN;=;<; <<LL:LN<<H< NU=>WV=< ;;LLNO;<; 9?WWU=<NNLLH LNL;<NON;<L= Y>VN:NL;=;;= ;LLLL;NON HLL<LNOddW>NL;<<< MXXWNLO OOWWd d=<<; ZX=NNWWcOO= OL<;< E=<L: Ld.XYX >X[LLO;LN ZfX;NN ;Ng[[WZ[ONN U:=VNOY f[L;N<M =<LW[V ZYULN eOLUN;9 O<OOLO= WO?=d N=NN=V \YO?N>N NNLN?Nd dcUOWNNN >UNNNNUO WNNWN:< LNUNNNUO [VVfOd dWVNd NNVe= NUNUO NUWWd UNUdO =ONcW IdAutore rother of Nardo di Cione and of Andrea Orcagna, he is mentioned in the documents concerning the completion of the Saint Matthew altarpiece, now at the Uffizi. Documentary sources also confirm him as the creator of the polyptych for the altar of San Pier Maggiore, now divided up among a number of foreign museums, although it is still uncertain whether he painted the Coronation of the Virgin at the Accademia in Florence. All in all, his work embodies a gentler version of the pictorial idiom developed by his brother Andrea, with whom he collaborated closely..y.y.ly....y............ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JACOPO DI CIONE Florence doc. from 1368 to 1398 Saint Matthew and the Stories from his Life FrancOpera ObjectClass cddNdWUWWdWdWUWWONVOUN ;LL:8 OWddccWedcVVUVcUU bMMLHCMLU UeUdV fffgXgXfQg ZdgdM dfXefX efXhgXXgewfXaUeLd RdUd<d W`Xeg wxf_XU UcUefX mlPQfeNb<cw ?.LMc N..LU UWXgXg wPPSeEdLU| .LLJIN fefZe TSfge;c;Vq ;MUUWcVVdyZ NUVNNNUl^A ;MNMVMUNMwS__Bt =:HLU EULTVOUNUxSigBBnf IUcdE LL;ULVLMxiis__ MMU;8LN HLPLLCUyQBBK_T gILUVL HEN9KMU LLNBLUwS_BD`T HE;@V Njs_BFK` BINUL ;;:MHf CjBBKFJr ;LCnF hBKDBI_ uMIDLM; EE;<9 Um__KIBTI DIKaPL NqRUlBBBJIDII H<CLUH< nqxsFFGFIJJIcIIEL; EVqlhG^ Ei]lTIBIIIIIFjJI EC;9EK; oolaFIB IIIFh <M<CNLMUPEM qhhrBBIF IB]IFE;< *;M8:L Io]nBBGFI HqqqiII IIIKi hgwpAII G^^rB MTjII -BFFJE ]SbxA_^I KBIIF^]qB)*- QIIIGII h]]p]B ;n]]^qq HTMNE* FH..L8 *.KTTJ ha7:M IdAutore ainter, sculptor and architect, he is the best known of a family of artists that included the painters Nardo and Jacopo and the sculptor Matteo. Referred to as one of the finest painters of the time in a 1347 document from Pistoia, he directed one of the foremost Florentine workshops of the second half of the 1300s. As an architect, he was often consulted over works at Florence Cathedral; moreover, he was also involved in creating the mosaic for the fa ade of Orvieto Cathedral. His fame as a sculptor and painter is largely due to the Tabernacle he created in the church of Orsanmichele (1359) and to the Strozzi Altarpiece, which is still kept at Santa Maria Novella (1375). Although these are his only signed and dated works, in recent times his name has been mentioned in relation to certain works featured contemporary sources and believed to have been lost. Mention should be made of the lively narrative vein of the fragments of frescoes illustrating the Triumph of Death found in the church of Santa Croce, possibly his earliest extant paintings. Some of the frescoes in the church of Santa Maria Maggiore and the Banishment of the Duke of Athens at Palazzo Vecchio also belong to this period. His later output includes the Saint Matthew and Stories from his Life at the Uffizi (when Andrea died, this work was finished by his brother Jacopo) and a number of frescoes at the Santo Spirito convent that were largely painted by his workshop..p....op....p.p.....op....op............ tipoHot ObjectClass rimando tipoHot ObjectClass rimando V d ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Andrea di Cione alias ANDREA ORCAGNA Florence doc. from 1343-13683 Saint Matthew and the Stories from his Life FrancOpera ObjectClass cddNdWUWWdWdWUWWONVOUN ;LL:8 OWddccWedcVVUVcUU bMMLHCMLU UeUdV fffgXgXfQg ZdgdM dfXefX efXhgXXgewfXaUeLd RdUd<d W`Xeg wxf_XU UcUefX mlPQfeNb<cw ?.LMc N..LU UWXgXg wPPSeEdLU| .LLJIN fefZe TSfge;c;Vq ;MUUWcVVdyZ NUVNNNUl^A ;MNMVMUNMwS__Bt =:HLU EULTVOUNUxSigBBnf IUcdE LL;ULVLMxiis__ MMU;8LN HLPLLCUyQBBK_T gILUVL HEN9KMU LLNBLUwS_BD`T HE;@V Njs_BFK` BINUL ;;:MHf CjBBKFJr ;LCnF hBKDBI_ uMIDLM; EE;<9 Um__KIBTI DIKaPL NqRUlBBBJIDII H<CLUH< nqxsFFGFIJJIcIIEL; EVqlhG^ Ei]lTIBIIIIIFjJI EC;9EK; oolaFIB IIIFh <M<CNLMUPEM qhhrBBIF IB]IFE;< *;M8:L Io]nBBGFI HqqqiII IIIKi hgwpAII G^^rB MTjII -BFFJE ]SbxA_^I KBIIF^]qB)*- QIIIGII h]]p]B ;n]]^qq HTMNE* FH..L8 *.KTTJ ha7:M r#^#^# IdAutore on of the goldsmith Tommaso. Vasari, who devotes a handsome chapter to his biography, relates that he adopted the name "Ghirlandaio" from his father's activity as a creator of the garlands that Florentine girls liked to wear in their hair. During his brief life, he worked almost exclusively in and around Florence, with the exception of two stays in Rome. With his brothers, Davide and Benedetto, and his brother-in-law, Sebastiano Mainardi, he set up a successful workshop that executed commissions for illustrious Florentine families linked to the de' Medicis, such as the Tornabuonis and the Sassettis. Struck down by the plague, he died in the space of a mere five days and was buried with all due honor at Santa Maria Novella. His earliest artistic output in the two small country churches of Cercina and Brozzi bears witness to the influence of Alessio Baldovinetti, as do the Stories of Saint Fina in the San Gimignano collegiate church. He then painted some frescoes in Ognissanti Church in Florence, the most famous of which is the Last Supper that he later replicated for the convent of San Marco and the Abbey at Passignano. His considerable fame then brought him a Vatican commission. Sixtus IV invited him to paint two frescoes for his chapel featuring the Resurrection, later destroyed, and the Vocation of Saint Peter. This gave Ghirlandaio the chance to indulge his fondness for real-life portraits, which became a constant characteristic of his work. Upon returning to Florence, he obtained a number of important commissions: the Sala dei Gigli in Palazzo Vecchio, the frescoes with Stories of Saint Francis for the church of Santa Trinita and those with Stories of the Virgin and John the Baptist in the chancel of Santa Maria Novella. All these achievements bear witness to the artist's unrivaled skill as an illustrator of Florentine society of the 1400s. He also painted a number of superb pictures on wood, including the Madonna Enthroned and Saints, the Madonna and Child Among Angels and Saints, the Adoration of the Magi at the Uffizi, the Adoration of the Shepherds, in the Florentine church of Santa Trinita, the Adoration of the Magi at the Ospedale degli Innocenti, and the Portrait of an Old Man and a Boy, now at the Louvre..".".".".""".""""."""".""""e.""""e.""""."."."."e."""".""""""""."""".""""e.""""""."""""+ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenico Bigordi alias DOMENICO GHIRLANDAIO Florence 1449-14941 Madonna and Child between Saints and Angels Madonna Enthroned and Saints Adoration of the Magi FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass 62666 zrrrqrprrrrrprrokr tzkask_ rsksk sszzs ssskk r^^krjsk +Bqrrkrkss ^srrrr sskkkks rrrsrjks ssssz srrrs^sk_ksrrk ^rssrs sksk_szsz Kprrrr rkszsszsz sG^^^sr^srk sF^B_ssrrksszk krrrr zssrkk zzsrk G^Irpk I^^r^B ssksk }Izz__sz sJzJkz^ ss^kk ^zssz z_IKz *77I^G s7tkz ****H FPQbQM`bAPTAGPTFC@A@MBBM@CUO ^BI^IG {{l__BIB FB^rhFIADibsSSj_x LbKDbT8M BMUCMC jl{T_mj]rwi BJLEJJBBMTTU Pj`vbBBGlauitri f^BAPbc IF^]rSai*Ijrwiwwa i^_tB iwjhV} BjxMF Grwuwj Fiw^AI ^jwi|w xu_^I xi`^B -430/ |jjGB h]ihqx 0#,%%5 dn]00 AAGAB XPSSBP^F Wdddd cW=de] %lqw$ $_]o $,lo3 ^oe ; ~f_bTw u_yS} `EjxP ]hx43%3 gLi|TU hrju{ _BowxCM xpQiixyy PklixPa ]o_hlxwl `Uil{b_wfw qih^oju aTTrx|h{wx hhj^lfhx P_ybh|w ^roow~ Tjl{u io4Uo]x gP``ixx|l~ /Wxxl N:NNc ]|T^y |qqGJ yyxuxx f`i{x xy{|{{l nqqllnlt a}|xy} mlnlmlo |z{y} nnmno xRShuluwx z}]nx o]loloqw {iPi{{ ]onlonpg go{xiggx kjoqoo]o Ay{|`_a{ looq_ Piy{wBwy zZx{z AAXXh xnlmy^CG PSrAn]CG^b thf6d xx{@`i ~0//~ IdAutore e must turn to Vasari's biography in order to fill out the few known facts about this artist's life. He was the youngest son of a tanner from the Santa Maria Novella district and, like many future artists of the period, was made an apprentice to a goldsmith. Later, around 1464, he was working in Filippo Lippi's workshop, where he absorbed the gentle manner of painting that was to become a constant feature of his output , even when he later came into contact with the solidly sculptural painting of Verrocchio. His cultural and professional development was so consistent that he was soon able to open a workshop of his own, which attracted important commissions from the great Florentine families : theTornabuonis, the Vespuccis, the Bardis, the Puccis and above all the de Medicis. In 1481-1482, he was summoned to Rome by Sixtus IV, who wanted him to join the group of artists working on frescoes in the Sistine Chapel. This experience was to leave its mark on certain later works. During the following years, he produced a great number of masterpieces. Vasari gives a shadowy account of Botticelli's later years, referring to them as times of "great disorder." However, modern art historians have been able to place events in perspective by studying the sources and documentary evidence. The artist's links with Savonarola, whom he met through his brother Simone, have thus been viewed in a truer light. And yet, as his last works reveal, he certainly experienced a major spiritual crisis in which the Dominican friar's call to genuine religious order played a major role. There are several paintings in various different museums (Paris, Florence, Naples, London) based on the model of the famous Madonna and Child with Two Angels by Filippo Lippi, such as the Madonna and Child in Glory at the Uffizi. The Sant'Ambrogio Altarpiece at the Uffizi probably belongs to this early period. Later come a number of paintings that embrace a wider range of cultural references: the Adoration of the Magi (London, National Gallery), the two paintings of The Return of Judith from the Enemy Camp and The Discovery of the Body of Holofernes, as well as Fortitude, the Madonna of the Rose Garden (Uffizi), the Portrait of a Young Man (Florence, Galleria Palatina). Practically nothing has come down to us of the first important de' Medici commissions mentioned by Vasari. However, the illustrious family is portrayed in one of the many versions of the Adoration of the Magi (Uffizi) and also features indirectly in the splendid Portrait of a Man with a Medal of Cosimo de' Medici, also at the Uffizi. Apart from the three large Sistine Chapel frescoes (The Trials of Moses, The Trials of Christ, The Punishment of the Rebels), while in Rome he also painted the most representative works of his whole career: Primavera, the Madonna of the Magnificat, Pallas and the Centaur, The Birth of Venus (Uffizi), and Venus and Mars (London, National Gallery). As well as executing private commissions, he also worked for a number of guilds and public offices. For example, the Madonna of the Pomegranate was painted for the magistrates of the Massai di Camera, the San Barnaba Altarpiece for the Doctors and Apothecaries' Guild, and the San Marco Altarpiece for the Silk Weavers' Guild. All these works testify to the artist's development as a painter. In fact, the crisis in values at the turn of the century and the political and religious tensions interwoven with apocalyptic expectations left their mark on Botticelli's last works, which are far removed from the naturalism and narrative vein of his early output. Thus, within the space of just over a decade starting from the late 1480s, he produced a group of paintings (Lamentation on the Dead Christ, Milan; Calumny and Saint Augustine in His Study, Florence; the Mystical Nativity, London; the Crucifixion, Cambridge) in which the restlessness of the present is expressed in recourse to more archaic structures and a halting line. While such works do bear witness to an artistic quest that is still evolving, they truly show the extent to which the artist was engaged in the events of the period...."."."."."."."."""".""""."."."""".""""."""".".".""""."""".""""."""".".".".".".".""""."""".".".""""."""".""""."""".".".""""."""".""""d.""""""d.""""d."""".""""."""".""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando J X ' h v t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando b!p!' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando $#2#t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando Alessandro Filipepi alias SANDRO BOTTICELLI Florence 1445-1510?$ Fortitude The Return of Judith from the Enemy Campk% The Discovery of the Body of Holofernes Gruppo1 \,I Primavera %d'l' FrancOpera ObjectClass Madonna and Child in Glory Madonna of the Rose Garden Portrait of a Man with a Medal of Cosimo de' Medici The Birth of Venus Pallas and the Centauru. Saint Augustine in his Study </R/' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Annunciation FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass The Return of Judith from the Enemy Camppp .W<W' LWZWt7 tipoHot ObjectClass rimando Gruppo2 FrancOpera ObjectClass fWl]t] FrancOpera objectclass Sant'Ambrogio Altarpiece Adoration of the Magi Saint Barnabas Altarpiecend four predella panels'_ San Marco Altarpiece d Predella with Five Stories of the Saints Calumny fW@`H` FrancOpera ObjectClass fW"e*e Rehe' FrancOpera ObjectClass 4jJj' FrancOpera ObjectClass FrancOpera ObjectClass The Discovery of the Body of Holofernese tipoHot ObjectClass rimando DuZu' FrancOpera ObjectClass Madonna of the Magnificat Madonna of the Pomegranate FrancOpera ObjectClass FrancOpera objectclass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Gruppo2 Gruppo1 buttonclick buttonclick Gruppo2 Gruppo1 false verso verso ObjectClass bUUaT PNOMTNUbPP U@TTOT M;bbU 7EEMMKMMM;EENU SA<HHC >?PVe --,4/- <Pa@Qc XfeXaWV cdNbb ujpoqg ihqpq]p]n q]qpphoj q]qphorojo hpron nor]hp]oro rohool /nohohojoh oponl* ")&%%)) ooqhohnhnm ,7PlolnllP !" ) T^rGrrrk 8BUab srrr^rrGprGz sssprrGqIprrrqIpr rIqppIpprrrsrrrs rpGIqpIrrrprrk rGpqIqrprpIps bsPPa rrqGqprIpIqq ^BrTTPP ^pGppIpprrrGs rGpGqpIrrprrr AB^^BVP@ rrrrIqrpIprr !KASAB^aNP BrrGqpqIprrr SA^rrTPP IqGrpGprrrrr BAAB^TPb As6TTsj *^rIqGrprrrs LGHBABBrPPPb Gr^rrpIprrs HA^BA^T@@bb rrGpGprrrs BA^B^6 G^rIpqrpr HGB^BrB IrrrGpGrrT GGBBG^^6 >Aabbc rGppGprrI GB^^^r ^^qGrGpT FA^^rr APbab *Cb8N GrGr^rrTU BB^^^J sracPP I^rG^rT G^^BrB% ^^^^r F>PbBCA^^^^B%, Pbbbb aasr^B aaPPabc tssst PPaaPab PSAPPabU;I* aaaCF IMPar UPPME cUM@LCCUV a@Nba TNUMML;8M VaPOPN PM@NCst LMUMMM @N@@UP APPVP MLMcUV@VM=P PPP@N CCMNM;;Lc GC@UNTL@VV> @LM@MLCLMU @VVNNC@bNC MM@UML MLEI8 PPU@bPUCPbB@ MNMLMMNTUPML PN<HHU MMCLMBUULMKK JL<HI;MVcc UMLK;Mc MLLL@ PVbbc 8M@NPb LMUMM MMLMM MMMU8MLMMI MJLLM LMMMMLLL;KCEC;K;K ;K8CELCL; JELK;CE |}}~s !") #$ !""!$! 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ONZO=OO>\[ZfPOhVPgY=h [VfZN :9V.8U ~~~~~ ~~~~~ Od|<=YX} }{||}{{<w{ {ONw{ -%-354 444%300- 0004044 ,#+5} /003% !%$$-O $$#$$ IdAutore e know nothing about his training, though he is likely to have been familiar with the work of Jan van Eyck and Rogier Van der Weyden through Giusto di Gand. We know that in 1468 he worked with other artists on the decorations for the wedding of Charles the Bold and Margaret of York, and that he later continued this activity in his native city. For a while, he held the prestigious position of Deacon of the guild of painters in Ghent, which he soon left in order to retire to an Augustinian monastery near Brussels as a lay brother. Here he continued to paint and receive visits from admirers and clients. As one of his brother friars, Gaspard Ofhuys recounts, he suffered from attacks of profound depression which led him to various suicide attempts in 1482. The Portinari Triptych is his only documented work, though there are a few others that can probably be attributed to him on stylistic grounds. His earliest output was influenced by Van Eyck and Van der Weyden and would seem to include the two Madonna and Child paintings (Philadelphia, Johnson Coll.; Brussels, Mus e des Beaux-Arts) and the diptych with the Original Sin and the Lamentation on the Dead Christ (Vienna, Kunsthistorisches). In his later work he achieved greater balance between the figures and a somewhat Italianate landscape. He probably painted the great polyptych for Tommaso Portinari between 1476 and 1478. In this work, the distribution of the forms and the use of tragic symbolism herald the dramatic impact of his last pictures, the Nativity (Berlin, Staatliche Museen) and the Death of the Virgin (Bruges, Civic Museum)..).).).).m)....).).).).m)....)....)....m)....)....m).... $ 2 ' B P t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HUGO VAN DER GOES Ghent 1435-1440 ca.-Auderghem, Brussels 1482 Portinari Triptych FrancOpera ObjectClass VaVTPMAaM B@<FCGC CGHUG MCHHGTCMBBTC KKBPaa STaPTPaSAGG@AAGG }b_S| GBTTT PMTfPPA ASABB B{F>_bSPBMBG }tt|{z _aaTPAA SS^aPQwT z{zjS^r^btktt QbPPSB `@?Fmy R`GrS HtSAt ssb_sa^ ^tkkjkk k{{zz RPAPbba SGB>ixyr ^ssbjtk a^sSr^T aGCCS `S@SRSAGGaS k^jssb ET;HH CSTTSTM CGCACACGG s_j_z zkkkp b^rztjs zzkjk ]ptssbts EUGMb tarsj ]qGC_ GU_Sktik GRACG a}Gr^sajj GGB@G Ga^k^aRrr CB@CS GsSS`_^p SCPiTbs^s SSjhts HP`tiH tkksok rszz{zzy~ R?S@S {kkzkkppp SAAAG CSs]/% AA]F^A vt{ss| kszk|z kzkkp sszsz| pCBQKB zssskstz }}It}Az p^LMT nqGBBSA kskTptszk bBR?AG szr{k >PPSs sks{j zzkjk srsssssz{ sskszz krs_kssz rsssrkk ssssssr ssszkk| ssrsr kszskrk }iIHz iRsv} jjitt +'/6//// IIJKDI} IdAutore n 1417, he is indicated as a painter in the Company of San Niccol al Carmine in Florence, and a few years later (1423), he appears as "brother Giovanni of the friars of San Domenicho at Fiesole." His earliest works bear witness to considerable familiarity with the various artistic idioms that were present in Florence during the first decades of the century, and there is documentary evidence to suggest that he had an extremely fertile relationship with Lorenzo Ghiberti. From around 1438 to the early 1450s, with only a few interruptions, he directed the fresco decorations at the convent of San Marco, where his various collaborators included the young Benozzo Gozzoli. In 1446, he was summoned to the Vatican in Rome, where he worked for the Popes Eugene IV and Nicholas V until 1450, when he was appointed prior of the convent of San Domenico in Fiesole. He also worked in Orvieto (1447), where he began the frescoes in the Chapel of San Brizio. He died in Rome, while working on a new Papal commission, that have not survived. Fra Angelico's first known works are some miniatures and the paintings with Saint Peter Martyr (Florence, San Marco), the San Domenico Triptych (Fiesole) and the Madonna and Child with Angels (Frankfurt, St delsches Kunstinstitut), in which the structure is still basically gothic and the influence of Lorenzo Monaco and Gentile da Fabriano is evident. However, when the artist saw Masaccio's work in the Carmine Church, his later output was destined to change. The process began with the Last Judgement (Florence, San Marco) and continued in the Coronation (Florence, San Marco) and the two Annunciations in Madrid (Prado) and Cortona (Diocesan Museum). In 1433, he received the important commission for the Tabernacle of the Linen-Drapers (Florence, San Marco), which bears witness to the influence of Ghiberti. Next came the Coronation of the Virgin (Paris, Louvre), the San Marco Altarpiece and the Annalena Altarpiece, both of which are kept at the San Marco Museum, and the Coronation of the Virgin (Uffizi). In 1438, he began working on the decorations for the San Marco Convent, an enormous undertaking that required a number of collaborators. Outstanding among these achievements is the highly dramatic fresco with the Crucifixion and Saints. By contrast, the fresco cycle with the Stories of Saint Stephen and Saint Lawrence in the Niccoline Chapel at the Vatican is understandably more curial in approach, with greater narrative intent and less intimacy. He had a fairly limited hand in painting the vault of the San Brizio Chapel at Orvieto, which was largely the work of his workshop. His latter output includes the Perugia Triptych, now split between the Galleria Nazionale dell'Umbria and the Vatican Galleries, the Bosco ai Frati Altarpiece and the Stories of Christ for the Silver Cupboard at Santissima Annunziata. Both of these works, now kept at the San Marco Museum, reveal the artist's characteristic feeling for light and color. At the Uffizi there is also the Madonna and Child that originally belonged to the polyptych in the parish church of Pontassieve................."e."""".""""e."""".".".".".".".""""e."""""""".""""e.""""e.""""e.""""e.""""e.""""."."."."e."""".""""e.""""e.""""."."."."."."e.""""e.""""."""".""""e."""""""# tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Guido di Pietro alias FRA ANGELICO Vicchio del Mugello 1395 ca.-Rome 1455 Coronation of the Virgin Madonna and Child FrancOpera ObjectClass FrancOpera ObjectClass rimando 644444 &444534454/. 5/04- -0366 ..45. {{lmy{{{yl 8d9*. yxxxx|xlyh yxll}xilm xllx[[ hnnX454 yy|xllx ZhWll wwllY ZNhll l{wllxY OYYdY W@[Zhh W[YWYYYY >hhln xxwll Y[WWYd x{lin W54YOWO ZhiXh W{xwll{ .WYYO Y[[c[ ]liZl OY[hZl e{lll ;Y430 :4d8O WYVNN Whh`< W=]wZ hLOd0 UZOH5 @@B4U ;:h;;=4cVVWOW dW[YVN WWWVdY %*&.-)d )&5d 8/dcUO: - "%%/, %%% %-,&% !%-% ;;<;; .;WNY YYW[U9 W4c9U WdcdddWdddd ddddded ddddddWdd ddcWdddd WWddWcdW LLddWWcXdccd WddddUd MlkijjjlljPUL9Vhhihjwii`X YU;;YZfXgffffOhOLNgXXgff`XgQXXNcY 6470//04436635 .-... %lxwwhLLfw ,Mxyyx O\XXWf?U U>=?\ ??^inhikjZ ~\N==<9 V=N<[ Qhjkr ==?=9 N=;>O {^]R\R; YWW=8 VNWO[ XOWWY ]^>>R V?WO<9 -0`{l] OOWW= X=NOYd g`O@R OYdNN VOdWWY' dYO;N WNNNWY8 /.MTZ W;NVYWO%/ c?WWYW;N UH[OOOY8, **NYWOWW=9 d<NOOW WWN;N =OWWW[.,0 OddN<N ==WXO[[N c89[WWYWN;V Ud:OYNWW NWOWN;NU YVO>O WNNYNN:=U dN<=dW;?>=? NN?UNNU=W N=NVV>O=O O>UNNNV ;Od==UW OON?O YWN;N UYNNOWNNOL[X [XW?WV;=Od; =9VN=UWOdW=[WN:UNUWNNWWXeOOU =N<W9W[Nd[ ZW[W[[W9O[ ?OWN> NVON>YYU OYW?WWNNWNVNW= >cOWWWNWW;NWY[ [?XWO[WOUNY OUONOVWOWOUO[O O[O[YNNUVNd ONNWVO>OWWdVWWWYYWdWVN WWcVWNVYN> OU;WWdOOWd[dOdYWW[W[WNOWWWWW; OONNWdOVd[d[d[d[WXWWOWWUWW ;dWN[? ONW;NWdWYdWWddWdOWd[WOdWWY=Y OU>NNVWdWdWUdYd[YWYdYWdd UddNNW[? OW9VNNVdYWdYdWWWWWWWddWdW[YNV[WWO YN=NNNNUWYWWdWWdYWNOddWWddNWWWWWO XWNWONN=NW dXWdWdW[WWWYd[NWOWWWYO VOWNNNNNNOd dYWdWdXdYdWWWOWWWdYO dV=ONNN=NNN=OW eWdddYWNOONWONYWWO WWWWWWWWWWWNWWdY dOWWOVWVVVOWY edXddd XWYdWXYdXWWYWWYXdXeXXd eedXXdeXdX IdAutore e know little about Domenico Veneziano's training, though he may well have been connected with Gentile da Fabriano or Masolino. The earliest document dates back to 1438, when he was working on a fresco at Palazzo Baglioni in Perugia and wrote to Piero de' Medici, offering his services. In 1439, he moved to Florence, where he had probably already spent some time and actually painted the Adoration of the Magi (Berlin-Dahlem). With his pupil, Piero della Francesca, he frescoed the church of Sant'Egidio with Stories of the Virgin (1439-1445). These were left unfinished and only fragments of them remain. He then painted the Santa Lucia dei Magnoli Altarpiece (Uffizi; the predella panels have been split up among various foreign museums). Other works by him include the Carnesecchi Tabernacle (London, National Gallery), three versions of the Madonna and Child (Bucharest; Settignano, Berenson Collection; Washington, National Gallery), a diptych with Saint Francis and Poverty and the Imposition of the Franciscan Rule (Munich, Alte Pinakothek), and a fresco with Saint Francis and Saint John the Baptist for Santa Croce (Museo dell'Opera). Domenico Veneziani's painting was not fully understood by his contemporaries, yet with its purity of color and brilliant compositions, it was to exercise considerable influence on the art of the Quattrocento in Florence..ce....e.e.e.e.ce....e.e.e.e.e....e.e.e....e.e.ce........ce....ce.... tipoHot ObjectClass rimando : H t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenico di Bartolomeo alias DOMENICO VENEZIANO Venice 1410? - Florence 1461 Santa Lucia dei Magnoli Altarpiece FrancOpera ObjectClass ***** .5......8. ....4 555.** dwyw_TBB ...58. ::NMVU T^`HIFBJ_U UMU;HI FIDB_I efeM4 BBIFB SBIFB B^FFD `lIIIF_FFIIM dg_PBc drjIABI_FIIIK PBBPWdd VPBPc h_FBFI^FIII 444cNd IFB^BBI 4,,-4 MP^IIAI 4,,-3 %44-% 34044 44346/ ,34043 %33/36 464/- /4-,%03-05 KIIBIB /0-04f -/,/4_ fU33300& JDSsF* 33-/, &-43--0 30//600-03 -&%0433 3-..- ),, - **.0& &--%,, **63- ---%/05 -0%&-/-)-40c` ,--%--4 wlxd.;h]]i -/"/,,%-//8 Poiih -4/,%-00/6K TTL8aPVgoh //)&%,/-.D FIBPU :;RV:* ..5.3 -%%-..4 60,/5 6%)&%5 Ub%&%0,)%. 4343& -4430- )%&.T *T8/66544 I..343 4--38 *%//04 .6.-/66//4 -.45... 455.4 55454 44455454 4//64..4 )&%-----.----.-/.6...5444446565/..//46666454565.6654566606/000/////-//////6 IdAutore on of a notary and grandson of a Valdarno cabinet-maker, he moved to Florence when he was still very young. By 1418, he had already made a name for himself as a dipintore, or painter. In 1422, he is recorded as enrolled in the Doctors and Apothecaries' Guild, and the following year joined Compagnia di San Luca. In Florence, he frequented Donatello, Brunelleschi and especially Masolino da Panicale. With the latter, he established a most fruitful partnership that certainly went beyond the usual pupil/master relationship, as it was the older painter who gained the most from it. Despite the conspicuous stylistic differences between the two of them, Masaccio worked with Masolino on most of his achievements in Florence and Rome. He died in Rome at the age of twenty-six. Yet in so short a time span, he revolutionized painting, introducing figurative criteria that were completely new: the strict handling of perspective, the realism of the figures and the use of a natural luminosity that were to act as models for later generations of artists. What is generally believed to be one of Masaccio's earliest works is the small San Giovenale triptych (parish church of San Pietro at Cascia di Reggello) that is dated 1422. The following year, in the cloister of the Carmine church he painted what is known as the Feast, a no longer existing fresco featuring a procession of Florentine notables of the period. The Saint Anne Metterza (Uffizi), painted for the church of Sant'Ambrogio in Florence, was the first chapter in a long collaboration with Masolino that continued with the Snow Polyptych for the church of Santa Maria Maggiore in Rome, where Masaccio also painted the Saints Jerome and John the Baptist (London, National Gallery), and above all, in the frescoes with the Stories of Saint Peter for the Brancacci Chapel in the church of the Carmine in Florence (1424-1428). The original color and luminosity of these latter paintings have recently been recovered through restoration. Masaccio's revolutionary approach to space is clearly visible in the Tribute and the Expulsion from Earthly Paradise, whereas it is not certain that he played a part in the large Crucifixion painted by Masolino in the church of San Clemente in Rome. In 1426, Masaccio also worked alone on the polyptych for the church of the Carmine in Pisa. This was later disassembled, and its various parts are now kept in a number of museums in Italy and abroad (they include the Madonna Enthroned and Child , National Gallery in London; the Crucifixion, Capodimonte Museum in Naples; and the Saint Paul, National Museum in Pisa). The last great work entirely by Masaccio is the Trinity fresco that he painted in 1427, in the church of Santa Maria Novella in Florence. At the Uffizi there is also a small Madonna and Child by him, acquired in 1988..8....88....8.8.88....8.8.88....8.8.8....8....8....8.8.8.8.8........8.8.88....88....88....88....8....8....8.8. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Tommaso di ser Giovanni Cassai alias MASACCIO San Giovanni Valdarno 1401 - Rome 1428 Madonna and Child Saint Anne Metterza FrancOpera ObjectClass FrancOpera ObjectClass UNVUUbVc UMNNC **O=N=N XML=@ N<NH> OH<O<N BrsTs PTS^s_ A_AC^ss SB^ss ASzTGPAP_C GCTzI HIEH<H ACaBT CH<<< _sssTrs ss_Tr ?H=<HH=CC= LNC<;HN< a@Tss =M=<;<P= NHHLNNCCNON M<MH; ;;NU==ULLH UTPUUb @CCOC CNPNN<<NN@ LNLNU NEN=bN<Pb OEEN;EN<NNCCE<H FNVLHMNUEH LNN=C<<< L?@UULNMHNbL HLM=@UPMN@N bTT@@G LUCCC=MVUHHHUO CF=NNNNNN== sPS__ @T=MUVNM ?L<C==M=NN==CNNEC@ NCC=; =C=LNNNNCNU@UNPLN UNUUMN==NNNC<OP* >EC=PNN@NMNUPUNLNaH aCMAaP_ N=LNCVN=NMNNLPU =<CMNCNUNVPUVPMNCN NMMPMNNNNP=PU QN<==LVNNPMNUUNMMP @LOUUN@NPNNNNP [N@NN@PUNNNVPUPLMU UCPN=NUNMN=NU Q=NNPNUNU P@UNPNM@U@ =CLCUPUNNPN=<NP *WNNUUUVUTVUUVUUTUM@S MCNCUUUT=UNUN<NL *O@NNPNUPVUU@UPPVUTUB MPPVPNNN== WN@N=NN@ bPUNUUNTUVVT NUUNNNNN@ WUNUNUUUPUUVTN@@UUUTTc MCLMMUN@PN@@@UNNPO *VOUPPNPVUPUPVUNUPUUVa=T NTCUP=U PUUUPNN baN@UNPUPUNUPNNbUUa BML=NU UPVPUNPUNUNPM NUUNUUUNUPU@PUUVUUPNc NTaTUCMUCEP UPPUPUNPUVU@NcP aU==O=NUP@NOUUNNPUPNUNNPNaUPT=M@NV @@NUUaUNNPNNN@V@ cNNMN@UUUNMNNMNNN=N@N HNUUVUPNTU@PUPUPNUUPUUUNNUPU cbUaVPPPaPaPPPPAPPPPPT@NNPPPPTPN@TPPPPP -,&&-% .--..-/.6 5*453 Q^on4 @CAhxy ]ohlu Uiua&xI _oxyqM4|h Pq]yT^{ 7IGAhtv Bxe`uwa -qB]_ GG^SB *GSla BH]|jf _j]AAliu| G^httub ]qmhrp` ^BAon]u ^C^oa .|aPP uV]Pt MIA^^] tauthj _`aRP MGSr]l ibf_lI /JBSljV UuFet|M*IF Iowfi .Gd{AG wttEL UC;^u u}:LV MULth oh]MP bUdMLTU IdAutore e was born in Borgo San Sepolcro, on the border between Tuscany and Umbria, and is recorded in 1439 as being in Florence, when he was working with Domenico Veneziano on a no longer extant fresco cycle for the church of Sant'Egidio. During his stay in Florence, he must have learnt from the works of Masaccio and Donatello. Piero later took to moving from one court to the next in central Italy, toward 1450, he was in Ferrara, where he painted frescoes, now lost, in the Castello Estense and the church of Sant'Agostino. In 1451, he was in Rimini and then repeatedly in Urbino, at the court of Federico da Montefeltro. In the meantime, he also worked in Arezzo, in the church of San Francesco, and in the Vatican, though no trace of this latter cycle remains. Deeply influenced by the theories of Leon Battista Alberti and by the mathematician Luca Pacioli, he devoted his last years to writing the treatise De prospectiva pingendi, where he expounded his ideas on the use of perspective and on painting as the "divine proportion of mathematical relationships." The earliest of his works that survived, the Baptism of Christ painted between 1440 and 1450 (London, National Gallery), already reveals Piero della Francesca's innovative and highly intellectual concept of painting. In 1445, he received the commission for the Misericordia Polyptych (San Sepolcro, Pinacoteca), which he worked on for over fifteen years, during which he also traveled to Rimini, where he painted the Saint Sigismund (Tempio Malatestiano), and to Arezzo, where he painted the great fresco cycle with the Legend of the True Cross in the church of San Francesco. In 1554, he received a commission for another polyptych for the Augustinian church of San Sepolcro. Only a few panels of this have survived, and they are kept in various Italian and foreign museums. The fresco with the Madonna del parto (Monterchi, cemetery chapel) and the astounding Resurrection (San Sepolcro, Pinacoteca) also probably date back to this period. The small painting of the Flagellation, the Senigallia Madonna (both in Urbino, Palazzo Ducale), the Diptych of the Dukes of Urbino with Federico da Montefeltro and Battista Sforza, and the major Sacred Conversation (Milan, Brera), painted between 1472 and 1474, all derive from his various stays at the court of Urbino. By contrast, it is difficult to ascribe an exact date to some of his mature works, including the Saint Augustine Polyptych, of which only a few panels still exist (Perugia, Galleria Nazionale dell' Umbria), and the painting of the Nativity (London, National Gallery).don, National Gallery).".".")."""").""""."""")."""")."""".".".".".".""")."""".".")."""")."""".""""""""."""".""""""""."""""C tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando PIERO DELLA FRANCESCA Borgo San Sepolcro 1415/20-92 Diptych of the Duke and Duchess of Urbino FrancOpera ObjectClass FrancOpera ObjectClass T_TaT |tsbb |{|{|} ookoprprpr qpkjprrk tzksksjssk jsrpr}~}~ }}ttz tztsjskskr |}}||} ztsjz sorrpsjkrr kjskjkr krrkkrjjsr jskrj}} }|~}| |}|{{tt{tz sorrjskrrk itbtvttP }{}}t}ztzt tkjtsjjrkr orsororrsj {ttabtf tktztz ojsrrk} btMttfTa |ztzt rjrjrjro svtiaTKat jkjsjjs jjrjsjt PMTaTT kktsj jssrkrkrk krrkrjr |t|fta ytt{| orrsj UitaF {||}|tt{kt jsjjsrjj TTaPP ~|}|~ kttjt rrkrrj aTPTT srjrrjrsro ssjsj ^rroK vvtt|}{tt srsrjrj ktktz ^rr^ra rttjv{ }tjjsjjsj kvjst{{ssj jsjjsjrs tvktvvrjss jvstjtts rsjrj `zjjsjj ^rr.5 '-/-/,+' 6*7fK ttsij ss^__sras_ vxxyzvs `_sas_T_Tr 6Tirk rjsrsrrkg IDKKD |vs^^r }tvsjjs srr^r7 kjktksrjrr srsrrsrrT jssjrsrsrj rsrr^r !!$!$!$ srsrst|jo ztzttjjssj srjssrkst lB!$! #$!#$ zttktk sksjj ^svo^$$ !!##!$ ||zttk {{tsrrvzpI $!!$#$$/. !#!#$ {zttz {{ztjrrjv ztvt{ tjsrst{zpA #$izvz zvjkrst vznqF' #$#$## {tjssjt $#$$# {tjjz tzylo^ zlo_K z{zzyzmks ccWWUdWddcd ddddd ccWNUdcdddddd VNU85 46--..-- .--.------&&&&& &&-&- ---.. O5..-.-. ---.---& 4544554564464565655..-5/..55.45554454554444445549dUV;6..------ dNd:-&- -..&- **&***** WNW;- &&&&*-9W c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d 9/44444. 4L.U* [dddd[V, WddddW ~h`zQN yxmxmyyyy dWdWWddW `OzQW 44545: wx{yxx YdWdWdW ^QjgO dXOXO &..5) jZ<dW `WQgZ v||w%8 eZg]V dddWd WcdTe :.544 5-)-. N93-+&&&&&& N=3--,%&&% '&%'&' *&*&&& W930% #%#%%%"%% ) & ) " ) "%) ''')&)&)*) ''''''' ,,,,%,%##,%,%%,%%"%"%%"""%#%%"%#%"##%##".W0 )'''''''''''''' '&'''''''''' ''''''++'' ,###,",,#%,#%#####%#,,,,%# ''''''%' '''''' ''%'%''%''% %'+%''-+ ,#%,%, [-")''%'' '''%%'%%''' ''%'''''''%%%%%%'% '',,+,.N;ON [."%'''%'%%' %'%,%%%,%%'%%%%',%%',,'',,,/, .>N;N -#',,,%,,,,,'%%%,%%% ,,/O;=U 5N9=W 6#$#!####!!$!!!##!!!!!#!!##!$#!###!# "##,,#"##"" 23333 [dYXYY WYYYYYXYXYYY[[YYYX YYYYYY eecdddbdccdVdWcdbdVcWNUWVNUVWUWbdUcdcVcdcdcdccUedWd dWdddW dcWVdVdtUVVdOVUVONNcWUUWcVcWdUcW VdcdUcddcW IdAutore e was probably trained in Gherardo Starnina's workshop, and is recorded in 1407 as one of Lorenzo Ghiberti's helpers in the commission for the North Door of the Baptistery in Florence. In 1414, he was reportedly enrolled in the Company of San Luca, and in 1415 in the Doctors and Apothecaries' Guild. From 1425, he was in Venice working on the mosaics at St. Mark's. He returned to Florence in 1431 and here accomplished much of his output. He received a great many commissions, in particular for the Cathedral and the church of Santa Maria Novella. In 1445-1446, he was summoned to Padua by Donatello to paint frescoes in Palazzo Vitaliani, and between 1465 and 1469, he was working in Urbino. He was a painter of great originality who employed perspective and accurate drawing in his striking compositions of both sacred and profane subjects, thereby upholding the principles of Renaissance art. With the exception of works that have been lost, such as the Annunciation painted in 1425 in the Florentine church of Santa Maria Maggiore and the mosaics done for St. Mark's in Venice, Paolo Uccello's documented work begins with the frescoes in the Cloister of Santa Maria Novella, begun in 1431 with the scene of the Creation. Next he worked in Florence Cathedral on the paintings for the Monument to Giovanni Acuto (1436) and the huge Clock (1443) as well as on the cartoons for the stained glass Nativity and Resurrection. Following a stay in Padua, in 1447 he began work on the green cloister at Santa Maria Novella, painting the Flood and Noah's Sacrifice and Ham's Derision. The other great fresco cycle with the Stories of the Life of the Virgin Mary and Saint Stephen in the Assunta Chapel in Prato Cathedral also appears to belong to the same decade, though doubts still surround this attribution. For Palazzo Medici, he painted the three versions of the Battle of San Romano ( Uffizi; National Gallery in London; Louvre). His last works include the small paintings of Saint George and the Dragon (Paris, Mus e Jacquemart-Andr , and the National Gallery in London), the Miracle of the Desecrated Host (Palazzo Ducale in Urbino), and the Hunt (Oxford, Ashmolean Museum)..).).).).).).)....).).).).m)....).).).).).).)....m)....).).....).).m)....)....m)....m).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Paolo di Dono alias PAOLO UCCELLO Pratovecchio, 1397 - Florence1475 The Battle of San Romano; FrancOpera ObjectClass TMTTT H:99; BTTTT ATTA_ IdAutore typical early Renaissance eclectic artist whose activities included painting, mosaic, stained glass and engraving. He was trained alongside some of the foremost names of the Florentine Quattrocento. He worked with Domenico Veneziano on the lost cycle of paintings for the church of Sant'Egidio, Fra Angelico on the Silver Cupboard at SS. Annunziata, Luca della Robbia, Antonio Rossellino, Antonio and Piero del Pollaiolo between 1466 and 1473 on decorations for the Cardinal of Portugal's Chapel at San Miniato. His finest works include the Annunciation and the Madonna and Child with Saints (Uffizi), the Trinity (Florence, Accademia Galleria), the fresco with the Nativity at SS.Annunziata, a Madonna (Paris, Louvre), and the fresco cycle at San Miniato. They all demonstrate the principles of light and perspective that were developed in fifteenth century Florence. He spent his last years restoring and completing the mosaics in the San Giovanni Baptistery in Florence...e..............................................e.....e............... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando X f ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALESSIO BALDOVINETTI Florence 1425-14993 A typical early Renaissance eclectic artist whose activities included painting, mosaic, stained glass and engraving. He was trained alongside some of the foremost names of the Florentine Quattrocento: he worked with Domenico Veneziano on the lost cycle of paintings for the church of Sant'Egidio; with Fra Angelico on the Silver Cupboard at SS. Annunziata; with Luca della Robbia, Antonio Rossellino, Antonio and Piero del Pollaiolo between 1466 and 1473 on decorations for the Cardinal of Portugal's Chapelat San Miniato. His finest works include the Annunciationand the Madonna and Child with Saints (Uffizi);the Trinity (Florence, Accademia Galleria); the fresco with the Nativity at SS.Annunziata, a Madonna (Paris, Louvre) and the fresco cycle at San Miniato. They all bear witness to the principles of light and perspective that were developed in fifteenth century Florence. He spent his last years restoring and completing the mosaics in the San Giovanni Baptistery in Florence........ FrancOpera ObjectClass Madonna and Child with Saints Annunciationk FrancOpera ObjectClass EE<HECC ..... E^]ATSA^AMBSCML SRBGCSBLK;EAA7KTS8 BEMMC PujC<PT wtnlg )wlnb )mljui &lznjwi mnxvuo )ykvttnt mmvttlk &ylxvvllz hVMP`a ;MT`PR MBMT988 vxxvz V`Taa] b8?Qa, *yvtzxvv u^UTbh gqQUTa]c ]h`]lj \M]a7 SRq]]]]] `xj]]h ]]h]]]] mihaUTaaaHE 23]]]]]]] `bVhG7 `qr]]h]2 ]]]]C MGSP;q] fPUMV *wbPc ]RBSqC &xucf B>HHC .-:U7 NULN> 402.3 .0/643-2 233.6//0. 630//3030 3043330/ EHHHH #,//#,, ,+-),+-,,9 %,,,,% N?NUBb C9LNU TSBMS TST60 %.5L<U/ M_^sss ^sT_TB U^___s BASH>M @GTBABR BBBBBC MAAMB T_TB^BB^__B___BBG^BBB A^^SBBBBS L8~**2 M5~**2 -8@M.d U+-..- G8BGBB -.,EP -/+%BP 8GBBBSJ BBBBBB B/-,LTP) VAAABBASP aTBTSU cJ-TTB BTTBB T^_TAB aB_B_BB TBB^B^K^_B^BBBB TBB_TBBBBT EHHII IJEHEH HCBCH HEEEK88 =;;LE IdAutore ne of the foremost exponents of the Avignon school, he was the official court painter to Ren d'Anjou. His fame is largely due to the triptych with the Resurrection of Lazarus, now kept at the Uffizi. In this and works such as the Burning Bush Triptych and the Legend of Saint Mitra (Aix-en-Provence, Cathedral), his adherence to the Flemish tradition is mitigated by his contacts with Italian art, probably established during his stay in Florence..e.e.e.e.e....ce........ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando NICOLAS FROMENT s 1435 - Avignon 1483/8 The Raising of Lazarus FrancOpera ObjectClass GGEFHHHFG CIHIH ssss^ks s2zz' szksss GCFGCMT 7skTIkpk k+kzs2 s7kskks FMCGHCCCG sss2z MBBECC 6spkz22k sp+ks pkzskk GB_B_FM sskkksk FG_GC rJssss BGGLBD s6ssskssk FGKTG^ kK_2rsss TFBGGr skkksss _6srssk IrIIF JrKssssss kpkkp rs2^ssrk kp'kksk2*7 kpsssksp GFFBM GIrsskk ssrIsskks BsBGBF rk/kksk BF_KGG FBKrG r2GBkrks rs6kkk krsssk GBFIkk BkpIks sskk2 kJBpksk kzkpk GFsk2sss _6sssk kpssp ^rsssssss GJKMTI BFKGBBTDK BGHGBBBBTBB TFBFTFTTB* }.BaK BDBBK CCTJDI KMGTCC MGBEHM NGBCBF IMCMCGMG GBBBBCGCGCCCGCGGCGGCGGGGCG>GCGCGGGCCFGBGGCBABBGGCFBBBCG GDKBKKBKBBBFCKKDKBKBKBJFIFIIIFJDFBDIFBFFBFFFFGBBKBFBFF )h.J3,8 IdAutore ilippo Lippi's biography inevitably embraces not only his output as a painter, but also the fact that he belonged to a religious order and was involved in a "scandalous" relationship with a nun. He entered the Carmine Convent when still very young, and assisted Masaccio in his decorations for the Brancacci Chapel. In 1434, he is reported as being in Padua, working on paintings that have since been lost. Upon his return to Florence, he gained the favor of Cosimo de' Medici, and this helped him obtain a number of commissions. He began the frescoes in Prato Cathedral in 1452, and it was while he was working there that he fell in love with Lucrezia Buti and abducted her from the convent. With Cosimo's intercession, he and Lucrezia were released from their vows, and the following year Filippino was born. He spent the rest of his life in Florence, working on important commissions, and in his last years also traveled to Spoleto, where he painted the frescoes in the apse of the Cathedral. He was a sensitive artist who was able to embrace both the heritage of Masaccio and Fra Angelico and the lesson to be learnt from the northern European artists. The first documented works, datable between 1430 and 1432, are the Confirmation of the Rule (Florence, church of the Carmine) and the Madonna of Humility (Milan, Castello Sforzesco). Other products of this first period of activity are the panels now kept at the Uffizi with the Annunciation, Saint Anthony Abbot and Saint John the Baptist. Within the space of twenty years he painted a great number of sacred and profane works for private clients, churches and religious orders. These include the Madonna and Child with Saints (Uffizi), the Madonna of Tarquinia (Rome, Galleria Nazionale d'Arte Antica), the Barbadori Altarpiece now at the Louvre (the Predella from the Barbadori Altarpiece is now at the Uffizi), the Annunciation (Florence, San Lorenzo), the Adoration of the Magi (New York, Metropolitan Museum) and the Coronation of the Virgin (Uffizi). Between 1452 and 1464, he worked on the major cycle of frescoes with the Stories of Saint Stephen and Saint John the Baptist in the main chapel of Prato Cathedral, and at the same time also painted very famous works such as the Pitti Tondo (Florence, Galleria Palatina), the Madonna and Child with Two Angels, the Adoration of the Child with Saints Joseph, Jerome, Mary Magdalene and Hilarion and the Adoration of the Child and Saints (Uffizi). His last great work, a fitting conclusion for so splendid a career, was the fresco cycle with the Stories of the Virgin, painted between 1467 and 1469 in the apse of Spoleto Cathedral..".".".""""."""".""""""."""".""""."."l."""".""""."."."."."""".""""."."."."."""".""""""""."""".""""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando FILIPPO LIPPI Florence ca.1406 - Spoleto 1469 Le vicende biografiche di Filippo Lippi sono inevitabilmente segnate, oltre che dallasua attivit di pittore, dalla sua appartenenza a un ordine religioso e dalla "scandalosa" relazione con una monaca. Entrato giovanissimo nel convento del Carmine, ha modo di assistereal lavoro di Masaccio alla Cappella Brancacci.Nel 1434 segnalato a Padova, impegnato in opere oggi perdute. Tornato a Firenze, entra nelle grazie di Cosimo il Vecchio, che gli consentir di ottenere numerose commissioni . Nel 1452 hanno iniziogli affreschi nel Duomo di Prato; in questa occasione si innamora di Lucrezia Buti e nel 1456 la rapisce dal convento. Con l'intercessionedi Cosimo ottiene lo scioglimento dei voti suoi e della monaca, che l'anno dopo d alla luce il figlio Filippino. Trascorre il resto della vita a Firenze, impegnato in prestigiose commesse, recandosi negli ultimi anni a Spoleto per affrescare l'abside del Duomo. Artista di grande sensibilit e cultura figurativa, Filippo Lippi assorbe la lezione di Masaccio e Beato Angelico e raccoglie, con eguale interesse, suggestioni dell'arte del nord Europa. Prime opere documentate e databili al 1430-1432 sono la Conferma della Regola (Firenze, Chiesa del Carmine) e la Madonna dell'Umilt (Milano, Castello Sforzesco). Di questo primo periododi attivit testimoniano anche i pannelli, oggi agli Uffizi, dell'Annunciazione, sant'Antonio abate e san Giovanni Battista. Nel giro di venti anni realizzaun gran numero di tavole di soggetto sacro per committenti privati, chiese e ordini religiosi, fra cui la Madonna col Bambino e santi (Uffizi),la Madonna di Tarquinia (Roma, Galleria Nazionale d'Arte Antica), la Pala Barbadori oggi al Louvre (la Predella della pala Barbadori si trova agli Uffizi), l'Annunciazione (Firenze, San Lorenzo), l'Adorazione dei Magi (New York, Metropolitan Museum) e l'Incoronazione della Vergine (Uffizi). Fra il 1452 e il 1464 lavora al grande ciclo di affreschi con le Storie di santo Stefano e di san Giovanni Battista nella cappella maggiore del Duomo di Prato, mentre contemporaneamente dipingeva tavole celeberrime come il Tondo Pitti (Firenze, Galleria Palatina), la Madonna con Bambino e due angioli, l'Adorazione del Bambino coi santi Giuseppe, Girolamo, Maddalena e Ilarione e l'Adorazione del Bambino e santi (Uffizi). Ultima grande opera, degna conclusione di una luminosa carriera, il ciclo con le Storie della Vergine, affrescate fra il 1467 e il 1469 nell'abside del Duomo di Spoleto.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o. Madonna and Child with Saints Annunciation, Saint Anthony Abbot and Saint John the Baptist Coronation of the Virgin The Barbadori Altarpiece Predella Adoration of the Child with Saints Joseph, Jerome, Mary Magdalene and Hilarion Adoration of the Child with Saintsg$ Madonna and Child with Two Angels 0%F%' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass FrancOpera ObjectClass NL:99:;E SL.O; 8LL9:L ::::: LM88L: ^IIB^IIIH tr^]^T~ GII^^GB^^t265 A^Si^^r| ^GGA]^` fi^^i^^BS `^BSo^B^Bf IBIIBG^r^3//*2 /0/62 Rj^A^^IG^^ GGIA^ ~RhA^^]GGSr BIIIII^IIS^ r^AB^^SI^h` c^^A^^B^H^i` `SS^^SA^I^o` HIHGI^A^I ^^^r]^ABGrlf IIB^BGG*I^A sAp^AjB^IBoou IB^^BG^IIB^ ~BB]^SrBAIBo]u G^^BBBB BA^rBl^GG^]ru ^AAIIGIGrv- G^]FrB Grr{i ^q]^H IIAv6 GrGBA III^qI IBp]{ IBB^^H B^GwH JIHG^ GGII^_|w^Si `GAsBB ~tB^QSaFt xSA^r]*B{wa^u ,-5MBB]` ASG^ra^ B^B]_i TAF^w b]aAo HGS^P GBrs. 9GSAi M_GIb T]w^]b BSjr] BSj]r M^^^]j GC^^` /2HIP8 }|}||||}} itsi}# Ts*Isi ITisv}" svv}! a*JJIvj}# jJIsa Tja|" I7si_t|! tbx|" _JKr7 }}}}} -,$//0%3 0!%%% 0-,34 -023/ &&& --&&-,&& -&&&& ),/&&&/0/03633 &&) &,, TTT+-%332 ,%030% , 20)/ T*"%/2/ sT& &/ k]]xa }rrp{sT rrj{aT /%-"/ t^olv jBrrv 0/2/3 j^^^vbs| 7t/%3 j^Gro kB^rq ^ArrP bbasT sGBI* IIAnJ 4-,%4 888*y 6~-*.Tq76 88.^B HFEKM CFHHHGM2 /ifTPP T`Ba`J KLTCF eeabM bcbVPTHKbcVc CCCMCCHFFMFCMHGCGEL HHHHH FHIHHEFFEHBBTM<HC @LTCF utfaPPTMTUK }||}}}t }}ue} 6-/'- C;TbK 66/))0, PaTfH aTMTIB JMMJJH I.*7U8. #,##3 .*,,0 ,/++, $$$$#$#$$# $$$$$$$ $$$$$ NLLLC;E HHHC; HHHIH ;NMLEH HHGHG U@MTUUUMT88DJTMLKMKKKHICEHI ;<C=C;EHH MMUKMMKK IIIII F;CUM7U* MMKKMJ MMLMMKCKCEK;IKEEI EFIFI EC<MEU UMTMMBLBCCLKDCE88 LMLMM;KIKKC8EHIHH MMMMKMBLE8JCKK TMKCLKLM;CE<FC;C;F <EK8EKK; MMLLM ~~~~~~~ MUUMMU MMCCKCD; CCC<CFC<CLLMLCC;LMC MTUU@ MLBMCMKCF<G <FCCCC;CCC<LMH ~~~~~ C;CMT ~~~~~ UUUUTUMTU HCUT@E<E MMMMBLML UMUTMUMMMM MUTMTM TMMTMM;U ;K;EEH U**** ;MLLLU <LHH; HLMLLCN;GHG<GF MLLLL;<H<CF dUMLU<<C MUMMC F<GCM GGGCG< CCCCC CCCC<CCLLCLB8 HHFH;<EECLL6 EL;JH LHEMN C=EGU MMCEC<CHGU IEM<GC CCMCI E;;;M MBCCCCCCM@@CCCBCBBCBCCGGG GGGGGGGG GGGGBBCCCCFFCGCCCFCFBFCBCGCC CBCCCFCMMMCCMLLBBNTBM@MTP TPPTBAB PPTTUVb bcbbb TUPTTPTMUTUUaTUUUMP@@PPP@TNP@MPNPTUTTTTTMTTUTTPU VbUbT abUUb LLK;E EEE;E EK;EF E;K;CL;L;L;MLE LCE;EE;;;E 8LLL: MUUTU HEH<FEEHC UUUUU NMTLMMMLMLMMUMLKC;@;MEECELJEE E8HCCMMUU UUTMUM VNcbU ccUPN cVPPb UbNPPPUPVVcbc cNNNNU cPPVPUab AP_TBTaaa VbbVaV PNOPbb UP@O@PPU@P @=UPNPPNbPPd N@@cPNNOPN` NSaQ?>?a LNL<< UVM@= NM)+. EOXa??80 5PPPP M_R]T PcEfw b^KMT2 MA;KKP bSs~M VVVVVUUVUUNUMNL= dNVUUVVV bVVVVVUNNUUUV IdAutore he son of Filippo Lippi, he learnt the rudiments of the art of painting from his father, with whom he worked at the age of ten on the frescoes in Spoleto Cathedral. When his father died in 1469, he returned to Florence and joined Sandro Botticelli's workshop. In 1472, he is reported as enrolled in the Company of San Luca. Filippino's vivid imagination and fondness for the forms of classical art made him very popular in Florence during the late 1400s. In fact, he received a number of important commissions that kept him there for most of his life, with the exception of a brief but fruitful stay in Rome. Filippino Lippi's earliest works are so deeply influenced by Botticelli that for a long time they were simply ascribed to a "friend of Sandro's." Such works include the Adoration of the Child at the Uffizi, the Scenes from the Life of Esther (Paris, Louvre), the Adoration of the Magi (London, National Gallery) and the Story of Lucretia (Florence, Galleria Palatina). The Saint Jerome at the Uffizi is also distinctly Botticellian. Around 1484, he was commissioned to complete the Stories of Saint Peter that Masolino and Masaccio had left unfinished in the Brancacci Chapel. Once he had outgrown the Botticelli manner, he became fascinated by Flemish painting, the influence of which is evident in the Otto Altarpiece (Uffizi), the Apparition of the Virgin to Saint Bernard (Florence, Badia) and in the Nerli Altarpiece (Florence, Santo Spirito). Between 1488 and 1489, he was in Rome at the behest of Cardinal Oliviero Carafa, who wanted him to decorate his chapel in the church of Santa Maria sopra Minerva with Scenes from the Life of the Virgin and Saint Thomas Aquinas. Back in Florence, he had another major commission in the Strozzi Chapel in Santa Maria Novella, where he painted what is perhaps his most original fresco cycle with Stories of Saint John the Evangelist and Saint Philip, completed in 1502. At the same time, he also painted important pictures such as the Adoration of the Magi (Uffizi) and the Madonna and Child with Saint (Prato, Museo Civico). The Coronation of the Virgin (Paris, Louvre) and the Deposition (Florence, Accademia) remained unfinished and were later completed by Alonso Berruguete and Perugino..".""""."""".".".".".".".""""%.""""."."%."""".""""."""".""""%."""".".".""""."""".".".".".""""""."""".""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando FILIPPINO LIPPI Prato 1457 ca.-Florence 1504 Saint Jerome The Otto Altarpiece Adoration of the Childg Adoration of the Magi FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass ....6 MMUMLUVMVbW cVVccUUbcVcPUccbVVVVVPbVUVMUUUMLMUJ. ?akrpkG??? bSRSRR?@SSS 4-/25/6 -bskz rprpk *trps %spsssk rrprqk NPU.b* }~}~} rGqqA n^rr^q {vqS^rrB o^Hr^r tSGF]qH SCHqqC ^FGC^B QGGFq 2,]^^ ~~~~~ bffbW abfU`dbfbe bib`bfbaaa E@KCM PMCM@MMTTT AsjrsrB A_SsPSSS cUHLt ^^BQ_AAA_ AAiSt }s^b~s ~7B{b_BA ]SA^S ^ar^a bBsa_s <4s^sG^ }^rpb BpsBArsj B^r_As RPAai EIHrH^^$ r^S^s s^G^pG Mr^^^ NMMP<GP ,,%,%,! %''%+ 22662 ')%,, IdAutore is nickname derives from his grandfather, the painter Giuliano d'Arrigo who was known as Pesello, and who introduced him to painting. He then became part of Filippo Lippi's workshop, and was to some degree influenced by his successive contacts with Fra Angelico, Alessio Baldovinetti, Andrea del Castagno and Domenico Veneziano. In 1442, he painted the Predella with Stories of Saints (Uffizi) for the altarpiece painted by Filippo Lippi for the Cappella dei Novizi in Santa Croce. The only work that we are sure he painted by himself is the Trinity and Saints (London, National Gallery). He was also renowned as an illuminator, and a decorator of Nativity Plates, chairbacks, and above all, chests..7.... ....7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco di Stefano alias PESELLINO Florence 1422-57 FrancOpera ObjectClass Predella with Stories of the Saints GIKFJBBKBKKT TDTT_TT_DKT_TBKTTTT_T__T_JJ_BFBFBBsTJ TT7JJ BT_BM .7JMBM ITTKr FKKFBTTTf BGBBTTBFKDKBF^DD^^FDF_ FIKKIJKPT ^DFBKJD bBK__I_J^_BT BBFFBIIIFF _K_B__^ JbMJa jGFJJB 7D.444 tBBDKFKKKB h^BBBBG DBKB. rjjMKBBI gjw^IIBG3 tik^BIG `jbtfi`j hjjGI, IF_DB sM.8M- ~IIIIIIF b_sjssssjsas }^P633 BB^B^^AB KIDII_KB7JsT |GajM000 KGlB^ssss` IIIJIIII }]_PiP/ BDJ__j ^TsrrD DTFJI girTsi5 T__^rj Br^Ts_ IIJIIvIJI7vF Ar^rBIrrFB^r r_Tr__r` IIBIIbII II^rBT^IrrIFB^I Gr_rrrrjp vb,,0 I^^kir^IoBIBBB IBrIFFF_T^ IIIJaIII irBFFKB^]o]F rBB^]_S MaIJIJjII ^o^GGBrrrp^Sroorprp sA^^r^r^^rrBB^^* vrHFB3 FIIIJsIII ST^q]rj]]]r]]p ^r]rr]rqrrr^rrnI irrj]jhorrrh ^s^rrrqrr]r]r^r irj]rrro]rrl trr^rr]rr]rp^]]rT i]rr]prp]j^pA bsjr]rrrrrr]prro_ sqpjr]j]rr]rl ^br^rr]r]rr^r^^]_ i^]]rrrrhrrrjK r^aKr^^rrrr^rrrprpK irrjr^rrro]r^hJ ^^T_s_^r^rr]rq^]qBrrpB BIEr^a i^rhrr]rrrr_rrrjrB Lkq^srT^^r]rrrrrrrr_K^_i 4l^rrrrj_]r^]rr^`rrp^ Ta^_sr_^^rrrrr^r]r^^_Tr 0ar^r]]r]p^rq^^rrr^rrKLTJ a_^__r^^^r]^rrrr^Brp ar]pqprp]qqrrr^r^rq MI__r_Tr^rr^rrrrr^rr^ ISs^^ ccbTpqrSSir]]r]^^r]^qH ^`^s^^qrqq]rqrqqrqJ <ITtM BS^oI *i7Brs VLPPf b`2,2~ *Ttci DsBlrs jIIIF^_Ii Fwrib IBIJbr^ro_FIa Ds_^rjB rIBsrGorTJK TuB2222 BFI^sIBoo_ *_baT B^FpBIqj]BJ* ib7b7 srrrr IpBFr^Frrro7. rr^pBr^^r_ i.IBIB^mB p^pr! B^Fk_ **saPT FnBIFnB *GFFrBo" I^rAT% )',/2 _TTTTTTi TB_SSTT ,&,-% I__*I -%"-% ^rqr/ IKI^BGAs "%,%!% ppG^r^ ~/ ,%-"" qG^^B^r 66*HG ,% ,%!% ^A^^^^^T %%,,%! !,"%,,,%% ,%%,,,,% #%%"%,,"# %-%,,%, % %%,%%!% /,,%%%"% % 6/6-"% %% %" % , 2//, %% , IdAutore culptor, painter and architect. Donatello, Verrocchio and Masolino had a formative influence on him, and he actually worked as Masolino's assistant in painting the frescoes at Castiglione Olona. He who introduced the new Florentine idiom to Siena, where the gothic style still prevailed. In Siena, he obtained numerous commissions for the Ospedale di Santa Maria della Scala (frescoes with the Vision of the Blessed Sorore and Stories from the Old Testament) and for the Palazzo Pubblico (Madonna of the Mantle and Saint Catherine). The altarpiece with the Madonna and Saints (Uffizi) and the bronze tomb for Girolamo Foscari (Rome, Santa Maria del Popolo) are also noteworthy..y....y.y.y.y.y.y.y.y.....hy....hy....y....y.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Lorenzo di Pietro alias VECCHIETTA Siena 1410-1480 Madonna and Saints FrancOpera ObjectClass 9MUUL9MLL9UO VUUUNUWLUMU ULUcL WWWWNZL@OUVcddede dcdccUU VdUONU bWccc dcccVLNNd edddcbOLWN VVMUMXNNNUVVPVddbccUUbUUV NLLUVUUbUUVcdVVUcVVV UULdVeeN dcdcV VUVLQM QONONgXOXNPVUVaVWVPVVMNNe UPCaVNVVVVVVWcXd WVVVUNMeOUb UVbXcdddVddcdWVWOUXNceddV cPcbVXVde eefcd VeddcddXddddddee deeeee wiiwwh cfffhfifhw fffXgZg hfhfw cUMeNPeeOAf}LZQfd`WQQZf fXaN@OeeQ{ XC=MN ehgf|U ZgXQQdeeXWfffXQaPUPP`W ~~}~~ XMVgeVM UcUOCMN ?UMf><U }~~}~~ UZPXWMVfZ LcNO? =MLMOUXXHC OZf|H P;eBeZ LQN~} N`fwH fg<;Pc |;OG~ Uc<=hw; 8fhWPXM h<=Xe Xh=@Ve 7XhwXbM MQHU~ UUN|\w @cTV`@NXc |ePMH|h hZbU===@Oc bUPOCV@U ~=;MMN HbWQP; QbUNL=N@N <c~}~~ X|WNc V@COO=Nc WXO|L ?a=@tcN=@P;LV |d@cL= ?XQNeVPN@NCNV f|<ZN gV?NeV=VNOCL UQMLV BNPVC ?NgXd NQ=OCN ZQUXh ;WMCG ;PNUN WOWddVC;fN<eVZ h};QML ZZ>S]h UMNTW WXNOfePV h};QM= OSXgiMM MWXUd O?QMec ?WXWO=ed |RPOQOhZNN L`?Lc PU|d=edW Z@QOQOh |O>aN =tVd{ ?QSQOlh LdWcMP :daXf ROX@iXf ?UUdd wgYUUUddZ MfUQ` }f?N`OhN NbwwWO|| hgXLMehd w??Rh fdUb] XeUV| hhl[dwQ ~fONii;c| hZQPO dZfMu dMXi}H LedhghPQ QZwhXg L@=LO< fhZOc|gX ggQfw LON;@C ZPN@c UN@ew ZXgUM LOLCN<U gfPOX L@C;N@ >`XSf >dP@w ZXdQdU=Xw =LE@P gQQZ>{cCeCV aZOQdWHX dwhbVPc \@`O@{;;eNPdQC ONfd@PHXV cUggN OPPQg`dC MWRCV WaOLXXZPNL dNNQcLdeOO ;=ONOw>OL ULV@XUMNVNN XPfXfXwfdWWX NbfW; =[OWNeUUMU V<LNM cMMVWW VPUPUPW XeUUOfU *LPENL NVcLc bUCVe dcccbNOecVd LEEEE< NLVUde VUOex NELM< ecLLLP9U 9WcUUW eWWdMVVfOP L;LCL; VbO=C CVNLPUUMVV; eLNLU NPUUWX XfUVVVVN@ P@E;CLLEH MLNMUNUPNL=UcM |PMMLNE NVNUWQ L|cdWWbWVUc MMNCLH ;c:NLLLMOLV PLLULE =UNOUXX UNMdd ;L;CCLCM cLLLU *MNdb O;LLN 8NUUNVZ LUUUNL EELL;L<; bMCLLNM8* W;<EdUP H<HNQ XQPdCNL9UPNUUNL UN;LNNLLM9 H<OCLNPCNU VYW[feZX WdeddVVVWVM VUUVNMMUNdW L8w.Le NMLNNLLLUM MMUMUUU UMWWW eYZZY eW<<=fCNNb;H VLLdbNLfbUM MENON {9M||LL OUUUMP=LEWCNEWCNHU<LEVF= =CVH<LO H<LUUMUU MNUUUNMNNUMUMUMUUUTUUPUUUPNMMNMLLNLLCL;E ;;NLCLMLMLMLLLMLMMUMUMMLL MN=UN UUMUNM UUUUUUUUUNLLLLE:M;;;; ;LMLLLLM9LMLUM LLLMNMNNMMUMNN UMUVMNLNMNMMMMMUNMNLMNLMMMLMLL;CLLL<C;E<L;LH EHEE;CLMLMM@NLLLCL=LNLLMNMMLL; C;LL9MC >LMUMMN@NMMNUNUUPUUPTUMUOU@UUPMUM@UCL <<;H<;=H;C<CM@NNNNUNNP@MNUMNMNNMLNUNNMNOUMNNNCL IdAutore lorentine artist specialized in devotional paintings and the decoration of chests. In different periods, he was influenced by Filippo Lippi, Sandro Botticelli and Domenico Ghirlandaio. His foremost works include an Annunciation (Florence, Santa Lucia dei Magnoli), a Piet (1483; Berlin, Staatliche Museen), a Crucifixion and a panel from a chest with The Banquet of Ahasuerus (Uffizi). Two other panels from the same chest are kept in storage at the Uffizi: the Triumph of Mordecai, and the Death of Queen Vasti..+.+.+.+.+....+.+.+.+.+.+.+....+....+....+.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo di Arcangelo alias JACOPO DEL SELLAIOu Florence1442-93 Ahasuerus's Banquet FrancOpera ObjectClass 000%28. 40.--6 -34////6 &46/- I_I*2 TKT0 /,0/-0 *36/.. .-./36.63/0 -/0/. -0/30, /00// 60-60 *4*,/0 .5/4663-3 /--// .///302 -/./88 .020- 0.///6 00*0-&. 6#-.3.* 0-4.-/-6030 /-804 -.6-.0036 *.-0--/0 6.-0- /&-.045.5 /3303.030 .323602 /002/02/, 043-/3 0.0///--36/.*. .///, ,,,%"#/// &%-%%,/00/0 /%%",#/ *06660/ 02330 3%0-0- %$,$$$$/$$ 0$$$$ 0#$$, 03030 00330 < 8 8 IdAutore e initially followed in his father's footsteps to become a goldsmith, and only later turned to painting. He was Verrocchio's favorite pupil and was influenced by other artists employed in the same workshop: Botticelli, Leonardo and Perugino. His refined style and fondness for conventional iconography assured him a number of clients in Florence. He painted numerous altarpieces, including the Annunciation and the Adoration of the Shepherds (Uffizi), the Madonna and Child (Turin, Galleria Sabauda), and the Madonna between Saint Julian and Saint Nicholas (Paris, Louvre). There is also a fine Self-Portrait (Philadelphia, Widener Collection), a Venus, and the Portrait of a Young Man (Uffizi)..)....i)....).).).).).).)....i)....i)....)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando J X ' h v t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LORENZO DI CREDI Florence 1459-1537 Portrait of a Young Man Adoration of the Shepherds' Venus Annunciation FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass `af`bff DEKKKM LGCGP ^s_rr BIKzsKszk TrsksKKk GBkzsks .B^7sz 6TDTHK 5BDFHK MKEFP ;++--- KCMEEK ***** -/--- ,+'++++++ -///// %++++''+-, 0066/// 2+//, 6//222 ///// ..2/02222/ 6//// ,','' 22222 8LML8K8K;88LL <HH;N UUL;U ;LUNL 9;9:;9LNU ;:LUMN MMMCMCCCCCC<EHF LL8L8 L:ELLLC ;B=BLLLLMUUU TBAAAABBBTBBBBBBBBBBBTBBABTBBTBTBBTTBTT BBBTBBBBBBBBB_TBTTTTTT_ s_BBBBTBBAT sT_TTT bsbasT BBBTBTAB TCABABBBC CBCBBB 0T564 IdAutore on of a poulterer, as a painter he was largely overshadowed by his older brother Antonio, with whom he worked. In fact, with him he painted, among other works, the Saints Vincent, James and Eustace (Uffizi), the Martyrdom of Saint Sebastian (London, National Gallery) and the Labors of Heracles, now lost (two small copies of it painted by Antonio are kept at the Uffizi). In 1469, the Merchants' Guild commissioned him to paint six Virtues (cf. the Charity and Temperance at the Uffizi). Other works painted on his own include the Coronation of the Madonna (San Gimignano, Collegiate Church), the Annunciation (Berlin, Staatliche Museen), and the Portrait of Galeazzo Maria Sforza (Uffizi)..)....).).).).)....)....).).).).).).)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Piero Benci alias PIERO DEL POLLAIOLO Florence 1441-Rome 1496 Charity Temperance Portrait of Galeazzo Maria Sforza FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Saints Vincent, James and Eustace FrancOpera ObjectClass rtvr_ti` f`vR_ stt^rv`t ``v`^i hi`s` `Rftftt sg_Rt j_^stf j_hsfit titisiv tt`t`tvM j`tagtL jri_l tiitg euvjjV |b~}||| BjBS_x }MM`Sa tyxju }S_rjll tbiT7IJ }}|}}| IJII}v IIJKJ }||}T {{|~} }||}|}} v}|}}| |Bsht TsPiT a__re }v}}}}}|} |}|`~v }}|}x|t| {u~}jt}} j~}}|i }ui|c JIIIM |va|va~it |jAstI_} GxTIHBb }u_jB| iMHIT~ baiGT MPCB@PKEJ HCBTC BMMPH bMKMU TTMFCT@SF BTUUBLBP CCPTTMTH MacTH HHIIFCCIEKLM 7JIII IJIIII bSTBPt} }|CGa |CHtI ~}Gt} wxKTT |yoy}{nUM MTjtT xox~{l|my wlx~y LKBv| yov}t }}|}| }}}}}} ||}}} }}|}} }}}}}}| ~}}}}} Mt{o{ |}}~} ~nnxzv }}}~}}}} vm{o{T }}}}}} }}}}}} oy`tt} uBGBo P}}t} ~~~~~ ~~~~~~ }}~}} ~~}~} }~~}~~}~~ V$R$R$ IdAutore ntonio is the perfect example of the versatile Renaissance artist. He began as a goldsmith, and in 1475 started working on the base for a silver cross and a panel for the altar in the San Giovanni Baptistery (Florence, Museo dell'Opera del Duomo). As a pupil of Domenico Veneziano, he was also considerably influenced by Andrea del Castagno and by Donatello. With his brother Piero, he painted the Saints Vincent, James and Eustace (1466; Uffizi), the Martyrdom of Saint Sebastian (London, National Gallery), and a series with the Labors of Heracles, which have been lost, though copies by Antonio remain of Heracles and Antaeus and Heracles and the Hydra (Uffizi).Other important paintings by him are The Archangel Saint Michael (Florence, Museo Bardini), the Apollo and Daphne (London, National Gallery), the Portrait of a Woman at the Uffizi and the one at the Poldi Pezzoli Museum in Milan, the fresco with the Dancing Nudes (Florence, Villa La Gallina). In 1475, he also turned to sculpture with great success, often with the help of his brother. The bronze Heracles and Antaeus (Florence, Bargello) and the tombs of Sixtus IV and Innocent VIII in the Vatican are among his outstanding sculptural achievements..ts....ts....s....s.s.....s....s.s.ts....s....s.s.s.s.s....s....s....ts....s....% tipoHot ObjectClass rimando & 4 t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Antonio Benci alias ANTONIO DEL POLLAIOLO Florence 1431-Rome 1498 Eccellente esempio di artista poliedrico rinascimentale, Antonio esordisce come orafo, realizzando a partire dal 1475 la base per la croce d'argento e una formella per l'altare del Battistero di San Giovanni (Firenze, Museo dell'Operadel Duomo). Allievo di Domenico Veneziano, subisce anche l'influenza di Andrea del Castagno e di Donatello. Insieme al fratello Piero dipinge I santi Giacomo, Vincenzo ed Eustachio (Uffizi), il Martirio di san Sebastiano (Londra, National Gallery) e una serie di Fatiche di Ercole,oggi perdute, di cui rimangono piccole copie di mano di Antonio con Ercole e Anteo e Ercole e l'Idra (Uffizi). Altri suoi dipinti di rilievo sono il San Michele Arcangelo (Firenze, Museo Bardini); l'Apollo e Dafne (Londra, National Gallery);il Ritratto muliebre degli Uffizi e quello del Museo Poldi Pezzoli di Milano;l'affresco con Nudi danzanti (Firenze, Villa La Gallina).A partire dal 1475 si dedica con eccellenti risultati anche alla scultura, spesso coadiuvato dal fratello. Celebri sono il gruppo bronzeo con Ercole e Anteo (Firenze, Bargello) e i monumenti funebri perSisto IV e di Innocenzo VIII in Vaticano.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o.o. Portrait of a Woman Saints Vincent, James and Eustace Heracles and Antaeus and Heracles and the Hydra FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass 5.:9c8W *:Ued ****) F<FFHHEH<E; F<<<EC<< H<H<CC< HH<LC<:E ::5595 7JIII IJIIII bSTBPt} }|CGa |CHtI ~}Gt} wxKTT |yoy}{nUM MTjtT xox~{l|my wlx~y LKBv| yov}t }}|}| }}}}}} ||}}} }}|}} }}}}}}| ~}}}}} Mt{o{ |}}~} ~nnxzv }}}~}}}} vm{o{T }}}}}} }}}}}} oy`tt} uBGBo P}}t} ~~~~~ ~~~~~~ }}~}} ~~}~} }~~}~~}~~ cNNeVddVcObeb ~~~~~ ~~~~~ cNU~~ ~~~~~ PV?Vt b>QQd ?>Q>b WcWWd f>S>?tW dcUVQ WNUUd NNN=Q?tO Qb>tdU cWPUdV>>`ca cdOtd cP@Sb?@e aVQ>bdVe >PPSd OSSQab >QQ?e R`ae` b``Qb` >?@QAc `aQaa` efffff :9<G?d c99UU ~~~~~~ QPaVRbd OPPO@Q OR~OPfe faWSP PNOPQVWQS WWaSf PQRPR OaOQWbt OPP>> Q@PO>` QSPSAe >OeVVdt bdcUd d@P?SP >@?@aOV dP>SQW U>?O@?aWWf S?SPPf @@O?PSb SPV`a >S??aWP?b VVPS??PP ufiie PPP`P>?>?POSS a^affi ?SaQaW OOPa?WbW c@QQQ>Rd f`f`_ VNX`QbfQc fS?V@VaV aPa?>??? ***** dQQSQ` QQS@@OPQe [=c>? OhQ?R VVQ??SaW *&*&) aSQ@P@Q cZ?@S ~P>QaQVa ***** *wO@> aO>?S>P --&/.- ---***** @SOaV@??A %&-*-&W .c9LUO QSPea>>ea &----..- W@OPOS?PV?Ve *.6/.--....-+ P>OS>a ---&--% -..-%-. dbSP?PXQS &--%O ---&* --&--.---N daeS? UXZXXORO@Z %66.-.& ./.--5..-...5.46..-..-:. eSPWdg4 8UWZXf --.-.-. -&Ud[e .6.6..-.5-...656.66. ASOSQ .545564 55...65 ...-64466.-...-- ..6... /..... ***** 45./.. 5..5* 5...-* .55--+& 55555 5555.6W-.5 4....* IdAutore e arrived in Florence in 1469, accompanying his father, who was a notary. He joined Verrocchio's workshop, and there learnt the art of painting, along with Botticelli, Perugino and Lorenzo di Credi. He soon made a name for himself, and not only as an excellent and versatile artist, but also as an inventor, architect and investigator of natural phenomena, to the extent that in 1482, Lorenzo the Magnificent sent him to Milan to lend his services to Ludovico il Moro. He stayed at the Milanese court until 1500, largely devoting himself to engineering and hydraulic works, architectural design and planning, and the organization of tournaments and festivities. Next came a long period of travel that took him to Mantua, Venice, Urbino and the main Italian fiefs. He returned to Florence in 1503, and there focused on the study of the flight of birds. Between 1505 and 1512, he was again in Milan, this time addressing problems of military engineering. Then he moved to Rome for two years at the behest of Cardinal Giuliano de' Medici. Finally, he accepted King Fran ois I's invitation to go to France, and thus spent his last years at the Castle of Cloux. Apart from his many drawings, the foremost expression of Leonardo's many-sided genius to have come down to us are undoubtedly his paintings, many of which were left unfinished. It is generally recognized that early proof of his extraordinary skill is to be seen in one of the angels and in the landscape of the Baptism of Christ (Uffizi) painted together with Andrea Verrocchio in around 1475. Both here and in the Annunciation (Uffizi), the Benois Madonna (St. Petersburg, Hermitage), the Madonna of the Carnation (Munich, Alte Pinakotek) and the portrait of Ginevra de' Benci (Washington, National Gallery), which are all slightly later works, Leonardo's salient characteristics as a painter are already evident: the soft rendering of surfaces and light, his famous sfumato, and the harmonious way figure is related to landscape. When he left Florence for Milan in 1482, the Adoration of the Magi (Uffizi) and the Saint Jerome (Pinacoteca Vaticana) were left unfinished. During his first stay in Milan, he was involved in designing buildings and other projects, many of which have not survived: the huge monument to Francesco Sforza, for instance, and the decoration of the Sala dell'Asse in the Castello Sforzesco. During the same period he also painted a number of portraits, such as those of Bella Ferroni re (Paris, Louvre) and Beatrice d'Este (Milan, Pinacoteca Ambrosiana), the two versions of the Virgin of the Rocks (Paris, Louvre; London, National Gallery) and the Last Supper in the refectory at Santa Maria delle Grazie, a masterpiece of Renaissance art and the most advanced expression of Leonardo's theories of the movements of the soul. Unfortunately, it has come down to us in a sorry state of conservation. Once back in Florence, Leonardo set to work on another major undertaking: the painting of the Battle of Anghiari in the Sala del Consiglio at Palazzo Vecchio. Here again, Leonardo decided against the fresco technique because he was interesting in experimenting with oil on plaster. As a result, the great painting deteriorated in time, so that all that remains of it today is a number of drawings and some later copies. The famous Mona Lisa (Paris, Louvre) also dates back to this second Florentine period. The last works that can definitely be attributed to Leonardo are the Virgin and Child with Saint Anne and the Saint John the Baptist (both at the Louvre). His theories of painting and his reflections on natural phenomena were also expressed in a great number of drawings and manuscripts, many of them kept at Windsor Castle and in the Ambrosian Library in Milan..n.n.n.n.an........n.n.n.n.an....an....n.n.n.n.an....n....an....n.n.n.n.an....n....n....n....n....an....an....an....n....n....n....n.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LEONARDO DA VINCI Vinci 1452- Cloux Castle 1519 Annunciation Adoration of the Magi The Baptism of Christ FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass TaTTTT EEJJJJJJ KJKKKJJKJJJJ ~}~~~~~ }~}~~}~~ ~~~~~ }~}}~}~~ ~~~}vw {|}}}| vw{|} ~~}~~ }~}~~ HKDEF xx{{y KHIII GBEKL KKKLLKI t_abba ~~}~} HHHK7 ~}~}}~ ~~~~} xvvjx ~~}~~ wigw|}{ ~~~~~~~ llix|} ~~~}~~ |wllx ~~~~~ ~}}~~~ }~}~} ~~~~~| ~~~~~ ~}~}~ ~~~~~~ MCJMcb ~~~~}~ }~}~} ~}~~}} ~}~}~}~~~} ~~~}}~ ~PPaD }~~~} BTBBBPaiv ~~~}~ ~~}~~~ }~~~}~}~~}}~ a_R^S ~~~~~MGASTS`v|} MHHGFCF GaaT`wx HHFAFF FB`iw} IHIBT_t TIT`u|T MHHIFC QBHBSja FBFBGA_H HBBGIS_F KBBBBTSHHa|}~ ~~~~~ ~}~}~| ~}~~}7 ~~~~~} ~~~~}~ ~~~~~ }~~~~ ~}~}~ ~~}~~ ***** ****** ********* ****** MMTTTMM TMDCKIJMMJBKKMKCDDBIIFJFIJJCDDD JJKJJJ IEIEDDKJJKKKKKKKJJJKKKJTM IHHHIHHIIHIIHIEDKCFJCKKDDFJIFDIHFHFCFIFFJJIJMDDIFIHFIDEIEEFFIIEJDDEIEKKKDKKKJJJKJDJKKKK;K;K;KJLK KMTMMKEII JIEDIH EDEJM KKKKJJKLJMKM DMMKKCBBMKCKBKBBBBBCKCKCCBBBBBCCBCCFBCFCCFFCCBBFFCFCFCBCFCFGFCFCGFGGFCFFCCBGCFCFCCFBBCFCCBBCBBBBBBBBBBBBBTBBMTTTTPPPTPTPTTBTPTTPPa TTMTBP ~}}~} PMBBAFM MDEFCBMKHC }~}~} MMKFM }}}~~ tSS_Qa ~}~~~ tb__a FFFMT DTBTBP aPSSASaaPPP IIHDMT bbaSTPS`aPSstt JFIHIJDKTFCT bbbSf vaaAS ~}}}}} tCBAbbbaBCA``` MKFKT BBSaaTTBGB^ab FHHKKKMBM }SPaaaPS FBS^bbaa IJJ7TMB ABTBBB_ BAAST BBSSaabb ~~~~~}~ fABMKBBPP GBSBBTKTFB HIAGM _Aa}bb aCSKBTBTTB GCGFTBBBFGAACS DFCFIIHCCHK TCB_PTaBa~~TGBBDBKTTB GGGBBGGBGGAAB aAHGSSBCGb} TGC_BBBBKB GCCBGCCFGGCCT FIEIIDHGBaAG GA^SBU GPFFBBTa BGBCGCBGGBBT IFFGCBT_sBHGCSSSt AGBAGIGKaTIB GCGGBGGBBP DBBGBGTtbSBCACA_ TGGBFHIB TBBGBAAAt DCGCBCJTaPBSST GGGGIFBbt baba_A_ DCFBTATBT GGGBGGFBbtit TBDFBGFHT BHIBGGGB_ ~~~~~ GBIIHH IHBBIIG_a TIBKKBFFB GHFBBBBBBt HGGFFGBBT FKBTTBBB KFFFGGBBGGT JIFIDTTBTTB DGTGHHHGGG^ }tTFT JIDIHGBPSATBT GABBBatS IBBABF BGIGIIGs MFBBBBGB IIGFBBHF HHIIGGBBTbT MJKIFHIBTIT HGBKFa IDKDTKD JIIGBP IIFTTIIFB DKBGG IDMIIFDKKKKT GIGIT IIFDDTKTKTBKB iAGKB IIKKGIKIFTTB saitRTFB IBBFIHF s_S^___av`SBGT TIB_BI TPa_TaT |b^S_AAAT_t_SGIBbTFTaTasBFF ^A^^ABBT_i_SBGGTBBTBBBABFFFT ba_BGAABGBBB_t^`BI FGGBGGBBBB sGBGBBBABGGBASu_tBHIBFBI IFBGBBBTTP GGIHIGBBBBGGS_i_ PIFJB bTBFBBFGBb GGIGGGGASBBGB^St t_BTTTT BBBB_Ab sGGGIGGGGGGBBBAA^i_aBBFBBT_aBB BBBBT aBG_b_T b_T_TT bTJFGGBABA^BGBBBBAS_A_iS^BH GBTTBB bsfSABGBBCBB_BBBA_ TTTBasBHBTCIG GGBBBGGA^AAA^^_a__S_i_SBHHHFFHGDT BTGIGGBACGBBBGIGFKGIGIIBsBHCGGHGGSSASBBBAT^_A^_Pi`_TPi`^RHH GHFGBKT GGGIBIHGGBHGBTBIIBBBGFGFGTAIGBBBGBA_`asT__sbbbbb___sa__tr^^G HHICGGBTT GFIFBIIIBBGGGBBIBFFFIFBBG_TIGsPBB^Sas___` iSS_btiai_RSH HGCHFBKF IKJFT TFFFBKFBBFBBGBBBBBGBKBBBBGT_F s_BTatt sSititb_g^^B TJTTTT TFGFFTGBGFBGGBBTGGGBBBF_FG_Ta tSA__TKB irR^AAG IHHHHT KTKTB TIFGF FFBFBBCGGBIBBBBF_TaTaTBBs tibb_^SBGG GFGBTGFFFBGHGBBBBGFB^_B ssTBGSb Ta_T^a tt____SSCCH GGACBTIDTDFGGBBTTFGBBFIBGBFGFTBFGGFBBTT GB^B_ B^S__bt b^_A^ASBCGI FGBGGHIIFIIIIFKITBFIIIBBAGGFFGBBHGFBBT ^^_TTPsbs aB_B^ABAAGGGGSBBGBCIGG HIIGBBIIGGIHIGBHIFFHIGG IFTBBTTT TBBB_b P___BBBSP_T_TB_sa_BT_SASBGBCFT^BFBAABAG GBFBTBIIIGGFBI HJBIHHH IFBFB TFDsTIBA_TBT_^^BBB_si`tBBBa i^ABBGAAAabK IHIGBBIGBBB_TIHHGFBIHKTBFIHGIGFGT IIBIBaTFFBAAB^_^BGB_A_Bs _T_tsB_i BTFHIPSsTbB TIHIB HBBGF bBFBAAAABBBBG_BBBasP__aa_ sBB_GHI_saaTB TJBGHA TIIHHFGBGGGBB__Tsbs_ss_AT_BBPBGTfb BGBBGGBBFBsTBBB_TBABBaBB HIDKTTK aTTKKKFGBt BGBBBGBFBBBBBBj_T^ASaATBT_b HGGAFFTITab BFTBBHFFF SBBGFFFDDB_aT_SP_asSFGFBBHFHH IIBBB TFFBFFIGGFT TIFFIB_TT_ST____aBGHI MBBIFTFTBFFFGFHHGGFGBP MFFFFBFBBBs __SPBI BBBFGGFBGFFGFGGGFCG MFBFFBBTsaaabsPPBFII HHHHJ FGGGBIBBFFFCBCGGGGF BGHFBBB ibaTBFK FIBGBBGFFFFFGIFC FFBFFBBabb TBBIITT aFBFBTBFFBFFFCB FBDDDFDT TTDFD TIIIID PFBFBTBFFFFIFFHK TBDBDDDTKTTTTaTTJK MIFFIF TIBBBBBBIIIFIIHIIF KIFJDKB TT_Tb TFDDFFIB TIFBT BBBFBDFIFFFM KMBFDBKKTTT MIJFKMKKKKKFT DDDKBTTBBKDKKKKKKB BTJDDBTBT TTTMKTTTBBTMTBBFMDBMTTTTT TBTTBKBMBBTT 7TttbtII BJTubTbtD & .<Ec HPN./ //-,--+ &+',-06. ,----- -,-++,/};*C +--+'''+- --//607 &--/////-.-+,- +-,/,-//-- /06/66..03 -6/.- -0/-00 /06/4./ --,..--- -/-0///////32 //0222022664 /-/322022 6//6/6 "d'H,,1N=N= IdAutore e joined Andrea Verrocchio's workshop in Florence and was particularly struck by the work of Piero della Francesca. He later directed an extremely successful school of his own that operated not only in Umbria and the Marches but also in Florence, Rome, and the main cities of central and northern Italy. One of his foremost pupils was the divine Raphael. The style that he adopted for his numerous altarpieces was balanced yet airy, with figures in classical poses enveloped in a rarefied, luminous atmosphere. From 1478 to 1485, he was in Rome, where his commissions included joining other Florentine masters working on Sixtus IV's major project for the Sistine Chapel. In 1485, he was made an honorary citizen of Perugia, and he spent the last ten years of his life there. The Stories of Saint Bernardino (Perugia, Pinacoteca) are among the earliest works attributed to Perugino, who painted them around 1473. While he was in Rome, he obtained a number of papal commissions, including the Baptism of Christ, The Journey of Moses into Egypt and the Handing Over of the Keys that decorate the walls of the Sistine Chapel. However, Perugino's style only attained real maturity during the last two decades of the 1400s, when he produced works that were both monumental and serene: the Pieta' at the Uffizi, for instance, the Piet at the Galleria Palatina, the Crucifixion (Florence, Santa Maria Maddalena dei Pazzi), the Madonna and Child with Saints, the Christ in the Garden (Uffizi), the Foligno Last Supper (Florence, Convent of Sant'Onofrio), the Crib at Citt della Pieve and a number of splendid portraits such as that of Francesco delle Opere, Don Biagio Milanesi and Baldassarre Vallombrosano and the Portrait of an Unknown Man (all of which belong to the Uffizi). Between 1496 and 1500, he and his workshop were busy painting the frescoes in the Audience Hall of the Collegio del Cambio in Perugia. Shortly after came the Resurrection (Pinacoteca Vaticana) and the altarpiece with the Marriage of the Virgin (Caen, Mus e des Beaux-Arts). Perugino died of the plague in 1524. However, his later works tended to be repetitive in content and form, devoid of the intensity that had characterized his earlier masterpieces..s.s.s.s.....es....es....es....es....s.s.es....es....es....s....es....s....s.s.s.s.s.s.es....s....s.s.s....s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Pietro di Cristoforo Vannucci alias PERUGINOu della Pieve 1445/50-Fontignano 1523 Madonna and Child with Saints Christ in the Garden Portrait of Francesco delle Opere Portrait of an Unknown Man Portraits of Don Biagio Milanesi and Baldassarre of Vallombrosa FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass vvttjifif`aaiasaaPPaa```afbSPf`aQa`gigbif`| iiffiffa`figi vvvjejeiffvjf````af fittQSBPTPiP`Q``` ~}||| vtTPSABAPf`aPat{aig |PP_aQP@t tAAS@S@U`aPQPt vv}|| VvaSTPtv @B@AAPi``QQ` v}ePAPt FBAAPQt_ |xvk| }|}vzvvk| vklov} vkvlkl| }w`t~| |||xxkkvkj| ||vkvojlvl} |}xvklklvk ||vkvokjoo~ ||voklkjkp{~||~~ }{vkojlklov }|jokojljpj~x zooovzvrp|vt }xko]jxkto]t jpppv jipvt |xkjrp vvkptv }vpoqjvltt]j |vk]jvkujvpsv ookvwjrfjjx |vzkwlrrrrjj kropqrsv vv{lkorrrrjt |{vvvorqrrr vxkrprr^r`A`. Taa`aRSA xjkvvprr^r^jAS PBPRPPa@Aa xjoojprrrrr bSPaPRSSSat |xkrprprrrr MSPAP abPSASSS t``rrv GNCIB@St tUaSSASS@ GAGGSv^A^t AA^ptj^B^ GA`rrv|j^^ tR?AASQ tr^rr v^r^^ Kfkjs|~ trrrB tj^ro AabSa at`Pb trrrI `r^^^t QAAA@A@AQfSb trrP* `rAA^r VbACC Ft^AAS^ trr7* t^@AB^ aPS@C tQSS` Q_S@@@@ tf`RS RAGHGP e`P@@@ARSAf utgPv `A@P`Pft }~|tPSa}} }~}}| }}~}~ |}~}~ }}}~}| ||}}} TTTTTTMMMMKKKK 8CCCKCKMKMTTTTMMTTMMTT sBCAB r^^rr ^CAAs ABSAABs rrsTrss rsrssrs sssssTss sssss TsTBT PB^rT ^r^^rG^ ^r^s^Gr^rrr ar^B^B^^^^Grr B^^G^r^ss ^Gr^Gr^ B^rGr^rs B^GrGrF^ ^^^^^^r_ ^G^GrG^r /**-* B^^^^^^^ G^B^rTr *G^^^rT GA^BAG ^D^^^Gr GBrBBAI ^r^G^^s *GBBBB^^ABG B^^^G^r B^^r^GrGAG B^B^^r ^AABBAr^rBI B^B^^s ABrBrB r^sM* BSBBA ----/6 6222* LLLLK;;;EH<E<;:;LLML {ttjJ |tttji.* {t``tbc jasj` |s`tP bbRPb itjjjtU @@>bSb *NNLP? 2 ))) CL;ML;L 8CMC;MMLL MLULM L;K;LL; C8K8K;; 8C8K8E; E8E8E; ;8E;;KLCL;E;LLLLLL LLLLLLLLLLL @;F;= ;BUPNVP PbC<<CN@S CHG@P ksksp skspk 6JJKs G;CNNPPNP@ NN@PbV !$!## bVPVV PN@NMU C<FCNP UNR@V !%!!!!!!!!!!!$## "#!!#!!!!!$!####! !!!!!!!! #!##%##!#!###!#! ***** $!!!!!$!!#$ %!##"$$!#! $##!#$#$!##" !$#!$ $$$$##$#$! ####### $$$#$ ..6.6 ~cGH<@a P@baP @TUMC AACB=@P HHICA? IEPaT cGGPc UFCMU @BCGHF GLLHGCM HCDCE HHGKCK HHFFLK TLLF< GGIGHGHH CLGGHH EEHGHBU IJ;@GGAM T@CIEE MKCHJH7 MDCHH MDCDE JEJFHIH 77KGG HHIHICHG IdAutore e was probably introduced to painting by Piero della Francesca; later in Florence, he frequented Antonio del Pollaiolo, Verrocchio and Perugino. He established his own identity as an artist between 1474 and 1482, in Urbino, where he was in contact with Francesco di Giorgio Martini and the Flemish painters working at the Montefeltro court. In 1482, he was busy in Rome, where he worked with Perugino and other Florentine painters on the frescoes commissioned by Sixtus IV for the Sistine Chapel. He was also summoned to paint individual pictures and fresco cycles for churches and convents in various parts of central Italy, including Citt di Castello, Monteoliveto, Orvieto, Cortona, Fabriano, and Loreto, as well as in Florence itself. The earliest and indeed the only examples of Signorelli's youthful output are two small paintings of the Flagellation and a Madonna and Child (Milan, Brera). The frescoes with the Testament and the Death of Moses, painted in 1482 on the walls of the Sistine Chapel, bear witness to considerable artistic maturity, as do the coeval frescoes painted in the Sacristy of the Basilica at Loreto. However, it was in the two great cycles painted between 1497 and 1504 in the cloister of Monteoliveto Maggiore ( Stories of Saint Benedict) and in Orvieto Cathedral (The Last Judgement) that Signorelli showed his great worth as a decorator. The style he adopted embraced both a relaxed and classical narrative vein and moments of intense drama, both of which are also to be seen in the Crucifix with Mary Magdalene (Uffizi). Other important works by him are the Vannucci Altarpiece (Perugia, National Gallery of Umbria), the tondo with the Holy Family and the Madonna and Child with Figures (Uffizi), and also the Communion of the Apostles (Cortona, Diocesan Museum), where the pictorial idiom is typical of the sixteenth century, and close to that of Raphael..6....%.%.6%....6%....%.%.%....%....%.%.%.%.%.%.%.%.%.%.6%........6%....%....%....%....%....%.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LUCA SIGNORELLI Cortona 1445/50-1523 FrancOpera ObjectClass The Crucified with Mary Magdalene The Holy Family Madonna and Child with FiguresW FrancOpera ObjectClass FrancOpera ObjectClass t{{y{y} }zyyy{| {{yy{{ym{ my{yyyym} tyzyyzmpz{y{yyyyz|| yyyyyzmnq{zz|{zz jxyyzymnzz{{zz{|yymmy jyyylnn|{{yz{{zyzm{ tmmmnoy{yy|yyyy{ mzmnllzyy ~}}}V vyyzmozyyz fPbzyyynnzyzz aUbTvyzyolnzyy |}|}| ULjyyypoolz{ }yvcfPe 8.Umyzo]qzz{ ||}}|t dmymzoozm} yyzlzzlm} myzmmz |{v{| {|{x{||| }my|z|xz} {m|z|{|| m{{vy|{xw{|e z{z{z{t|zt{ {z{zmz q}}m|{v||{ u}m}} dx|{{}} B{}9| dddddcMLL ---''2 }|}||}|}|}|||}|||}}}|| ||||}} }}}}} '%,0/0 ,,%""%""" ,,'%+%, qrrr^^rop6 ^^^B^r^B^60/ aqrp^r^Brq s_Trr^r^r s^I^r ^FGTs TGBFs CFB^_ ^TJ_^T zrJII_ FDJr_ FGFF^T ssJ^^ HFGF} IdAutore errocchio's fame derives not so much from his output as a painter as from his work as a sculptor and from the fact that his workshop nurtured some of the great masters of the Renaissance, including Botticelli, Ghirlandaio, Perugino and Leonardo. We are left with few paintings that can be attributed to him, and even some of these are somewhat doubtful. Of the certain ones, the most famous is the Baptism of Christ (Uffizi), painted toward 1470 in collaboration with Leonardo da Vinci. The authorship of the Piazza Madonna (Pistoia, Duomo) and in three other Madonnas (Staatliche Museen in Berlin; Louvre; National Gallery in London) is still very much open to discussion. By contrast, Verrocchio's sculpture is both better documented and more important. His outstanding works in this field include the David and the Lady with a Bouquet (Florence, Bargello), the Putto with a Dolphin (Florence, Palazzo Vecchio), the Incredulity of Saint Thomas (Florence, Orsanmichele) and the Colleoni Monument executed for the Campo di San Giovanni e Paolo in Venice..e.e.e.e.e.e.e.e.e.e.e.e.e.e.e....e....e....e....e....e.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando \ j ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando Andrea di Cione alias VERROCCHIOa Florence 1435-Venice 1488 The Baptism of Christ FrancOpera ObjectClass 7TttbtII BJTubTbtD & .<Ec HPN./ //-,--+ &+',-06. ,----- -,-++,/};*C +--+'''+- --//607 &--/////-.-+,- +-,/,-//-- /06/66..03 -6/.- -0/-00 /06/4./ --,..--- -/-0///////32 //0222022664 /-/322022 6//6/6 IdAutore e was probably trained in the workshops of Verrocchio and Antonio del Pollaiolo, though the paintings attributed to him also reveal traces of the influence of Botticelli, Ghirlandaio and Lippi. His only documented work is the Tabernacle of the Sacrament, painted between 1484 and 1491 for the Collegiate Church at Empoli. Other important attributions are the Three Archangels (Uffizi) and the Madonna in Glory (Paris, Louvre)..).).e)....).).)....)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando FRANCESCO BOTTICINI Florence 1446-1498 The Three Archangels[ FrancOpera ObjectClass t]m|} tnon} nmyy{ fjsx}^ */p%~ ~`{t^ |pqzmI$! {qj{kn^ oozyqr Aj^ay) TGB_Bayt *BKBu_ G*CBBio *_Poqy jS^qpqm6 /SopBj lkx{{s Sply|{vt $",!# mpqq^qp Mjxxzzt np]rqnn rz{yv{ Iryyz !!#!!! b|/Sz{vt} !$#$/ gzzt{| kxzv} %#!### /Bzyj|} 7Ckzj ',!! ESlj} !!,/022 $!$#!$# %%%,-% #!#$$$ 2636/ !!$##$#$#### #!$!##! !$!#$##### $#!!$#!!$!$$### $!!!!$$#!!##"### ##$!# #!!## #$##! ###$## ######## ##$#!### IdAutore e was probably a pupil of the Master of Flemalle, with whom in the past he was often identified. He was appointed official painter of the city of Brussels in 1435. The influence of his master is fairly evident in early works such as the Miraflores Triptych (Berlin, Staatliche Museen), the Deposition (Madrid, Prado) and the Last Judgement (Beaune, H tel-Dieu). He traveled in Italy between 1450 and 1455, working in Rome, Ferrara, Florence and Milan. His stay in Italy had a softening effect on his painting, which until then had been rigorously realistic and intensely dramatic. His other important works include the Deposition (Uffizi), the Annunciation (Paris, Louvre), which was the central section of a polyptych whose side elements of the Visitation and A Devout Man are kept in Turin (Galleria Sabauda), the Crucifixion (Vienna, Kunsthistorisches Museum), the San Giovanni Triptych ( Berlin, Staatliche Museen) and the Polyptych of the Seven Sacraments (Antwerp, Mus es Royaux). He also painted a great number of portraits, including one of Francesco d'Este (New York, Metropolitan Museum)..).).).).).).).).m)....m)....m)....).).m)....).).).).).).m).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando , t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando ROGIER VAN DER WEYDEN Tournai 1400 ca.-Brussels 1464/ Deposition FrancOpera ObjectClass yyym|||~ |ymly {lxmy~ +--/2 +-0/0066 /60.6.606066/-6 6666. 66606 666//2 00666 0626626// 0,/// Bxvvv {q]qnmmymx3 }yoplmolqn{ }ynooonollm{ {mom]rmpmnmT {nnm^oolommo {nnp^pnlymon| mp]rrnnmnn mn^rqomnn} yp^rq]mnw }y]^qjqmm }nyyw yn^ro]mm{{y{mm |{mr]poom}}yynm{ }}{wP }{yqrnonm||n{zmy |{{m]^ooy}{my{my }}}|_Jt/ {{{mn^]oy~yn{{n} y||yn]rqy yyyqv~ }y||ymo^py {}}}mq^q{{o]oz imqz}{yp]n{ylpqf jqrrqnmy{nylorqj r^B^nnokqrrr]r xrB^^A^r]qrf MKyqSB^Brrqs {{npBBB^r_ 8wn^Bqo *nqSr ,///,/. !"#/,+4U $!!##, $,$## abUa`a bVTaUPK IdAutore e was trained in Bronzino's workshop, and from his master inherited the post of official painter to the de' Medici court. He was inspired by the work of both Michelangelo and Raphael, in the best Mannerist tradition. Apart from two stays in Rome (between 1554 and 1559 and again in 1581), he chose to live and work in Florence. His output included numerous altarpieces such as Christ and the Adulteress for the church of Santo Spirito in Florence and the Resurrection for the church of the Carmine in Pisa. However, he also painted a number of important profane pictures, such as the Pearl Fishers (Florence, the Study in Palazzo Vecchio) and Heracles Crowned by the Muses (Uffizi). Moreover, he painted frescoes with Stories of Saint Jerome in the Gaddi Chapel in Santa Maria Novella as well as other cycles in Palazzo Salviati, in the Villa at Poggio a Caiano and in the first corridor at the Uffizi. Following in the footsteps of his master Bronzino, he also took up portraiture, and with considerable success, as the Portrait of Bianca Cappello (Uffizi) clearly reveals..ls....s.s.....ls....s.s.s.s.s.s.ls....s....s....ls....s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 2 @ t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALESSANDRO ALLORI Florence 1535-1607 He was trained in Bronzino's workshop, and from his master inherited the post of official painted to the de' Medici court. he was inspired by the work of both Michelangelo and Raphael, in the best Mannerist tradition. Apart from two stays in Rome (between1554 and 1559 and again in 1581),he chose to live and work in Florence. His output included numerous altarpieces such asChrist and the Adulteress for the church of Santo Spirito in Florence and the Resurrection for the church of the Carmine in Pisa. However, he also painted a number of important profane pictures, such as the Pearl Fishers (Florence, the Study in Palazzo Vecchio) andHeracles Crowned by the Muses (Uffizi). Moreover he paintedfrescoes with Stories of Saint Jerome in the Gaddi Chapel in Santa Maria Novella as well as other cycles in Palazzo Salviati, in the Villa at Poggio a Caiano and in the first corridor at the Uffizi. Following in the footsteps of his masterBronzino, he also took up portraiture,and with considerable success, as the Portrait of Bianca Cappello (Uffizi) clearly reveals.s.s.s.s.s.s.s. Hercules Crowned by the Muses The Sacrifice of Isaac] Portrait of Ludovico Capponi (?) FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Portrait of Bianca Cappello5! FrancOpera ObjectClass KsJKTII FIJDDI IIII* $$$$! $$) $#$$! !!!$!$ $!!$$ !!!!$$$$ !!$!$$#$ IIIMJ VSfwe NBI{`P IP@u` *IKBgP /2222226 tttvtv }|}|}} LMKLMMKDKCMEH IEIMPLMKLKEMK;EJDKK |}|}| }}}}} MMKMU }}}}| }}}}}} |}}|}| }}}}}}} }|}|||| |}}}} }}}}}|}| }|}||}|| }}}|| cKMcbUc }||~| |}}}}}}|}}MHC }}||} uLTHE |}||} MEIMb KHMMTb }}}||| JIHJH ||}|| |}}}| KMbDIc }||}| |}}|} IFIIII }}|||} }}~}|| }|}|}|} |}}}M |}~|| }|}||} |FE7I }|}|} K8KK8KEEK |}}}|| }|~}}}~| eJLLP }~}}}}}}}}}} }|}}}~}}}|}} }|}}} |}}}||} }|}}}}|}}}}}}}}}}}}}}}|}}|} |}}}}|| }|}}}}}}}|}}}}|}} |}}}| ||}}}}} }}}|}}} }|}}|}|}| ||}}}|}|}|}}}}|}}} }~}}}|||}||}}| |}}}}}}|}} ||}}}||||}}}}}||||||||||| JMKTLUTM KMTMKUM MMMTTJIMTUDMKMTCIJ PbbUabL }|}{{|}|||}}}||||||}} }}}}}}} }||}}|}}}|}|}}| {||{} }}|}}}}}}}} |}}}}}}}}}}}}}}} |||}||}}}}}}|} }}}}}}}} |||||||}|}||}|}}}}|}}} |v|||||| ||}}}}|}|{ }}}}}} {|||}||||}|}||}|}}|x ||||||||||||}}||} }}}}}}} ||{|}|{}}}||}}}}}}} {|{||| ||||}}}}} {|||||{||| {}|}|}}| -3-+6 {}{{t8 {|{{|| |}{}||}}}} febPbebVt}}}|||}} vfNM` }||}||}}} ||x|{v tPaPf{{}t V|uN|}|}||}}} {|x|{aaPQ }VV}|}||} x||PTAa{{{|{ {f|}|{||| 7|{|{x }|||}| jtutuu }tPfwwtt tu|||||}} vt|vv utttt PVvxt }}vb|||{|| tu|uev{ Abiuuu W}{|{||} *|xtv `bftuittxb |}ub||{{|}} *|v||v{ ||}tf|}|{{|}. c{bbuv t`fuM+ b{|{{ {tQ`u {|ue|{{} av`u{vT@tviw v{{|} tuvitv Piuvw }ee{}|{ tPut66.* ~~~~~~ ~}~~~ *EUfQJ ~~~~~~~~ dUPbeV 0<lalala+ IdAutore e studied under Raffaellino del Garbo and then Pontormo, later becoming one of the foremost exponents of Florentine Mannerism. Despite his brief stays in the Duchy of Urbino (1530-1532) and in Rome (1548), his main residence was always Florence, where he was appointed official painter to the de' Medicis. As such, among other works he executed the cartoons for the tapestries at Palazzo Vecchio with the Stories of Joseph, and in 1539, took part in designing the displays for the marriage of Cosimo and Eleonora of Toledo. In 1564, he also helped set up the solemn displays for Michelangelo's funeral. Pontormo always considered him his closest friend, choosing him as his assistant for the commission at the Certosa del Galluzzo and the Capponi Chapel in Santa Felicita. Bronzino also took part in the decoration of Villa Imperiale in Pesaro. Back in Florence, between 1540 and 1546 he painted the frescoes for the Chapel of Eleonora in Palazzo Vecchio by himself, thus achieving what it universally thought to be his absolute masterpiece. He also painted large, complex religious works such as the Deposition (Besan on, Mus e des Beaux-Arts) and the Resurrection (Florence, Santissima Annunziata), that mirror the spirit of the Counter Reformation. Other important sacred works include the Lamentation on the Dead Christ and the Holy Family with the Young Saint John, at the Uffizi. His output also included allegorical and mythological scenes such as the sensuous Allegory at the National Gallery in London, or the Pygmalion and Galatea (Uffizi). However, the genre that best suited him was undoubtedly portraiture, as the many Uffizi portraits clearly show: for instance, the Portrait of Eleonora of Toledo with her Son Giovanni, the Portrait of Bianca Cappello, the Portrait of Francesco I de' Medici, the stern Portraits of Bartolomeo and Lucrezia Panciatichi, and indeed the series of children's portraits including the Portrait of Giovanni de' Medici, the Portrait of Bia de' Medici, and the Portrait of Maria de' Medici. In all these works, Bronzino's study of the human face goes beyond his sitter's physical reality to achieve a near transfiguration in which the members of the de' Medici family and circles are idealized; indeed, almost sublimated..ed....ed....ed....ed....ed....ed....ed....ed....d.d.ed....ed....d.d.d.d.d.d.....d....d....d.d.ed....ed....d....ed.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Agnolo di Cosimo alias BRONZINO Monticelli 1503-Florence 1572 Gruppo2 The Holy Family with the Young Saint John Portrait of Bia de' Medici- Portrait of Cosimo I de' Medici Portrait of Maria de' Medici Lamentation on the Dead Christ Pygmalion and Galatea FrancOpera ObjectClass 6 L ' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Gruppo1 Portrait of Giovanni de' Medici Portrait of Francesco I de' Medici Allegory of Felicity tipoHot ObjectClass rimando Christ Deposed FrancOpera ObjectClass FrancOpera ObjectClass 8bElE FrancOpera ObjectClass 8BJLJ FrancOpera ObjectClass Portraits of Bartolomeo and Lucrezia FrancOpera ObjectClass Portrait of Eleonora of Toledo with her Son Giovanni @UVU' FrancOpera objectclass Gruppo2 Gruppo1 buttonclick buttonclick Gruppo2 Gruppo1 D[T[' false verso verso ObjectClass bUUaT PNOMTNUbPP U@TTOT |||}} |{}|{ {{}|| {||xv |{bst iibavt Iut`K iaaj]} TPTa`b`t~ FaBS} skssr zzsB_B krsFAsTH}I kss_z _BTs_t KGaBB TI^sr sTTsr k^Fsk sIBB_ ss_rsrs _BTsDrs _BBDJsrF^T }T^k^^ TD_rr k_T_B B^FFs rF^sz FFBFs BTsFGBF^ sr_B^ ^TDTs TIBB_ GIGTIs ssIs_J IG_I^ s^BK^Gs srsrssk7 **46& 60/6/- .3.6- -/3*+0 */-.- &--/622 ~~~~~ X;;Ld ~~~~}~ ~~~~~~ ~~~~~ }}}}} ~~~~~~~ }}|}}}}}|}}} IFTTII ,2sGBT AHIJT ~~}TsJIGt} ~~~~} BBD_ss_ sBIG_ ~}~~}~}~~ }}}}~}} }}}}}|}}}}|||| }}||}}} }}|}}}}}}}}}}}}}}} 5554.- 320/00/ }~~~~ IB{|v| IijxTTt IIG^T kG^p^^s GrsGrGrs rsFrG^ r_^^s IpGpGr6 IrpGrGpGqs GpGGrGGGGr qpGrGrGrr^^ GqGIrGGGrB rqIGpGpIrGqI^) GpIGpIGGGrIrIs *IqpIpGIpGrGIrGIs GIpGpGGGIrG^FJj* qIrqGpGGqGqIGrIIs 7r^rpIGGGrIGGGrFBIs TsrGIpIpGrrIrG ^rqGqGGGG^^G_ss rrGGGr^r Fp^rrs *____ IIGr# 26/6} ***** MMMKLLL Brtvv| }BGG^sst zBIBass BtsGBjsk BGIIGB B^_zT ~~~~~~ BTFBTasB ABBGIaT__t TBABKbT aBBDsT_ sBTTab IssI2 r*IIr IIpss Ippkr IIpps IIGGps q*pIk rkssssk *ppkr* Ipprs sIkkssz qIssrksssszI Iprkkr III*I pIppIpkssz) Ipsk/ GIIII IIIps }|kkk |{zkzk zkztk kkzzkkz ^rpIpF rppksk _sGprp {pkqGkkkztz sIrIpr Gpksk ^pIqIIp$ IGpzk IrpIrIrp# Irzkz ^GqrGIGqr rrkzkk Dsrrkrrrpp IIprk zzkkIGrpkkz zzpkkkkkkk Fr77| zz{kkprrIrksj nkpss zkrIIG^prrrs kspprk |||}} }}}}} }~~}}}} ssvtt kskjsvvs zksktkj lmzzz{zzjkkzzkzzszzkFs|{pkz zkz{z{k{} kjkkkvz zztzkzkkjj Jkkrz zzzkz}| ~~~~~}} zjzjzzvztztkkjkszsk tzkztzv{~}z| zzzzzzxz{vz kkkzvkskkrss kzkzzkkz|}}}|} zzz{kzkjzkzkkjzkr^ tzkz{ lyzzvkkkzkkskkkF }{}}|| tzzkkkkjkksknF |}}}} zzkkkkksrnp ~}}}} vzjkkkjspr }}}}}}} skzkkkkksrks |}{|}}}}}} 7}zkkskkzksrpkp kkkkkkkkrppkr }}}}}|} }}}}} |}|}} {zkkkkkksrprrkk }}}}|}}}}} HLKTJM ~}}}~ *|yspkkpsprr^Fpkmps/) }}~}|} }}|}}}}}} }}}}}} zkqrkkppprrprrkrpk x{|zv ~}}~}} sBI^prrrrpqprsrskkp }}~}| |}~~} }}~}} nprrpsrp^Gprspkpprk }}~}2 F^pppr^Fprrsprprkpkk ~~}}} sjz|vy}}|}}}~ kGBrrrprsss ~e^rlvtj ~}~}}}}}~~ }}}zs^rrrsss pttok {|}|}}}} ppppkkk |}}}}}}} }}}}}}}}} }~}~}}}~}~} Fpkkkjzk{ }}}~} Mx|}|||}}}}|} }}~~} pprkkjzkz }~}}} ztt||||}||||}/ }}}~}}}~}} IIIGprkkkjz }}}}} }jzzt`j} kkkkpp Iprrkkkpktz }}}}}}}} }~}~~}} }~}~} szjsz }}}}} zpkkr^IIIIIIFpprkmkIpsk{ ~}}~}} ppkrprIIII IFpIprkIsppkv{ }vjtyzvvk sssrprp^II IIFpprp krIpz |ss}zzjy sk^^pp^ IIIFpkkIppIsksrs z|{tz }}}~}} }pI^pI^krI* IIpGpkIIG^rrpI^zktzzzt }}}}~ {s^rp^sp^ IIpIppI^ psrksskkkkzj }}}}} kkskrrkrI II^IpGIp^Ikr skKIFkz BrkrrzmI IIIpp GpprsrJrskz |kkz} }}}}}} ssssrkks II^r^ I^kkkskkkzz| }~}}~} }}jjv~ }kkrrs IGFBIIFpr^r Ikk^Dkktk| }}}}7 }~}}} }}}}} rrrkz ^rprrJI^pD^pkzz }}}}~} }s^rzj rp_^skpsz ~}}}}}} _sks^I IBsksskmz }}}}}} }}}}} sskspJ BIIrkskkk| ~}}}} zsvzJ 7Fsrk _skz} }}}}~ }~~}} bAutit} }}}}}}}}}}~~ aSttf }}~}~~ ~}}}} ~}~}}}} }}}}}}}} tttt| ~}}}~} }}}}} ~}}~~}}} }}}~}}~ }}}}}~ tvv_a`{ ~~}~} }}~}}}~ }}}}~ `SivS }}~~} u`IAiiv }}}~}~ ~}}~~~}} }}~~~} }~~}}} |}{|E PvTGS }}~}}~~ Ft|}| }}}}~ ~}}~}~~ }~}~~~}} ~~~~~} }~}}}}} }}}~} ~}}}}} ~}}}} }~}}~ }}}}} ~~}~}}} }~}~} |}}uLMT }}}}~ ~~~~~}~ ~~~}} }|}~|}} ~~}~} }~}~}}} ~}~~}~~~~~ }~}}} HHFHDJFC LMKCLCJLMDM MIJFHI HJFFCMKK@KFDCMCML KJK8J ;DMTMTU TTPcPM HFEJCEIICHHIIIIHEHI JFEDDFJCBMMM }~~}~ ~~}~} *M|tM $$!$$$$$ $$$$!$ +6 ) Z >%"* IdAutore he son of a tailor, he first joined a goldsmith's workshop, and then entered a painting apprenticeship under Piero di Cosimo. Having made friends with Franciabigio, he worked on some frescoes with him at Santissima Annunziata, at the Chiostro dello Scalzo and at Poggio a Caiano. He lived mostly in Florence, though he spent some time in Rome between 1512 and 1514, in Venice, and in France (1518-1519). His compositions were balanced and serene in atmosphere, and he favored a vivid palette. With their overtones of Leonardo and Michelangelo, they embody the height of Renaissance classicism, yet at the same time herald the development of early Mannerism and the work of artists such as Pontormo and Rosso Fiorentino, who are generally thought to have been his pupils. Andrea del Sarto was much admired in Florence during the early 1500s and received a number of prestigious commissions for churches and convents. In the cloister of Santissima Annunziata, he painted scenes from the Life of Saint Philip Benizzi and from the Life of Mary. He also painted monochrome frescoes with Stories of John the Baptist in the cloister of the Compagnia dello Scalzo and the famous Last Supper in the convent of San Salvi. He also worked with Pontormo and Franciabigio at the de' Medici villa at Poggio a Caiano, where he painted the Tribute of Caesar. His sublime manner and moderately innovative approach are also evident in paintings on wood such as the Madonna of the Harpies and the Four Saints that belonged to the Vallombrosana Altarpiece (both at the Uffizi), a Saint John the Baptist, two Piet s and two Stories of Joseph (Florence, Galleria Palatina) and the Holy Family (Paris, Louvre). He also painted a number of portraits, such as the Portrait of an Unknown Woman Holding a Volume of Petrarch, the Portrait of an Unknown Woman with a Basket of Spindles , of uncertain attribution, and a Self-Portrait (Vasarian Corridor)..)....r)....r)....).).)....).).).).r)....).).r)....).).r)....r)....).).).).).).)....)....r)....)....)........)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Andrea d'Agnolo alias ANDREA DEL SARTO Florence 1486-1530 Vallombrosa Altarpiece FrancOpera ObjectClass Portrait of an Unknown Woman Holding a Volume of Petrarch Madonna of the Harpies FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Portrait of an Unknown Woman with a Basket of Spindlesss MTLTV JMV8Lc LL7:M~ CC@CA@ t{|}}}| kIsIFtt ||}}}} Is_sIs rT_Ist *_KrIFss I^zzI ztjss tstt} FFrsFk tsa__ksss tzsss__sKsjs rF*IIr tjsITssIs^ F*I*I *rsI^I^r ts_s_s_rD FrIIGIIIrsss ztzkTTsBI I}|sTsrs rs^^Fr tsjKs^ sIIII IBk^r^^s IIrI_j |kzsttj *Iktst {sss} rrkmkstjtk} *IIprr }kt{tst IFIGGG *IIrz{ sstjsjt }IIrII* s_^ssssr ~JIsF IjztrrFrssrrkt asBBr^^^^s s^Krb kFIss _FIsk *BBBBDs ~~~~~ ~~~~~ ~~~~~ ~~}~~~ ~~~~~ ~~~~~ ~~~~~ rkskk pIpprrj IIqGppG IpIpqI qIqqps IqIIqp pIppGr IpGIpps sppqIppIpGpIpJ pIIIqpIIpIIpqs qqIqGppIGqIIqs sIIIGpqIpIIpIk IpIIpIIpIp 66666 IIGqIG IIGpr pIqpI IpIIGIp p^zkrs GIIIIGpIpIIpIp rppIIIIpIpGIGIqpT srspG qqGIIpIpIqIqIGp^ qGrIGpqpppGIp^ r^IrppI rrpGqqIIIIIKJ rIIIIppIrI pqIIIIIGqJ qIIIII^ ^rIIrGI^ $$$$$ rqqr/ rrrrGs 6//+2 krIGps7 *sIrrrr *&*****. *+**& `tut|VQ PGH;M @O??ZWRW ?OOZP @B@BABT>GA @??@>????A >>Sbf@SBO@ rrrrkG C==C@ rIr^rs_ @MCMUTUUM srrrrsT ULM=C rrTFrsr rssIsrs rsrsG s^rrrT: ssssrssp .:8ML ssrJsrIs sssrr _TBrU ss_ss rssssrssrrrs sIKFTHH sJrsKsB_ rs7prsIs ss__sT_T srsr^srrIsr ssBTsBCT_FB^ksAT ^^sGGBB srssG ssrIrsrr ssssr _TsHbTT _TATs srsrrTsTrMT sFsss sssssrrr rssIGrTKMB^BS sT_s_BBk rrssss sIrrsr^4 HEEGI Trsrs BaFBAAG_ FMBsFMG_sBB s7ssss kIsrrp GBs_BG ATBBM sssTTTB BSTBa rkIrrrrr s7IGH KM77I GSBTBBaC sTBGALM sIIr^ C_MBBAPcC s_sKS_HB srssssrsrprrr rrrsr spJssrrrIrsr856L ksIrsss^rpsss556.9. rsskrrr BHDJT pkkIIII Is^rrr p+rIrG s_rrrrrsp rkIrIG ^srrIp rrsrIps IkrIpI2 kIssrr 22krIsr GrsIp ks2pr pIsssss rIk-/ kIIIIF szzkrq Irsprrssk2- rqIIr ssGk55 s^r^ssrs rrrrrrrss-/* zsssss rssrssrrIz rrr^Gk TFFTJ kIpIpIq {sTB}~ sIrrsI ^s^rrIrrq Ipss/Iz TU}MB srr_rrrIzs IJkssr rrGqIr~ spIrr^IIk I**=H sIFIrIr rIrIIk* _TGSBB IrIskpI sIGGID HHH9HG Gprkr !##### TB@GT .'79t 8662} spkssIT ts^C]K-... -6-66 /',-%03 aS\I*.&------; ,*/-- *,)%&,,/,')+-63 &/,-,- &*-+*+/- ...-... ****** ***** 0\DE<E<E IdAutore e was familiar with all the major Florentine artists of the early 1500s, including Leonardo, Piero di Cosimo, and Mariotto Albertinelli, before joining Andrea del Sarto's workshop. Here he got to know Rosso Fiorentino, with whom he developed a highly personal artistic vision that was to lead to the rejection of Renaissance classicism and to the affirmation of Mannerism. The work of Michelangelo and later also of D rer bore a fundamental influence on his extremely individual artistic style. Very much the tormented introvert, with the possible exception of two stays in Rome he spent his whole life in Florence, working for the de' Medicis. The Diary (Florence, National Library) that he left reveals the complexity of both the man and the artist. Pontormo's early works clearly relate to the classicism of Andrea del Sarto, though they also embody a new restlessness. This is evident in the Visitation and the Sacred Conversation (Florence, Santissima Annunziata) as well as the Stories of Joseph (London, National Gallery). Shortly after came the Pucci Altarpiece (Florence, San Michele Visdomini), the lunette with Vertumnus and Pomona (Poggio a Caiano, Villa Medici) and Saint Anthony Abbot (Uffizi). Traces of Michelangelo are to be found in the tondo with the Madonna and Child with the Young Saint John (Uffizi), in the Visitation at Carmignano and in the Eleven Thousand Martyrs (Uffizi), which also reveal the emphatic use of shimmering color and the physical attitudes that are characteristic of his mature output. To escape a plague epidemic, between 1522 and 1525 he took refuge in the Certosa del Galluzzo, where he painted frescoes with Stories of the Passion and the Supper at Emmaus (Uffizi). Between 1525 and 1528, he worked on his masterpiece, the Deposition in the Capponi Chapel at Santa Felicita. His last ten years were spent painting the fresco cycle commissioned by the de' Medicis for the chancel at San Lorenzo. All that remains today of this great achievement is a few preparatory studies and the paintings done by other artists who used Pontormo's imposing tangle of bodies as a model to learn from. In reality, the cycle constituted the Florentine version of the great themes of judgement and resurrection that preoccupied Michelangelo in Rome (to be definitively expressed around 1541 in the Last Judgement). Pontormo also painted many discerning portraits, including that of Cosimo de' Medici, the Portrait of a Musician (Uffizi), the Portrait of a Halberdier (Malibu, Paul Getty Museum) and that of Alessandro de' Medici (Lucca, Museo Nazionale). The plate of nativity with the Nativity of Saint John is also kept at the Uffizi..zi....i....i.i.i.i.zi....zi....i.i.zi....zi....i....i.i.zi....zi....zi....i.i.i.i.i.i.i.i.i.i.i.i.zi....i....i....zi....i....i....i....i....i.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo Carucci alias PONTORMO Pontorme, Empoli 1494-Florence 1556 FrancOpera ObjectClass Portrait of Cosimo de' Medici Madonna and Child with the Young Saint John Leda and the Swan Portrait of a Musician Saint Anthony Abbot Portrait of Maria Salviati Nativity of Saint John Supper at Emmaus FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass N2d2' FrancOpera ObjectClass .7D7' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass tpsttssssjsksrs{ }}}}}}} {{kkz {ppkpppkkprpppz ||}}} kkzzjkp{ }krppkkkkkprpp{ }}|}|}|} }}}}} kkzzkkp| |kkpkkzkkzkrz}}} |}||||} }}}}} kkkkkrp| }}|{{zztzzz}} }}|||}}|| ~zkkzkpzk }}|{{z{|}}}}{||}|}}|} ~}zkpzrzkk |}}||{||}|}|} z{zr^zkppz }}z|||}}}|}| ^qzkkqG |}|}}}}{} kkpqr| IBb||z z{||}}}}}| k^ktkkpprr {|}}} ^kzzprpqrp ykppj |rkzkspqrrqI mppqpk||{ }}~}} rkkkppqqr^r ppppkrkz{{| srkkkqpqrrrrp sI{|kqpkppppoz}{|||{|}} _rpkkpprrrrpns ||}}zrprkkkkkz{{||}}}} s^ppkprrrqprkk} prpkkkokz|||zzz psppGrpkkp{}}}|} |zrkkkkkkkz}zkk}}} }rrFqppk^pzkkk k{z{z{zppkkkkkvzpk}}}} ~rrqrqqqkzszk {kppzz {zzk}kkkkzzqzzzrr{}| }rpkpkrrrppkrzpsqrkzztz kk}|zpkkkzkrrp|}|} }pkkkppppkprtkrkppGkzzz{zk{}}kkkkprkpz}|} pkprpprqkkzjkqrkqqqktz{zkz{|{kzkrzrq|}{| |pkppqqrr^rkksqqppqqpzz{tzk{}z{zt kkkzrk| }krrrpqppppzsjprpsppqktz{kkz}kk{zkpprrpz} q^qprpprrrkpsrpppkpppzzzzk{|zkrpqrrkktz} kppqpp^^rprkksqpkkpqpktz{kzzkkqkkkkz{{z} kkkkrqrprkspjpqpkrpppkzzkkkkzkokkz|{z{} |pkkkkkkpkpp ppqkkpqqkztzkprzzkzzzz{z}}} pkkkpppkprptspqpkkppsz{zppkkkvzz tzz}} {rkksprpppqzspqpkkoppzz pqzkkzzt{{z{}} zpkpppppsrp pppkkkpqk{zqpkvzzvz|zz}}| qprpkrpsqp ppqskkkpk{zrpkzkzzzzz{}}} zpprkppkqrkkpkpkkkpp|kppzkzzvzvz|}}| qpkpprkqpk pkppkkpp|rppzvkzzzzz|}|} zpkkrpkqrpzskkpokkp{krpkzkzvzkz}}} ~prprpkrpq kpkpkpkpzk^pzzkzzkz|}| zpprrkprr{kkzokkkpvkrrkzzvzkz|}} pqqpsp^qz{rkkokkpzzkkpkkzkkz}| zrrrpp^pk|kkzpkkkzvpzkkkzkz{|}} |^prprqpkvzkzjkkkkzkkkkkkkk|}{ rkrpkprkz}kkzokzkzkpkkkkkz||} tprpkkpkk}kkzzkkzkvkkkkkk{{| kpkrzpkk|kpztkzkzzzkkkpkz|} }kkkkrzk{{pkzzkzzjkkkprk{} }kkkzpzz}sqkvzkzzkkppkk} {zz}||{}zppkkkkkkkprz }v}kpkkzkkkkqqk{}}}} }}||}zkpkzkppqk{ |}}{z {znz} }|}}} |}}}|} }}}}}| }zzk} zprprzk{ kpr^rqrkkz srr^G^Grrqrkkz{zk} |GIIIF^^rkzkkvzkz t^^FGB^rpzkkzkpp| rB^^rrprkkpppt} knrrrqppppqrr} Brrqrrrr^^^| }^^B^^rrjt }|}}}}}}}}}}}}}| vvvtv tvttitbt {}}}} 4866. ..660.634 ||{t{z tttts ttb~~~ ~APMKCTPPb sbbt``QPiU abbiasPPPib f`abbaaaPa`jb ;ccI@c siaiaaaaPPaj abaaaaaaaaaai `tasbPaaaa_t8MU7Bb fabaaa_ _`siaaaa _Pbaa_ ***JM8 ~~~~~~ UWWdd UaVbW ~~~~~ ~~~~~~ ~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~~ UUVUUU ULUUMNCNNLN@NLLCCC<E<LNCLNNCLNNML=L;;LUUNUUVU UUULM MUMLL; C;;LUMU |||||}}|} }}}}}||}}}L |}|||}}} }||||}}}} }}}}}||| ||}}|}|}|}|||||||}}}}|} |}}||}}}}|}} |}}}}}}{ }|}}| |}|}|{ {|}}}} L@{|} }}~|} }~||} }}}|} $$$$$ $$$$$$$$ $$$$$$$$ iMe|| VaPVQPPN@@NT@N@L BC<<HHHH H=B@BNPPNBMNPPNTONMPPPaad ******* CEE8EEEEHEFI FFHFFHH JHFFFFG;GEEEKCF8KEI HHIHHHEKEIHFIHEDI .55... &44445*. 4.58885 333333 ;Weet OhwgtL ~~~~~ xwwZN =N9O9NN;N::N9ONOWNO=NWNNN=;=:NOW UO:UVUN: =9:9; dUUWdVUWWW UUWcc <<;==;= =<<==< =<;=<;;=;<;<; MK;;ELM ~tkt} |sqttksktt srsjttskrk| pksjsssprkr kskrkjpsk B^pp^bztkrsssskr FprSzskssksrp ^HB^I pr_kssjsrp spssrG p^ssksrpt AS@H_jrprrsrrv bprzs F^rmjb ]kjvj fURqt jpr}& j^O&** Tp]5. 8uef; fNCag cWQSS?SQQV WV@?> ??SQW R?PQUc V@?aVe Q??Nbc bP?>? bR?@Pe dVN?> Q?>?>OQcb T8TMMM bffteQ tfababUC TMNTT biTBT GGBMBCCT @MTBa G_rrBG GrJs^Hr Br__JGB }TFBb sqIBBz B^_rs_ kpprp rBAGs IIrIrr IrrGGIs srKss^Kr pqpkk IpGBGrs ss^^rGG^ IIprrs rIGBGGz ss_FHH^BBr pIprprsrGr Is^BCIr pIpIpIqGp G^Grrs srpIp IpIpI Gs^IrI IrIpIprIpI pIpprIqIs BFk^rI srrGpIrIp pIqIIp pIIppI rqIrspr^Br BG^G^ kIpGIp GBBkT BGACBsB FGBsBCs BBGG^ Tg**gMB Grr^G GrIsG G_BIz BC^rJ Bb<N~ ~=CPR *FsB* ;=bTN GsTGA^rrB TBGB_ MRFCB P@B<T P^CGBCT sRSBB=C 2b_`AATMB `]`SA IdAutore ike Pontormo, he joined Andrea del Sarto's workshop, soon acquiring a style of his own that borrowed freely from Fra Bartolomeo, Michelangelo and Raphael. He enrolled in the painters' guild in 1516, initially working in Florence and spending the period between 1523 and 1527 in Rome. He later traveled to various Italian cities (Perugia, Sansepolcro, Arezzo e Venice), contributing to the spread of the new aesthetics of Mannerism, of which he was one of the foremost exponents. In 1530, he moved to France and the court of Fran ois I, where he became one of the founders of the famous Fontainebleau School. The earliest work that we can certainly attribute to Rosso Fiorentino is the fresco with the Assumption of the Virgin Mary, painted around 1517 in the cloister of the Santissima Annunziata in Florence; the Portrait of a Young Woman at the Uffizi also probably belongs to this period. Next came the Madonna and Child with Saints (Uffizi) for the church of Ognissanti. In 1522, Rosso painted his masterpiece, the Deposition for Volterra Cathedral (now in the local Museo Civico). The impact of this highly dramatic work derives from its striking construction, its emphatic use of color and the intensity of expression of the figures. Other important works also belong to this last Florentine period: the Angel Making Music , for instance, and the painting of Moses defending the daughters of Jethro (Uffizi) as well as the Marriage of the Virgin (Florence, San Lorenzo). During his stay in Rome, he painted frescoes in the Cesi Chapel at Santa Maria della Pace with the Creation of Eve and the Original Sin. He also painted the Dead Christ with Angels now kept at the Museum of Fine Arts in Boston. His later works include the Deposition (Sansepolcro, San Lorenzo), the Madonna Enthroned Between Two Saints (Volterra, Diocesan Museum) and the Transfiguration (Citt di Castello, Cathedral). At Fontainebleau, he painted frescoes in the pavilion of Pomona, now lost, as well as decorating Fran ois I's gallery with twelve scenes dedicated to the sovereign and painting a Piet (Louvre)..).).).).e)....).).).).).).).).).).e)....e)....e)....e)....e)....).).e)....)....e)....)....)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giovanni Battista di Iacopo alias ROSSO FIORENTINOG Florence 1495-Fontainebleau 1540} Angel Making Music3 Moses Defending the Daughters of Jethro Portrait of a Young Woman Madonna and Child with Saints FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass National Gall |?SRRgQRg` gi_`RR\S?? SR\R?R?? R]`]RR\`] \`R]] `h?i] R\\]R\\R R]``RiZ`j? ghRvg?RR\R @?R\S R?Rg?`v?Q Q?RR?? ?`@ggQ u`\RRS R?RiQ Oi?QRS ??RS> jgQQORR ^RZSS> RR\R\R S??S??R QASw?`gR?? ?>SS?> Rgu`uiR\ ??SR?? ?O@@>SA ?QR`iQi}fR SR>RwS QRQRRufQgg i`hvi?? ARO?S C>ROR ZQZ``g`Rxg A@?R?SA>R ii`uf`\|]R juiOS??@? ZgfZf`\^}? >RRS>?`OR R?Qvg\>?z R>>RR A?RQgAQgi Xg`R] S>@R@ vu`\RO^{\v ?R>>S ??A>>S ??R>>@? |uu|} i_?O? }{|}} >??@? RXQ`v i}|ue ?R?bt gR\A@ }|}|} ??Q`Rt|| >?\v|| |Pf`S \zviQR? w`^Q] gg`gihir i]^h}} RZ`?h SgQO]uf`vi gxvv{|{ P`?`RZ igvugv}|}v }vv{||v {vjqr]qv RR?R\ AORuv {{uuiv|v |Pa|}v ijr]q]j{vv ?A?SSRQ vQ`{v jRgivuub| prqr{ |iRivuCb q]jo]v SR>?`St tt{}| x]q]rp bT@Q]]it uititii ``git|{ |}}{| jrq]jvjt \^]]`hi tgguii`hvv iiu`v q]rq] hiv|tv` g\iuvvfiv| jxpj]rqro vivfujRg ^iuvtii |vv{} }|rorqr]r] itfivigu`g Rgivuit z]rqrqrqr iigviivuRR `gjvi }]r]r]r v`Qgj`ggiv r]j]r jvvi`f`fju itfRf``i| zvrq]r]r] jh|ti`giuf vitvtit |}{}}| v]]^qrq]]j u`Rgi jttvtii`gt vt{|| o]rq]r] \^]r]vj vtjvi`ti|{ txiiggvvt{ |]q]rqv} utvv{ ^\k}|}||{ {j`jtt {]jp] uit{||{t }||]]q]rq} {}||{|v{ koro]h }|{{|}{} vr]rj |}{||}||}} IFIIK KKJII JJIII I*IJI IJJII 7IJJI IITKIII I67I* IFJII *I7JII kssss6 7IFFFII 7sDDJ .54554 WNWcWd utedev eWedcUd uteddt WWddddd edcveet WWeeYN utWeuetc utedv ~~~~~~ 8d:89: Ve899 ;.NW:LL /859dd L9NWXUc :8dLL NNC=cd 55L** ;HVeU99M 89;NfWeWL9N :458. ;MdVfe L8NUW 8LMUc .-8/-.-.. -/4---&.. 6&%/-4--. &-,-,- .5/0/0/64//04 /,/---, .666/0400606 /--/-//& .0/06/-05064 6,////// 53400000000 -/-/--/ .0034333630 cUdU;; 3-//-,/-0& .304043300/ LUdcNL 3/0/0//0/ 43033/4 0//003/0 3000/30-, /00030000/ ;;<;L 3330333000/ VL;;;; 0330033033- WL;;; 333300000333 dU9:L;;;NUd 333033333323 XNLLL 333033 223223 Yddde UWOeWddcddcccVUNVccUUVUMN99LNUUUUUONUNUVMLN9M UMLMMCL <LML8 4L888898899 dddVcVOUUNONUObVUN?NN@NOONNVONON?LCNNC=LL<; cVVcd ONNOOWVWWWWVVOWd APi;KHCf CCSb@ CisBA _a@ACPaa_^ tSPBPAA_S_^ __AA@ACPAPrb SSCAAS=ASAjA SSGCASAB_AsjCc HASA>SSsstBPb HAAAATPssj ^HHIFBSSA_bjst CASPsasst BBAa_sjsst GBSs_Ab HB_tbss t_SA_ PAAS^t G_aGBAASS A`BBSS_A^t SGABS__A^ BHSSrS^ GA^__ HIABs_i I`BA^_b SASAS^ GGASA^ HHGABS AAHIGAsttT GGCHB^ IGS^st MH<LHN .NQSb MQPaTG LCMU@U UaQPeU.85 L:MUMUL;H .;;L: 9:LLMU H;H<H LMTLML8LEC<EE IdAutore e was a painter of considerable qualities and great imagination, yet he owes his fame to the fact the Pope commissioned him to cover the nakedness that Michelangelo painted in the Last Judgement in the Sistine Chapel. He trained in Siena under Sodoma and Baldassarre Peruzzi, but soon moved to Rome where, in the wake of Michelangelo and Raphael, he obtained numerous important commissions. These included the decoration of the Crucifix Chapel in the church of San Marcello al Corso and the frieze with the Stories of Fabius Maximus in Palazzo Massimo alle Colonne. He later painted fresco decorations in the Orsini Chapel in the church of Trinit dei Monti, of which only a Deposition still exists, and in the Della Rovere Chapel. His last works include a number of paintings on wood, such as the Massacre of the Innocents (Uffizi) and the Decollation of John the Baptist (Turin, Galleria Sabauda)..).).a)....).).).).)....)....)....a)....).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Daniele Ricciarelli alias DANIELE DA VOLTERRA Volterra 1509-Rome 1566 The Massacre of the Innocents FrancOpera ObjectClass THHMMCG MKCLB HIHHG 6KCEPUUUL bBMMML THBBaCas TMUM; IHGGGLMHBGT sGFss sIGC_s ^GG_r GGGG_ FCFCG TMCCL IdAutore asari is certainly one of the most interesting and complex figures in sixteenth century Florence. He arrived in the city at the age of thirteen and joined the workshops of Andrea del Sarto and Baccio Bandinelli. His earliest paintings include the Portrait of Lorenzo the Magnificent (Uffizi), painted toward 1533. He later worked in Bologna and Pisa as well as spending various periods in Rome, where he painted the two great cycles in the Palazzo della Cancelleria and in the Sala Regia at the Vatican. In 1555, he became Cosimo I and Francesco de' Medici's favorite artist, directing at their behest the major works that were in progress at the Palazzo Vecchio and the Uffizi. This engagement involved designing and also partially painting the great allegorical cycles in the Salone dei Cinquecento and the Studiolo. Not only was he a prolific architect and painter, but he was also a historian and man of letters. In fact, in 1550, he published the famous Lives of the Most Excellent Painters, Sculptors and Architects, a fundamental contribution to the history of art of all times. His painting of Vulcan's Forge is also kept at the Uffizi..zi....i.i.zi....i....i....zi....i....i.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ` n ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIORGIO VASARI Arezzo 1511-Florence 1574 Portrait of Lorenzo the Magnificent Vulcan's Forge[ FrancOpera ObjectClass FrancOpera ObjectClass efbfaab ?|}}} zvvv}} vzvv~} ?f}}} RS}}R?S ?}?}R~ Q|e}` G>T@`Qe AG@QRX} HF@\Sv eHIG@Z }}}}}}}T} }}}|}~ }}}}} }}}}~~ }}}}} QGacG }}}~}}} }}}~}}} }}}}} }}}~} }}}}} }}}}}}}}}}}}~}~} }|}}}}}}}}} }}~}~ }}}}} }}}}} f~}}}} }}}}} }}}}} }}}}} }}}}~} }}}}}}}}} }}}}}}}~}}} }~}~}}}~ }}}}~} }}}}}}}}}~}}}}}} }}}}} }}}}} tutitttutt ff`Q_Q``Z``g`]g`Z``ggXgh`fft =eUTTUT@TMNBB@BBCCCB=B CCACBB C@L@BCN@B@TMBC@CC L<E;88;L<;CE H<EHE;M;CC<8CLg <FCCC< <CLCC< HC<<F< IdAutore ranciabigio's painting embodies something of the delicate naturalism that was typical of the 1400s. He was influenced by Mariotto Albertinelli, Piero di Cosimo and above all Andrea del Sarto, whom the artist helped in painting the frescoes at Santissima Annunziata, the Chiostro dello Scalzo, and Poggio a Caiano. His most important works include the Last Supper (Florence, Convento della Calza), the Saint Job Altarpiece and the Madonna of the Well (Uffizi). His portraits are also noteworthy, especially the Portrait of a Young Man (Uffizi) and the Portrait of a Knight of Malta (London, National Gallery)..).).)....y)....).).).).....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco di Cristofano alias FRANCIABIGIO? Florence 1484-1525g Madonna of the Well Portrait of a Young Man FrancOpera ObjectClass FrancOpera ObjectClass ty but cer ECEEB GCHEM MGHEC GHEHM bCCEM ***** ssBFFs BBHFs KBBBz/*9M *bECC EGFGCL EEEKI ML8KK MMK87L EK;E7CLCCL8 JCEEHKLE8 MLK;GECHK JHCKMCMMMM TFFTT CMKFMM MCFHGKH K<HFG UCEFHM ;FHEM MFKMLM MDCKFGT TFGFFFM FHHCDGM FHHFKHF TBHGFBMHFB FHHGFK HGDFT MFFEM KLEKME M;IUM L;:;CL;:;E;;;;C ;M;LKLC;;C;C;;;HE E8;E;L ;;LK;L;LK;;;;LLLEGF L8LL;: ;;;L;;;;;LLLLL;L8;G L;HHE EL;L;;M LC;;MML MLLLMMMLKLMMMMM IdAutore e was a somewhat uneven painter with a fondness for decoration who trained in the workshop of his father, Domenico Ghirlandaio, and his uncle David. His encounter with Raphael was extremely important for his development, reflected by his most successful paintings: the Nativity (Budapest, National Museum), for instance, or the Portrait of an Unknown Man (Uffizi) and the Miracles of Saint Zenobius (Florence, San Salvi). He decorated part of Palazzo Vecchio with frescoes and the Cappella dei Priori with plaster work. He later embellished what is known as the Camera Verde with grotesques and pastoral scenes that have since been lost......t.t.st....t.t.t....t.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Ridolfo Bigordi alias RIDOLFO DEL GHIRLANDAIO Florence 1483-1561- Portrait of an Unknown Mannn FrancOpera ObjectClass CK;BFT BBLGC HIFGFG FHHFHI TMTTU IIJKG TMLBT GGDII HHGHG<MT GGHHCBT JHGCB CBCBBABBCC CCCCCGGCGCCCMCG AH=TMMMTMCB<E@TMCC<; K;LM;LML:8LMTM TTTMMUTMMMTTTT IdAutore e spent the first part of his life in the shadow of the great Raphael. He was his favorite pupil, and he worked with him at the Vatican and the Farnesina. He is thought to have painted the Vatican frescoes in the Fire the Borgo Room, in the Loggia and the Stufetta. When his master died in 1520, he competed a number of unfinished works, revealing an original manner of his own. During this same period he also executed paintings on wood such as the Holy Family (Madrid, Prado), the Madonna of the Cat (Naples, Capodimonte), and the Madonna and Child (Uffizi). In 1524, he moved to Mantua to superintend the Gonzaga buildings. Here his great gifts as an architect and decorator came to the front as he renovated the Ducal Palace and the Cathedral, designed new buildings, including his own residence, and gave the city a new and distinctive urban plan. His masterpiece is unquestionably Palazzo T , the Gonzaga's splendid leisure palace, where architecture, sculpture and painting (the Stories di Psyche and the Fall of the Giants) come together to create a coherent monumental design..gn....n.n.gn....gn....n.n.n.n.n.n.n.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giulio Pippi alias GIULIO ROMANO Rome ca. 1499 - Mantua 1546 Madonna and Child FrancOpera ObjectClass M888LLLLLLL8 :LMU9UM ~~~~}~}~}}~ ~~~~~~ ~~}~}~ ~~~~~} ~~~}~ ~}~~~ }~~~~~}~} }~}~~ ~~~}}~ ~}~~~~ }~~}~}~ |is|} |lIGlv| IAiBSv `jsvv }~~}} }}~~}~}~~ ~~}~}~~}} }~~}~} ~~~~~~~ ~~~}} ~~}~~~ }~~~~~ ~}~}~}~ ~~}}| ~~~}~ ~}}~~ ~}~~~~ C<CL=L<LNNNMNNNNNLNL=; H<CH<=C<HC<<C=CC=CH<<<; IdAutore his painter was given his nickname by his patron, Cardinal Giovanni Salviati. He was trained in the Florentine Mannerist circles of Andrea del Sarto, and at the age of just over twenty he moved to Rome, where he painted two cycles, regrettably no longer extant, at Palazzo Salviati and in Santa Maria della Pace. The work and personality of Michelangelo made a great impact on him, and he spent most of his professional life in Rome. However, he did also stay in Venice (1539-1541) and Florence (1543-1545), where he painted frescoes with Stories of Camillus in the Audience Hall in Palazzo Vecchio as well as painting, among other works, Charity (Uffizi). He had great imagination and an effective style with a predilection for elegant classical forms. He was able to address religious, historical and mythological subjects with equal success, as the cycles in the Cappella Brandeburgo at Santa Maria dell'Anima, the Chapel of the Palazzo della Cancelleria and the Salone dei Fasti in Palazzo Farnese show. From 1555 to 1557 he was in Paris, painting at the court of King Fran ois I. The Uffizi also possesses two other paintings by this artist, the Nativity and Artemis Weeps for Mausolo..97....7#....#....7#....7#....#....#....7#.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 0 > t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco de' Rossi alias CECCHINO SALVIATI Florence 1510 - Rome 1563 Charity Nativity Artemis Weeps for Mausolo FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass UMMMMLT MMMMMM L888;J8;K8 K8EEK CMUUL .MTBBBGG IHHTT FFHBTT IHCPTJ PTBCG GBGGM FGM;CNCC ')%,' ','/06 UMUMUMUM MUMUM MMLLMM UMMM9LLMMLLLLE;LEC H<HLLLCLLLLLMMMMUMUUMUM 7777.. JKK;K JEJK8M JHEJJT FDEII ),+/- PtbTc|U r_s}~ _zsrss tsstzsszsr *FIkk rJkkJrJ IdAutore rcole de' Roberti and the Ferrarese school in general shaped both his training and his early activity. In 1483, he moved to Bologna, where he painted three large works on canvas: the Madonna Enthroned, the Triumph of Death and the Triumph of Fame for the Bentivoglio Chapel in San Giacomo. He also painted the Portrait of Giovanni Bentivoglio (Uffizi). The Rossi Altarpiece in the church of San Petronio, painted in 1492, reveals new influences deriving from Tuscan and Venetian painting, inspired by the light and classicism of Perugino and Giovanni Bellini. The Ghedini Altarpiece at San Giovanni in Monte, the Saint Sebastian (Uffizi) and the frescoes in the Oratorio di Santa Cecilia also belong to this period of artistic maturity. In 1506, he left Bologna for the court of Isabella d'Este in Mantua, where he remained until his death. Here he largely painted portraits and mythological scenes for the Duchess's Study..dy....dy....y.y.y....y....y.y.dy....y.y.y.y.y.y.y.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 2 @ ' P ^ t7 tipoHot ObjectClass rimando LORENZO COSTA Ferrara 1460 - Mantua 1535 Saint Sebastian Portrait of Giovanni Bentivoglio FrancOpera ObjectClass FrancOpera ObjectClass LJIJJ ~~}}~}} }~~}}}}}} }~}~~}~~ }}~}~} }~~~}} ~}}~} }~~~~~~~~~~~~~~~ NE<LL CUMEL ;9LL99: GGCBB MCBCM BMFCMT GCGMFBC BBTBGGBG_T GBGGT_ HHGG^ ~GHBBGG BGCTB rI^rr pIpIr GIGIIGGIq GIIqIIpIrr IIqIIGGI IpIrrG pIpIp GIGIqGIqIG C<H;LBLCMM TMLLBLCC<< IdAutore e trained as a painter and architect at the Montefeltro court, and in Urbino met Luca Signorelli, studying with him and accompanying him on all his fresco engagements at Loreto, Monteoliveto and Orvieto. He also frequented Perugino's workshop for a short while. He was influenced by both masters, reconciling the dynamic anatomical studies of the former with the pictorial fluidity and gentle landscapes of the latter, as the Transfiguration (Siena, Museo dell'Opera) and the Martyrdom of Saint Sebastian (Uffizi) show. In 1516, he began working on his most demanding commission, the altarpiece for the church of Sant'Agostino in Cesena with the Dispute of the Immaculate Conception (now divided among a number of Italian and foreign museums)..).).s)....).).)........)....s).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIROLAMO GENGA Urbino 1476-1551 The Martyrdom of Saint Sebastian ( > ' FrancOpera ObjectClass }y|qqv o^rnrBTG |}}}}} Txjq^^pqrBxtuu |}{}|| |||}} }yo]r^SS }{z^o .2{A= Lwdmq G}|q_ 6C{yqj |nq{mpvor |BB||} myynq tupqy ig{f| Hf`v^ ~}GD? cFKHU _AaKP a}~BPPTb ,/7/67 +/6/626 %66662 !"#"# C=CCGM FIUM< CCC=E` T;;TMP P@C<H BBH<NM HbTT@TfP NHC<@a=C@>< MPaUCCMT<F=EM H@IQLPDLI aJPC=G IdAutore e began training as a goldsmith under a French master, which may account for his name, and only later turned to painting. Naturally, he infused his paintings with a goldsmith's love of enameling and minute detail. As the head of a flourishing school, he made a distinct break with the Ferrarese artistic environment in his frescoes at the Oratorio di Santa Cecilia in Bologna, the Saint Stephen (Rome, Galleria Borghese), the Portrait of Evangelista Scappi (Uffizi) and the Madonna of the Jewel (Bologna, Museo Civico). Instead, he came to favor the somewhat classical clarity and calm characteristic of the atmosphere of Tuscan paintings and the work of Perugino..9....%.%.9%....%.%.....e tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco Raibolini alias FRANCIA Bologna ca. 1450-151w Portrait of Evangelista Scappi FrancOpera ObjectClass fQ`\RR\ ?\R\\ ?QX\\f ??QQRV Z`da\ XQZRQ O\\Va \RR`\b ;L;<< =CN?> LN<==<== =N>L;<==NU U9988 :==<<;<=N==:;N L;NNLN:;N9NL= cVPbcc IdAutore is artistic roots were well embedded in the international gothic style that then prevailed in the Marches. He mainly worked at San Severino and neighboring towns, painting frescoes and religious pictures for churches and convents. His work bears witness to the influence of Carlo Crivelli and Alunno, especially the Baptism of Christ (Urbino, Galleria Nazionale delle Marche), the Mystical Wedding of Saint Catherine (London, National Gallery) and the related Pieta' (Uffizi). In his last works, and in the San Francesco Polyptych in particular (Serrapetrone, parish church), his style softens and becomes deliberately more archaic..c.c.ic....c.c.c.c.ic....c....ic.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LORENZO DI ALESSANDRO DA SAN SEVERINO San Severino Marche doc. 1462-1503Q FrancOpera objectclass ,% ) '&)&,& %'+,,' &) )'+%,+ ''+',' )'-+' deWdY dWOVVNX NOONOU6OWd dOXfced %6+0/6/ 0/00//0-, .60636/646 .00-//. 50606 3/-/0..06 63.04.60/. ' !" -/-/.. 0/..365 45../56 FHFGHGFK8C CFBCCG aVQVVbPQ aQRZaeN hhX]Z]\]R \]Zhh bc`RR]S@R` S^]R^R]`/ \@]QbQZlP SRR^R ]R\RR^\R]5 df`@`RS\R \^RR^ Zg\RZ PR^SR]RR^ S]RRhP wgQ`a\RR M;CEN_ ZQQ?O> ^R^\^R >@MOM AR^RSRR ^R\R^\RQ\^ 9X`f`O UNLN= LLNNU PSS\^ S]\^R^\ 8NNUU :FPX`> ^R\^\ CC?@NAUU <=;;==H R\RR^ <=<HH OQ@??@NRO NPVQ@P E:LUNL UULL= U?>@@ \^RRQ^SSR\ wweR\ -29*NU ^^RSR R]?R? @Qhihgagf? UL;C<H L=LNH CghhR ]ZXQ`f`e`\ FL=CL ]RR]R`a`bf ELOO?O ``Z`R RZXg`Xfgf L;<NU CFBBG ^R^Qh fgf`gZR``b N;:UL VUTUM HFHB@ WdWUM? ffefZ` MONVMV C@CGAGFF@B =@VQ^\^\R GCCH<G ?PP]R]R^RR U?OVO BTBBC S@ULE UNU\G ONN@=< BCBAG OACA>A >Mg]S LM=H<<@U NCgS>G GAME* :URRZ`gw ;UcUUMM ]Q`aZ`` UcPNV R]]\RR@ <HH@F ]^\^RP H=E<C lh@@aaf @MH<SMA ]R]\R^LH P?ARG 4;]R^\^\ ;ecUU 9]SRS]] UNN<;N ?HS?H <R]SR]^ NSR]\]S LVcWO?> R^S]]U ;<HHQ OQgcV :=?PRh UVVP= ;WXZW PQOP?V UM>R9 GJN@C NNOO? 8VM;< GV??B cUNO?O? U?<HLO ONVUU LN<ROc ;;OWdO U<>RdN d>?W> LW:M8 NOVWO IdAutore his painter and architect trained with Melozzo da Forl , whom he helped decorate the Sacristy of San Marco in the Basilica di Loreto and the Feo Chapel in San Biagio at Forl . He inherited Melozzo's taste for monumental compositions and architectural frames, as the Crucifixion and the Annunciation (both at the Museo Civico in Forl ) clearly reveal. Toward the end of the century, he spent some time in Venice, where he absorbed new ideas from his encounter with Ferrarese culture and the Sacred Conversations by Giovanni Bellini and Cima da Conegliano, the Madonna and Saints (Milan, Brera), the Crucifixion (Uffizi) and the Communion of the Apostles (Forl , Museo Civico)..).).o)....).).)....)....).).).)..... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MARCO PALMEZZANO3 1459-1539 Crucifixion FrancOpera ObjectClass JKJHH MLCCDCMM UMMMM baTGIROLAMO GENGA Urbino 1476- BABBA TTTBT TBBAU PBBABGC ABTTTA aBBABTB BaTBCA TCAAB CABUT BATTBC BCBBA G<CCML MTPTSB LEJ;E UUTUU TaTTaTTP LLECM TMMUMBML PT@BCC ABACATTT@MTMBTBB@BBB BBBBB@MTMTMMMABMTT@MB@TTT`* IdAutore is name derives from Cosimo Rosselli, to whom he was apprenticed and with whom he worked on the Sistine Chapel, Pope Sixtus IV's great decorative undertaking. He was an eclectic painter whose devotional and mythological works, largely executed for private clients, gave him the chance to interpret the innovations of Tuscan art of the 1400s and Flemish painting in an entirely personal manner. Particularly worthy of note are the Incarnation (Uffizi), the Visitation (Washington, National Gallery) and the Mary Magdalene (Rome, Galleria Nazionale d'Arte Antica). He introduced completely original fantastic elements into his later compositions, such as the Rescue of Andromeda (Uffizi) and the Fight between the Centaurs and the Lapiths (London, National Gallery). He also painted the two fine portraits of Giuliano da Sangallo and Francesco Giamberti now kept at the Rijksmuseum in Amsterdam..m.m.m.m.m.m.am....m.m.m.m.m....am....am.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Piero di Lorenzo alias PIERO DI COSIMOE Florence 1461/62-1521 Incarnation The Liberation of Andromeda FrancOpera ObjectClass FrancOpera ObjectClass CBGFCMKCTCMMB MBLCKEDEFDEGEFBCCCCCP TMMCCCC=C@CC@CMBCBMBCC ^rrrrrz ssss^rs kGrr^r^rr rrGrrs^ rrGprs rrFrrG sss^r rsr^^ }sss^Gs}z ^B^}a ssB^Gq s_IM| ~tC^AB^ B_Ts^rG5 T}~;MPB 2zr^r #$!!$ ""$)r pr^rs ,,#!2$ !#""! %#""$ #"##" ##!!!"#! >>>>?>GR>>> cbb`UaP a`X`UaPPPPPba`P`abaaabbb cbccbOQPVbb eedfd ZZ\[gXZRZZgX }{wNh R\Q\O\?\O fffffWw |{lw{{{|| iaxxhwx{w `XWZOQ}}X XhZYX }{wo} R]h`\???? R`w};> fgXOXXgZg {h]^]hhhh @?hx\ R?RO\ORO? hXYhfZXgZZZ u?R?ORO C?>>? ??O?> ?ZOROO u{|}} R\???[ Z\OXO uu?WZ\@NX R?:=>N ~hh]\| \h[ON== |hhZ} =;:<=d =>?>Wd ~}l{fw w=?XwZw d@ZVORO QWWOd X=<=<w} x||ll {O>OO? w]xl| ?POO\luNNOOOW>L hw{o| NNQO@=OONQOU d>NOWdeONdW RZR@`x]h] ~WTMU OdcdWd Pilll OOOOOdc |}|Zw|~ \VXX} |\XZe u~lll ZZ`ZO c<ZRP\QXXXhZ ZZZgXfgXfA gfXg\UZh eXXXXfe HOUZWV ZgXXfeXe [N?wghP@ZXVPWXhe wwi|~ XeO;d [fWXed |wg|hwN WbUe} 8:8:N LUO`TN WcNcLN 5`b.] .8:9LUc} N=V;d <W>U= =CO>?`d N`PWNg >>Wde d~d;d :;LNU etVMWe =QRN@ dXZNU <P@=UP fd;Xd QXPfd eZgefXZ Q]h]XXXfX XeNPd d[XV8 hg>??O O?|N@O; hXXOQ f?NQWN e:=OV?O`XeZd ddOe|d <QQbN WO@>Z| \X}`fXOZ gO=N=X -V||. ""!!! 0,#"#!"! !!!,// /#,""!,%!##!!" $$!"# }}||||||{|| }||||}}~}} tfueuu twife Q`QS`Q`ZQggg tbvet `fabt TbMPVQtaV @tMCMI^PTf NQAaQafa btfaVi VtefeUg b`P]cf uuuuutwi 0=F"@"@"r IdAutore e is named after his home town in the Franken region of Germany. He went to Vienna in 1500, where he painted the Crucifixion (Munich, Alte Pinakothek) and the Rest on the Flight into Egypt (Berlin, Staatliche Museen). In 1504, he moved to Wittenberg and there became official court painter to the Elector Frederick the Wise, who features in the Portraits of Frederick III the Wise and Johann Electors of Saxony at the Uffizi. His painting was initially highly expressionistic, but in time became more quietly lyrical in tone and decorative in style as the artist absorbed something of the influence of D rer. Cranach set up a prolific workshop in Wittenberg, producing a good four hundred works in the space of fifty years, including a number of masterpieces such as the Saint Catherine Polyptych (Dresden, Gem ldegalerie), Adam and Eve (Uffizi) and the Altar of the Last Supper (Wittenberg, Cathedral). Many of his painting deliberately focused on spreading Lutheran doctrine; Cranach was a friend of Luther's, painting several portraits of him, including the Portraits of Martin Luther and His Wife Catherine Bora at the Uffizi, and the Portraits of Martin Luther and Philipp Schwarzerd, the Uffizi versions of which are actually copies. He is also famous for his Venuses reclining on uniform dark backgrounds, like the Venus and Cupid (Rome, Galleria Borghese)..)....).).).).e)....e)....).).e)....).).)....e)....)....).).).).I tipoHot ObjectClass rimando , : ' J X t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LUCAS CRANACH THE ELDER Cranach 1472-Weimar 1533 Adam and Eve7 Portraits of Martin Luther and His Wife Caterina Bora Portraits of Frederick III The Wise and Johann I, Electors of Saxonyg Portraits of Martin Luther and Filippo Melantone FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass aVVVbVbVPPVPNNVaPVNPVPPQV@ =LLNLLLN N=BbL =P@cT =UVbP NPbcU ~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~ ~~~~~ <===LM UUMNMMNMUMUUUTUUUcUTUU E88;M HBBHGH HATBBG }}~bPt TTHaHT BFKTG CDCMMMBBKMLMCCCCCMMMTTbc UUUTTMMMMC kskks^rr^r ^^rr^} sIyzrkrsr okrpr zlkkz I^FrsK s_TsT kjttsj GG^Gs{s bs^s_ksG^^ stksts jsrrsrtk{j ktzjtz asTsj jsrrktjttj vttzk jtjjs{ B^^rs sjsrtiss_ r^^B^r {k^sks jkssjk kjsrrtjkjs ksjjvtzjtt G^^Bstr_jj ssj_ss_s^B rJzjrkjj krztvzjvjk zjktjktjs s`ssar k^rr^r^ zk^tsjjk vzkjjvj^ srv{s tjvjvjtzv{ {sjr{ Br^Gss as_rjj vs_sttsBr vjjvkvjv s_sst szjss jr^^B^^ zr^ssksjjs jksjzrjjsr ^rr^kJsvjk svkjssjjs{ G^G^rs _s__sTrs^G ^^G^{ IIyr^js rkjjkj|sjs v^rr^rl vjjvjjkztv GB^^B_r^s_ r_sr_^ ss^^r^^ zr^js zj_rsr^^r^ ssjjkvkjjz vtjtjsjslj G^^G^s rB^sB_Tss_ DsBGGrG IIkr^sjr srjjsjsj{s rssr^^Brrk {srjsr{ GBGGssB _s^B^__B^s r^z^rsjkjv ^s_zs^rBB^ ^rAtjsjsjj vzssj_z GG^BB_ ^sD_rBrsB^ ^_BrF I*Imr^s rsrjsrjjrs j_s_s^A^B^ r`sjsrv sjtvjt{jsr GGBG^__Tr_ Fr_FBrB^rs ^r^G^GG I*Im^^srsj jrssrs`s_` _sr^A^^jsr tssvvs B^^_BrBr^r r_KsrFGBB^ B^G^z *In^^ssrk j^rkrrss_ rB^^Bkj_sj ssjjsajtjj ^rjjsrz BFrBrF^BrG K^rI_^IGGI GG^^t srr_r__r^B ^^B^^_s r_sj_i srjssrt GGBG_srF_^ B_D^r rTrrjsskjr ^ss__rB Sssrsjrsj^ jsrstjjrsj GGBG^ JB^B^FBG^ _rBI^rGB^G n^Gkrsr sr^jsj__s^ rs^^B^B^rs irjs` vjvsrjjs^t GGrG^_ ^BFrB^IGFr r^rs_^ ^_^T_BBG ss_ss__jst __jsjj Irs^^rrG^B rGBGBG^G^G IorG^^sk srs_sjsr_s rs^B^B^sj_ is_sjvsttk ^r^ssI IG^G^I^ GBGG^^ _srsj_s_rr ^B^^r` j_s`s_ssjs jvvs_sj GBGG^G ^B^^BGGB^B InB^s^^ FrB^r^^tj_ ^jBBAB^Bks _rjsjsz{jj {rkjsrz srr_srrssj ssjssTTssj jssjjss ssjsz }}|}| }}|}} }}|}} IskIr, sFspG *rs^IIr rrkI*{r^r }s*ssIr I^I*I* 2_Isk} ^FIrJFF^Gr IrFsr ^JIFIKrI^_ _^IKrsI^r_ ^IGBBG_GB^ GIGIG /66/6 tBGsTG IIGFID_ }IFIGGFI IFKFI GBFt} BTK_D *_^IGs FIIG| ^FBGFG TGJDD ,,0,, }IIFI /0/00-2 T*I7I 0/0/- //0//,2 -/,,0, %#,%, /0/0/0 ,0/,# //00/0 /00/0// 20/00// /0030/00 0200/ |}}|} IdAutore e worked with his father Lucas Cranach the Elder, taking over his workshop when he died and maintaining much the same style. The works ascribed to him include the Portrait of Lucas Cranach the Elder (1550; Uffizi), a Portrait of a Woman, a Portrait of a Man and the Portrait of Leonhard Badehorn (all in Berlin, Dahlem)..).).).).).).m)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando LUCAS CRANACH THE YOUNGER Wittenberg 1515-Weimar 1586 Portrait of Lucas Cranach the Elder FrancOpera ObjectClass |x}v]z] |]jx]]l {w]li^jy }x]]h]]h ]G`oj zx]r]R^ ^ASlpS R^RShlS?| |ohwx]]} ]RSAS ]R^o]^SRx wSA@SS@w l^@S] AS@^| A^]^SS@SSv }vgRAf SG?@i =`PP`B CSAbC< RCS`@^< ChB@`^CS to@@R]SB >`^il^BA ?p]?G xSSphloS ]R]@A ]]^]jhS R]S]o]AG w]@yaC ^R`Ron ]^]yhG aC^SRSS }|taC@] }}{v@ARSA |taCRA |}{vM vP_AC<APt} }|{|{ {ivx|{ IdAutore s a pupil and collaborator of D rer's in Nuremberg, he was to become one of the most representative painters and engravers of the German Renaissance. In fact, he soon abandoned his master's classical style and instead chose somewhat disquieting subjects which he handled with a lively palette that particularly favored green (in German Gr n, hence the painter's nickname). His earliest works include a version of Adam and Eve (Uffizi) taken from an original by D rer, whose influence is also visible in the two polyptychs with the Adoration of the Magi (Berlin, Dahlem) and Saint Sebastian (Nuremberg, Nationalmuseum), painted in 1507 at Halle. In 1512, he went to Freiburg, where he painted his absolute masterpiece, the polyptych comprised of eleven panels with the Coronation of the Virgin on the front and the Crucifixion on the back. He settled in Strasbourg in 1517, coming into contact with the Humanist circles that were to bear an influence on his later work. In fact, this addressed both religious subjects and profane and mythological ones, such as the Pyramus and Thisbe (Berlin, Staatliche Museen) and Heracles and Antaeus (Kassel, Staatliche Kunstsammlungen)..).).).).).).).).).).).).n)....n)....).).).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HANS BALDUNG GRIEN nd 1484/85 - Strasbourg 1545 Adam and Eve FrancOpera ObjectClass dNUUUU UL;L;;9L=LNNOMUUUNPUM==<CNLC PNNUUNONLL ULNMNPUPUU 9LN;N U<<;;<= >@PUUc LNUcU U;VNcUU *LN~~ LLLNO <===MX IdAutore his German artist painted numerous portraits in which the northern gravity and asperity is softened by elegant Renaissance forms of Italian derivation. Maler spent most of his life at Schwaz, in the Tyrol, working for the Emperor Maximilian I. His many portraits include those of the Archduke Ferdinand I of Austria (Vienna, Kunsthistorisches Museum), of Ulrich Fugger (New York, Metropolitan Museum), the Portrait of Ferdinand of Castille (Uffizi), the one of Wolfgang Ronner (Munich, Alte Pinakothek) and of Matth us Schwarz of Augsburg (Paris, Louvre)..).).).).e)....).).).).e).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando HANS MALERQ Ulm 1470/80 - Schwaz ca. 1530 Portrait of Ferdinand of Castille FrancOpera ObjectClass ~@afWUX WVfbaVWbbfeVbcV eweebbcXbdfdbcfbfVbWbVQVVVPWOWQXaO ;UVbe UbVUVUUUNUMUUNUUMLLLLLLLMMUM MMLMUUNUUUMUUU ML;KCE;K;; ILLJJ }|{||~ ~}~~~} ~~~~~~ }}}~}} ~}~~~}~ ~}~~}}~ ~}~~} Zw{fZ ~~~~~ }~}~~ }hfgZw ~~~~~~ uggXZwgh ggg\Z ~~~~~} fXfZhfw }~~}~~}~ }}~}~} }~}~} ~}tUL; .:XWVUf< 58559x= 88588859 8859888 }t<<< ewQ~~}} ~~}}} ~~}~}~ }}}}~}~ ~}~~~ ~}~~}~ ~feX} |}||} |}|}}~ ~~~~~ U[ROONPOPVWQUPPNOPOOONNNLEECE<=C=N=NNO@NNNMNMNNNNNNOON@OOON==LLNLNN@N@=NC=NNNMNLNM@PN@NNLNMMMMMMNNMNNNLNMU;MLLMLLLLUMMNM<N=<<;=N=POO\O\[R L@??O@O?O??\ ???N? N?O??@NNC<NM=0}8 IdAutore e worked mostly in northern Germany, where he came into contact with the circles of Albrecht Altdorfer, Wolf Huber and later with Lucas Cranach the Elder. His most significant works include the Saint George Rescues the Princess from the Dragon (Uffizi), the Epitaph of the Schmidburg and Pistoris Families (Leipzig, Museum der Bildenden K nste) and the Fall and Redemption (Nuremberg, Germanisches Nationalmuseum). His graphic work is also worthy of note, especially the two famous editions of the Bible..+.+.+.+.+.+.++....+....++....+.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GEORG LEMBERGER Landshut 1490/95 - Magdeburg? 1540 ca. Saint George Frees the Princess from the Dragon FrancOpera ObjectClass fQ>P>?N a^Abt T^^s^t sbsss GA^sB^ dW>da V`ta^^ VWNVd bt__E db~~d9 %,%)/ /5=:;;; IdAutore e learnt the art of drawing and engraving from his father, a goldsmith of Hungarian origins, before focusing on painting in the workshop of Michael Wolgemut. Travel was fundamental to the evolution of his painting. He stayed in Basle between 1490 and 1494, and here established contacts with the Humanist circles. He also spent two periods in Venice (1494-1495 and 1505-1507), where he was able to discover and study the Italian Renaissance. He opened his own workshop in Nuremberg in 1495, and it was soon renowned for painting and engravings. Moreover, it also received commissions from the Elector Frederick the Wise and from the Emperor Maximilian I. In 1520, in concomitance with the events of the Lutheran Reformation which he supported, D rer traveled to the Low Countries, where he met the Emperor Charles V, Erasmus of Rotterdam and Lucas Hgenszoon Van Layden. His encounter with this latter and with Flemish painting in general was to influence the last years of his life, when he also wrote a number of theoretical treatises. His earliest output, before his journey to Italy, is largely true to the northern figurative tradition. It includes numerous drawings, engravings and a few paintings, including the Portrait of the Artist's Father (Uffizi)and the Self-Portrait at the Louvre, the first of a long series of self-portraits in which D rer shows an awareness of the modernity of his role as a painter and indeed as a theoretician. D rer, whose engravings of the Apocalypse had in the meantime made him famous, was considerably influenced by his first journey to Venice. During this period, he produced the Portrait of Oswolt Krel (Munich, Alte Pinakothek), two Self-Portraits (Madrid, Prado; Munich, Alte Pinakothek), the Paumgartner Altar (Munich, Alte Pinakothek), the Adoration of the Magi and the monochrome Great Calvary (Uffizi). However, it was above all in the masterpieces painted during and after his second trip to Italy that the influence of Giovanni Bellini and Andrea Mantegna produced its finest fruits: in the Feast of the Rosary (Prague, Narodni Galerie), for instance, in the Madonna of the Siskin (Berlin, Staatliche Museen), and the Adam and Eve (Madrid, Prado). From 1510, D rer largely concentrated on drawing and engraving (The Great Passion, The Knight, Death and the Devil and Melancholy). However, he also painted important works such as the Apostle Saints James and Philip (Uffizi), two portraits of the Emperor Maximilian I (Vienna, Kunsthistorisches Museum; Nuremberg, Germanisches Museum), the Madonna and Child with a Pear(Uffizi) and the Four Apostles (Munich, Alte Pinakothek), his last painting..g.g.ng....g.g.ng....g.g.g.g.g.g.ng....g.g.ng....g....g....ng....ng....g.g.g.g.g.g.g.g.g....g.g.ng....ng....g....g....ng....ng....g....ng....7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALBRECHT D Nuremberg 1471-1528 The Great Calvary Portrait of the Artist's father The Apostle Saints James and Philip Adoration of the Magi Madonna and Child with a Pear FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass JJIIIIIIJ BGABP APAAb T@ATMM GBCBT BTMCTT TCAAPa CASPPACT GCBACA CBCAT TGGBTG JMKKIJM KMMKMM7TMI BKDMDC KBCBMMTMTC s^s_srrr^sssjjtt }}}}| s^sssjssssj BssBsjjssjt }}}}}}} s^ssssjssssssts }}~}sss s^rsjstssrssss }~}rsr ~}~}~} srrssjsssssT sG^rttssjssJ sGrrsssjsss7 j^rr_sstrsT }}}}} kGrrssstrsT sGGrsskzks }}}}}} ^Frp_IJ ^I^GI }}}}} ^GFrq tIrGpI Js^^I ^I^Grkr^r^II BGrrKs^^K ^^Grsrr {rrrsrrK GrssF r_rF^ _r^rF^7 }~}}} sIDIJ _TIIK} *IIKJ sIIJ_ }~}}}} }}~~}}}}} ***** }}}}} }~~~}}}}}}~}} }}~}} }}}}}}~} IIIJs }}~}}~~} }}}}}} }}~}} }}}}} III_7s ~~}~~~ IIIIIIJJT ~~~~~ }}}}}}}}}~}~}} TJTTJ ~~}}} }~~~~ }~~~~ }~~~~}} }}~}~ ~}}}~}~~ ~}}}}~}}| ~~~~~ }~~}~~ ~~}~} ~}~~~~} }}}}}}}}}} }}}}} }~}~}~}~ xwwwo xwwxov f`e``af |t|xnplyxxloox~}} bQaba xohxwlolk teeebf ~~~~~~ xjxwooj ttbdae} xxuxxxtuxwxou }}Te| xxwlow{o xtwxwt ~~~~~~ ~|opnjlwlxxx qowo^pjvvxt t@QedtQ| tbT@baV}te qjjqrqPf PGfatP@@ eQada x]oqrqr`t UC@oP@ PPQT@@ luqj]ol^ cc@CAnAN`=yl uoho^plj CBB@C^nPGfCyi@ab lop^p]w CB@A@@roBN}`miLOPC tet~} tPjjrq]pi`P PG@@B> AqoT|~qliCaSQe tPio]ooj AAiPCTA |qyiA ebtSe| thrrjo_BSBiACU}A }@^pi |qyrUv>P eafSS` vS@joljxbPCavAaG P}Aet etQau]jl SBQA` xvBSayBMA SS]ubPU BQCiPabatzSShx@CC jvtRAf ARSSAaC_ aPiwopxBBC fbPQlpwCC PSjPf Sg@AC`PG?ava`BAm`BTA S~|^]t R`QGAA abTzSMP GSAaPAP btt@Pv]FBBB v}HMT MULUtAf ASPfG qjrp` =A@GZ f`SASPP SA^@G S`AAS HQiSCAB baAGAf LcMLUU BCAQ~ `_b`fb PaaCPGd UCSSTV UabUa baTGSf V}UCLUAU<M PbUTaT ;Vbab CP@aU bCLaUPUMaP@ ccc;M TTTaPBa PSPACPtSa G<LP9 cPPPTB GSbCaAPQibSb BHHLU TPTTSB SGCSB BMUSA abbbA GaCGC@SPaA L9CLU MTTAA@At GATbT 4TBTNASCP aabPAAbG TPGaabtCCBUbSB /3@LC45 M@ATBSAG CSSABC_^S 354aB@TPA@ CGC@A@PAb VMAAUB@BG GGA@G GAPBAa PBCAGPbPCP U@CBPTA ABaAa 4444444 TMABP@ACB ACBMG@B GPUSGGBbGb 43434 b@PBA@@AA _QSBAAGb GPTAC M@T@@AACC AAPBa GVTPG ATAA@P@CA CBaUa CP@AAP@ACb} aaaSb }bAPAASM@ PAASPCUSGt BCPPb UP@TaPPAPPTaAa GBAPCP baBP@@SUP GCCASG 44344 SB@TTPA bbbba ?ATGMCM BTPCB MGBb@BCBMCCCGATUTCAA SSSMCCL LLMABPcaBTP PAAULLTLM ACBAM MTtPP PSAC@TU AATTMTU SSAUT UE;LMM vvtjkP@>f`Pfca ktj^r` ~jjjs^^k= rtjs^^^c vrsj^^^^=>?H?W r`sjr^^R=<=?@U _vtPr~ u^R^rrR^R? r^`^^_^^SR ?ON@ev k^R^^^r^RS?R |jkr^ H?b~~ }|vjs^^RRSrSRS@@== jsr^t k^srRR@S?^@O>@@ jsj^`k NNjr^^^RAR R?C@>C= ?ujsrsrs <j^^^^ ?_bvisrt`rt RrR^R=R>C?C F??hvts`rt`^j PrRS?BR>=A=>@ A=@A?`i`rs Qr?AS ==C>C A>>>`iSrs N=H@]R F?AHC <C=C@@ASR^?sj `^=CC >=H<? ?R?^SSj` HH>HHG=C??S^?^k` C?R>R^?^rt rS<C=GG=<G< C=?SSRRSru vrSjvv LLbaV |ztP?]S< <IH<==?S>?R^RSj j^?tt PN??S? jS==<G==HHG >@?SRR^RSsjdt^^sk QWQ?GH GH<<HH >R?R^_S^jt tS^`v H>CPf?S vGH<H HG<H< ?^R^R>^ji HHHHHH R^R`S_tf HHHH=>?R`R v^S?s zgG??>?C ??>\>= R^bRSr` trR^j \]OAR`RRr F=NPVNw^ _`SSk @=Pc{* jt`?^ CNUei EH<<<==NVC* *HXf^SR <HGHHG<COV <HHHHHH VXOde @d;::U IHHHH>P ~~~~~ ~W?BGHH N``^v@ LX?FH>?bV ~~~~~~ HF<b~C ~~~~~ HH@HIGF ~~~~~~~~ P>=?aA ~~~~~~ ~~~~~ F@UbcV HHHHH HHHHH ~~~~~ ~~~~~ ~~~~~~~ ~~~~~~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~ IdAutore e settled in Nuremberg around 1500 and joined Albrecht D rer's workshop, where he was considerably influenced by both the strong personality of his master and by that of the Venetian artist Jacopo de' Barbari. He worked as a painter, engraver and stained glass window designer in Nuremberg and Cracow. His outstanding works are the Adoration of the Magi (Berlin, Staatliche Museen), the Crucifixion with Mary Magdalene and the Patrons and the Episodes from the Life of Saint Peter and Paul (Uffizi), the Tucher Polyptych (Nuremberg, Saint Sebald's) and the Saint Catherine Altar (Cracow, Saint Mary's). He also painted a number of portraits, including that of Margrave Kasimir Brandenburg (Munich, Alte Pinakothek)..).).).).).).k)....k)....).).k)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HANS S SS VON KULMBACHm Kulmbach 1480 ca. - Nuremberg 1522 FrancOpera ObjectClass Crucifixion with Mary Magdalene and the Patrons Episodes from the Lives of Saints Peter and Paul FrancOpera ObjectClass HJ88CL %,%",% %%,,, '#,!#,""" ##,#","" $2 #,##,"#$ .00..0 #,##! 88LLKL HHHHGHEE8FE HHE;K UaLMMN@MN@B@@AUNNMNMU NMLMTMU MCCCCCFFGGF GCFCGF FHEGH cUUUNMPUcP aPVPPP>S@Pbc PSaVPPVV ePAVP@OUP@PN@ @NAVc @PPVP @U=MP O<HNVU=Uc AC@=A? LV_MS NCaAS@ VUA@` U>PMC "-,,/4 @@PV> N=NVc NccU@P VN@NcNUPNM c=PUN UVbVPOVQ NbcP>c UUN==U9N9 NbULNUUNUbUNUVVPUV WdWdcUV dUcNLLC==L :<LL=L;; ;<L;:9:; HGGGH TMKCKE ;FEEJKEJ8KLCDCM UUP@NP eQ????Rdd `atRSS WbdVbced ^RSi` ----3w -&-6, `StS@ `betbeVQ@ V@B@V caebd [E-eW5**** -.[C* 0-44464 %04/3 U%%,%%%,,-//300 V@==/ ctcWX c=@=@O0/ =N=@Nb .=NLLW/ \aZWQ\[M/e VN=UOT=O> OONWONNOOfL bUUQP UM==O eVVVdb NVOade?> XgWQXQOWaXfU- OU@NcUOccXN NU=NUN UN=<UN>N@e dbOa>>V eVN>P @VbVVWW ;LNNL= dOWddXQ <C<<<<<<E< C=C=@=MM=N VVVVUVVU IdAutore on of Pieter Bruegel the Elder, he worked mostly in Antwerp, where he made a name for himself as a painter of refine mythological scenes, landscape and flowers. His travels took him to Milan, Rome, Prague and Nuremberg, and in 1609, he was appointed court painter in Antwerp. His works include the Battle of Arbelles (Paris, Louvre), The Great Calvary (Uffizi), which was a copy of a painting by D rer, a Woody Landscape (Munich, Alte Pinakothek) and a Landscape with a Ford (Uffizi). He was a friend and collaborator of Rubens, who invited him to paint the flowers in some of his works..ks....ks....s.s.s....ks....s.s.ks....s tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JAN BRUEGEL the Elder Brussels 1568 - Antwerp 1625 The Great Calvary Landscape with Ford FrancOpera ObjectClass FrancOpera ObjectClass VUOU[NVcUcdYVOY \yhYxu ~~\]qm{w e]qqmx }}Z}~ ihmX\ fqu\{ qqqy{ ~~~~} mjNlol yyqqqn]\ cYOx| |e]]x\w4 djqfvqQX d[nqqq zqnRYY =L]fXh ]qqqn ylVX{ \qqrx qqm?] ~LEOd q]nd] W,=]f 43,/- 466:d ~~~~~~~ ~~~~~~ ~~~~~ ~~~~~~~ TMCFP CLLCE CLUMCC CMLLH; UKMMU EE;TL CELLUUU GBTTB OP@GH UATCCM *8OMMGH GCCTMTM PNCHMMC -*..* DHHKG IFCCELC HHCFEEH HHIGFHHHHH HIHGEH;EE;I IdAutore ne of the foremost artists of the late 1400s in Venice, he learnt about painting with his brother, Gentile Bellini, in the workshop of his father, Jacopo Bellini. His approach to painting was deeply influenced by the work of the Tuscan artists, by his brother-in-law, Andrea Mantegna and by his friend, Antonello da Messina. He never moved away from Venice, and in 1483 was appointed official painter to the Serenissima. His workshop was extremely active, producing a great many splendid altarpieces, Madonnas and portraits. His painting became a point of reference for many Venetian artists, including Giorgione. Giovanni Bellini soon abandoned the late-gothic style of his father's workshop. Indeed, his earliest documented autonomous works, such as the Crucifixion (Venice, Museo Correr), The Agony in the Garden (London, National Gallery), the Piet (Milan, Pinacoteca di Brera), and the San Vincenzo Ferreri Polyptych (Venice, Santi Giovanni e Paolo), reveal close links with Andrea Mantegna's innovative style. By contrast, some of the masterpieces of his maturity bear witness to the influence of Piero della Francesca: the Coronation of the Virgin (Pesaro, Museo Civico), the Saint Job Altarpiece (Venice, Accademia), the Transfiguration (Naples, Capodimonte), the Frari Triptych (Venice, church of the Frari) and the Sacred Allegory (Uffizi). The portraits he painted toward the end of the century also reveal the influence of Antonello da Messina: the Portrait of Doge Leonardo Loredan (London, National Gallery), the Portrait of a Condottiere (Washington, National Gallery) and the Portrait of an Unknown Young Man (Uffizi). In his later works such as the Madonna and Child(Milan, Pinacoteca di Brera), the Lamentation on the Dead Christ (Uffizi) the San Zaccaria Altarpiece (Venice, San Zaccaria), the Madonna of the Meadow(London, National Gallery), the Feast of the Gods (Washington, National Gallery), and the Venus at Her Mirror (Vienna, Kunsthistorisches Museum), Giovanni Bellini's style became highly personal and his compositions freer and more luminous, thus heralding the new idiom of the early 1500s in Venice, and in particular, the art of Titian and Giorgione..1....%....%.%.%.%.%.%.1%....1%....%.%.1%....%.%.%.%.%....1%....%.%.%.%.....1%....%....%....%.%.1%....%.%.%.%.%....%....%....1%....%....U tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI BELLINI Venice 1432 ca. - 1516 Grande protagonista del secondo Quattrocento veneziano, apprende l'arte della pittura insieme al fratello Gentile Bellininella bottega del padre Jacopo Bellini. Determinanti per la sua formazione sonole influenze della pittura toscana, del cognato Andrea Mantegna e dell'amico Antonello da Messina. Lavora sempre a Venezia, divenendonel 1483 pittore ufficiale della Serenissimae guidando un'attivissima bottega che realizzer un gran numero di pregevoli pale d'altare, soggetti devozionali e ritratti. La sua pittura diventer un punto di riferimento per molti artisti veneti, fra i qualiGiorgione. Giovanni Bellini si distacca presto dal gusto tardogotico della bottega del padre e nelle prime opere autonome documentate, comela Crocifissione (Venezia, Museo Correr), l'Orazione nell'Orto (Londra, National Gallery), la Piet (Milano, Pinacoteca di Brera) e il Polittico di san Vincenzo Ferreri (Venezia, Santi Giovanni e Paolo), rivela uno stretto legame con lo stile innovativo di Andrea Mantegna.Risentono l'influenza di Piero della Francesca, alcuni capolavori della maturit , come l'Incoronazione della Vergine (Pesaro, Museo Civico), la Pala di san Giobbe (Venezia, Accademia),il Trittico dei Frari (Venezia, Chiesa dei Frari),la Trasfigurazione (Napoli, Capodimonte) e l'Allegoria sacra (Uffizi). Nei ritratti della fine del Quattrocento visibile l'influenza di Antonello da Messina; fra questi ricordiamo il Ritrattodel Doge Leonardo Loredan (Londra, National Gallery), ilRitratto di Condottiero (Washington, National Gallery) e il Ritratto di giovane ignoto (Uffizi). Nelle opere pi tarde, la Madonna col Bambino(Milano, Pinacoteca di Brera), il Compianto su Cristo morto (Uffizi) la Pala di san Zaccaria (Venezia, San Zaccaria), la Madonna del Prato(Londra, National Gallery), il Festino degli dei(Washington, National Gallery), e la Venere allo specchio (Vienna, Kunsthistorisches Museum) Giovanni Bellini approda a uno stile molto personale e a una composizione pi libera e luminosa, che apre alle nuove poetiche del primo Cinquecento veneziano, in particolare alle esperienze di Tiziano e Giorgione.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e.e. Portrait of an Unknown Young Man9! Sacred Allegory Lamentation on the Dead Christ9" FrancOpera ObjectClass R'h'' FrancOpera ObjectClass 6,L,' FrancOpera ObjectClass %,"') aBKIIB MKJBa b_bba 7haas TTabb )P_B_ BabsTT_ IBFFI IGIMT *IBPa A^uiI HGBTb *IHBa *BSBBP SSBTa ,/'," !,//,)st +,%,% "!!", !$!$$ ,"##!! /6s**I !$!$$! $!$!$ L=::dL 8=T8cUN 7NcU7=c :;LUO8N:MOUN ;LLML LLMMM;U U8M8LN: LUMML UNUMNc UUMNL MLUUNLU UNMNL LUUUU ULNUU 8UMUU 9LUVU UNUUc UNUNNU ;L;H8LLLN:U 8<;ULL EUUUV C<;.:LN .ML<9 ;LNL;LLMU ccLLLd NUUUcUU C;8NLNLM 8;L9MLL LN98MNL ;E;::UL cLLLMUMLLLNMN UUUUN 8LLLNMNL NLLLNLN L8LNULMN L:MLUL LLNMLU ULLNMUU :NLML:LLN LMLL8 NUNUUULU UUUUUVU 9;LMLMMUMLLL88L8L9 UUUUUUUUU LUULLUUUUU U;MLNLN ;UMUU UMUOUNUUOU UUVUVU LMLMUM9MM UUUUUUUUUUUUUV VUUcU LUNUU :NU:MNUO LOUNUNUV VUUUUU 8;9L;8:LMUU dUUUTNNMMNMMMLE8 EEE;LL;LLMMMNMLMNUUMUUUUUUM IdAutore e was the son of the merchant Piero Scarpazza, but decided to change his name to "Carpaccio," as members of the humanist circles of the time had suggested. We know little about his training, though his work clearly reveals the influences of Gentile Bellini, Antonello da Messina, the Ferrarese school and the Flemish painters. He mainly worked in Venice and the surrounding province, painting altarpieces and whole cycles of works for the Venetian Schools. The Salvator Mundi, the Piet (both once belonging to the Contini-Bonacossi Collection in Florence), the polyptych with Saint Jerome and Saint Martin (Zara, Cathedral) and the Man with a Red Beret (Venice, Museo Correr) are all certainly early works. However, the artist's rich personality and originality are best expressed in the famous painting cycle with the Stories of Saint Ursula (Venice, Gallerie dell'Accademia), painted for the school of the same name between 1490 and 1496. The Group of Soldiers and People in Oriental Costume at the Uffizi also belongs to this period. The acclaim that met the nine large canvases, portraying the events of Saint Ursula's life with the wealth of every day detail and the splendid architectural context, brought Carpaccio a number of important new commissions between 1495 and 1510, some of which have been lost. For the Scuola di San Giovanni Evangelista, he painted the Miracle of the Relics of the Cross (Venice, Gallerie dell'Accademia), for the Dalmata School he painted the Stories of Saints Jerome, Trifone and George (Venice, San Giorgio degli Schiavoni) and for the School of the Albanesi the Stories of the Virgin (Bergamo, Accademia Carrara; Milan, Pinacoteca di Brera; Venice, Museo Correr and Ca' d'Oro). There are other important works that were painted after 1510, such as the two Lamentation on the Dead Christ (New York, Metropolitan Museum; Berlin, Staatliche Museen), the Portrait of a Knight (Madrid, Thyssen Collection), the Presentation at the Temple (Venice, Gallerie dell'Accademia) and the Stories of Saint Stephen (Berlin, Staatliche Museen; Stuttgart, Staatsgalerie; Paris, Louvre; Milan, Pinacoteca di Brera). At the Uffizi, there are also two painting on wood of Sibyl and the Prophet.."9.""""."."."."."."."."."."#.""""."."#."""".""""#.""""."."#.""""."."."."."""".""""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando VITTORE CARPACCIO Venice 1460/65 - 1525/26 Group of Soldiers and Characters in Oriental Costume Sibyl and Prophet FrancOpera ObjectClass FrancOpera ObjectClass , he was e ***** KKKBM TKDDT ID_GGK D_I_s IIIFrI^ ~~~~~ IdAutore e know relatively little about the life of Giorgione, one of the outstanding artists of the Venetian renaissance who died of the plague when he was just over thirty. He was a great music and poetry lover who was familiar with the Humanist circles and prominent families of Venice. His work bears witness to the influence of Giovanni Bellini, D rer and Leonardo. During the course of his career, color tended increasingly to prevail over line and composition, thus contributing to an unique style that was to become a point of reference for artists such as Titian, Sebastiano del Piombo and Palma il Vecchio. In the works traditionally attributed to his earlier output, such as the Adoration of the Shepherds (Washington, National Gallery), the Judith (Saint Petersburg, Hermitage) and the Sacred Conversation (Venice, Gallerie dell'Accademia), Giorgione pays particular attention to light and delicate tonal gradations, thus embracing both the Venetian and the Tuscan heritage. In his later works, such as the altarpiece with the Madonna and Child with Saints Liberal and George (Castelfranco, Duomo) and in the two small paintings at the Uffizi with Moses Undergoes Trial by Fire and the Judgement of Solomon, the landscape and the evocative magic of nature play an increasingly important role, to the extent that they practically dominate the human figure. This is precisely what happens in later masterpieces such as The Tempest (Venice, Gallerie dell'Accademia) and the Three Philosophers (Vienna, Kunsthistorisches Museum). In 1508 Giorgione painted a fresco cycle for the Fondaco dei Tedeschi. All that remains of it is a fragment with a female nude (Venice, Gallerie dell'Accademia). His portraits are also most striking: the Double Borgherini Portrait, for instance, Laura (Vienna, Kunsthistorisches Museum), and the Portrait of a Captain and Equerry (Uffizi) that is generally attributed to this artist. In Giorgione's last works, the Venus (Dresden, Gem ldegalerie), the Concert (Florence, Galleria Palatina) and the Open Air Concert (Paris, Louvre), both palette and attribution blend in with those of his pupil Titian..n.n.n.n.n.n.an....n.n.n.n.....n.n.n....an....n.n.n.n.an....n.n.n....an....n....n....n....n.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Zorzi or Giorgio da Castelfranco alias GIORGIONE? Castelfranco Veneto 1477/78 - Venice 1510 FrancOpera ObjectClass Portrait of a Captain and Equerryyy Moses Undergoes Trial by Fire and The Judgment of Solomon FrancOpera ObjectClass IppIrrpr} pIIpspIk} sIqqrsrIz ppGpp pIrsk III2/s }~~}~~ ~~~~~~~~ TBBTBT TBFTTT KBDBFIIGGGI HIIHIHI IIHIIIGGGGFG TB_TsBT FrBGGs}s GBGGBAAITGGAGGTABB^G^ttBattzt_bs TTTBT_ IHGGGGHGGGB {ptkrz GIFFGIGTs rksz{a BBsGI ^HIIHGIGBBsT TsITI GIFITBBFB pstrks JHGFIIIGGF_j }{ykrrpq* nrJIGHFGFGG BIGGG {rkrrktIF^* HGGBT |KJ|T |{znpj BGIGB_GI tsksrs} *KIIT TIIBaH^FSs r{r^rq} G_sBk pkrrqk{ GFBBJIGBF qzrsk GArp| }tI^s{ }HKBT rrsrz }Is{tkz IGkT^k^ ppqqrqpIK ^^rpT HIrr{ ^rrkD sBI6y| sqG^kaA tsGrB ^rszT ^rps^ rBIIGGG t|}*Ijrs s^}!B ^r^^q^ srqssj prssT BMBFDFIK MJEDJJ7 GBBT| / ,/6 !% "%+ #,"!/ ",#"" IdAutore e was head of the Ferrarese school, introducing highly original interpretations of refined Renaissance culture into the figurative world of northern Italy. His work was influenced by Donatello, Piero della Francesca and Rogier Van der Weyden. Apart from two probable stays in Padua and Venice when he was still young, he largely worked in Ferrara, where he decorated the Study of Borso d'Este in Palazzo di Belfiore, to which the part that is known as Primavera (London, National Gallery) probably belongs. He also painted the two shutters of the organ in the Cathedral with an Annunciation and Saint George and the Princess (Ferrara, Museo della Cattedrale) as well as executing two lost fresco cycles in the Cappella Sacrati in San Domenico and in the d'Este residence at Belriguardo. Some scholars believe that he also helped decorate the Salone dei Mesi in Palazzo Schifanoia. There are other certain works that embody a striking mixture of realism and elegant late-gothic forms. These include the Piet (Venice, Museo Correr), the Madonna and Child (Venice, Gallerie dell'Accademia), the Roverella Polyptych (now disassembled: London, National Gallery; Paris, Louvre; Rome, Galleria Colonna), the Saint Dominic (Uffizi) and the Saint Anthony of Padua (Modena, Galleria Estense)..).).e)....).).).).).).....).).).).).).)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando ( 6 ' F T t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando COSME TURA- Ferrara 1430 ca. - 1495 Saint Dominic FrancOpera ObjectClass ///// ///626/ PA``_| PVgif Mvvtax ~H`i`i 6iVtTLB CQjvgv Hhui`z tTaJavB tviit Saivaf aKKEaPa AS>taj PMIJbfi IC_fttr2 aitx/%s zMKT`bP GPguv bBM`TaG HBAt{/,z aDIKTbK HHFiQts+ STuiu aBMIaMF M`Pi2, bFIIBJI ksaT_ `iTMM GFABUs' aKsIIH BEss' GFBTP sPaTJ HTFCC USBBPs% i_TaI Pigrs F`a@72 k'2vt ACSis ABFAh /s!sbbTKKKEK Sh@Si ,z',rBBbHICPMH `G@Ri6s, TTFHF BaHBaMT BaKKbTa CFCh6 RHQss z*IaTTtTJCJSB saTTT taFSPHua GaaBGHG atTPB ss!ka STBET aabTKPF S`vixa@PG@ KMiUGCKPG giQvC s`DMbt TiMFfP Bbvbf MMTPE HPw_P sftTU !s!s,__bKBM MAbEagG *UTI@`CFP@P`y k2ssTfbTa 6G8PaaiP<@ {fC@iz s/2!s @CfafiaM@`k 'BaHFFaPP@`k Tfbbijs6 k/2zyi CaQSk zzvVV tf`svss 2 /6ssuasvbibK IdAutore he clarity and coherence of this painter's stylistic development initially sprang from his encounter with Bartolomeo Montagna, whom he probably met in Vicenza, where Cima da Conegliano painted the Madonna of the Pergola in 1489 for the church of San Bartolomeo (now in the Museo Civico). The artist, who largely painted "Sacred Conversations," went to Venice a few years later, there absorbing the rules of careful classical composition and the delicate balance between landscape and figure from Alvise Vivarini, Giovanni Bellini and Antonello da Messina. Such lessons were to shape the whole of his successive output. His earliest altarpieces include the Sacred Conversation (Milan, Brera) and the Madonna and Saints in Conegliano Cathedral. Later in Venice, he painted the Madonna of the Orange (Venice, Gallerie dell'Accademia), the Madonna and Child (Uffizi), Saint Peter Martyr and Saints Nicholas and Augustine (Milan, Brera) and the Nativity (Venice, Chiesa del Carmine). In 1516 he retired permanently to Conegliano, that same year painting an altarpiece with Saint Peter Enthroned (Milan, Brera)..".".".".".".")."""".".".".".".".""""."""""""""".".".""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giovanni Battista Cima alias CIMA DA CONEGLIANO Conegliano Veneto 1459/60 - 1517/18 Madonna and Child FrancOpera ObjectClass }}|}|| }{ylqx @BEKT xzooy }{o{b ||yym{ ||y{}{t }|TTs |y{yFIKlm{ {z|SFFjp lrmSBKBApi mSmrBBF_pb mAryGFS^ oAo{iHFAq ~|8H` LUM8M8 ;UMELLML IdAutore e was active in the Venetian region in the second half of the 1400s, soon rejecting the late-gothic style of his brother Antonio Vivarini, with whom he had trained and later collaborated. In the many paintings he did for the churches of Venice and the surrounding province, he tended toward the new pictorial manner of Mantegna, focusing on the sculptural nature of the figures, often placing them in naked landscapes or carefully built architectural settings. Such works include the Madonna between Saints Paul and Jerome (London, National Gallery), the Madonna and Saints (Naples, Capodimonte), Saint Ludovic of Toulouse (Uffizi), the Stories of the Virgin (Venice, Santa Maria Formosa) and the Saint Ambrose Polyptych (Venice, Gallerie dell'Accademia)..).).).).a)....).).).).)....)....a).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando BARTOLOMEO VIVARINI Murano 1432 ca. - after 1491 Saint Ludovic of Toulouse FrancOpera ObjectClass IIHHH IdAutore here is a mixture of influences in the complex and original work of Altdorfer: those of D rer, Cranach, and the painters of the Danube School which enrich an established interest in landscape and architecture. Aside from being a painter, he was also an architect and an engraver whose early works such as the Nativity (Bremen, Kunsthalle) and the Family of Satyrs (Berlin, Dahlem) already revealed his characteristic attention to detail and his great skill in constructing the picture. He lived and worked in Regensburg, with the exception of a trip to Austria in 1511, when he painted his real masterpiece, the Polyptych of the Passion (Linz, Saint Florian Collegiate Church). The two paintings at the Uffizi actually relate to this work. They are Saint Florian's Farewell and Martyrdom. Other works painted at the height of his artistic development are the Crucifixion (Nuremberg, National Museum), the Birth of the Virgin Mary, the magnificent Battle of Alexander painted for William of Bavaria (both in Munich, Alte Pinakothek). During the same years, he also painted a number of autonomous landscapes, thus becoming the first proper landscape artist in Europe..e.e.e.e.e.e.pe....e.e.e.e.e.e.pe....e....e.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALBRECHT ALTDORFER[ ? 1480 ca. - Regensburg 1538 The Departure and Martyrdom of Saint Floriany FrancOpera ObjectClass ~~6~~ %0/3 33, 0 --,,-,%& ,300&&&, 3/30, 3333/ tslttrt %,,"!$ ~~~~~ rtsjtrt sjtst^ %,%%%% ,,-03330 jsjak^ jsbstr ssistr ~~~~~~ rsssjt hjfsv ~~~~~ k`s_tb jssrts z^sjt ~~~~~~ |^srt ~~~~~~~ sikTGS|FU ~~~~~ ~~~~}~ ~~~~~ ~~~~~~~ j_^sj %3VHP l^vjt l^vjt o^vjj j^tjv jjvyM bxvt]C rvklKH]HEvjvsjC irvkt q^^BSrp^rjor; tA^RAqr]qrq^E ~s^^qr^^qrSbnj t^^^q^^rr `^or| t}^^SrSSrq S^]^B^]kjjjj^ ~jA^rA^rqrrror ~t^]S^rrq^rqrHIK %%$#, r^SSrqriqrfH ]BG]]Ab taHM_~ vvjr] ~v^^^^ct~ $$$$$ $$$$$ IdAutore e grew up in the workshop of his father Hans Holbein the Elder and had a thoroughly European training. In fact, he traveled to and worked in Germany, Switzerland, Italy, France and England. He was a man of great culture and a friend of Erasmus of Rotterdam. His work embodies the gothic world of Germany filtered through the luminous atmosphere of the Italian Renaissance. He made a name for himself as a book illustrator with an edition of the Bible and Thomas More 's Utopia, and later received important commissions in Basle, where he painted a fresco cycle, since lost, and religious subjects such as the Dead Christ, the Scenes from the Passion (at the Kunstmuseum in Basle) and the Madonna of Burgomaster Meyer (Darmstadt, Prince of Hesse Collection). There is a series of engravings of the Dance Macabre that relates to a stay in France in 1523, when he had the chance to see the work of Leonardo. He was in England in 1526 and 1528, settling there for good in 1532 and mainly focusing on portraiture. His most famous portraits include that of Boniface Armebach (Basle, Kunstmuseum), those of Erasmus of Rotterdam (Basle, Kunstmuseum; Salisbury, Longford Castle; Paris, Louvre), the Portrait of Henry VIII (Rome, Galleria Nazionale), the Portrait of William Warham Archbishop of Canterbury (Paris, Louvre), the Portrait of Sir Richard Southwell and the Portrait of a Man said to be Thomas More, both at the Uffizi..zi....zi....i.i.i.i.i.i.i....i.i.i.i.i.i.i.i.....i.i.zi....i.i.zi....i....zi.... 8 F ' V d t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HANS HOLBEIN the Younger{ Augsburg 1497/98 - London 1543 Portrait of Sir Richard Southwell Portrait of a Man, said to be Thomas More FrancOpera ObjectClass FrancOpera ObjectClass ~~}~}~ }~}~~~} }~~~}~ }~~}~ HHbu~}~~~}~}~ ~}~}~~ }~}}}~~}~ ~~~~~~}}~}~ }~}}}~~}~ ~~}~~ }~}~}~ }}~}}~ }~}~~}~} }~~~}~}~} ~}}~~} ~~}~~~} ~~}}~}~~}~~}} ~~}~~}}~}~}}~ ~}~}}~~}~~ }~~}~ }~~}~}~}~~} }}~}~}}}~ ~}~~}~ }~}~} ~}~}~~~~}~~~ }~~}~~~~}~}~~~} ~~}~~}}~~~} ~}~~}~~} ~}~}}~}~~~~}~~ }~}~~ ~~}~~} }~}~}~}~~} ~~~}~ }~}}~}}~} ~~~~~~~ }~~}~} ~}~~~}~ }~~~} ~~}~~}~}~~}~ }}~}}}}}~~}} ~}}~~}~ }~}}~~ }}~~~~~}~}~ ~~}~~} ~~~}~}~~} }~}~} }~~}~ }}}~}~~} }~}}~~}~}~~ ~~}~}}~}}~}~~~ }~~~~ ~}~~} }~~~}~~~ ~}~}~~}~~} }}~}~}~ ~}~~~} }~~}}~~} }}~~}~} ~~~}~~} ~}~}}~ ~}}~}}~ }~}~~} }~}~~}~~}~~} }~~~~} ~~~}~}~} ~~~}~}~~}~ }~~}~} }}~}~} }}~}~}~ ~~}}~} ~~}~}~~~~~ }~~}~ }}~~}~~} }~}~} }~~}~}~~ .00-// ss7s_ TTLFB DDKTK :88L:L: IdAutore his highly refined anonymous artist was active in Brussels at the end of the Quattrocento. He was influenced by the manner of Memling and Petrus Christus. His name derives from the diptych with the Portraits of Pierantonio Baroncelli and Maria Bonciani (Uffizi). He also painted an Annunciation now kept in Antwerp (Mayer van der Bergh Museum)..).).m)....m)....m)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MASTER OF THE BARONCELLI PORTRAITS Flanders 15th century Portraits of Pierantonio Baroncelli and Maria Bonciani FrancOpera ObjectClass GFTBT THGGGT sGBBs ft`aP| }|}ta_sA }~taPa tVTtTB bibTsa_T _babb TTBat tkvvttv tvtvj |jvvjjvjjjjp| klkjlkxlzlj^~ {nyxj`PE IJIFG IIEKI 5.6/600/ HABGG IBGGBGG GGBGG ----. .4..---. 84/.-.65 46--/603&8 44000/603& 33000000 30000 IICKMMKM IdAutore his anonymous painter is named after the polyptych of the Seven Sorrows of the Virgin, painted for the church of Hoogstraten (Antwerp, Mayer van der Bergh Museum). He was active in Antwerp at the beginning of the 1500s and was influenced by Hans Memling and G rard David. Other works attributed to him are a number of Madonnas Enthroned, the Madonna and Child with Saints (Uffizi), the panels with Saint John the Baptist and Saint Jerome (Vienna, Kunsthistorisches Museum), and the Adoration of the Magi (Antwerp, Mayer van der Bergh Museum)..).).).).).).m)....)....)....).).m)....Q tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MASTER OF HOOGSTRATEN Hoogstraten, active 1490 ca. - 1530 Madonna and Child with Saints FrancOpera ObjectClass ;:LM=; 95;L9N Z@VPQX ~||u{^P McqhU S~@ZA lnof@muif qqnqylnqq]Rf} lqpqplqqomnq]]h qqqnoqqqqnnnqqo^P ]pqqqqnonnqqnqqo]a||| dqqqqpqqqpnqqnqnyhx ~e^qqqqpqqonqqonxl{w G=`rqqqqpqpqqooxw |GOcQqqqnpnqpqql{ BaWqqqpqnqoqpqp|{x eQqnqqqnnqoqqq|x ~}Sbinqqpnoqooqqqll fqqqqqnnnqq]ql Vyq]]qpoqqnnl U;PHLu oqqqnn^ {rql] Q<Ed\ @CHNP NbSW~ RbMC@W @VNF> AhGq^CR Nd;9W HGS]q M;9<< SAB]^ R]qqn VN@@@ GGGGGG GGAGGGGR GGCBSPQaaaPPPPPSSSAAA IdAutore n intensely dramatic Flemish painter and miniaturist, he worked in Haarlem, Antwerp and especially Bruges, where he became the official city painter. In the wake of the great Flemish tradition established by Van der Weyden, Memling and Van der Goes, he developed a highly individual style that focused on the expressive power and grace of the human figure set in a delicate landscape. This is visible from his earliest works, such as the Crucifixion (London, National Gallery). Other important works include the Stories of Cambyses (Bruges, Stedelijk Museum) and the Adoration of the Magi (Uffizi). These were followed by the masterpieces of his maturity such as Mystical Marriage of Saint Catherine (London, National Gallery) and the Baptism of Christ (Bruges, Stedelijk Museum). During his latter years, he painted the Deposition from the Cross (Uffizi) that belonged to Eleonora of Toledo, the Annunciation (Frankfurt, St delsches Kunstinstitut) and the Flight into Egypt (New York, Metropolitan Museum), which are more intimate works. The miniatures for two Books of Hours (Madrid, Escorial; London, British Library) are also attributed to this artist..st....t.t.t.t.t.t.t.t.t.t.st....t.t.t.t.t....t....t....st.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando H V ' f t t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando RARD DAVID Oudewater 1460 ca. - Bruges 1523 Adoration of the Magi FrancOpera ObjectClass sbsss bAATTaaaaaPTSTPT_A_TSTT_TPSAAA STTTTPTTT bbPT@? A??@APT PUUTP TTTBMT P@ASS??AATPPAPPA@@TPTP TPUMHf bUTTaaUbc PPTP@AP UP@?A ?@T>T P@@@TTPUA@PUPPNAaC baPPU UaTP@PP UPP@@@?@>A>ATPPPA@APS T@TPTPNbM UaUUa cPaUa UPUbTUTN>>@@A@MTNPA@PTP TaTPTAPN bTUTaUPaUTa TPPTaTPT@TPPPTAA@MTT@PN@@AS baTPPTPTPPPaTPPa TaPPPPPT@P@@TTT P@P@T@ fTPPTPTa PTTPPTUTaUaTUTTTNPTN@@U UT@SSA PTPPPPPTaTPUaTTPT@T@VUPP bTPUTP aTPPaUaPPNTP asbssss APTU@@@PPPPPPTP TPPPA> >@>@NNUP PUPPA> NA>APUT@ ^Ta_sas r_sas __Tsass _sTTsS a_TsT_ P@PA> ATT_sTasS UU^T_ s_Tss TS?>> a@PPT aATBass a^_TPTs @AaT^b NPPUP sTT@U aA_^TP U@PTP PPcUT @A@AATAPTSS?@@?>S>@@@ N@>@>@>>S>S@@@@>@O _aT_TSTT_AATATAAASAA AAAAAAAABAAAAABBASASSA_A ba_aP_PTPSPSASSA?S@SASSPPPPSSPPPPTaaaa IdAutore his painter's extremely fine technique won him a wide circle of clients, especially among the Florentine merchants living in Bruges, where Memling appears to have been active from around 1467 until 1468. His many religious compositions and portraits bear witness to the influence of Rogier Van der Weyden and Jan van Eyck, though his use of bright colors and highly idealized figures contributed to what was in fact a distinctly personal style. His many triptychs of various sizes include the Last Judgement (Danzig, Muzeum Pomorskie), the Donne Triptych (London, National Gallery), the one he painted for St. John's Hospital in Bruges with the Mystical Marriage of Saint Catherine (Bruges, Memlingmuseum), and the small Portinari Triptych , of which the two panels with Saint Benedict and the Portrait of Benedetto Portinari now belong to the Uffizi. There are other important triptychs in Lubeck (Saint Anne Museum), Paris (Louvre), Vienna (Kunsthistorisches Museum) and Madrid (Prado). Moreover there are also two most impressive paintings in which a free form of narration has been set in a complex architectural context: the Seven Joys of the Virgin Mary (Munich, Alte Pinakothek) and the Passion (Turin, Galleria Sabauda). Mention should also be made of the Madonna Enthroned with the Child and Two Angels (Uffizi). The portraits of Tommaso and Maria Portinari (New York, Metropolitan Museum) are also very famous, as are the Portrait of a Young Man (Madrid, Thyssen Collection) and the two versions of the Portrait of an Unknown Man degli Uffizi..zi....i.i.zi....zi....i.i.zi....i.i.i.i.i.i.i.i.zi....zi....i.... ^ l ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HANS MEMLING Seligenstadt 1435 ca. - Bruges 1494 FrancOpera ObjectClass Saint Benedict and a Portrait of Benedetto Portinari Portrait of an Unknown Man FrancOpera ObjectClass Portrait of an Unknown Man Madonna Enthroned with Child and Two Angels FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass JIIJI IIHIHH7 }Wf>aO }|ZX[ zjk{" ~||vkkv wljjxj xjjix xjv^v vvjjv jj^rk tjr^o vrj^jr ^qrjjj ~~wjrR`^ar]^^r^j jj^]hr^^rj^^j vvsr^rrrrrrrkv tjrrr^ij xzjst ijjrrx{. lr^r} Uvrv^r I8xkrvt^j vkrsjjrj q*P|v^^rsjrv Iyrr^rrjj |]^]^rjk <`jrkopjj / ',, 200!0 Wb{xa ]vsjuj rr^j^t^tjj jr^^`r]rt i^]r^rs r^rrr NUUNUUUUcVWcedbVVPWdcdcVcbbVUUUVUV cUVUVOVPVVccVd IEHIJD 7IHHHJ .*./0 EKEEJ GLJJHFI .4*-* ,//0, HHHIH JJIKK HKKLHH HJJHH 78JKM eddee :V:UW CNUbXXe NLC@>@b dVOW?e /363.6 %%", POOPXPbOdc fePMUUV QOPcc edVQWdc dcWbd cedPVUOW=M IdAutore lemish painter in the style of Hans Memling and G rard David, active in Bruges and Antwerp during the second half of the 1500s. His religious paintings, such as the Death of the Virgin Mary (Munich, Alte Pinakothek), the Holy Family (Vienna, Kunsthistorisches Museum) and the Saint Francis Polyptych (Paris, Louvre), bear witness to contact with Italian painting. His fame is largely due to his work as a portraitist, especially to the Portrait of a Couple (known as the Portrait of an Unknown Man and his Wife, Uffizi), the Portrait of Fran ois I (Philadelphia, Art Museum), the Portrait of Henry VII (Hampton Court) and the Self-Portrait (Madrid, Thyssen Collection)..).).).).).).n)....).).).).).).).).)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JOOS VAN CLEVE THE YOUNGER ves 1484 ca. - Antwerp 1540 Portrait of an Unknown Man and his Wife FrancOpera ObjectClass |}|}}}}}}}}}} |}||} |}}~~}~}~}~}~}} ~~~~} }}}}}}}}}|} }}}|}}}|}}||}|}|}} KJTJFT }}}}}|| ||}|JJJIK }}}}}| }}||}}|}| IJDIIIIK y{|xyymymy{}} }}}}||} IIJ_T {lymlmylnmmmyzyy }}}}|}}}|}}|{ IIIIFIIIT ylvynzlllyzyx{xmx }}|}|| Tmlzjkllmyyxyymy{| }}}|} IFIKTTtv rlnlo]mokzlloly|{} }}}}} *IB_Ka |tIKJJT |yl6J mrllllllololmyym{} }}}}}}|} FKTJT Iqqolorzolyolz]om| }}}|{} qtt|} }}{zooomllolylpox} {n7II MBn}BBB xjnzlp{opynz zql{ylyzy} {|{lno} }}}|} ~|}||}}}}| ||}}}} }}}}}}}}}} {}}}}}|}}| }t|}}||}}|} }}|}} }}}}||}}}} |}}}} |||}}|} }|}}}}{ {}|}~ }}||~}} |}}}|}} }}}{|}} ~~~~~~ ~}}|}}}}}} }|}}} {|}}~|}} |}}}~ }}}|}}|}} }}}|}}}}{ }~}}|}~ ~}~}}} }}}}| }|}}}}|}} {{{|}}}}}~~ }}}||}|| }BBBBFBFFI^GGFGGGGGIIGArq }|}}| /}}}}|}} |}}|| }}}}}}} ||}||}| }}~|| }}{}}}~}}}}} }|}}} ||{t{ ||||}} }||}{ |}}}} }~}}} ttbtt $,"!$ $$,#$$$$ $$#,"$$ $$$$$$ "$#!$$$ $$$$$$ #$$$$ $$$$$$ $$$## #$!$% $$$$$$$$ $$$$$$ FBBBI IIGBsB{ IBT|2 ~~~~}}} ~~~}} *')'2 ~~}}~ }}}}}~}}~} ~~~~~~ ~~~}|}} }}}}} IdAutore erman painter and engraver who was influenced by his fellow citizen Albrecht D rer. Following a journey to Italy, he also drew inspiration from Italian painting of the 1500s, especially from the portraits of Bronzino, as the Portrait of the Painter Schwetzer and His Wife (Berlin, Staatliche Museen) demonstrates, and from the frescoes of Giulio Romano, reflections of which are evident in his Fall of Phaethon, (Nuremberg, Hirschvogel House). His most famous works are the Judith (Munich, Alte Pinakothek), and Venus and Eros (Berlin, Staatliche Museen), as well as the Portrait of a Young Man (Uffizi), the Portrait of Sebald Schirmer (Nuremberg, Germanisches Nationalmuseum) and the Portrait of the Medalist J rg Herz (Karlsruhe, Kunstmuseum). His work as an engraver was also widely acclaimed, especially the small engravings..s.s.s.s.gs....s.s.s.s.s.s.s....s.s.s....s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GEORG PENCZ Nuremberg 1500 ca. - Leipzig 1550 Portrait of a Young Man P f ' FrancOpera ObjectClass sasui_`r a`tir jztjr zznnnllnl{zoozko TLizzks{} kkjokjkk kkjtjozt zkkk|4M{ zkjjt tjolj zz]]ktj {zo]nT kth]k Fjmp^ bCEfQ hqkrjz ttzj]p} ztktk sztkhjtt jtr]jjv {ks{t zzkkj }}}kjvkk]] ztoph~ tth]t~ zksotk kz{^]k }jztz zttq]hj kjshpj |q]qktkz ztovti] hp]jor toi]]]t tk]?]]q jo]\]k MbLLTMH tkjh]]]q .HLKMBH c{kjj\]] ]z{r{ UMylvj\R HHFHCM mnjp] MCHII CMCDE HKCVTEKH EHMPM HKFLLK bHb`G HuMcP K8KJEE 8JH8EM~ K8J8JLLCLHC JE;KAA@@O LJCLC@Vd eVbcbP KTUbWddX ~}}~~ CBNPUMMMMTCCMTMMK<FMEHIH FCBB@CELMNPU EKCC0 IdAutore t was this anonymous late fifteenth century Flemish artist who painted the famous Virgo inter Virgines (Amsterdam, Rijksmuseum). Other works are also attributed to him, or at least to artists living at the same time in Delft who were close to Hugo van der Goes. Such paintings, with their characteristic asperity of style and intense drama, include the Crucifixion (Uffizi), the Adoration of the Magi (Berlin, Staatliche Museen), the Deposition in the Tomb (Saint Louis, City Art Gallery), and the Crucifixion Triptych (Barnard Castle, Bowes Museum)..).).).).).).m)....)....).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando MASTER OF THE VIRGO INTER VIRGINESa Delft, active 1470-1500 Crucifixion FrancOpera ObjectClass sbs_~ PTT_s bAGsstB ASBT_ ASsB_ ABtB_ ATSC_tsa~ AssBA stBaBt t}bABb SAt_T BAAtSTa PAATaBP fBsbs} ~A^Gb_T ABSaAt_B AB_bsBt NBTPT =~tBS 9YMUUL cb=BV< &&:Ug XO<Nc PGNbUUXUU Tt{s@ MSSPt /.-5O 6...* *&*-&& *6.4/ }}}}}| }}||}| +03060 9M8E8L8K;KL K;;L;L;LCMMM;BNaPNMTMUTMUMU IdAutore e initially worked in Ferrarese circles, then stayed in Genoa for a while, and finally returned to and settled in his native Cremona, where he founded a successful school which allowed him to obtain an important commission for the fresco cycle with the Stories of the Virgin in the Cathedral. Travel and numerous contacts with other artists contributed to the development of a style that embodied both Umbrian and Tuscan elements derived from Perugino and features typical of Venetian painting, particularly that of Bellini and Cima da Conegliano. His paintings on wood include the Gypsy Girl (Uffizi), The Way to Calvary (London, National Gallery), the Sacred Conversation (Venice, Gallerie dell'Accademia), the Circumcision and the Annunciation (both in Cremona Cathedral)..).).).).).).).).l)....)....)....)....).).S tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Boccaccio Boccacci alias BOCCACCINO Cremona 1465 ca.-1525 Gypsy Girl FrancOpera ObjectClass |{||{z {z{ z yy{z{ kmzzmkmzzk mzmzmmkmkk ~||{} mkmzkmmkmk mzmkmzkmkm yzzmkznm zmkzkmznkm zmzmzzm} zzmknzmz zmnzmkm mzkkmnz mzmkzkmkzz zzmzmznz kkmzznknkk mnmzpk zzkkmkkz knkznp zzmpknkm nkmnkk kpknpk zkkpkknk kzkkpkpkpk ppkp} zmkpkppk nknkkpk zmkpkpkk ppkppkk mmkppkpp zknkp znkpk znkkppkk ppkpr |pkppk rqpprp qqpkrqs rprp} }ppnr #$,#$ $!$!$ IdAutore e was a pupil and close collaborator of Leonardo da Vinci's, to the extent that some of his works, such as the Madonna of the Carnation (Milan, Poldi Pezzoli Museum), were actually attributed to Leonardo in the past. He also painted a number of portraits that embody much of Leonardo's psychological insight, such as that of the poet Girolamo Casio (Milan, Brera) and the Portrait of a Musician (Milan, Pinacoteca Ambrosiana). In other important works such as the Casio Altarpiece (Paris, Louvre), Narcissus at the Pool (Uffizi), the Saint Barbara (Berlin, Bode Museum) and the Lodi Altarpiece (Budapest, National Museum), Boltraffio nevertheless achieved a style of his own that reflects Lombard Humanism and the pictorial heritage of the Lombard painters..s.s.s.s.rs....s.s.s.s.s.s.s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI ANTONIO BOLTRAFFIO Milan 1466/67-1516 Narcissus at the Pool FrancOpera ObjectClass 585:5 TMKKFKDMMKLFGGC BGTMMT FBKTB HHHGCG GIHGFGT BGGHGB MMKBMMU ML;MMKM;CH MMMMKT BK_FBBKTBB f#d#d# IdAutore orreggio was one of the most original sixteenth century Italian artists. His approach to painting was considerably influenced by two seminal journeys, one, when he was still a youngster, to Mantua where he came into contact with the work of Mantegna, and one to Rome around 1518, when he studied the grandiose achievements of Michelangelo and Raphael. Apart from his various stays in Parma, where he painted the frescoes in the Camera di San Paolo, at San Giovanni Evangelista and in the Cathedral, he mostly lived in Correggio, where he received numerous commissions for altarpieces and paintings of mythological scenes. The style of his earliest works such as the San Francesco Altarpiece (Dresden, Gem ldegalerie), the Nativity (Milan, Brera), the Madonna and Child in Glory and the Rest on the Flight into Egypt (both at the Uffizi), is essentially classical, whereas his palette and decorations tend to echo those of Mantegna, with an additional fondness for Leonardesque chiaroscuro. He received his first important fresco commission just after his trip to Rome. It was for what is known as the Camera di San Paolo in the refectory of the Benedictine Convent in Parma. This he decorated with lively portrayals of putti and mythological deities united by a trompe-l'oeil pergola that is reminiscent of Raphael's paintings at the Farnesina. The other two major frecsoes that still exist are considerably more inventive, both conceptually and structurally. They are the Vision of Saint John the Evangelist at Patmos in the dome of the church of that name, and the Assumption of the Virgin Mary, in the dome of the Cathedral. During the same period, he also painted numerous altarpieces and famous Madonnas such as the Virgin Mary Worshipping the Child, the Madonna of the Bowl (Parma, Galleria Nazionale) and the Madonna of San Giorgio (Dresden Gem ldegalerie). During his latter years, he painted some profane pictures, many commissioned by Federico Gonzaga. These include the Danae (Rome, Galleria Borghese), Io and Ganymede (Vienna, Kunsthistorisches Museum), Leda (Berlin-Dahlem) and the allegories of Vice and Virtue (Paris, Louvre)..).).).).).).).).)....e)....).).).).e)....).).e)....e)....)....e)....e)....).).).).....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Antonio Allegri alias CORREGGIO Correggio 1489-1534 FrancOpera ObjectClass Madonna and Child in Glory Rest on the Flight into Egypt The Virgin Mary Worshipping the Child FrancOpera ObjectClass FrancOpera ObjectClass ~}~}}}}}}~~}~}~}~}} ~~~~}~~~ }}~}~~~ }}~}} }}~}} }~}}~} }}}~}~}~~}~~}} ~~}}}}| }~~~} ~}}}}}| }~}}}~}~}}~}~} }~}}} }~}}}} vjt{lw|~ }}}~}} }}}|| }whl^B^j tt}~~}~}}}~ }~|vv vhh^^ ihnSr }}}}~ vlllk^ }~}~} }~}}} aIs{{ }~~}} Gt}{IItJI IIIIstII*z} |}}~}~|} }}}}~~}~~}~ }}~}~}~}} }~}}~}~}~~}} ~}~}~~ ~}|jx ~}}}~}~}}~~}}~~}} }}}~~ }~~}}~~ }}}~~ }}}~}~}~}}~ }}}}}~} }}~}~}} }}~}~}~~}}~~~~}~} }~}~} xvvv{ ~}~|~} }}~}~} }~}~}~}}}} }}}~}}~}}}~} }~}~}~} _sxrlz vvwxvt} ~}}~} ~}~}} s{}HIz^I^{ }}~~}}}}~} rDBIs }}~~}}~ ^msI^|} }}~}} ~}~|~}~} szIG^^p }}~}~~}} ~|~}}~~~} TGsFIpIq |}~}~} }~}}} GFGrIrt |~~}~} IGII^n }}~}~ IIIIGn }}}}} }}}~~| }}}}}} }~}~} ~}~}~~ ~}~~}~ }}~}}~}~ ~}~}~}~ }}~}~~} ~}~}~~} ~}~~} }~}~~}~~}~~ }}}~}}~} }}}}~}~}~~}~ ~}~~}~~~}~| ~}~}}}~}}~}~ |~}}~} ~~}}~~ }}}~}~}}} }~}|~| |}}}~}}~ ~}}~} }~~}} }~}~}} ~}}~}~~} }~~~} }~~}~}~}~ ~}~}~~}~ }}~}~ ~~}~~}}~}~ ~}~~}~~ }~}~} }}|}|}||| TTTTT TTTBDFGFFFFBKTKBTTTT TTTTTTJKFKTKFKBT Hc}}| jSS^z} |^BFArCH }}}}}}~ }~~}tS }Pbbf FBa|}} PaTbtu B`lsvS_j}~} BPAiRPv}~}} }ut}} dTb}| __Ess_|}~} _Tj_i{ NEMHa CIISz`j| SFHBRsT| BHCCCCf t|}}|||||||L }}|}|}}}K HbMM8HbDM ;c}tb}|} }}}}}}}} v|||}~ `M}tba |v||} E8EME8CLI LE;H; T<<PTbV UHHEC E;;F<EEHH; FLLCCE;L ..445 333363 66633 EKCDL KKEIFEJJDIFGKC HFEEKDKCKL MMLMM IHIHIHIHGGHFH TKMMJCDEGHFHHFCCMM MMMMMMKKMM IdAutore hough open to Venetian and Tuscan influences, this elegant painter of sacred and profane stories largely operated within Lombard spheres. In fact, his numerous cycles mostly relate to the work of Bergognone, Foppa and Zenale. This is just as true for the frescoes at Villa Pelucca as it is for the Stories of Joseph, originally painted for Santa Maria della Pace (they have since been detached and are now at Brera). It also applies to the last works painted for the oratory at the church of Santa Maria degli Angeli in Lugano. Various paintings on wood are also attributed to him, including a Madonna and Child with Saints (Paris, Jacquemart-Andr Museum), a Deposition (Budapest, Nazionale Museum), the Herodias (Uffizi) and the famous Madonna of the Rose Garden (Milano, Brera)..).).a)....).).).).).).....a)....)....)....Y tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando BERNARDINO LUINIG ?1485 ca. - ?1532 Herodias7 FrancOpera ObjectClass IIIIII*I IIIIIIII IIIII IIIII IIIIIII IIIII IdAutore e was a pupil of Ercole de' Roberti's, and largely worked in Ferrara, where he entered the service of Ercole I d'Este in 1489. He also worked for the Mantua court. His earliest works reflect his master's style, but he soon devoted himself to smaller paintings of religious subjects, favoring a somewhat classical approach that is evident in the Madonna and Child (Turin, Accademia), the Piet (London, Courtauld Institute), the Birth of Saint Dominic (Vicenza, Museo Civico) and the Christ Bearing the Cross (Uffizi)..i)....).).).).).).)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIAN FRANCESCO MAINERI Parma, mentioned 1489-1506 Christ Bearing the Cross FrancOpera ObjectClass 66% , -'%++% -2222 b(X(X( IdAutore ndrea Mantegna was the first truly Renaissance artist of the Venetian area, bringing great innovation to the art of northern Italy. He was the adopted son and pupil of the Paduan painter Francesco Squarcione, and was very impressed by the Tuscan artists who were then working in Padua, particularly Donatello, Paolo Uccello, Filippo Lippi and Andrea del Castagno. In 1454, he married Giovanni Bellini's sister, Nicolosia, and went to stay for a while in Venice before returning to Padua. Then, in 1459 he moved to the court of Ludovico III Gonzaga in Mantua, which he only ever left for two trips to Tuscany (1466 and 1467) and a stay in Rome (1488-1490). Mantegna's first important commission was for frescoes with Stories of Saints James and Christopher in the Ovetari Chapel in the church of the Eremitani in Padua, which he began at the early age of seventeen. Despite his great youth, his work already embodied considerable autonomy and originality. Although most of the cycle was destroyed during the Second World War, the few scenes that do remain reveal remarkable graphic freedom and a skillful use of perspective. Such features were to become more emphatic in two later masterpieces such as the San Luca Polyptych (Milan, Brera) and the San Zeno Altarpiece (Verona, San Zeno). The Triptych with the Epiphany, the Circumcision and the Ascension, the Portrait of a Man, the Madonna of the Quarry (all at Uffizi),and the Agony in the Garden (London, National Gallery) all belong to the period of his first stay at the Gonzaga court. In Mantua, he also painted the masterpiece of his maturity: the Wedding Chamber, setting court scenes in an intricate trompe-l'oeil architectural frame. He was a Humanist of considerable learning, a connoisseur of the classical figurative heritage. This is evident in the large later works such as the Triumphs of Caesar (Hampton Court). However, he was also interested in the art of northern Europe, which he particularly admired for its engravings. In fact, he made some engravings of his own around 1475 (the Bacchanalia, the Battles of the Tritons, a Madonna, the Christ between Two Saints and the Deposition). In his later paintings, he used chiaroscuro and dramatic perspectives to accentuate the sculptural nature of the figures: in the Dead Christ (Milan, Brera), for instance, in the Saint Sebastian, and in the Madonna of Victory (both at the Louvre). His last works include the Parnassus and the Triumph of Virtue (Paris, Louvre), painted for Isabella d'Este's Studiolo and the Trivulzio Madonna (Milan, Castello Sforzesco)..).).o)....).).).).).).).).o)....).).).).).).).).).).).).o)....o)....).).o)....o)....o)....o)....).).o)....).).o)....)....o)....)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ANDREA MANTEGNA Carturo Island 1431 - Mantua 1506 Triptych with the Epiphany, the Circumcision and the Ascension Madonna of the Quarry Portrait of a Man FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass MDJ@M TMMTMMMDIHBMTTTMTMM IIIII MJMMGLT TJJI6/ ~}}}} ASBCT }}}~~ g}}|{|v' vxt_yz Tssrj C{}||7 G*tCx||| BTssna K_t}| |mzBI tyqqm tGi{|| {{zrFAA zyqqm TJ_sB }{yBGrI jj||MSC yympn yFIBB yymqm *I_rB E;t{{ |vvrIB^ yynqn vIw{{| wtrFSI AIICv gIxt{{ txj_^II nnHprD MQasbM }TIIHk orFS- III6k |aTFFz aBz`tw abCGK fsjsut} sAjbi{ jsjrIFI ^taw{ ssjH7BII IFIIH GIzbj~ ^jjx| 2z^js Ga_j~} b^xy{{ zpkGIIBE jrk{{ j^l}{ {^n|{ 7M}}} II7}} t,/26 '),, }~}}} %,! ! $$$$!! $ }}}|}} IFDGDBEFFEHF TTMKJF7 JTI77 7JL7J7DI7JK ~}js{ 7PI6T 7777I E@LLLM LHF:K;BNMKU *VC;LCMMLM LL<EM bNHECPUPU *fMMb ;MLLcMM KH;;;CL PUT=UTUT CMMUUP TUTLMLMcM CLMCCMBUNPUP CM@<M CCUFU.HEHC MLIHG MUUMU cUM;U WPUUMM IIIJIJKKT TTJKK IDDJBKK IBBKBTTDB IJIJKTDIJTTT BKKKKDT JBBKIDTKT TTDKBKTJ IJITT DIJKKTT BKTKTI IBTTB ITKKTT TTKTKB KTTKIIDKJT DKJII FTDTTT JBTTKKIIKKKT IIIJT TTTKIDTJT II**II TBIKKTTJT JIMKTTKTTI BIJTTKIIPa7 IITTBT KIKTTB *I*** ****** TTTTTKTTJITTT ****** TIIMTTI *********** KITTaI *************** ITsTTTT ********* BTTBTTIIKb ITTTK ********* FBsPT JTTTD IFDFIF IdAutore e was a pupil of Cosimo Rosselli's and was variously influenced by Ghirlandaio, Leonardo and Perugino. He ran a workshop with Fra Bartolomeo, who designed what was to become his most famous work, the Visitation, painted in 1503 for the Chapel of the Congregation of San Martino, and the related predella with the Annunciation, the Nativity and the Presentation at the Temple (Uffizi). Among his other works are the Crucifixion (Florence, Certosa), the Madonna and Four Saints, the Annunciation ( Florence, Galleria dell'Accademia) and the Madonna between Saints Jerome and Zenobius (Paris, Louvre), begun by Filippino Lippi..1....%.%.%.%.%.%.%.%.%.%.%.%.%.%.1%....1%....%....%....%....%....1%.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando , : t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando MARIOTTO ALBERTINELLI Florence 1474-15151 Visitation FrancOpera ObjectClass He was a pupil ofCosimo Rosselli's and was variously influenced by Ghirlandaio, Leonardo andPerugino. He ran a workshop withFra Bartolomeo, who designed what was to become his most famous work, the Visitation, painted in 1503 for the Chapel of the Congregation of San Martino, and the related predella with theAnnunciation, the Nativity and thePresentation at the Temple (Uffizi). Among his other works are the Crucifixion (Florence, Certosa), the Madonna and Four Saints, the Annunciation ( Florence, Galleria dell'Accademia) and theMadonna between Saints Jerome and Zenobius (Paris, Louvre), begun byFilippino Lippi.i.i.i.i.i.i.i. UUUUU UMNNUUUMNN aUUUUUUUU UNUUNONUU VUUUUOUN UNNUU PASSS>@b PPSA> ;;;:LN LLLMLN cUUUN=====N===@>>NNNNNN>=LN@NNNNNNN=N===< VaUaN aPsbPPa sabsaP saabb bSSR? P?bb> bP?>b? _PSaP bS>?Sa 545558 88889 ;LLL9 L;:89:: :8L99; IdAutore e studied under Ghirlandaio and was a friend of Michelangelo's, who turned to him for advice before tackling the vault of the Sistine Chapel. Francesco Granacci was skilled at painting religious pictures in a composed and serenely classical style, close to that of Fra Bartolomeo and Perugino. His best known works include the Holy Family with the Young Saint John (Dublin, National Gallery of Ireland), the Madonna of the Girdle (Florence, Accademia), the Madonna and Saints (Villamagna, Pieve di San Donnino) and the two paintings of Joseph Presents His Father and Brothers to the Pharaoh and Joseph Led to Prison (Uffizi) that were once part of the decorations of the Camera Borgherini along with other works by Bachiacca, Pontormo and Andrea del Sarto..6....%....%....6%....%.%.%.%.%.%.%....%....%....k tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ( 6 t7 tipoHot ObjectClass rimando FRANCESCO GRANACCIu Villamagna 1469 - Florence 1543 Joseph Presents His Father and Brothers to the Pharaoh and Joseph Led to Prison FrancOpera ObjectClass FrancOpera ObjectClass }}}||}}}| TMMKJIJ }|}}}}}|| TTTTTJT JJJDT JM7IM TKKDKJKKIJBIIGIBB MKIFKTM MFDT7 JJTJT TTMMT }|}}|||}}| 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}}||}}}}} }}}}}}}}}}}}}}}}}||||{|||{||{{ ||||}||{|| {|{||| TJJJJ_ }|{|}||}|}}} }~}}}} }|}}}}}}}|}|| |}}}}| {}|}|}}}|}||}|}|}}}}|}||{ }|||||| }}|}| }}||}}}|| {{||| }}{}}tt |||}} |}}|}} ||}}|}|}}}| }}}}}}| |}}}|} ||||| 666666 }}}|}}}}}}}} }}}}|}}}}}} ;MLEE8F EEI;< IHEL;< HHC<LMK K:MU9M HHHEIIH IEEEH L:LLU UL:C;H |l{cUNLC bdUUUUKNUNUUUNMLLLL F|}}| NUUUUM uLUUVccd UUUUc Hb|{; EC;;MMv MUUUcccVb VUUNUT VUc9utU dcdb^n BylAv|}v Tyr_y ]pnrrj ynt{~} r]]^]u p^]n7j rqr^q Brm7h Sqqj]q xl}rS j^^^o |k}vI ^]pl^ mv{jnv| qr^ru *rpom^ FP^BB ^^^^n GqB^^q^rl{ Er^rjj}z rr^qi IyGIHB^q xAA{{{{ Brq{T{I rAI*^r{ }|aGrrqm Grqx" I*Bqs! BBBKLD dHCt} F`ybTB PrjuIT KLMMMKDIIGTMMa MEEHIIIHHHHIFIFT IHIIBJFBJ_TBM UIMMM Cbf*JJITKB MKIIII Ua|}|H DCJIF }|{{|| }}|IKM IIHKU| }|{}}}IMMb FHFKT| }||}|||}|||FMMf |IHCC |}|||}| i|||{{||{ EJHKb Ttt|}| |}|||| MBKba|||| GIHET tb}}||}|} |||BMB ||{|| {|IHIIK|t M}}}|}}}}|} MtC}|{ ||}|||}}KTMM ||||}KGIIM }MCMMKtEG }}{}}}THCI EFCEMM |}|tI CIFIMI |tifPPaaPT vtiTT ibbBFBPBBP`aaMJaaTTMHIIIIMTTTCCBUbbTT fbtttt ftfbbUbbba TCDJTPTTBBBBTBBBBIIH Ta}}| TTTMTTTTTMJCMMMKCEEEICEGFEIIIIIIH vuvuvtvv aPabT MMTTMDDJJIKJDKFMIIT tUBvvM |TMM^B $!!!6 /bTabKPT{ U}~}} !!!$$""# $!!!$!!!,"! !#!!!$!! !!!#!# $!!"#### ##### IdAutore e was the son of the Spanish painter Pedro Berruguete and was particularly appreciated by his contemporaries for his work as a sculptor. As a young man he spent many years in Italy, coming into close contact with Michelangelo. His use of vibrant colors, his gentle handling of drapes and his ethereal figures recall the basic ingredients of Tuscan Mannerism, particularly the work of Pontormo and Rosso Fiorentino. Among the works he painted in Italy are the two pictures of Salome with the Head of John the Baptist and of the Madonna and Child (Uffizi). He returned to Spain in 1518, working in Saragossa, Madrid and Granada as painter for Charles V. He finally opened a workshop of his own at Valladolid, executing important commissions such as the polyptych for the Irish College (Salamanca) and another one for the Convent of Saint Ursula (Toledo), as well as numerous altarpieces with polychrome sculptures..es....s....es....es....s....s....es....s....es.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando $ 2 ' B P t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALONSO BERRUGUETE Paredes de Nava 1488 ca. - Toledo 1561o He was the son of the Spanish painter Pedro Berruguete, and was particularly appreciated by his contemporaries for his work as a sculptor. As a young man he spent many years in Italy, coming into close contact with Michelangelo. His use of vibrant colors, his gentle handling of drapes and his ethereal figures recall the basic ingredients of Tuscan Mannerism and in particular the work ofPontormo and Rosso Fiorentino. Among the works he painted in Italy there are the two pictures ofSalome with the Head of John the Baptist and of the Madonna and Child(Uffizi). He returned to Spain toward 1518, working inSaragossa, Madrid and Granada as painter toCharles V.He finally opened a workshop of his own at Valladolid, executing important commissions such as the polyptych for the Irish College (Salamanca) and another one for the Convent of Saint Ursula (Toledo), as well as numerous altarpieces with polychrome sculptures.s.s.s.s.s.s.s. Madonna and Child Salome with the Head of John the Baptist FrancOpera ObjectClass FrancOpera ObjectClass ~~~~~~~~~~~} ~~~~~ ~~~~~~~~ ~~~~~~ ~~~~~~~ ~~~~~~~~ IMPMU HEEJKU ULWJ* KE8M@ KLKLM @P<E<N GHHHC GH<EICd A>@NBOPQ VMLC?Nt UHNPb MUUG=AV ~~~~~ ;LLLMLLEE LLLMUUUUU ELMMMMM U9LMLM {zkz} *sksk Trk2 prrsTTrps pr_^^pkz *644% IdAutore he dignified religious piety of this follower of Savonarola is evident in his paintings, especially his altarpieces. Fra Bartolomeo, who was to become a Dominican friar, was a pupil of Cosimo Rosselli and shared a workshop on various occasions with Mariotto Albertinelli, with whom he worked on his first paintings, the Annunciation (Volterra, Cathedral), and the Last Judgement (Florence, Museo di San Marco). Although he always worked in Florence, he did make two brief trips to Venice and Rome. Among the works that best testify to his airily peaceful style and his ability to reconcile the Florentine heritage of the Quattrocento with elements that herald the new developments of Mannerism, mention should be made of the Apparition of the Virgin Mary to Saint Bernard (Uffizi), the Noli me tangere (Paris, Louvre), certain frescoes and paintings on wood in the Museo di San Marco, and the splendid Deposition (Florence, Galleria Palatina). At the Uffizi, there are also two monochrome paintings with the Annunciation, Circumcision and Nativity..95....5#........#.#.5#....5#....#.#.#.#.#....5#....5#.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando T b ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Bartolomeo della Porta alias FRA BARTOLOMEO{ Florence 1472-1517 Apparition of the Virgin Mary to Saint Bernard Annunciation (recto) and Circumcision and Nativity (verso)7 FrancOpera ObjectClass FrancOpera ObjectClass francOpera objectclass German ~A*++ jvjvjjtk ~_Sjv tjttj ait|T6 }t*I7} krttsj| ts_jv tBTjv jtss^|trt tsrs^ #M_a_v| b}}}J /',+, %'% 2 //2// !""!! ,%,, !!!!! "###! ,/-/%,%, L9L::9:;:99:::9LL9LLL LL;:;LLL ;<::;;;L UUN<LL=LU NNLNL ULNLNNLNLLNLNLN;< NLLNUNLN NLLLL 99L;;;;::N <L:LL; :L;:;;<;;E;;;;;LL9L L:LL8 N:;:L;:;;<;:LL:;<;;;;; :8:;;:< ;:L;;;LL:LLM LLMMMLLLUU UULNNNNU ULULLLLLLL9N9;;;L9U LLLU; <<<;<< <<;<<;L K;*U4.W <;;UU 865355 343404 /6333 L;;;M N;;E;;L:NL:::;L;<<< <;<:L;LLLLLL:N;;LLL<;NN NLLLN 889989: LL::::: :L9:L9L9 L9:L8L99L89L8: :98;8L99 L;LLLLLLLMLLLLLM L<<;LN NN?=LON=N?=NONNONNOONNWVVVONNWNNNNNNOUNN LWVVUVNNUUUNUVUUNVVUOUVUcUU XXdYWWY[dW WW[WYYYYYYY[[[YYYYYY YYY[[[YY[[[[[[W[[[[[[[[YY[[[YYYY[YY[YY ededdWddXd OO[WWWddedddXdWe [YOWdedWdWdWWdWWWWYWWWddWVVVWOWNW =YOOWWWWddWWdWWddddXdWWdddd XdYYWYX dddYYYYO U::;;NW WWWWdddd 9Y<=d ;Yd}}X :==:;< =:;=;:=; ;;;;; 48899 9888878898888. 99888 8:889 59888888888889888. 8888888L9889 99LL9888888. 989L9::::8888 LLLL::;::889. LLL8L8:L 5LNL9MLL9 LL9L99 :L989L MULM9LLLL9L::; 9:L9:: LLLL8;; LLL9L88 LL9L98 888::8::8 9LL888 88899889 8UUWVWWd ?>ONNNWVN>N>=?N?N====;=N<=U N==N?>=>N==NONOO[OXXY[OOOY ddOWY WO[NONOWd[WWN?WWYWW[W[OWW[L WOOWWOWOW[OY[OW W[WWWXWWdY d=>;dNVdWWWddYWdYYdd dWdWdddddd L?NWU OO?OOXWWWdWVddcWWdWVOWOOdWWVWWOdXWONNONONNNNNULUVWWdVUNNUNNUUcUVWWddVVdWWWO IdAutore ichelangelo's familiarity with the Humanist circles and his apprenticeship in Domenico Ghirlandaio's workshop and in the de' Medici garden of San Marco under the guidance of Bertoldo di Giovanni have almost become legendary. The artist grew up in the shadow of Lorenzo the Magnificent and the Popes of the 1500s. Apart from brief stays in Venice and Bologna, his whole career unfurled between Florence, Rome and the quarries of the Apuan Alps, where he went several times to choose the blocks of marble for his sculptures. In Florence, he made a name for himself right away by working for the de' Medicis and later for the Republic. In 1505, he moved to Rome and entered into the stormy relationship with Pope Julius II that was to become the source of unending anecdotes. For this Pope and his successors, Leo X, Clement VIIand Paul III, he created works that have left an indelible mark on the history of sculpture, painting and architecture. Outstanding among his early works are the Madonna della Scala (Florence, Casa Buonarroti) and the statues for the altar of San Domenico in Bologna. During his first stay in Rome (1496-1501), Michelangelo showed his extraordinary gifts as a sculptor with the Piet in Saint Peter's at the Vatican, one of his most intense and perfect masterpieces. Back in Florence, he received his first commissions as a painter for what is known as the Doni Tondo (Uffizi) and for a fresco, which was actually never painted, illustrating the Battle of Cascina for the Salone dei Cinquecento. These were followed by various sculptures, such as the famous David (Florence, Galleria dell'Accademia), the Pitti Tondo , the Brutus and the Bacchus, now all kept at the Museo Nazionale del Bargello. He was summoned to Rome again by Julius II to design his funerary monument, of which only the statues Moses (Rome, San Pietro in Vincoli) and the Prisons (Florence, Galleria dell'Accademia; Paris, Louvre) were actually created. In 1508, he began work on the most extraordinary pictorial undertaking of all time: the fresco paintings of Stories from the Old Testament on the vault of the Sistine Chapel in the Vatican, completed nearly thirty years later (1541) with the Last Judgement. During the same period (1520-1534), he also began another important creation at the behest of the two de' Medici Popes, Leo X and Clement VII. This was the Sagrestia Nuova at San Lorenzo in Florence, justifiably considered one of the greatest artistic accomplishments of all time. Next came the frescoes with Crucifixion of Saint Peter and the Martyrdom of Saint Paul for the Cappella Paolina, also at the Vatican. In his latter years, worshipped by his patrons, disciples and fellow artists, Michelangelo created a number of important sculptures, including three new versions of the Piet (Florence, Galleria dell'Accademia and the Museo dell'Opera del Duomo; Milan, Castello Sforzesco). At the same time he also worked as an architect, designing and building, among other things, the revolutionary Biblioteca Laurenziana in Florence and the grandiose dome of St. Peter's..s.s.s.s.s.s.s.s.s.s.s.s.s.s.'s....s.s.s.s.s.s.....s.s.s....'s....s.s.'s....s....'s....'s....'s....'s....s....s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MICHELANGELO BUONARROTI Caprese 1475 - Rome1564 Doni Tondo (Sacred Family with the Young Saint John) FrancOpera ObjectClass $##"$$ IdAutore e was a pupil of Ridolfo del Ghirlandaio's, and for a long time collaborated with Andrea del Sarto, whose painting had a profound influence on him, especially in the use of soft colors and delicate atmospheres. He largely focused on small sacred scenes such as the Madonna and Child with Saints (Florence, Santa Maria Maddalena dei Pazzi), the Vision of Saint Bernard (Baltimore, Walters Art Gallery) and the Holy Family (Florence, Galleria Palatina). However, he also painted a number of successful portraits: the Portrait of Piero Carnesecchi (Uffizi), and the Portrait of a Woman Dressed as Saint Barbara (St. Petersburg, Hermitage)..).).e)....).).).).).).)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenico Ubaldini alias PULIGO_ Florence1492-1527 Portrait of Piero Carnesecchig FrancOpera ObjectClass 0o\NXNXNZ &\'<, D|Iga IdAutore e learnt the rudiments of painting from his father, Giovanni Santi, in Urbino, where he was also able to study the work of Piero della Francesca and Francesco Laurana. He moved to Perugia around 1497, and there joined Perugino's workshop, quickly revealing himself to be a child prodigy. In 1504, he moved on to Florence, where he enjoyed the support of the Gonfalonier Pier Soderini, who introduced him to all the main artists of the second part of the Renaissance, establishing contacts with Fra Bartolomeo, Leonardo and Michelangelo. He settled in Rome in 1508, working for Pope Julius II and Leo X. His achievements included decorations in the papal palaces, and he was appointed to succeed Bramante as chief architect of St. Peter's and Superintendent of Roman Antiquities. His great fame brought him an increasing number of commissions, many of which he entrusted to his flock of pupils. These included Giulio Romano, Giovan Francesco Penni and Giovanni da Udine. Raphael died at the age of thirty-seven, at the height of his fame and career. This extraordinary and dramatic event, which preceded the Sack of Rome and the end of the Renaissance utopia by just a few years, soon became part of this artist's legend, proof of his divinity. His apprenticeship and close collaboration with Perugino are evident in his earliest works, such as the Coronation of the Virgin (Vatican, Pinacoteca), the Marriage of the Virgin (Milan, Brera), and the Portrait of an Unknown Man, said to be Francesco Maria della Rovere (Uffizi), which nevertheless also reveal great stylistic independence. During his years in Florence, when he was influenced by Leonardo and Fra Bartolomeo, he painted a number of famous Madonnas, such as the Madonna of the Grand Duke (Florence, Galleria Palatina), the Madonna of the Belvedere (Vienna, Kunsthistorisches Museum), the Madonna of the Goldfinch (Uffizi), the famous Portraits of Agnolo and Maddalena Doni (Florence, Galleria Palatina) and a number of large works including the Colonna Altarpiece (New York, Metropolitan Museum), the Ansidei Altarpiece (London, National Gallery) and the Deposition (Rome, Galleria Borghese). In Florence, he also painted the Portrait of Elisabetta Gonzaga, the Portrait of Guidobaldo da Montefeltroand the Self-Portrait (Uffizi). In Rome, between 1508 and 1520, he painted frescoes in the Rooms of the Papal apartment and the Vatican loggias, and also altarpieces such as the Foligno Madonna (Vatican, Pinacoteca), portraits including the Portrait of Julius II and the Portrait of Leo X (Uffizi). Moreover, for Agostino Chigi, he decorated the Palazzo della Farnesina and the Chigi Chapel in Santa Maria della Pace, also in Rome. The painting of Saint John the Baptist in the Desert (Uffizi) and the large Transfiguration that was left slightly unfinished date back to his last years..s.s.rs........rs....rs....rs....rs....rs....rs....rs....s....s.s.s.s.s....rs....s.s.s.s.s....s....rs....rs....s.s.s....s.s.rs....s....s....s....s....rs....rs....s....s....s....s.s.s....s....s....rs.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando V d ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando n!|!' tipoHot ObjectClass rimando "$"t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando RAFFAELLO SANZIO Urbino 1483 - Rome 1520 Saint John the Baptist in the Desert Portrait of an Unknown Man, said to be Francesco Maria della Rovereee Portrait of Elisabetta Gonzaga Self-Portrait Portrait of Guidobaldo da Montefeltro Portrait of Giulio IIm& Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi Madonna of the Goldfinch FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass J@`@' FrancOpera ObjectClass *E@E' FrancOpera ObjectClass FrancOpera ObjectClass J7J7M dUddNW 44vtttz {}tO> {ttttt >COON>; ttttztt{ }}}~|~} mosrjjjsj =@|e> yrrssstsk }}~~}} =VfQ= Jzsrrjsjsk Oe|~}} bzsrssjsj ?Nf=QN {}}ttjkss ksktkt {tt}}} {ztttttt }~}|} e=POXf} ttttzt{ ?Xzt?P Rtztttjtkt ~jRRt f_jt| vS^_}{rsjtjstkt }sRtt rrjsjtt ~`ajtt|b|||~ t^^t|} shskt =c}}}} s`ttt}`t }}S^s|~}sstt t`stt}` st}tb |sjstkt jsst{ tsj}fb ^@t}~|} sittt }tsrv aAj}| }t}~? istts|`t jj^ste Z|tkt}t t_jts tsr\t |t}}_t ^ttAv ts`Rj k]Rrv uOt}~}{ tstt} sr`Rt |srrR`teQO }~~|t vt|t{ }trrh\o{c? konhBFP {~}}| }tdfWW t}~}~}}|| |tt}~ |}}tQZV tt}tt`QQ gXddet <LO@>O?c ?WOWe ;54/.65--- 4UNUd 46.-.---& 6.--.----&--&L 6....----6-.6. 5-..-. -.55> 44.6.6../-..6.6. ..4-/... 66466656456/5-6 .6.6..6.648 46466634./ 34334664 .4243 }rsrrrzy 34338 jrsrrrrkkz srsrrrrrrrkssskt}} jssrrrrssssjjt jvsjsrrsjsj kjjtt fjkjtt|}} ?XWbXWXdbcdXXbWXXW= eecfWbWXdXWetfZO uXNN> WU=UV aTbbbPaabbaaaa` PPPaPPPT@Pa`` tbbaabbU PPUaTCPc; O?CO? H;Of} @WPQO` #!! $!$$! !!!!$ $$#$#$!$$!$ $$$!!!! ~!!$#$ $$$#! O\aOWQQOOQQWQOPOOP>>>@>VOPQOQOQOQOQWQ QOO?\OZ> }}}}} }}}}} bGGBCI <@PMH }}}~~ TMTTK CBH@U 8;;;9;9 c~~}~| LUUU; ~tRRO |Vktst| tPkstj |tstsjj sjskskPaks{s kzLjtst ttttKs tsazt t~~~~ ~~~~~~ d;=Zi ~~|tt ~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ ~~~~~~~~~~~~ ~~~~~~ ~~~~~ ~~~~~ ~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~~ ~~~~~~~~~~~~~~~~~~~ ssTTssJTs ssTss_Jr_s_^rKr_Frs^ sTsr_s_srK_^rs^_ssK ssssTrrK_sKrJ_KsF^Tsr sTsTr_T_r___rrr_J^_r s__ss_rr_srrK^Kr^^r^ rss__sKrsK_Kr_rrJ^sFrs rTss__sJ__rrJrJrrIrF^sJ sss__r___srKr^^_Frr^GsD sTs_s_r__sKrrKrr^FrFFs^ rr_sTrKrr_^J^rFrFG^rG^s TJr_rrrsK^srrFrF^rF^FrFsT ^^J^Ksr__J^FrGrI^GrrFrFr6* tsGs7 ^K^^^Jr_s^^^F^Fr^G^GGGrr7 __rF^^F^FrFrFrGFIrIrIrFr ^KrBB^^r^GrGrGrGrGrGrG^s_ T^_Drs KFB^FFFGGrGGGrGFGFr r^GrGrIGG^IGrGrr TII^GFGrI^I^GG^Gr rIrFGrG^F^I^G^T2 ^^^F^G^GGGGGG^IFBG s_^GGGGr ^B^BGBFG sIJKT_s rTs^Is} TsF_BKI 7IKIIsB DTTKTJI I7III Is^^s TIIJB sKJ_^s ssTss srTss ^_r_s sD^ss ss^Fs rr_Js Fr^^Ks^^F^Gr ^BsF^Ds rJs____ssTrr s*BrBsTsF_ s_r__rs_rK_^I^^ sss_^^s s^Kr___rDrI^G^ sTs_F_ sTr_I_r_KrJrIFs^s JIss_K_ ___K_s___^^Gs ss_rr^rssT_I^G^ s_rrs }}}}|}}} ||}}|| }}}}} ~}}}}}t ~}}}}~}| }}||}B ||}|T |}||} }}}~}}} }}}|} |}}}~ IB}}}} }}|}}}|}|| |}}}|}}~ }}}}} }}}}}} }}}~}}}}~ }~~}}}~~}}}} I}}}}}}} }~}}}| }}}}}}}~ }}}}}}|| ItG}} |Ttt* *sIppq at}tt TIJJI GrIIIpIII*r pIqIpIs_ GIIrIIII IdAutore achiacca's earliest work speaks for his probable apprenticeship with Perugino and his collaboration with Andrea del Sarto, with whom he worked on the Camera Borgherini, painting two panels with Stories of Joseph (Rome, Galleria Borghese; London, National Gallery). He was later influenced by the Mannerist artists, thus growing closer to Michelangelo, Raphael and the northern idiom of D rer and Lucas Hgenszoon Van Layden. This evolution is evident in the predella with Stories from the Life of Saint Acasio (Uffizi), the Decollation of John the Baptist (Berlin, Bode Museum), the Deposition and Christ before Caiaphas (both at the Uffizi). He entered Cosimo I de' Medici's service as a painter, decorator and designer of displays for grand celebrations..s....s.s.ns....s.s.s.s.ns....s....s....s....ns....s....s....s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco Ubertini alias BACHIACCA Borgo San Lorenzo 1494 - Florence 1557 Deposition FrancOpera ObjectClass JKKFM TAGGGGI GHHC7 TBMFCMT7 7L/000/0. -//3303032344 H.06/60/ /330033333303 .55.6/ 00033333330 .J2HF7I7 ///0/6 -00003 23233 J6.%///0/ 303333333233 MEJHEE IHIJIHHEI EHIEJ IdAutore e was an exponent of the second stage of Florentine Mannerism, having trained in Ridolfo del Ghirlandaio's workshop. He was involved in designing the displays for the obsequies for Michelangelo and for the celebrations of Francesco I de' Medici's marriage to Giovanna d'Austria. The few works that have survived bear witness to a simple style and restless realism. They include the Woollen Mill and the Sacrifice of Lavinia, painted for Francesco I's study, a Madonna and Child with Saints (Uffizi), and the Brothers Around Saint Thomas (Florence, once in the Oratorio di San Tommaso d'Aquino)..).).o)....).).).).)....)....)....o).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MIRABELLO CAVALORIw Florence 1535-72 Madonna and Child with Saints FrancOpera ObjectClass 60602 00/&00 260/2233 6/... 00/--& }}}aa ..7PgRPtQt PTPA}| rr_^rI_rA TbSSR psppIpppt BTrprrsIprIk }GrssprIp pskpIrsr GpIIrrps HABGBa rprrrI pIrprrrrIs pIprpIqqIrr rIpGrqGrrrrss_ TrG^^rrrGprrssrrr 9BsIFT+* rrrrs MCsJFM,* KsTFT, EsTFT IsBK2 SBtT^s AaBsssk ^GrGr A>HJsj QAAIF rG^Brp MaCTP krIks GMsss %STAA GGkrGqGrq srrsrrrrrrG MSCAb rGpr^aKC ^GrBLCM r^rFB PSQPTBBT M>TAP PBCs~$ 2`aBG ATAAB cUbcMM UMKUMUMMM8K IdAutore lthough he was originally from Bergamo, he is recorded as having settled in Venice in 1510. His initial point of reference as a painter was Alvise Vivarini and the fifteenth century idiom, but he soon moved on to embrace the new pictorial language of the Venetian Cinquecento. In fact his numerous altarpieces and Sacred Conversations clearly relate to the rarefied atmosphere created by Giovanni Bellini in his work and the vibrant use of color that is characteristic of Titian. This is evident in his work from the Holy Family with the Young Saint John and Mary Magdalene (Uffizi) to the triptych with Saint Barbara, Saint Dominic and Saint Sebastian (Venice, Santa Maria Formosa), of the Sacred Conversation with Donors (Rome, Galleria Borghese). However, the artist was also clearly reminiscent of Giorgione when he painted mythological scenes such as The Two Nymphs (Frankfurt, St delsches Kunstinstitut) and Venus and Cupid (Cambridge, Fitzwilliam Museum). Moreover, he was also renowned for his portraits and for the beautiful female figures he painted: the Judith (Uffizi); the Portrait of a Young Woman (Madrid, Thyssen Collection) and the Three Sisters (Dresden, Gem ldegalerie)..).).).).e)....).).).).)....)....).).e)....e)....)....)........ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo Negretti alias PALMA IL VECCHIO+ Serina, Bergamo 1480 ca. - Venice 1528g The Holy Family with the Young Saint John and Mary Magdalene Judith FrancOpera ObjectClass FrancOpera ObjectClass BBAGJ ssssk2z zrssrprIrpss zzssrs Gqr^IIrIks rrksrIIpIrp krrrrssksIk krrrrrrsskssrIrssprGrIk rkFrksr kIrIr^spIrsrrI^sGr^^rGk rGI^p r^srrsIrs^Irrrr^I^GB^Gk r^^^Ip ssrs^^GrrrrrrIIFrrIGr^^rk kIGGrp srG^^rIpGrrrrpI^rkIII zs^^Ir rBG^FqGrFrpIrrrIpssrqGp rG^^G^G^GrrIrrr ksksIIp B^G^^^^^rIpr^rr2krskrqs CGABT rGrG^GrGrrGrrrrq ^GrG^GrFpFIp rG^^^rGpIr_sprIpIp CBBTT ^^IGG^G^^^ rIpps zrqs2 BsT_TT sIpr^r^^Iqrrrrssr pGpIFIrrIrsrssksrrss rGprrIIrrrsks kkprrs GAACT _K_TB rGqIprrrIpIks z2ksss rrpIrpIrp rpIsk GrpIrkIrrk krpIk zzzkIk TTs_^ ^GrrIrssks rrGrrsr rpGqqqrpss sssrsss qr^rs s^qrGps AGGCCCMTa rGppss B^BBA^k ^AB^A BB^sSBTAT TBBsG GTTBMT FPTBU ABBAbA BaTBNTT_ @GBBPT GFFDDrI r^rskrk TF^Ipz rGrF_ TB^^^rIs GrFr^rz ^BBBGrrs rs^IFs GAMTBB CECMBT r^BBB^B^^GrsJsG^_srs ASSABBB^rss^I^^s BCTBB TAABC B^BBFss _^_rk CSVBUUB B_^B_ ssKsF TBrssJsJs GSGAMMT <M@<H CCCLTLEJ^rss _CABB TMMTTMTs GGBMT cMTMTb TIKKDDFBTTTb MJJJKFDFFFFFFT sbtbt bKTMJIJIIFIIIIIIIBUb MIIIIIIGI BPbTJU GFBIIIBaBI a_FaPIJMa ibBFsTIM iPIIS_FIK s^_IP_BJKJMc aGIS_S AI_^^ sGS^I S^^IIII t_GIIIGGF HIIIIT aPb`bb ^sbsb sA____aab`SG FIBBBBb j__sGBs^H GBTBBTAb __GI^AH B_^B_A jstsBSB^ASII _SBTaS t_GBBBsTG^BI BaTB^_s I^_GIGBGGI __BBAPa BIIG^^ IIGBI B_BASP ia__as___ *A_BA_s b_T^^^s I^B*I AABA_b _rB^^rrTiB _BBA_ bBBBGBB^_ArG GBAIBBBS ^AB^*G^B IjB^B AHG]G^ G^rGAI^H bBIIH A^ABBB *BBBI ^_P^BGG BSTBSt MJIII B^BBGBGTiTP MMKJI G^BBGF GBBBBU bbAII UIJFTTF TFHIIM IdAutore e moved to Venice as a very young man and there initially joined the famous workshop of Gentile Bellini and Giovanni Bellini. From here, he moved onto an apprenticeship and so close a collaboration with Giorgione that it is difficult to determine the creator of the early works. He spent most of his long career in Venice, working for the Republic and the principal schools. However, his rapidly growing fame soon brought him important commissions by princes and rulers from all over Italy and Europe. In Padua he was working in the School of Saint Anthony, in 1516 and from 1523 to 1525 in Ferrara, in 1521-1522 in Brescia, then Mantua, and in 1530, he was in Bologna. In 1543 and in 1545-1546, he also made two trips to Rome, where he was made an honorary citizen; twice he stayed at the imperial court of Augsburg (1548 and 1550), working for Charles V and Philip II. Titian's early work reflected the lyrical atmosphere and soft colors of Giorgione's painting. It includes the frescoes at the Fondaco dei Tedeschi that have been almost entirely lost, the Miracle of Saint Anthony (Padua, School of Saint Anthony), the painting of Flora (Uffizi), and various portraits including that of the Man with a Glove (Paris, Louvre) and the Portrait of a Knight of Malta (Uffizi). Moreover, there are also several paintings that are variously attributed to Titian and to Giorgione himself, such as the Open Air Concert (Paris, Louvre) and the Concert (Florence, Galleria Palatina). He moved away from his master when he began to work on monumental compositions with the vibrant chromatic effects that are typical of the mature style of masterpieces such as Our Lady of the Assumption (Venice, Frari), the Sacred and Profane Love (Rome, Galleria Borghese), the Pesaro Altarpiece (Venice, Frari) and the Presentation of Mary at the Temple (Venice, Galleria dell'Accademia). He also painted a number of portraits and mythological scenes while traveling throughout Europe: the Venus of Urbino, the Venus and Cupid (Uffizi) and the Bacchanalia (Madrid, Prado; London, National Gallery); the Portrait of Charles V (Madrid, Prado), the Portrait of Fran ois I (Paris, Louvre), the Portraits of Francesco Maria della Rovere and Eleonora Gonzaga (Uffizi) and the later Portrait of a Young Englishman (Florence, Galleria Palatina). Around 1540, in concomitance with traveling to Rome and becoming acquainted with the work of Giulio Romano, Titian apparently submitted to the dominant Mannerist idiom. This can be seen in the soft tones and deformed poses of the figures in the Crown of Thorns (Paris, Louvre) and the Bibilical Stories (Venice, Chiesa della Salute). The masterpieces of his latter years, such as the Punishment of Marsia (Kromeriz, Museum), Tarquinius and Lucretia (Vienna, Kunsthistorisches Museum) and the Deposition (Madrid, Prado), are painted with intense brushwork and a luminous impasto. Other works by Titian at the Uffizi are the Sick Man , the Saint Margaret, and Portrait of Bishop Ludovico Beccadelli; whereas the Portrait of Caterina Cornaro is thought to be by his workshop..op....op....op....op....p.p.p.p.p.p.p.p.p.p.op....p....p....op....p.p.p.p.op....op........p.p.p....op....op....p.p.op....p.p.op....p.p.....p....p....p....p....p....p.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando TIZIANO VECELLIO Pieve di Cadore 1490 - Venice 1576 gruppo1 "B x The Sick ManU Flora Portrait of a Knight of Malta Portrait of Bishop Ludovico Beccadelli Saint Margaret Portrait of Caterina Cornaro FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass \6r6' FrancOpera ObjectClass <;R;' FrancOpera ObjectClass gruppo2 Portrait of Francesco Maria della Rovere and Eleonora Gonzaga Venus and Cupid The Urbino Venus FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Gruppo2 Gruppo1 buttonclick buttonclick Gruppo2 Gruppo1 false verso verso ObjectClass bUUaT PNOMTNUbPP U@TTOT FFKIDDKDC JKIHJFIHII HIHIHFIFJD 226/2 IKMJE IJKJJK FJTIM FHIKI FKJFDF HHFJIFFDFD FDIIFJKK HDDFKDJ IIEIE >?@UTO $#$! ..L85 9878588:;;::78 ....+ 3-)0+ =======N==NNON=L=;NNN===ON>NNOOVNNOVONNNONNUUVVN ULV;N dPUWVO>NUO<HNNL<<@ <H=LLN <N<NUVNNVVNO=NU LEMUFFLLLLMNN;B=MCNOWPLMCLNLONUPLNPNNPNNMNOMNMLMLCCN;HNOLL ~|eBe| a_I^tu Tb|YN wfbwIFIKJ_K IIIJIFIIt waIF^IT7III| IKs_JI FIFIIJtT ||ff~ vIFITF F{IT~ ~CFbU BIFJJI eIIIFTII |BIJIIF KTv|T JF|Ft HIIHBd II_^a} VUWUUP OJHIM III_~ HIKIEMF GDEEMUI IIeeQ| |TPFIM d|ULX BUbT| tcLVY HCEHHE IELFCCII IEJKLEIL LLUML;K;;KMMKKUVMTLVUKKUUMMHMcICDULDMKMMJMM CKUTMLMKMIKL8U HKJHK IIHIJI IJIHH IJIJIIH HIFJIJ HJIIJJ 8HEFU GHBCC -'+/-. **.-,+- ./'-60 /+)+'+/ ..6.56 *.-.*.+ ***+) 00+** .06.0 60036 -0000 06//666 *57.* 6//2/ IdAutore ne of the most original and expressive exponents of the late Renaissance and early Mannerism styles, this versatile Emilian artist was renowned as a sculptor, painter and miniaturist. His style abounds with grotesque elements and echoes of antiquity while at the same time revealing familiarity with the work of Filippino Lippi, the collaboration with Pinturicchio and the influence of northern European painting. Aspertini also painted numerous altarpieces, including the Piet (Bologna, San Petronio), the Adoration of the Shepherds(Uffizi), the fresco cycle in the church of San Frediano in Lucca, considered his masterpiece, and the shutters for the organ in the church of San Petronio in Bologna......na....a.a.na....a....na....na.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando AMICO ASPERTINI Bologna 1474/75-1552 Adoration of the Shepherdsc FrancOpera ObjectClass JTJMJI BFGFT -55-. &..&6+ &,,&, 66 &&&& & &-.*. 0/-')& TMMKMT ,))&&&) &&3 //+,,! )%'&% /%&+% 6,,,, E62B7 QBBMBBBTT@TTTPATTTSATAAAPPTATaPPPaPTPATBATPM@M MKDJKMT ECKJCEK EMIIG EEHGKJJMI;K EEKTJLK THHMM MMCCMCMIKMK ;HIFHMI ;IICI TJJMJ MTMMT JCMFBMT HKEBHMBMMK TMMMMMTMM IdAutore he was the daughter of the Bolognese painter Prospero Fontana and initially followed the eclecticism of her Mannerist father, opting for Po Valley and Tuscan settings. In keeping with Counter Reformation culture, she often painted religious subjects such as the Apparition of Jesus to Mary Magdalene (Uffizi), Our Lady of the Assumption with Two Saints (Imola, Palazzo Comunale) and the Vision of Saint Giacinto (Rome, Santa Sabina). She also painted excellent individual and group portraits, such as the Portrait of the Gozzadini Family (Bologna, Pinacoteca), the Self-Portrait (Uffizi), and the Portrait of Senator Orsini (Bordeaux, Mus e des Beaux-Arts). The style of his latter years bears witness to the influence of Annibale Carracci and Guido Reni..3....3%....%.%.%....%.%.%.%.%.%.3%....3%....3%.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LAVINIA FONTANA Bologna 1552 - Rome 1614 She was the daughter of the Bolognese painter Prospero Fontana, and initially followed the eclecticism of herMannerist father, opting for Po Valley and Tuscan settings. In keeping with Counter Reformation culture, she largely painted religious subjects such as the Apparition of Jesus to Mary Magdalene(Uffizi),Our Lady of the Assumption with Two Saints (Imola, Palazzo Comunale) and theVision of SaintGiacinto (Rome, Santa Sabina). She also painted excellent individual and group portraits, such as thePortrait of the Gozzadini Family (Bologna, Pinacoteca), the Self-Portrait (Uffizi), and the Portrait ofSenator Orsini (Bordeaux, Mus e des Beaux-Arts). The style of his latter years bears witness to the influence ofAnnibale Carracci and Guido Reni.i.i.i.i.i.i.i.i. Jesus Appears to Mary Magdalene FrancOpera ObjectClass J7IITTMBI _rrGBF* ssB^G ssrrkssksss_BBBGIII qrrs^rG^BG^GGGr rBGrGGGGIIGBI *rGGIIIG sssBGIrkrI ksssG** sGssG r^r^BI y{IGIIrs sssrGII F^I^ss rGIIG^GG ^rIGGs r^^^rr zIppq^I^ss ss^IIIIGrrs {I*s} p^s6} IdAutore lthough he was introduced to painting in Denys Calvaert's workshop in Bologna and later at the Carracci Academy, he actually served his real apprenticeship in Rome, where he lived for fifteen years, from 1599 to 1614, studying the works of Antiquity and the painting of Raphael and Caravaggio. Back in Bologna, he was able to develop the experience he had gained, becoming a painter of great stylistic refinement who was particularly sought after for his altarpieces and delicate profane scenes. Although his early works such as the Coronation of the Virgin (Bologna, Pinacoteca) and the Assumption (Cento, Pieve) embody echoes of his training in the Mannerist and Carracci styles, they also show how he had already opted in favor of more balanced classical forms. This tendency was encouraged by the important commisisons that he obtained from the Borghese family in Rome and in the Vatican, in the wake of the great Raphael and the restless Caravaggio. Outstanding among his Roman works are the Saint Andrew Goes to Be Scourged (San Gregorio al Celio), the paintings in the Cappella dell'Annunciata in the Quirinale and the Martyrdom of Saint Peter (Vatican, Pinacoteca). The Massacre of the Innocents (Bologna, Pinacoteca), painted for the church of San Domenico, reveals a new and dramatic expressive focus that favors deeply spiritual subjects, especially following the artist's return to Bologna. Among the fruits of this change, mention should be made of the Piet and the Crucifixion (Bologna, Pinacoteca). However, the artist also produced elegant paintings of pagan subjects of extraordinary beauty: the Atalanta and Hippomenes (Naples, Capodimonte), the Lucretia (Potsdam, Neues Palais), the David the Victor (Uffizi) and the Cleopatra (Rome, Musei Capitolini). The Madonna of the Snow is also kept at the Uffizi..zi....i.i.i....i.i.i.i.i.i.i.i.zi....i.i.i.i.i....zi....i.i.i.i.zi....i....i....i.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GUIDO RENI Bologna 1575-1642 Madonna of the Snow FrancOpera ObjectClass rrr^B r^^pBF ~~~~~ A^r^pGK Brp^BpI ^^^prIpI~ ~rG^^p^G^G ~~~~~ |BGrrrpG^I ^IGrpppI^^ qIIrGpnrGG ^GIGrGrnIrF tig`{ ^I^GqrIqrGG ~~~~~~~ ^qIG^GqpGpBGT{k~ rk^GGB^rpBr^r{z uiiPGh moprrG^]prrrqvx 2/+))') `i`iaSjC zrrpppppprorrrzx |fS`iiAvgG`@i I^pppprlrrl| SigSx`SAt rI^kqI IGrnokrrk {i^GRwQ`wSa ^I^^GpGIIIGpzoro sBrGIG^^JI*^Irz]l ~TAf^H BqrB^GF HCiBC Irpr^| J*Grx Gplr|~ s*GCGwS !IC^^hF H^SxH }rIII joGFIGI I^GGGIIG 2*G^GIIIG IBBB* ~GAEUAD BRHHB GaBK) 62')2 ~AGTFG HGFHF M@CGHH FBBB2 ABBAE /BB@KCI HKCBKKCC ABTTPMTNPaTPTUbca IdAutore H z e learnt the rudiments of his art by studying the works of Perugino, Sodoma and Raphael. Yet in his own work he achieved such remarkable effects of color and light that these actually prevail over the drawing and composition. He thus became one of the greatest and most original exponents of Tuscan Mannerism. Although he made two trips to Rome (1510-1512 and 1519), Siena remained the focus of his work. The works he created there include the drawings for the floor of the Cathedral, the frescoes in the Sala del Concistoro in the Palazzo Pubblico and the Stories from Antiquity that he painted in Palazzo Bindi-Sergardi. Moreover, he also painted the Birth of the Virgin Mary and the San Michele Altarpiece (both in Siena, Pinacoteca), the Stories of Moses (Pisa, Cathedral), the Holy Family with the young Saint John and a Self-Portrait (Uffizi)..).).i)....).).).).).).....i)....)....i)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenico di Giacomo di Pace alias BECCAFUMI Montaperti 1486 - Siena 1551 He learnt the rudiments of his art by studying the works of Perugino, Sodoma and Raphael. Yet in his own output he achieved such remarkable effects of color and light that these actually prevail over the drawing and composition. He thus became one of the greatest and most original exponents ofTuscanMannerism Although he made two trips to Rome (1510-1512 and 1519), Siena remained the focus of his work. The works he created there include the drawings for the floor of the Cathedral, the frescoes in the Sala del Concistoro in the Palazzo Pubblico and the Stories from Antiquity that he painted in Palazzo Bindi-Sergardi. Moreover, he also painted the Birth of the Virgin Mary and theSan Michele Altarpiece (both in Siena, Pinacoteca), the Stories of Moses (Pisa, Cathedral), the Holy Family with the young Saint Johnand a Self-Portrait (Uffizi).).).).). The Holy Family with the Young Saint John FrancOpera ObjectClass KJ7IC HIIHI X!R!R! IdAutore e was introduced to art by his uncles, the painters Pier Ilario and Michele Mazzola, and by his direct contacts with Correggio. However, he soon showed that he had an elegantly Mannerist style of his own. This is evident in the frescoes he painted for the church of San Giovanni Evangelista in Parma and for the Rocca di Fontanellato (1523-1524 ca.). He went to Rome in 1524 and there studied the works of Michelangelo and Raphael, spending time with Rosso Fiorentino, Perin del Vaga and Giulio Romano. The Vision of Saint Jerome (London, National Gallery) and the Madonna and Child with the Young Saint John (Naples, Capodimonte) also date back to this period. During the Sack of Rome, he fled the city, and in 1527, settled for a while in Bologna. In the painting known as the San Zaccaria Madonna (Uffizi), and in the Madonna of the Rose (1527; Dresden, Gem ldegalerie), Parmigianino developed the stylization of figures that was to make him famous. By 1530, he had returned to Parma, where he devoted himself with such fervor to alchemy that he actually turned down a number of commisisons. He died ten years later, crippled by debts and an existential crisis. The Madonna with the Long Neck (Uffizi) and the frescoes in the church of the Steccata in Parma (1531-1539) were thus left unfinished. He also painted some excellent portraits, such as the Self-Portrait in the Mirror (Vienna, Kunsthistorisches Museum), the Turkish Slave (Parma, Pinacoteca), the Portrait of a Man (Rome, Galleria Borghese) and the other Portrait of a Man (Uffizi)..i)....)....)....).).i)....).).i)....i)....).).).).)....)....)....)....)....i)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Francesco Mazzola alias PARMIGIANINO Parma 1503 - Casalmaggiore 1540 The Saint Zacharias Madonna Portrait of a Man $ 9!m Madonna with the Long Neck, Madonna and Child with Angels) FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass 66622/ r^JsJs srFIssrk zGIs^k ^FIrI }}JIJ FGIIHH /2/2} IdAutore e studied under Ridolfo del Ghirlandaio and then around 1517 went to Rome with a painter called "Vaga," spawning his nickname. In Rome he immediately joined Raphael's circles, working with him in the Vatican Loggias. In fact, he spent most of his career in the papal city, working on different commissions, including the fresco decorations at Palazzo Baldassini. Two scenes from these frescoes have been detached and are now at the Uffizi: Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio and the Justice of Seleucus. The artist also worked in Florence and Genoa, where he painted the frescoes in Andrea Doria's Palazzo at Fassolo and several altarpieces. He also designed numerous fresco and stucco decorations that were then carried out by his assistants.."."."s.""""""""."""""".""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Pietro Bonaccorsi alias PERIN DEL VAGAe Florence 1501-Rome 1547 Tarquinius Superbus Founds the Temple of Jupiter at the Campidoglio FrancOpera ObjectClass KJTTTT J7tBG IMCIH tFFEG HBV77 MK_sTTs CH*II BJM66 TBBHI BBKTBBs GBKBCTb IGFFTG }DICAGIs TBIIs7) +/,)+ /+,// +,'', ),/'/ &!&!&!r IdAutore ery little has come down to us about Dosso Dossi's origins and apprenticeship, though we do know that he was in Mantua in 1512 and Venice in 1516. His earlier works, especially the Sacred Conversations (Philadelphia, Art Museum; Rome, Pinacoteca Capitolina; Naples, Capodimonte), the Deposition (London, National Gallery) and the Departure of the Argonauts (Washington, National Gallery), bear witness to a lyrical idiom and a palette that recall the style of Giorgione and Titian. However, his style changed dramatically when he went to Rome, probably around 1520, and discovered Mannerism. This period gave rise to paintings such as the Madonna with Saints George and Michael (Modena, Galleria Estense), the Rest on the Flight into Egypt and the Witchcraft or an Allegory of Hercules (Uffizi). He mainly worked in Ferrara for the d'Este family; however he also went to Pesaro, where he decorated the Villa Imperiale, and to Trent to paint frescoes in the Castello del Buonconsiglio. Portrait of a Warrior and The Apparition of the Virgin to Saints John the Baptist and John the Evangelist are kept at the Uffizi...zi....zi....zi....zi....i.i.zi....i....i....i.i.i.i.i.i. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 0 > t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giovanni Luteri alias DOSSO DOSSI Ferrara? 1489 ca.-1542] Rest on the Flight into Egypt The Apparition of the Virgin to Saints John the Baptist and John the Evangelist Portrait of a Warrior Witchcraft or an Allegory of Hercules FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass *.@;E PL8X8 /0+,& 6/"-0 LNNNU NW[?O =Of=E .vGHM ...-/ HBABF bGHCAB bGGCRCH G@@GG ?SARF HCRGJ @A?AFH IHHGARAG ASASAH FASSRS >AS?SG GLSSSAS PTAAAH HHHC@SAS@ UAGFGH HHGASRSRS MMMML;MLL;CLMLL LCLCCMLMMLMMMTMN 2.26. srG^rr sG^rs rBGGB Bs^^^As Br^^s IBr^B 7III6 ....7 TBBJJ7TG sT_BBKI sTjsT JIJTT KKIIM IHDIHI GIIHD FHIII GFIJT }IGJs BsFrBBssB TGFBBb GHFIs^sT BI_ss IdAutore e was a pupil of Titian whose early works, including portraits, sacred conversations and altarpieces, fit into the general context of early sixteenth century Venetian art. In the Delivery of the Ring to the Doge (Venice, Gallerie dell'Accademia), which is considered to be his masterpiece, he reveals for the first time a distinctive style of his own with a characteristic use of architectural elements. Toward 1538, he moved to France and Fran ois I's court at Fontainebleau, and in 1540, to Augsburg at the behest of the Fugger bankers. Of his many paintings, mention should be made of the Bathsheba (Cologne, Wallraf-Richartz Museum), the Fight of the Gladiators (Vienna, Kunsthistorisches Museum) and various portraits, including a Portrait of a Woman (Florence, Galleria Palatina) and the Portrait of a Man with a Fur Collar (Uffizi)..i)....).).).).).).)....).).)....O tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando PARIS BORDONE Treviso 1500 - Venice 1571U Portrait of a Man with a Fur Collar FrancOpera ObjectClass BGBII JBGBT IdAutore e was one of the outstanding Veronese painters of the Cinquecento who used Giulio Romano and Paolo Veronese as his main artistic models. His most important works are still in Verona. They include some altarpieces (in the churches of Sant'Eufemia, San Lorenzo and San Pietro Martire), a Crucifix (San Fermo), the Cavalcade of Charles V (Palazzo Da Lisca) and the frescoes in the Archbishop's Palace. Mention should also be made of the Bathsheba Bathing (Uffizi), the Saint Margaret (Mantua, Cathedral) and the Martyrdom of Saint Barbara (Mantua, Santa Barbara)..).).).).a)....).).).).a)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenico Riccio alias BRUSASORCI Verona 1515 ca.-1567= He was one of the outstanding Veronese painters of the Cinquecento who took Giulio Romano and Paolo Veronese as his main artistic models. His most important works are still in Verona. They include some altarpieces (in the churches of Sant'Eufemia, San Lorenzo and San Pietro Martire), a Crucifix (San Fermo), the Cavalcade of Charles V (Palazzo Da Lisca) and the frescoes in the Archbishop's Palace. Mention should also be made of theBathsheba Bathing (Uffizi), the Saint Margaret (Mantua, Cathedral) and the Martyrdom of Saint Barbara (Mantua, Santa Barbara).). Bathsheba Bathing FrancOpera ObjectClass bPTTTTTT TPPabPT bbaTTbVa MMTTT TUaUbVb aPTPPPaPb`gabfbf cTKFIIBKBTMKTT PPTbb bfaQ`aaPabab`f tbbbb aTTBD fffa`f`ebbb Ub`fb ||}}}||}}}||||| bbPPQaTSPQaaa TJBFBFIFIGVb bUaTTM TMTPPf IIFBt bbTMU Taa`bPaabbbb UaTTBBTc ttttt aTMFIF TTMTJQT aMTac IJTTTKMKFI FTTBFKTM IITTTBFFH IBTTPV KSPSP TCTMI |wtaT }}}||| fGB_g |||wBDhb GFFBKJ e``F`f IFDFIJ |iFG^jwBBi _ZxBlFIa lxPiBIT }}}llxl`BIK thwxK_BIF IJIII }}}}} |hlv_ISBFK hxxSPiBFB }}}}}} }]xyfhil_FD _wx]iwxh^_ v]lwwluxlR`I L}}|} BBligwli_T }vII_iB JIFBT JHIBM FIB}MF bIFFTIII ITMMtbM HIMMMBKJ TIIIJ IKMII }}MT7 IJHIJ GijuM A__BFlT IIIJ7I S^GIITsBlBI IFBhBBA ^F_I^G^j_IFIGT BGIIFGT BBFGB IDBTTK FIKJS IdAutore e is mentioned for the first time in a deed drawn up in Rome in 1272. Then, in 1301, he is mentioned in a document from Pisa pertaining to the completion of a mosaic begun by a Maestro Francesco in the vault of the apse in the Cathedral. The following year, he is recorded as having been paid for the completion of the work, after which he disappears, literally swallowed up by history. However, Dante refers to him in a famous verse of the Purgatory, and a few decades later, the anonymous author of the Ottimo Commento della Divina Commedia indirectly gives us a clue about the origin of the nickname "Cimabue": it means proud and obstinate. In any event, his working life would appear to have been spent in Tuscany, Latium and Umbria, and to have evolved by gradually moving away from his initial Byzantine models in favor of a more expressive idiom. Clearly, he was not only skilled in choosing the right figurative elements but also in establishing a good relationship with his clients. The fact that we know so very little about his life inevitably curtails our certainty about his works, which continue to be surrounded by heated debate. The obvious point of reference for his early work is the mosaics in the dome of the Baptistry in Florence, where he would appear to have drawn up the preparatory cartoons for three of the scenes. However, there is also the Crucifix in the church of San Domenico in Arezzo. The famous Crucifix at Santa Croce in Florence that was badly damaged in the 1966 floods is certainly a later work. The figure is more human and the skillfully handled color range more muted, in keeping with the Franciscan canons. In fact, for the Franciscan Order, he ha already created what is perhaps his most important work: the frescoes in the transept of the Upper Basilica of San Francesco in Assisi. The deterioration of the paint pigment caused by oxidization of the white lead makes it difficult to appreciate how these frescoes must once have been, yet their expressive power is still remarkable. Clearly the artist had a powerful overall concept and was quite able to handle spatial illusion. Cimabue also painted a number of works that focus on the Madonna and Child theme common in thirteenth century art. However, he imbued them with unprecedented humanity, as in the Santa Trinita Maesta', for instance, now at the Uffizi, the Maest in the Lower Church of San Francesco in Assisi, the Maest at the Louvre and the Maest in the church of the Servi in Bologna. In his last years, he also worked on the mosaics in the apse of Pisa Cathedral, where it is almost certain that he created the figure of Saint John.."."."."."n.""""."""".""""n.""""""""."."n.""""""."."."."" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Cenni di Pepo alias CIMABUE Florence,doc. 1272-1302 Maest (The Santa Trinita Madonna ) FrancOpera ObjectClass we.MMT;MM MUUUTUMUMLUL8 NPVc<LO NVUUbSPU PPUbbNN @NUccNP LLTUUNN cO@Vc UUOcH =OM<< MPNPbUPV NPcPPPVP P=cbPbUPVN= NUNUUUPUc UNcPUVVPU =UP=NL=NN NN=NMNCNNbVN N=NC=VN=@N U@>NU@=NNLO PUPTUTU C=LCU U@@P==@ N<PLNU ULPU; @=PNM NUPNVNMA =NN=VL b=UcCNM=aE M=ONN VTUb=@NNb;; NN=cMM b=UNL PPASUT WLLPU Vb89bV @NPPb HSTOU; L<;;<c <;;L< <L<;L ;=NL;; LUN<L LMNLLL L<NNML== =LMNLL ONOL:N:ONH;a@ :ULLL IdAutore his great Sienese painter is first mentioned in 1278, when he is recorded as painting twelve chests for storing the documents pertaining to the Ufficio della Biccherna (Finance Office) of the Commune of Siena. These chests , unfortunately, no longer exist. However, in the following years he is recorded as working on other commissions for the Commune, despite the fact that he was considered a particularly unruly citizen: reluctant to take part in acts of war in the Maremma region, unwilling to swear faith to the Captain of the People, indeed, involved in acts of witchcraft for which he was fined in 1302. Scholars have suggested that he must have traveled to have accumulated such a widespread pictorial heritage. We have no documentary evidence of this, but it does seem likely that he went to Assisi and Rome. It is much less probable that he spent time in the eastern Mediterranean or in Paris, where mention of a Duch de Sienne and a Duch le Lombard in a document of the time could easily refer to another person of the same name. The date of his death, between 1318 and 1319, can convincingly be related to his seven sons' renunciation of their father's inheritance. Since the early works for the Sienese Commune have been lost, the earliest certain attribution is the small Crevole Madonna, now at the Museo dell'Opera di Siena. Next comes the large painting with the Maest known as the Rucellai Madonna , now at the Uffizi and long believed to be the work of Cimabue. Then there is a circular window in the apse of Siena Cathedral, the Madonna of the Franciscans (Siena, Pinacoteca), the Berne Maest (Kunstmuseum), and the Madonna and Child with Six Angels at the Galleria Nazionale dell'Umbria in Perugia. There is a document dated 1308 in which initial mention is made of the Maest finished in 1311 for Siena Cathedral. It is unquestionably the artist's absolute masterpiece, a work of such considerable complexity that scholars are inclined to believe that it must have been begun before the year 1308. It was taken down from the main altar of the Cathedral and disassembled during the eighteenth century. Sections of it are now spread out across the world in different museums, while the main corpus is kept at the Museo dell'Opera in Siena. It bears witness to Duccio's ability to respect the heritage of Byzantine painting while paying due attention to nature and everyday reality, which he renders with a highly intense palette. During his latter years, he painted the Little Triptych now at the National Gallery in London and the Polyptych n 47 in the Pinacoteca in Siena. This latter work is in a poor state and was partially painted by the artist's workshop..p.p.p.p.op....p.p.p.p.p.p.op....p....op....p.p.p.p.p.p. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando DUCCIO DI BUONINSEGNA Siena 1255/60-1319 ca. The Rucellai Madonna FrancOpera ObjectClass MUMUTb cbcccc bbVcc VPVVa bVbbUV PUUUMTMM KMMMU MLLLM UUMUUVUb TUMMTMUM MMML;LK ;EEL8M JLMMUUUUV TUUMUMUMMMLLMMLKL;E; ZffUffef feeeXfXeXfbfXWXXWXVXfgXagN ||}|| MBT`TILM JTa6K} |TTTB H5bFJDIIK MFIII 8sFI~ EEEEJ M;LMK 9IMKLF IEL;KM8 LLE8ILL 8M8J8CD FCKL;ML7L ULMMK KUUMU IdAutore opular legend recounts that he was discovered by Cimabue who saw him drawing on a stone. It is certainly likely that he joined Cimabue's workshop when he and his family, like many others, moved to Florence. At the time, the city was experiencing a major economic and social expansion, thus attracting a flow of people from the surrounding region. Scholars tend to agree that his earliest works were painted in Assisi, where he would have come into contact with Roman painting, which was to have a seminal influence on him He must have made a name for himself quickly, since there are documents attesting to his property ownership and commissions in Assisi, Rimini, Rome and Padua. From 1328 to 1333, he was working with a substantial group of pupils in Naples at the court of Robert of Anjou for whom he painted a series of frescoes of which only a few fragments remain. It must have been a positive experience, since the King honored him with a special appointment and gave him an annual pension for his services. Once back in Florence, he also found time to do some work in Bologna as well as assuming the direction of the works at the ancient Florentine cathedral of Santa Reparata and the magnificent bell tower. Scholars do not entirely agree on the identification of Giotto's earliest works, though most tend to opt for the frescoes in Assisi with Stories from the Old and the New Testament. The scenes he painted with the Stories of Isaac and Joseph and the Episodes from the Passion of Christ are the last in the cycle and, unlike those painted by other Tuscan masters, they show greater interest in space and the human figure. The artist's relationship with the Franciscan Order that began in Assisi proved to be extremely fruitful. The Crucifix in the Tempio Malatestiano in Rimini is a clear example. Two paintings on wood kept at the Uffizi also belong to this same general period: the Madonna and Child Enthroned that came from the Florentine church of San Giorgio alla Costa and the Badia Polyptych. By contrast, all that remain of his Roman experience are a few fresco fragments in the basilica of San Giovanni in Laterano and at St. Peter's. At the very beginning of the century, he was summoned to Padua by the Franciscans; here, the wealthy Enrico Scrovegni commissioned him to decorate his chapel with Stories of the Virgin, Stories of Christ, The Last Judgement and Allegories. Work began in 1303, and with the help of various assistants, was finished in the very short space of two or three years. It is considered his most significant achievement, a milestone in the history of European painting. Compared to the Assisi frescoes, it reveals considerable stylistic evolution, greater mastery of space and volume, a new figurative coherence and a much richer palette. His great fame meant that he was often called away from Florence, he went back to Assisi to decorate two chapels in the Lower Church of San Francesco, though the work was largely finished by his assistants, he also returned to Padua and indeed to Rome. During these years, he executed several paintings on wood that now belong to various museums across the world. They include the Ognissanti Madonna (Uffizi),the Crucifix of the Scrovegni Chapel in Padua, the Stefaneschi Polyptych (Pinacoteca Vaticana) and the Dormitio Virginis (Berlin, Staatliche Museen). At the same time, he also set to work on two major undertakings in Florence, the decoration of the Bardi and Peruzzi Chapels in the church of Santa Croce. Here he painted Stories of Saint Francis (Bardi) and portrayed Saint John the Baptist and Saint John the Evangelist(Peruzzi). They were severely damaged by being replastered and repainted in the nineteenth century, yet they nevertheless bear witness to an imposing monumental plan and some highly inventive solutions compared with those of Padua. Although only fragments remain of the works he painted with his best assistants when summoned to Naples, he left a lasting mark on the city as a whole. He spent the last years of his life playing a highly prestigious role back in Florence, where he divided his time between the supervision and design of building works on the cathedral and bell tower and the execution of paintings such as the Polyptych, now kept at the Pinacoteca in Bologna, and the Baroncelli Polyptych at Santa Croce. Giotto was admired by his contemporaries and by later generations for his fundamental role in renewing medieval painting and heralding the new art of the nascent urban civilization..on....n.n.on....n.n.n.n.n.n.n.n.n.n.n....n.n.n.n.n....n.n.n....n.n.n.n.n.n.n.n.n.n.........on....} tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOTTO Vespignano, Vicchio di Mugello 1267 ca.- Florence1337 The Ognissanti Madonna Badia Polyptych FrancOpera ObjectClass FrancOpera ObjectClass }}|}| vxvvwwvv Ma|ng- b|r;7 uP@hwti hjiuliywlu jybfVm ;LL:8 VTPbU HmrA| {nBTFr +& & B-.;; L|T;; |x.L; NvjU:8M:M -!MLU9M; L8:;:L`jL LUUML MMN.:L9 WjxV:M MMULU U:8amaU UvxM9U U68wu ..ixT ;LN@;HLL CH<BC=@CP >FK<C=EL8D C<LE;C8LLJ IE;EEMM ;MMLNLCMHE FH<HG @L;L8NNCEL 8E;C;; EE<CELMV MXPUUM 66.// E8aaPPaT |{{|v x{{x{v jiitbs |{|{|{{}|{ {}|{||{}| TDKLTKM }y}|aX SORQZS hzjhRgvZf| |r]Q`iz{}> |mgjkzz| O@N@_tbP=i s_PPij}@V tjgsz JUE=z RA`@G oaMCf@PP| zztbiz rz|k|U raktr ~ti`jtjz at`|} i__j`s hAOQQO`at PRSiijj ~@RO<OR\fi srskzbiP_S kkssk{ mFL{z{}sk @?OSZ_a} kzz_t{ sO;HeO R@=O``hu zpkjz kjtsk{ ^vbAiv;L ?O``Rau z`skk kkzkkzH SSGR@_v Ng`iQ`h h`kzz kpst_H V`R`fQtb Q{INL g`kk} SSQ``uP UfRic RRauOg <;H;< RRQt`{8 XdO@Q 7XWH= H=?>O= MLLO. H=CEH d@<=Q <L=<<U X=C;<< ;EE<=Od? =C=;H;H H<H;<;;C ==<C;;<<; ME;@f <=<HLN <;ELH LH;CL;L N;EC< L7>L6 UMM@U LPQaWOUM f{{|{ MMTULNT V?Q=L<=L N>*Uh JNeVW 8LEEC; MZ;Vg=*XP ebX@<=efV MOUJW feutudW W{feL *9dVN <Pb@<F LWLIVeU ecN<L;CNeO dXtV@OXeQ eIL=T e7NTN ~L<MW= HLNUbO MC[fO E;NWH IdAutore his artist is named after a painting of Saint Francis and Stories in the Bardi Chapel at Santa Croce which was long believed to be exclusively his own work. Scholars have recently concluded that it was actually painted by various artists (one of whom could be a young Coppo di Marcovaldo), and that this artist was only responsible for the figure of the Saint and some of the lateral stories. The other work that is certainly by him is one side of the diptych with the Stigmata of Saint Francis (Uffizi). His painting tends to be sculptural and to embody a sense of drama that derives from the Luccan pictorial tradition..n....on....n....n.n.' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MAESTRO DEL SAN FRANCESCO BARDI Tuscany, act. in the first half of the 13th century The Stigmata of Saint Francis FrancOpera ObjectClass beXbaUVUT bVPbb tuuiae`b MU;LU UMU&. .55884J 5..85 ***..... T^^^B^B^ .8..C .8... TKTBMDKCKBFIFBGFGJ `baaaT TTcMBMTU 485.4 88989888 IdAutore his artist is named after the painting in the Galleria dell'Accademia in Florence of Saint Mary Magdalene and Stories from Her Life, which he painted with a certain narrative flair, using his own version of the Byzantine stylemes. The activity of this painter and his workshop is still something of a problem for art historians, in that he drew inspiration from a wide variety of sources and tended to assimilate the innovations of his day. However, most scholars are inclined to believe that he did indeed paint the altar-frontal with the Madonna Enthroned and Child, Two Saints, and Six Stories from the Life of the Virgin in Paris (Mus e des Arts D coratifs) and the Saint Luke the Evangelist at the Uffizi. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MEASTRO DELLA MADDALENA act. in Florence in the second half of the 13th century Saint Luke the Evangelist FrancOpera ObjectClass ```Q__Shgihgh`g uQPQ`XaaaVab PUPVVbbVctc cdPII^BBz .rIKGI dTIIsIB_I KJFIFIt rI_IIJB *I^*rG UUTIIr I^*_G MUTII_K r*^DB0 TII_KIr TIJK^IrIIJIr _FIFIIr LMII_J IIIFF^ IsaIT _D^^*II^ ^T___ I8TJIrIIFI KII_I^ ^**I_ KUJI_IIIIIIr**Gs__KJ_B MTKIsIII _TB_JKr J;LDJsII IFIIsKI_B LKIsDIIF _KIsD EBJ_JIIIrIkF*IsFsK_sI E8TFrIII IIBsIIrJ_KPsF sITTsKI II_IJIr_sID~%` ;EHB^B I^K_Iss_IB IsKBij_IP *FI_sr`xIBP~,g bvsFrT M_sBM MTGBD* BI_*^jBi aITIJsKs JIBIT J_TJIg baUPU T_TjsP TBaTT PkPj`a IdAutore e is recorded as having fought in the Battle of Montaperti (1260), where he was taken prisoner by the Sienese. In 1271, he signed the altar-frontal with The Redeemer and Four Saints (Uffizi). Controversy surrounds both the works attributed to him and his cultural background, which embraces both Pisan and Luccan influences. However, the San Leolino Altar-Frontal at Panzano has certain features in common with the Madonnas of the Maestro del Bigallo, whereas his later works present elements that have much in common with the work of Coppo di Marcovaldo. He was a sensitive artist who was open to contemporary pictorial innovation but able to handle it with expressive intensity and a feeling for tradition..n....on....on....n....n.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MELIORE DI JACOPO act. in Florence in the second half of the 13th century The Redeemer and Four Saints FrancOpera ObjectClass |}}|} |}}~| T_UKM aUTK8 BTIMF HBTbMTTa vT_Tsu TKKE; LBKMFM KMKTTBBc PBPKJMT BTTKat JMMTPF MCMMPT ~HMD8 E;EMC ^__Tas aPPkaTa A_BJLFT} KHLEJ ir^_B^t sit_^Lt A^_^A HTEML TCMU< ra`_^ EKEEK EPM8f LJC;U P^__B MaTKT8 MBG8Kc MaTMTM7H .abKt T7L;E @bMMaT fJEJPHD TPKMF KMKLJ BCCTH L*Icb K8CBK CLPKCKt. .TTKHM; K*TKL 7b8JMK EH8EH CCBEK U*;TTMb aLNK* LUbMH MTMT8 *PTbC aMMKLFPb aECMPaEBH SaTaE M8C;ET. *KTBH `PTPT M;LTE8 7MKKL bK;TM HLkji TFjrr _FTs`sj aGTrrj jkEB} 8M8MT T-btjTs Alrjtr_ MBKTaEKECM s_rrik triir CLFKTKTE is__a BjrTM E8MTB EKLLJ CI~BrjPIa LIMMKMM KT7PU CETHL Ar|B| IM*TK ^jP8sirK~ ~H`jL.bj^ K8MTbT CsoiisH bCEEKLMT kr_`rG Erjrij MMTTMMKKT` MML7b TPbBLH GrrpH ;GkrpB H^rrI GIHbvPK IMbbPJET 8G]rj MLMPTT MLKETCaT KEr_A IETHJM aTTMaabP LTLLK aaT_T aTjb_Ta iTbsLiSTba sb`bPs Ts_TjU_b b__tPj Cs`bPbsK MBG*M a&aMMJbUT FTMFbM PIbbM HMbB^srrS IdAutore e was trained within the circle of Gentile da Fabriano, who stayed in Venice many years while working on the decorations for the Palazzo Ducale. Their partnership continued when Bellini followed his master to Florence between 1421 and 1425, thus coming into contact with the city's stimulating artistic environment. Nothing has survived of his earliest work, so it is difficult to trace his evolution with any precision. In any event, the elegant Madonna with Lionello d'Este (Paris, Louvre), the Saint Jerome in the Desert (Verona, Museo di Castelvecchio), the Annunciation in the church of Sant'Alessandro in Brescia and the two Madonnas kept in Milan and Bergamo would appear to belong to a relatively youthful stage. By contrast, the Madonna and Child at the Uffizi and the one at the Galleria Tadini in Lovere are more confident paintings that demonstrates greater artistic maturity and the influence of his son-in-law Andrea Mantegna. An album kept in Paris (Louvre) and another in London (British Museum) show him to be a remarkable draftsman with a marked interest in perspective..27.... ....7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando & 4 t7 tipoHot ObjectClass rimando JACOPO BELLINIo Venice 1400 ca. -1470/71 Madonna and Child FrancOpera ObjectClass JBNccUVU WcccVVVUWOUONNN<<E ;;:=NNN>NNNUNLN:N:; <;<===;=N>>N>>?N?N===O CNNUMNMNNLL j]`rkt 99:;NOUUV O>;;:U O<<<NV cNNNOVO NVOUc 9NNUWV ::=ON V::9V ccOPR cUVP_afa `bbaab bbQsaibQaPa Qe`VPaabtbibb~ SibaQQ@PQ__ ddVL9 PbQ_PPbb`iP? LdfbaabVa VabPai`ON aubac bafigO 99:Lfefet QOL;. ;]`UN; :9::N NWRSQ_ cSPQRa ccZ```r dZSOcc dOF>@Tri 5;h;c dNN<>Nccc d:@QN LNNNO LUUNNV UW?NO LNNOV 99NON NW=Uc NRZ[M UXaR` PWXfaW VdNcc a>U>c LN>=9d VU>NbNUbb >OWc:>ON V=?OWNNdV =NUOO?ONNUOUONONUN=W NN9NN==VV>>NN9=>NNNVVNN=?NO:LUNNUNUUNNLV; WUONVOUNNVNNNNNNVVON?>====>NNOVN?> =9;NN;N9; WOOVVNUOVVVcWWWOVONN?= =??ONVVNOUOVOOOWOVVOONN>NO cUUNNVNVUNONNNNNN??> >NO>NO>?N>NN>NLONNNNNLLN OOUOOUVOONONOONOOON=====>>?N?NOOONOONNVOVVNVOONN?? IdAutore he first documentary evidence of this painter's activity refers to the payment for a panel (since lost) that was recorded in Venice in 1408. The following year he was commissioned to paint fresco decorations in the Sala del Maggior Consiglio in Palazzo Ducale. We know little of his training, though he appears to have been influenced early on by artists from Rimini and Lombardy. Yet the provenance of his early works seems to suggest that his original environment was only rejected later, when he moved on to the more culturally lively cities of central and northern Italy at the behest of important clients who commissioned paintings and frescoes from him. His earliest works include a Madonna and Saints in Berlin (Staatliche Museen), a Madonna and Child at the Metropolitan Museum in New York, a Madonna and Child at the Galleria Nazionale dell'Umbria in Perugia and the extremely elegant Valle Romita Polyptych at the Pinacoteca di Brera (Milan). The fresco he painted in Palazzo Ducale in Venice was destroyed in a fire, as were other works, painted during the same period, that were to bear considerable influence on Venetian and Lombard artists. It is hard to establish the date of the Madonna at the Museo Nazionale in Pisa and that of the National Gallery in Washington, whereas his two Florentine masterpieces, the Adoration of the Magi and the Quaratesi Polyptych (the panels with the Four Saints are kept at the Uffizi), date back to 1423 and 1425. He died in Rome while painting in the church of San Giovanni in Laterano..o....o.o.o....no....no....o.o.o.o.o.o.A tipoHot ObjectClass rimando $ 2 ' B P t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GENTILE DA FABRIANO Fabriano 1370 ca.-Rome 1427 Four Saints from the Quaratesi Polyptych Adoration of the Magi FrancOpera ObjectClass FrancOpera ObjectClass |}~~| ~d}}{| }|}}| |wm`T^ |vzTh }~}}~ e}xzl} ~}}}} }vxztdd ~}x}} ~{v}} }~}}}}}c ~ia`lijz{ee }~~}}~ }}~}}b ~ix``whgxx }}}}}} |fjwfTiw`jy |}}}|}} `ii`Mil`jy }}}}}|} U`ijhPTgjgwy dde}~ }}}}}} wrxPCPaPajU8Pj`jz }}|}}} uyxPMaTaP`T Mg`xvMUecP db|~}|} }}}}| }}}}} feee~ TaigTUPgPiaKLa`z cdcV| }}}}|}||}}}} bhiigPiaaa` LaglbUe V|~}} dhtwjhj`i`MPM_izi edccU }}~|} }}}}} |}}cN |dceU bjiwzilwaPs UdeMJ }}}}} }|}}|} dzj`zvllaaP e}}}| MUUUU7 zvawlxTPaM }}}}| el`Ulza8U`Mied zjVUcU }}~~}~ }|}}| VjTPlxMTTMTP`e |}}}|}|} ULUUM eealaaxjTLJ LTjgW|m }|}}}| cUULU PjgPP UPgTUaMKPLf~ UlbUc C8TajaMPI |UjbMd ||}}|E tPKgTlPiM }P`fUc viTPuPMPc }|||} L;Vc8 ePaaiMJec }|bAPbM ef`Tig8Bt} `TiVUV 99U}N PTgTJCt UMLUb; eeedaUaK.T }PffWVcdNV} Wbcdc dddVKM A8iKL ||aCi UVVL@ UUL;U U88|8*7 ;MLUM }dVec L7:|FKMK UbbbQ L|}}M iu_}6 2*.*VbtP5 MfUMVVWbbfVfe eWfWdfWdbWceWcWfVVWabXt UcWUWUVPUUfc UcMUec ccbcV }P`jt nbUiP 8Tuet L8tce Et~}| /7A/6U KLEMCL HHEDbT;Tb MU;MMU 8MbC< LBVbU EeefWWXL ;LULb ;VdbdeeE bMVULL MMeLbc8Xt Lf@WL LbOeM b8C8MM {*MJUU2 c8UUU UTLc/U cc8M{fx }LE*c *8.M6 IdAutore e was the son of the painter Taddeo Gaddi and is mentioned together with other artists active in Tuscany as working on the decorations in the Vatican Palace. He painted several fresco cycles, and though many of them have been lost, those at the Florentine church of Santa Croce with the Legend of the Cross and the Stories of Anchorites have survived to bear witness to his skill. His paintings of the Madonna and Child (Gallerie Fiorentine), the Four Saints (Pisa, Museo Nazionale) and the Coronation of the Virgin (London, National Gallery) date back to the 1380s. Ten years later, in Prato Cathedral, he was to paint frescoes with Stories of the Virgin and the Holy Cingulum, which were completed by his assistants. He died while working on an altarpiece for the Cappella del Crocifisso (Florence, San Miniato) to which the Crucifixion at the Uffizi may originally have belonged. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando AGNOLO GADDI Florencedoc. from 1369-1396 Crucifixion FrancOpera ObjectClass tbsrss tssssj sssass sssssss tsssasss ssssssjj ssass #!!', ssT^s TJTJT &&-.*- *.*&&*- .**/0 ^sssT% .*.....*.** Ksr__J .-**. *-&*. **.&* -**-- /53/.66.... 4....4 .*..5 *..-6 **.** IdAutore lthough little is currently known about this highly original artist, he is thought to have mainly worked in and around Siena. His first dated work (1426) is the Pecci Polyptych, now split among various museums, but the painting of Christ Patient and Triumphant in the Pinacoteca Nazionale in Siena may well be earlier. Both reveal the artist's interest in great Sienese painting of the Trecento, enriched with echoes of Gentile da Fabriano. A similar blend of traditions is also to be found in the Fondi Polyptych, of which only the Crucifixion, the Flight into Egypt and the Presentation at the Temple have remained in Siena (Pinacoteca Nazionale). He painted numerous polyptychs for different Sienese churches. Most of them have been disassembled and divided among museums abroad. The Uffizi has kept the polyptych with the Madonna and Child with Saints, whereas the Crucifixion, the Madonna of Humility, (1445) the Presentation at the Temple, and the Last Judgement (1460-1465) are to be found in Siena. All these works testify to the artist's narrative skill and his loyalty to the gothic idiom..om....om....om....om....om....m....om....m.m.m.m.m.m.m.m.om....m.m.m.m. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 0 > ' N \ t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI DI PAOLO Siena 1395/1400-1482 Madonna and Child with Saints FrancOpera ObjectClass }{zvz }{t}}{} vvzvit` zzxvt {{zz|ztvh {tz{{zz tv{|l vt{vxM Ptvzz {{xIMhb |vz|{z }jzvz ~}}vv }r^i} v]jo__r ThQgvvj| oixv_Srj C`b_x vk__S_lxwy F`_P^} i@Qt{ vzhsAsxz tb@_|a@ A_vP_Pvv ixvlr }~Bf`A ivPS@`taRa ov^Si ivPSQP_`P` v_js_rv B`QajwsPP QSaPib} jvSrj_`t HaPQivgS_ fk__r StgQx} r^Sjjtt PSvtTSi TPvsj}I`f^ t`^^t rS_ji_t ii@Sa ``btj}* aSiv`r^t a_jMK{ ^kjsri^ Iaa_`C} Fabij} _iMTvA_S_A ^A_^Sr_ IhPTP@ ittsa BsIPv^Sj`j jr^tv^ bsPia PBTTa `jfvvsgB t__T__aBj Pfabv BK_BAP^ PTQJJ PP@St TvTBaBC^_a PPB_tt _aaMtITBba _iaSBCa JaTSi aBTi_`PbBa sibTvH SrDFT PPisSsw ~MBLPbIPPB S_T^r`sv BFT.P TPBPQ TJBTB ECSA^ sS`i. MfTFBPMPBa IPBTT I.TJJMTIFf CCMBj ^saEFPbT BPPTM IE;aB taPTMM ITMBiP FKC7M aILK* TCbBG TGBaG TBEIKMB JPTBMi FfMTPM MbaMMKM 0gIJLC TbatTFCT.I bKTMiM FT`TC Mb|KbT BPTTBTb B_FFv CJMPP tPMBPH PCCP_aT MMTBG KMKK**H PPBai `JKTM TTabTP KLTTKKB MKCTTBB FIT_J BTKEE**I THTJK TTabTa H*EBKLTBB QBPKJ UTLTUPMMUT CBKMBB BaTK0 HKBCMB BTKTMB PKMUMP IMaTaM CMTBKET MKBBM ITKMDMB*E PTaPb CMCTPTKKM JJMKFB *TJEJ IMKKETEF IEBMCIHIFJ JEKLCK M7TMT TTKME CMKBP DMKCKCC JMMC.I HKKLC7 CELM.JKJI HMTLKD ETMK* IMH-6 ICT7K IKJEK ELKJK 2.*GCKCJI KJ7M7KI IdAutore asari described him as a pupil of Lorenzo Ghiberti's who actually worked on the first door of the Baptistery. However, we have no documentary evidence to this effect. Nevertheless, it is clear that Ghiberti had a seminal influence on his early training, as did Starnina, Agnolo Gaddi and Lorenzo Monaco. In 1423, he joined the Doctors and Apothecaries' Guild and painted the Bremen Madonna and Child, his earliest documented work. Most scholars believe the Uffizi Madonna of Humility to be only a little later, dating back to the beginning of his collaboration with Masaccio. This relationship was to be consolidated during work on the Brancacci Chapel in Florence, and in Rome, in the painting of Saint Clement and at Santa Maria Maggiore. He stopped working on the Brancacci Chapel to go to Hungary. Upon his return, he began to work for Cardinal Branda Castiglioni, who had commissioned the San Clemente frescoes. For him he painted the last two fresco cycles with the Stories of the Virgin Mary and the Stories of John the Baptist at Castiglione Olona, near Varese..e....e.e.....e.e.e....e....e....e.e.se....se....se....se....e.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando $ 2 t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando MASOLINO DA PANICALE San Giovanni Valdarno 1383?-Florence 1440 Madonna of Humility Saint Anne Metterza FrancOpera ObjectClass FrancOpera ObjectClass bbvo| avGTH3 MjrrKrj ^_A_rT jr_^r^sF rT^Tr_T_ PrADsT_ ^T.-** +c**& M_K.&* MB*MTL:: 7I8M: 8L:PJ ;::8MLM; 8:5L;9M -,&&-% .--..-/.6 5*453 Q^on4 @CAhxy ]ohlu Uiua&xI _oxyqM4|h Pq]yT^{ 7IGAhtv Bxe`uwa -qB]_ GG^SB *GSla BH]|jf _j]AAliu| G^httub ]qmhrp` ^BAon]u ^C^oa .|aPP uV]Pt MIA^^] tauthj _`aRP MGSr]l ibf_lI /JBSljV UuFet|M*IF Iowfi .Gd{AG wttEL UC;^u u}:LV MULth oh]MP bUdMLTU IdAutore s an early document refers to him as "dipintore da Siene," he would actually seem to have been trained within Florentine circles. In 1390, he is mentioned as being a novice at the Camaldolite convent of Santa Maria degli Angeli. However, he left twelve years later and went to live at San Bartolo al Corso. He died in Florence no later than 1424. The Nobili Predella (Paris, Louvre) and the Agony in the garden (Florence, Accademia) would appear to be early works, when the artist was still considerably influenced by Spinello Aretino and Agnolo Gaddi. At the same time, he was also working as an illuminator in the busy scriptorium of the Convent of Santa Maria degli Angeli. It is generally thought that his painting changed considerably in 1404, when he came across the new international gothic idiom that was brought to Florence by Gherardo Starnina. There are tangible differences between the harsh Piet at the Accademia in Florence and the freer, more sinuous handling of the San Donnino Triptych at the Museo della Collegiate church in Empoli. He later painted other handsome works such as the Monteoliveto Polyptych (Florence, Accademia), the Coronation of the Virgin and the Adoration of the Magi (Uffizi), partially completed by Cosimo Rosselli,the Annunciation (Florence, Accademia), and the frescoes in the Bartolini Chapel at Santa Trinita (Florence)..""""".".")."""".""""."""").""""."."."""")."""")."""")."""")."""")."""").""""."."""" " t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Piero di Giovanni alias LORENZO MONACOw Siena? 1370 ca.-Florence 1423/24 Coronation of the Virging Adoration of the Magi FrancOpera ObjectClass FrancOpera ObjectClass UQ@WgXU }iQ=> MHT_PQ }|ec} e?O@VRO `XfggZ ?LMc?| Vbcbb cftffe b\aPP f\eau bOlXi iooh@ M]l`M ??@G{ 9y]]P oR`LL M?/TS TqR^\? QN;E|O Z|OOeV> g@O|b HOXba fOZ=H J;CE:LL =@==>==C ?\ugO TNNEOL aO>M2 [lq** OUUOU fVcVV eitfiN cNV=U UVUVUU ftcUO cbftf ftbbUf VNcWU tfbcVU tcbbV afb`etU dccttUdcM VVtcMb PbbUc UgOUcuU TfcL; bieaUN PUVPfeL N:PaVa bLUUL:N :Ufab bLUNMVMUN NUbPf ONUPP aMLLLL NUfbf UUNPUPUVV fMLULU cLMOMUUUUbU bLNMVU@PNc cNUUNUUUPP9 tc:ju LNONONUN N`ecabi 4uNeU4 =NLNUUcUVN;O; LNUTM UUUNab cfbec UNUbP tdU:Uf bbUbVUUUL8UiV VTUUUUbbcN PUULUafftfMUNNUNV MVafbb ebUUUMULeM. fibbNUNVNU bVbMPUUUd tfbbf MUUNd *LbUUV P;:tU9 UUPee 5N48; 899589988 IdAutore e joined the Company of San Luca in 1387 and is later recorded as being in Valencia (1395) and Toledo. It is believed that an epidemic which broke out in Spain in 1401 caused his return to Florence, where three years later, he was to finish the frescoes in the Carmine church, of which only fragments remain. The frescoes he was contracted to paint in 1409 for the church of Santo Stefano in Empoli met a similar fate. Controversy surrounds the attribution of The Thebiad at the Uffizi, which many scholars assign to other artists. Yet the very identity of the painter, who is often confused with the Master of the Lively Child, is also a controversial subject. In any case, according to Vasari, he considerably influenced his contemporaries..s....es....s........ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GHERARDO STARNINA Florence 1354 ca.-ante 1413 The Thebaid FrancOpera ObjectClass bUVUUMUccVVc TMTNUM UTUUUUTMUNUUTMUNMMUMTUNUMUMUPUMNTMUMKMMUMLMTUTMMLMMMMNLMNE CLNMUM;LMMNMUcbVPMTU@MVTMMMMMNMMMMUOPUUPVUPVPNPUPWaPWaNPVNPPPPQOaaVaVfWWaVXbcdefbfeeeed UcUVVaWbaVPUVVPPVbVPVPVWWUaPPPUUTNUTN@TUTMMNUMPM@UMPKMM@MKLM@MLTNMNLMLMMML;;CLCLKLLLCM;;H EEL;C;;L9LLL LLLLLMLMLMMLMM MMMUMMT MTUUUU UNUMMMNTUUUaUTUUN ;FE8HLC CLC;CC;;LELB;;E;CL;CLC;LLCMLLC;;C;;;MMNBLCLCELCC;ECK ;C;ECCL;EE HE;FHE HEHHH HELFEE ECE;FCEEEEECH<KNLMMNLC;CLC;KLMMMTMTMUMLMLMMTMMLMPNUUUUPUVPVbUV HELMMFH<HCFEEE EE<F=F FEEC;<<E8H<FC;CCM<CLCLLMMMM;LLKLMLCLMMLMMCMLLCMMLMLC;C;;;LLLLLL;LMMLLMLLM MLLLLLLE;;;LL:;L:LL L9MMMMMMLLLLLMLLLLL;L;L;KLLLMLL;;;LLLLL:L8; 999989: ;:::::9 :8::;;;;;ELEL;;C;LCLE;CE;EEL<EE<EH E<CCC<;CKLCLMLLLE;MLMLLLMLCE;CMMLMCLMCLCL=MUMMMMNMMCLMLLCM@M=CCL<E;CCEHEHH ~~9Oc ~~~~~ ;;;;;; ihuiwfuiga ~Zwwh hhhhRf 8MaLM fteefecfcXfffggQUaaQQZWQPVVUVVaQQSRQRRR@>@?S?A?@ BG>ACC A@?@=S@@S=>P?@@@PSQPPQORQS@PPQSSSPPQQQZ`QZZgPaggggbfbfe eeeeeff fefeefeef feeeeffffXaffX efgggfXggXgbggQ`ggga`gaW`ag`Q`Q`a`QQW`Q`ZV``PQ_PQQ@OQQR@RQSQPPPPP`PPPQQPPQ_QQQQ`Q`aQQag```ggbgaffXbfbfefffffffffffe eefeee eefee TVUNNPLNTUMLLLLMLMLMC:MCLLMLLT@PMM;C<EECK; HC;C<H<HEH;;<CC<CLCMMM=LMNLMC@N@=TN@MM@@MNP@@TNTNPUaUPaPVcaVVbXbVbXabbXVabbbfbecb UMPUMTPPUTUNUPPUUNMUMPUUPPUMNPVPNQPPPQQPNPPPTPPPNUSPQN@@NN@QQUSPPOQPTN@PQPP@T@@C@O=B=CCCCM@@M@Q@@PPQP@PPPPPQPPPNaQaVQQPQQaQQPaQXaXaWQWfaWXbaQbbVVVbVaVaPVVVPPcVPV PVUMUVUMcVUcUU HHHEECCECCCCCCALC@BLBB@TM@T@M@PNPPNPNPPaNPcP IdAutore e is the best known member of a family of artists working in Florence between the fourteen and the fifteen hundreds. He studied with Neri di Bicci and later drew closer to the styles of Alessio Baldovinetti, Benozzo Gozzoli and Domenico Ghirlandaio, borrowing from them somewhat superficially but with success. He painted numerous altarpieces, including the Madonna and Saints kept in storage at the Uffizi, a Madonna and Child with Saints at Palazzo Strozzi, and a Madonna with Saint Anne in Berlin. He was also a prolific fresco painter, employing a number of assistants in his workshop. Mention should be made of the early frescoes with Stories of Saint Filippo Benizzi in the porch of the church of the Santissima Annunziata in Florence, the Procession of the Sacrament in the church of Sant'Ambrogio, and the important commission he received from Sixtus IV for the fresco decorations in the Sistine Chapel: the Sermon on the Mount, The Last Supper and Moses Receives the Tables of the Law..9....^.^.^....9^....^.^.^.^.....^.^.^.^.^.^.^....^....^....9^.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando J X ' h t t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando COSIMO ROSSELLI Florence1439-1507 Adoration of the Magi FrancOpera ObjectClass OUUOU fVcVV eitfiN cNV=U UVUVUU ftcUO cbftf ftbbUf VNcWU tfbcVU tcbbV afb`etU dccttUdcM VVtcMb PbbUc UgOUcuU TfcL; bieaUN PUVPfeL N:PaVa bLUUL:N :Ufab bLUNMVMUN NUbPf ONUPP aMLLLL NUfbf UUNPUPUVV fMLULU cLMOMUUUUbU bLNMVU@PNc cNUUNUUUPP9 tc:ju LNONONUN N`ecabi 4uNeU4 =NLNUUcUVN;O; LNUTM UUUNab cfbec UNUbP tdU:Uf bbUbVUUUL8UiV VTUUUUbbcN PUULUafftfMUNNUNV MVafbb ebUUUMULeM. fibbNUNVNU bVbMPUUUd tfbbf MUUNd *LbUUV P;:tU9 UUPee 5N48; 899589988 IdAutore e know little for sure about this Sienese artist. He is thought to have been born around 1280, and to have died in the great plague epidemic that also killed his brother, Ambrogio Lorenzetti. The first dated work that can be traced back to him is the Polyptych (1320) at the parish church of S. Maria in Arezzo. It reveals close ties with the paintings of Duccio di Buoninsegna and Giotto and with the sculptures by Giovanni Pisano on the fa ade of Siena Cathedral. The artist was probably in Assisi slightly earlier, working on a fresco cycle that was only definitively attributed to him during the last century. Almost certainly completed by 1319, the cycle in the Lower Basilica illustrates the Stories of the Passion of Christ. It is one of Pietro's most effective works, combining both realism and some remarkable inventiveness. The Carmine Altarpiece in Siena (Pinacoteca Nazionale), with its wonderfully lively predella, is his second work on wood and dates back to 1329. Other important paintings on wood were to follow: the Madonna Enthroned with the Child and Angels , the Beata Umilta' Altarpiece at the Uffizi, and the Birth of the Virgin Mary at the Museo dell'Opera del Duomo in Siena. Controversy still surrounds the date of the fresco cycle painted with his brother Ambrogio in the chapter house of the Convent of San Francesco in Siena. All that remains of it is a Crucifixion and a Christ Arisen. The last work to have survived is the fresco with the Massacre of the Innocents in the church of the Servi in Siena..a.a.a.a.a.a.na............na....a.a.na........na....na....na....na....na.... h v ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando PIETRO LORENZETTI Siena, 1280c- 1348? Madonna Enthroned with Child and Angels The Blessed Humility Altarpiece FrancOpera ObjectClass FrancOpera ObjectClass }}}|}|}|||||| |||||}||| }}}}}}}}}} }}}}| |||||{{ ffb_Tf TTTTT bbbft ||}}|}}| }}}|{v uiufuw uaJDT bxw{{{{e uJTTITg IIT`IDF 7w_TTPswzTTBlTTFBT yua_ai_*B*sIG_ `BPK_aD_FiS xw`BTiKAFT isTTrBG ijrMTB ^jt0$ _BIJA_^rn bBF^AAB^ V<P2* I*IKF ViPQu6/Z XAPLw 2eb9PaQX.U 0gcKQX 3@OgV aC}B. W62Zg 0.UNgXPfT* bgPVgV 7*||cb{ *aT@b fP@Vt faQ@BPfV*. ceWfe@ bfePee8 MuyT,ef V}}}| |{b{yyyhL LfymmyXwx{ ||||| }}}||}|| |}}}}} }}}}| }|}}}}|}}} }}}|}||||| fXZ[OVWP z}}~uyh wttfw{ fafZv{ =:}9. HAlhvvfh >>Wfe MOO;M@P [[ZO\ [XXWW :@bdE G]\\^]\N; LNaUN ?d}fC RS\]X[f AULEX \]fO[N QP>TP fOfd|e NG]]P ??\8:9 ?d|`A 8bMLVc GT=G> ?R=CC OR?>[ }wc;U Lc8EL MUTMUM LNLL9NP; @wqqnf ||}GOO :UL8}C nq{`P hV4a@G ]hdhM xnwli UU]qq @UMMTU AO?bebM ?TNC@PN NMOG<T GBTMTEM |}>?B ||>>T CTNS`Z @?QcEWKU} F?U8>H. OP=N? }NMcV U?OO@@O? M?RN?P B@\Oa @>`Q@S IdAutore ith his brother Pietro Lorenzetti, he was one of the main exponents of Sienese art of the Trecento. He was probably born in or near Siena, where he first features in records in 1319. We also have evidence that he was in Florence and then back in Siena, where he worked with his brother on the decoration of the cloister and then the chapter house of the Convent of San Francesco, which Lorenzo Ghiberti so admired. Only a few scenes of this latter work still exist. He also worked with his brother on the no longer extant frescoes on the fa ade of the Ospedale di Santa Maria della Scala. Moreover, he received numerous commissions from the city's public institutions. The last traces we have of him are a recently discovered will in which he makes arrangements concerning his own death and that of his family members in the terrible outbreak of plague in 1348. Although the great fresco cycles praised by Lorenzo Ghiberti have been lost, we can appreciate his original style and inquiring mind in a number of religious paintings, most of which are now kept in the Pinacoteca Nazionale in Siena and the Uffizi. The earliest (1319) is the Madonna and Child at the Museo di Arte Sacra at San Casciano, followed by the Madonna of the Milk (Siena, Pinacoteca), the Madonna and Child with Saints Nicholas and Procolo, and the panels with the Stories of Saint Nicholas, all of which are at the Uffizi. Gradually, the style evolves from the heritage of Byzantine painting and the works of Ancient Rome toward an idiom that bears witness to the influence of Simone Martini and the Florentine achievements in understanding space and perspective. From 1338 to 1340, he painted the fresco cycle known as the Effects of Good and Bad Government on the City and the Countryside (Siena, Palazzo Pubblico) that was to bring him universal fame. It reveals his deep interest in landscape and nature. At about the same time or just a little later, he also painted the large Maest (Massa Marittima), the Presentation in the Temple (Uffizi) and the Annunciation (Siena, Pinacoteca)..).).....).).a)....a)....a)............a)....).).....a)....a).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando AMBROGIO LORENZETTI doc. 1319-1348 Stories of Saint Nicholas Presentation at the Temple Madonna and Child with Saints Nicholas and Procolo FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass Siracud FMDJBTM IIIIHFI TMKJUTMPJJKKBVb ynnnx JKMBMbUd IMLTe} lryyM {_Ty{ {^^Bri. vr_y{ iBABhj rrIBo_ fjBm{ ]Sqv{eq| jG_vz t^Is{` Ub|}P *`}Lb Mb|Mt A_MUSgb M}MP} aIJ}JM abJTTT CVMU|@ CBfPM FTCMc@UTQf b;TMbM aKTPPT MKMMTTTT KLCMF*` MHPUtBTaaUVaP agUTMbUQV bUaTbuJ MTTMKMMT bfbbb }}}|}}} J8K;KM TPUMTTMJTMMCTT }BI]ox B_eBIov |MrtT IGiS^GlU@f`\ yGBjT usGs7 Cedv_BFf M_^GI i^GII tSwri *ff^GII Dw`^BI bif^AI l]^Gt ^^^^]x{|||z^S^]F TTSPTTBGFGCBASTAPI ^AB]A I^SS_x I^^Sjv BKFBIITKIIBJ G__ST IIFTJJIIFKBTJJBTb yr{|BKFt BBBABSSSSQ_I w_v}||||} BJJTTTT ivijujlbijuwjhlH* TTMPaTPaTaTT bUVafe MMUcceeb tbbPU |||}||} /%6--.-/0/.4-/6-60-&5 .%..-- TRa0ew `Nno{ X=on{ ABB_n yrIFI Brsl^t /h@in{ B_kkG vmv07 rBssG Ct;yr*I7|m@ ZNjn| rKj^G Z@rp} zm^IIIIFrIs*s z^II_yl@ I~}^Ir* I^zyC6Z=pq Lz^IIsyzC.Q@rp \MKLC LsFFIsy{A.?Bqr ^y}A8NArq P<NC= cTtg_ aP|BsPR8v| 3BiuM8 fMNPT a^~AR SSvbP LvbL8M; }{}}| f]xSb w}_fv2J F2tiB I.*7-I* }sPvT jbTbPaP {|vtj Ej7IKBKs EXCL<ECL ITI** <UXH6 *IbN- =<>=.wWC .N<LMbV *O=<<<C* LLPNLQM MrMuM M;NOC{L BGMuV .NN.! uEB:<aXEBxL aUC&,& j9EKH QLN"- e;=L 3 .C9UM7 UOM8@U=-, XP:fL))& .XMM K8I88 TUUM@M =CL;L LCCHMM ;F=T= ENCLF MENT@ UFCLC ;LE;MM CM;ML CBN@N=O KLCNNU =MUVJ CNCBO CMNME CNNUUMUMN H=C@BO MMNNM MNMTNH MNNTNNC U@MMNUC U@MUPU C;E=;C F<CC= HCNC<C MC>BM= EH<@ULL= IdAutore his painter was active in Bologna during the second half of the 14th century. He studied with Vitale da Bologna, who had a long lasting influence over his work. This can be seen in what remains of the disassembled polyptych with the Annunciation and the Coronation of the Virgin (Bologna, Pinacoteca), the Nativity (Uffizi) and a number of frescoes painted in the oratory at Mezzaratta. His later work was harsher and more immediately expressive: like the Crucifix at San Giacomo in Bologna, for instance, or the Stories from the Life of the Virgin Mary at the Pinacoteca in Bologna. Later still, this asperity was mitigated by his acquaintance with Tuscan painting..g.g.g.g.........g.g.g.g.ng....ng.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando SIMONE DEI CROCIFISSI mentioned from 1355-Bologna 1399g Nativity- FrancOpera ObjectClass 330263 *7TTU **TJI IHK]q- bTTTTPTMS BBTgI TJJFKIFFTBKTFTTaT_ TSa^TSa .uiB_a .M^Bi KJIJIIIIJ TIJIJKBJ IIIIII }IJIIIII IIJJI MLVPL +&0.6 IDJFF JM8:: LLMMUUT9TTN9 N89MM ;MMUULMUM LKLLM LMM;U9ULUL;9 9L;MLEEMM ---063-+ 4&606633/6.+ M:UNL 0//04 23-02 -6030 IdAutore ienese painter and illuminator who learnt the art from his father Ser Sozzo di Stefano. He painted an elegant miniature with the Assumption of the Virgin Mary that is now kept at the State Archive in Siena as well as illuminating a number of graduals for the collegiate church of San Gimignano. His larger paintings include the polyptych with the Assumption of the Virgin Mary and Saints (San Gimignano, Museo Civico), a Madonna and Child (Uffizi) and a Polyptych (Siena, Pinacoteca Nazionale) in collaboration with Luca di Tomm . These works reveal his close links with the Sienese pictorial tradition, especially that of Pietro Lorenzetti..15....5%....%.%.....%.%.5%....5%....%.%. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando NICCOLO' DI SER SOZZO TEGLIACCI Siena doc.1334-1363 Madonna and Child FrancOpera ObjectClass }jx{y} {_}|jFJKai *{iaJ M8|{B jKMJJ TwIFIJ8 JJKTB KTKjbT KTTKH` -/+6/0 ))'&& +/366 IdAutore e was born in Siena or possibly San Gimignano, and probably gained his first experience in Duccio di Buoninsegna's workshop. From the very outset, he was busy working on commissions that took him back and forth between Siena and Assisi between the years 1312-1317. In 1317, he was also at the court of Robert of Anjou in Naples, where he was rewarded with knighthood for his services. He later carried out commissions for Sienese institutions, relying on his excellent workshop for help. He also worked for the Dominican and Franciscan orders at Orvieto, painting at their behest important polyptychs. In 1340, he moved to Avignon with his wife and brother Donato, who had always worked with him. He was appointed official painter to the Papal court and stayed there until his death. The earliest signed painting to have survived was done in 1315, when he was thirty: the famous Maest in the Palazzo Pubblico in Siena that immediately won great acclaim. The most certain of his earlier works are the Madonna and Child no. 583 (Siena, Pinacoteca) and the face of the Madonna in a fragmentary fresco, in the oratory of San Lorenzo in Ponte in San Gimignano. For the Anjous, he painted a large altarpiece with Saint Ludovic of Toulouse Crowning Robert of Anjou (Naples, Capodimonte) and the frescoes with Stories of Saint Martin in the Lower Basilica of San Francesco in Assisi, commissioned by Cardinal Gentile da Montefiore, who was a family friend of the Anjous. They are among his finest works, combining the Florentine sense of proportion with a fondness for French gothic painting, a regular feature of his later work. Among his many achievements, many of them painted with the help of his workshop, mention should be made of the Santa Caterina Polyptych (Pisa, Museo di San Matteo), the Orvieto Polyptych (Orvieto, Museo dell'Opera del Duomo), the Blessed Agostino Novello Altarpiece (Siena, Pinacoteca), the Annunciation and Saints (Uffizi) and the very famous fresco with Guidoriccio da Fogliano (Siena, Palazzo Pubblico) which has recently been the subject of considerable controversy..sy........y.y.y.y.y.y.sy....y.y.sy........y.y.sy....sy........sy....1 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando SIMONE MARTINII Siena? 1284 ca.- Avignon 13 Annunciation and Saints FrancOpera ObjectClass ULUUb CPbUU aWTUb tcbUV teeV`| aVUPb @A@UbM Hu`Tij .E}GtbTsP ux|NbT VUaVPbV }Ftb_PP v}NbM bdafU tv|McT bMMTM PvceP~| }HtbTaj xv|bP TUTbQbMTUT 88|HvfBsw MUUbft cPcVU bv|tUT UtuPP bPbbcb vfBTv ivfb} tPLLM 8|HxtT_v wtSaj xPUtU MPTVfPiLLP UbUbV `xxj} ;CUMP@b b|Ais i|_i_ ttgi~bPL b|_iT j{xb~v bPbct f|_a_ C;CMfL KMLbU LFMUCUaa VabcUP a__a_ avvMM }fCL@`Pa UMTVUVU T`aTsT QCEPaPi UTabbLTS B_sPsB bH@aa_P M@UUPMTP B_PT_ GPTcB BTMEPCEMMT NbVbbTUT` UUTaTT MH@MP``PP CKMccecPS~ ~;BaC HTMULPba@u PMT:TPV UMPUMaMBT ;UCTCPf_@ PNVHNP MMN@TUTbPU bVaNT |MNVN ;TLU< PafBTPNH< CUTUTUTUTU PPeTE EMTM;|L <MMTC P@tfUM MCMCMMT@MP KaVbPc <b}8NbM<a EMPLMfP`P@ uULtbVcCN NMNMP aVVCbttMMe MMPMM HMLMMb CCMCP`P`P tecTUCM TTCCMUbPUU VaMUCT LM@Ub eTMMC MNCMUBPUPV NCMC<;L LeLMM LH`f` LMLPC@UTUP McbVUHLMVT T<=LCC<LP ;Ha`` PLKP7bMMNb PCCM<LBTUM ML<CNMMC ;L<UMT bLU<M NBMCLCMP HUc;CN f<CUMB NML@<C LC:CCL HLLEV TE@VL `Pt|MC; bUKLeTN @CNLM@ APbaPQ CbMMK A`bQPaQ@N @aNMa UctLV M<bM<L bPPaac VVKLe VEJbU CUNLT bbcfeafa PMa;U EL<Mb FML;;< =E;MTTbUMM EVMF8bc bLHEV cTLTbTTLP 8UM<LEPb MMLM;f PUMCLLb GTMbLTLL tCHM@ MUMMTTM MTMTVQ b`LTUMM ;FMMULJ C<;cM VMLMU MLUMM IdAutore opere acceso e was the son of the painter Memmo di Filippuccio in whose workshop he served his apprenticeship. In 1317, he signed his first work, the Maest in the Palazzo del Popolo in San Gimignano, a painting that was in fact begun by his father. It clearly has much in common with the Maest painted by Simone Martini, who was his brother-in-law. Indeed, the two artists had worked together, and in 1333 together painted the Annunciation and Saints at the Uffizi. There is also a diptych, since disassembled, that appears to date from the same period, despite the stylistic and formal differences. It consisted of the Madonna and Child (Berlin, Staatliche Museen) and the Saint John the Baptist (New York, Golovin coll.). Some of the works attributed to him are still somewhat controversial, such as the Madonna and Child no. 595 at the Pinacoteca in Siena, for instance, and the Madonna of the People in the church of the Servi in Siena, as well as the Polyptych at Casciana Alta (Pisa)..).).).).).).).).).).a)........a)....a)....a)....a)....u tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando & t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando LIPPO MEMMI Siena, act. first half of 14th cent.% Annunciation and Saints FrancOpera ObjectClass ULUUb CPbUU aWTUb tcbUV teeV`| aVUPb @A@UbM Hu`Tij .E}GtbTsP ux|NbT VUaVPbV }Ftb_PP v}NbM bdafU tv|McT bMMTM PvceP~| }HtbTaj xv|bP TUTbQbMTUT 88|HvfBsw MUUbft cPcVU bv|tUT UtuPP bPbbcb vfBTv ivfb} tPLLM 8|HxtT_v wtSaj xPUtU MPTVfPiLLP UbUbV `xxj} ;CUMP@b b|Ais i|_i_ ttgi~bPL b|_iT j{xb~v bPbct f|_a_ C;CMfL KMLbU LFMUCUaa VabcUP a__a_ avvMM }fCL@`Pa UMTVUVU T`aTsT QCEPaPi UTabbLTS B_sPsB bH@aa_P M@UUPMTP B_PT_ GPTcB BTMEPCEMMT NbVbbTUT` UUTaTT MH@MP``PP CKMccecPS~ ~;BaC HTMULPba@u PMT:TPV UMPUMaMBT ;UCTCPf_@ PNVHNP MMN@TUTbPU bVaNT |MNVN ;TLU< PafBTPNH< CUTUTUTUTU PPeTE EMTM;|L <MMTC P@tfUM MCMCMMT@MP KaVbPc <b}8NbM<a EMPLMfP`P@ uULtbVcCN NMNMP aVVCbttMMe MMPMM HMLMMb CCMCP`P`P tecTUCM TTCCMUbPUU VaMUCT LM@Ub eTMMC MNCMUBPUPV NCMC<;L LeLMM LH`f` LMLPC@UTUP McbVUHLMVT T<=LCC<LP ;Ha`` PLKP7bMMNb PCCM<LBTUM ML<CNMMC ;L<UMT bLU<M NBMCLCMP HUc;CN f<CUMB NML@<C LC:CCL HLLEV TE@VL `Pt|MC; bUKLeTN @CNLM@ APbaPQ CbMMK A`bQPaQ@N @aNMa UctLV M<bM<L bPPaac VVKLe VEJbU CUNLT bbcfeafa PMa;U EL<Mb FML;;< =E;MTTbUMM EVMF8bc bLHEV cTLTbTTLP 8UM<LEPb MMLM;f PUMCLLb GTMbLTLL tCHM@ MUMMTTM MTMTVQ b`LTUMM ;FMMULJ C<;cM VMLMU MLUMM IdAutore e was born in a village in the Tuscan Apennines, moved to Florence when he was just over twenty, and there came into contact with the masters of the early Quattrocento, such as Masaccio, Donatello, Piero della Francesca and Domenico Veneziano with whom he may also have studied. This experience sparked his interests in the human figure and anatomy and spatial construction that were to become the hallmark of his work. He spent some time in Venice in 1442, and from then lived in Florence, painting fresco cycles in churches and convents, some of which have been lost. Vasari described the man as cruel, and this image darkened his biography until the end of the last century, when it was shown to be false. Although Andrea del Castagno was one of the most original artists of the Quattrocento in Florence, his painting was long neglected, many of his frescoes having been covered with a layer of plaster until the nineteenth century. The earliest work attributed to him is a Crucifixion and Saints, painted in Santa Maria Nuova just after his arrival in Florence. In 1442, he painted his first fresco cycle in the church of San Zaccaria in Venice: the God the Father and the Four Evangelists. Back in Florence, he came up with designs for the stained glass window with the Deposition in Santa Maria del Fiore and also began working on his masterpiece, the decorations for the refectory at the Sant'Apollonia Convent. This consisted of scenes illustrating the Crucifixion, the Deposition, the Resurrection and the magnificent Last Supper, which embodies all of Andrea's originality as an artist. Around 1450, he painted a series of frescoes of Illustrious Men in the Villa Carducci at Legnaia. They have since been taken down and are now kept at the Uffizi. He spent the last years of his brief career working on three major jobs: the cycle that Domenico Veneziano had left unfinished in the church of Sant'Egidio, no longer extant, the frescoes at Santissima Annunziata, where only the Trinity with Saint Jerome has survived, and the famous equestrian fresco celebrating Niccol da Tolentino in the church of Santa Maria del Fiore..e....e.e.....re....re....e.e.e.e.e.e.e.e.e.e.e.e.....e....e....e....e....e.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ANDREA DEL CASTAGNO Castagno 1417/19- Florence 1457 FrancOpera ObjectClass Illustrious Men 2//02 VfT6~ __TTBs U@bTTbP UTbaU UbUUab UUK;7 _TsT_ OUVTi 68787 36/-/6 -,,-6 ")*!* BMT_-/ KKMMT 060-' +)&++ 6/6/0/ 0/606 IdAutore otto proved to be a highly individual painter from his earliest works, including the Saint Jerome (Paris, Louvre), the Portrait of Bishop Bernardo de' Rossi (Naples, Capodimonte) and the Polyptych with the Madonna and Saints (Recanati, Pinacoteca Comunale). Yet he also clearly absorbed much from Antonio Vivarini, Giovanni Bellini and the great Venetian tradition of the early 1500s. He was summoned to Rome to paint in the Vatican between 1509 and 1512, and there met Raphael who inspired him to adapt a limpid, serene style that was to come to the forefront some time later in Lombardy. In fact, in Bergamo between 1512 and 1525, he painted some of his true masterpieces: the Santo Stefano Altarpiece (Bergamo, San Bartolomeo), The Chastity of Susanna (Uffizi), The Mystical Marriage of Saint Catherine (Bergamo, Accademia Carrara), two other altarpieces for the churches of San Bernardino and Santo Spirito, and the frescoes at San Michele al Pozzo Bianco and in the Suardo Chapel at Trescore. He also spent prolific periods in the Marches and in Venice, producing numerous altarpieces such as the Annunciation (Recanati, Pinacoteca) and the Glory of Saint Nicholas (Venice, Chiesa del Carmine), and religious paintings like the Holy Family with Saints Jerome, Anne and Joachim (Uffizi) and the Charity of Saint Anthony (Venice, Santi Giovanni e Paolo). He was also an esteemed and perceptive portraitist, as the Gentleman in Black (Rome, Galleria Borghese), the Lucretia (London, National Gallery), Laura da Pola and Febo da Brescia (Milan, Brera) illustrate. He ended his life as a monk at the Santa Casa in Loreto..to....to....o.o.to....o.o.to....o.o.to........to....to....o.o.o....o....o....o.o.o.o.o.o. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LORENZO LOTTO Venice 1480 ca. - Loreto 1556 The Chastity of Susanna The Holy Family with Saints Jerome, Anne and Joachim FrancOpera ObjectClass FrancOpera ObjectClass }zzzz} ppI^{ .-230 6sp|}zp |zzpk {krr^rz *I*r{ omkppzppInkpk mpkkpprpIp qpppqppGG IIqI}_ mpppkprpr^ }ztjppGprpG pprqp }pIIGz} ss_KBsj{ pIpGz zrrGGz IGGpk6 zzrrr I*IIIpp {sr^k}7 GIqpz}}zz rIIp}z *I^ptpz Ipzpk ppsz~ *Ip^z} ~}~}}v zrrpp BIIkFr ~~}~~~~ }}~}~~ TTT_T ....... 6.,,%&--..8 JIJBKs M7ITT !!!"! %%''' F_rs_I I*J_ss_ I_sKIII_s II_JIIII IIsJkr kksss_IIrkIIz _IIIIIII $$$$$$$ IFGIz sIIIII $!$$$! II_skkzssI *Iz^s7 $$$!$$ IFssz ^***I $$$#$ IIFkz IIIIGz s*_zI s_Is6 kFrGIIIrs sKJII Iss_z I**FI /6sITs Gr_^s IIzJ*s ssssr IJ_ss IzzsI z^II^s FDIrs 7_s6^rs IIIFrzs sFs_IKI__ sI^IJT **IIIk IFFIs ^rIIs IsIFIIr ^FFIrIIIsz sTFFFFI^I_t6 FIIGFs s_FGGs $$$$! $$$$$! $!$$$!$ $$!!!! IIII* JIIII 7IIJIII 7IIGI FIIr7^ IIsJF sIIsIs ss7ss _s__sFG rrF^rKrFrr^ IdAutore e began his career in Venice, where he painted works in a style reminiscent of Bellini and Giorgione. The San Giovanni Crisostomo Altarpiece (Venice, San Giovanni Crisostomo) and the Judgement of Solomon (Kingston Lacy) are both products of this period. In the 1511 he moved to Rome at the behest of Agostino Chigi, who commissioned him to paint frescoes at the Farnesina. Rome itself and his contacts with other artists contributed to the development of a style that was both monumental and broad in scope. Raphael is clearly his point of reference in the Death of Adonis and the Portrait of a Woman, known as the Fornarina (both at the Uffizi), in the Dorothea (Berlin, Staatliche Museen) and in the Cardinal Carondelet with His Secretary (Madrid, Thyssen Collection). However, he was even closer to Michelangelo, who became a very good friend. This is evident in the Piet (Viterbo, Museo Civico) and the frescoes at San Pietro in Montorio. He left Rome in 1527, the year of the Sack of Rome, and worked in Orvieto, Mantua and Venice before returning to Rome, where he the Pope appointed him keeper of the "piombo," or lead, providing his nickname. In Rome, he particularly devoted himself to portraiture.."""e.""""e."""".""""."."."."."."e.""""e."""".""""""""."."."."" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Sebastiano Luciani alias SEBASTIANO DEL PIOMBO Venice 1485 ca. - Rome 1547 Portrait of a Woman The Death of Adonis FrancOpera ObjectClass FrancOpera ObjectClass E<HH;LM =E;9ML 9LM8ML ;E;LM;MLE< L<;;L }}}}} }~}}}}|| THIIT }}}}} }}~~}} }~~}}} ~}}}}}~~}} }}}}} ~}~}}~ }}}}} J777I ~}}}}}}~}~} t_aas $!!!! "!$$$$$$ $$$!! #,$$$! ##!$$$! $$$!$ ******* IdAutore e was active in Augsburg from 1530, making a name for himself as a portraitist. Mention should be made of the Portrait of Charles V (Berlin, Dahlem), the Portrait of Christoph Fugger (Munich, Alte Pinakothek), and the Portrait of Cornelius Gros (Uffizi), for which he was clearly inspired by the work of Bernhard Strigel and Hans Holbein the Younger, as well as Venetian painting. He also painted altarpieces such as the Madonna and Child with Saints (Augsburg Cathedral) and Christ with the Wise and Foolish Virgins (Augsburg, Saint Anne's)..).).).).)....)....s)....).).).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando CHRISTOPH AMBERGER ? 1505 ca. - Augsburg 1562' He was active in Augsburg from 1530, making a name for himself as a portraitist. Mention should be made ofthe Portrait of Charles V (Berlin, Dahlem), the Portrait of Christoph Fugger (Munich, Alte Pinakothek), the Portrait of Cornelius Gros (Uffizi), for which he was clearly inspired by the work of Bernhard Strigel and Hans Holbein the Younger, as well as Venetian painting. He also painted altarpieces such as the Madonna and Child with Saints (Augsburg Cathedral) and Christ with the Wise and Foolish Virgins (Augsburg, Saint Anne's).). Portrait of Cornelius Gros7 FrancOpera ObjectClass ccbcbbVa UUNUVU <;=;:N=NUN OUNNUNN ta`\P fX^?` bR\RS WbVVUVUVWW UWcVWVWd cWWcWVWcdc dcVWVcUVWc LLN9N =;>L:=>L== ==;L=LL=LN UPVUUOUOU UVUVVUN=NL >==N= LNNMN IdAutore e trained with Santi di Tito, and in 1584 enrolled at the l'Accademia del Disegno. His highly original style with its bright, luminous colors was the result of travel and contacts with Venetian painting, with the Mannerists of Tuscany and the Marches, and particularly with the work of Federico Barocci. His works include the Martyrdom of Saint Bartholomew (Florence, cloister of Santissima Annunziata), the Visitation (Florence, Sant'Ambrogio), The Wedding at Cana and Saint Sebastian (Uffizi), the Glorification of the Virgin Mary (Fabriano, Brefotrofio), and the Madonna of the Girdle (Macerata, Pinacoteca). He also produced a large number of drawings..s.s.s.s.gs....gs....s.s.s.s.gs....gs........gs.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ANDREA BOSCOLI{ Florence1560 ca. - 1607 ca. The Wedding at Canae Saint Sebastian FrancOpera ObjectClass FrancOpera ObjectClass 9LLNNMN=LML=MNMC=C<< ;C=<==LM9M;; H=H=C<L=<CCM;H;MLJLMMMUMU bbcbVVPUaPOQabb babPUafbbbbcPUV b@@NV @UP@PT@@NPPbP PaUbaaPPUUTPPTV bbU@N@APT@UbbaUaNPPUUPUaU c@MTb Uccbc bcbcc P@@@Ga bPT@PTUUPUU= bsasP> F_r^sss rr_s^Tr UM}t8 rrK__r ^^__rjD UPUUV s^__^^srF ~UPUPUP UUPUNUPUVUUa sa_TSS TaTAS sST@PaBB} P_PPA TSPab ~PTaBSA aaPPa _T^GCb ******* APsBs rs{UOW cA>N@ >ANNNL AAasss L@U=C=NU 85858 bAML** <LLLL< ccWOU OUNUU ;HLL;<:U E;;:LUNUVU ;LLL;LUL LLULUU NLUUMN L::NLNLLUNUNU L:;;L;LLNNLULNU H;LLLML NLNLN <<==LNB=<;C=MC=CMNN NcUbbPUUPPUPNNPNNN@NPP@A>@=@C A@P@SAPAAbM; aPP@@S@A>A@@A =N@NN= >>A== @MNN@NMUUCNNNNNNNNVU @=@N=@P JHJJIHH DIHFFHIIG IKHIII KIHHHHI KIIJ_ DJFJEIFI HHIDIIHIH IIIII IHIHHIHJI FIKIHHIIHIHKIF IFGII HHHIHIIHI FGJIs FIII^Is IIIII IFFFFJs HGFII JJJJI JJJJK GIHIIHIIFIIHII HIHIHHIIHHIIHIIHF IdAutore e grew up surrounded by Vasarian late- Mannerism but returned to the classical forms of Fra Bartolomeo and Andrea del Sarto and an essentially naturalistic style. His numerous and grandiose altarpieces include the Apparition of the Virgin Mary to Saint Luke and Saint Ives (Paris, Louvre), the Madonna of Succor (Florence, Galleria Palatina), the Vocation of Peter and Andrew (Impruneta, Pieve) and the Virgin Mary and Four Saints (Florence, Santissima Annunziata). His painting of Noah's Drunkenness (Uffizi) is also an important work, as are several of his still lifes..es....s.s.s.s.s.s.s.s.s....s....es.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo Chimenti alias EMPOLI Florence 1551-1640 Noah's Drunkenness FrancOpera ObjectClass FKTMM IdAutore his painter and miniaturist was also known as "Jean de Paris." He mainly worked in Lyons at the courts of Charles VIII, Louis XII and Fran ois I, yet he also spent some time in Milan, where he met Leonardo, and in England. Although his art belonged to the French gothic tradition, he was nevertheless somewhat influenced by the Italian Renaissance. His work includes the miniature with the Complainte de nature l'alchimiste errant (Paris, Mus e Marmottan) and the Portrait of a Gentlewoman (Uffizi), the Portrait of Charles VIII and the Portrait of Anne of Brittany (Paris, Biblioth que Nationale), the English Lady (London, National Portrait Gallery) and the Portrait of a Member of the Bellefourri re Family(New York, Metropolitan Museum of Art)..".".".".".".".".")."""".".")."""".""""."""").""""."""""").""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando 0 > ' N \ t7 tipoHot ObjectClass rimando JEAN PERR doc. from 1483 - died in 1530 Portrait of a gentlewoman FrancOpera ObjectClass rrsrr pIGrGpGpI Bb;B@ srsrs rss_r ^ss_ssFsI psrIp srsIrrI Ar_Bs <H<<G <=GCC BAMTB UTTab IdAutore e was a representative of the Emilian Mannerist school who studied Pellegrino Tibaldi and then continued to widen his artistic horizons by frequent contacts with artists from central Italy. Moreover, during a stay in Rome, he also took part in decorating the Sala Regia at the Vatican. In addition, he painted frescoes in the transept of Parma Cathedral and executed other works for a number of chapels in Bolognese churches. His most important works include the Flagellation (Bologna, San Salvatore), the Presentation at the Temple (Bologna, San Giacomo Maggiore), the Chastity of Joseph and Susanna Bathing (Uffizi)..i)....).).).).).).i)....i).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ORAZIO SAMACCHINI Bologna 1532-1577 Susanna Bathing FrancOpera ObjectClass 77777 77767 56.65. k2z2s 3644. *6./5.. IdAutore his term is used to refer to the group of artists who revolved around Fontainebleau Castle beginning in the 1540. They combined the pictorial heritage of sixteenth century France and Italian Mannerism that reached Fontainebleau through artists such as Rosso Fiorentino, Primaticcio, Benvenuto Cellini and Vignola, summoned by Fran ois I to decorate the castle that he had chosen to be the artistic center of the French court. The Fontainebleau School won great acclaim for its painting (The Master of Flora, Fran ois Clouet, Jean Cousin the Younger and the Elder), its sculpture (Jean Goujon and Germain Pilon), and in a whole range of decorative arts. The chosen subjects were mostly mythological or allegorical, as in the case of the Two Women Bathing at the Uffizi..zi....zi....i....zi....i....zi....i....zi....O tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando THE FONTAINEBLEAU SCHOOL second half of 16th century Two Women Bathing FrancOpera ObjectClass ~~~~~ }vz}| |{vvx {vtvjz {kttvsv tttt~zt} zjtvtkt{ |ttj{ vkttvjs{ 6tztttktx tktvjjtjy) lttkktjz ztvsjvsjzi {|{z|a yjtksjjjjz{{t zv|tk|zyy jzstjjjsjtttv| kjsKzjjzksjktjt tkjkjtjtrksjjjt tjvjkjkvrjkjtkt kjtkjksjjjtrjskjjt tjtvjtjkjtkkkjrjtt| tktkkvkjjjvrsjjjtv tjttjjskjkjkjkskv xttjkttkjksjtjsjskjv kjtzjtkkkvkjjjksj tkttkvjjjtjkjtvkv |vjvksjkjkvjkjjjsk tkttojjjjvjkjjjot x|tttktztkjtkjzjrkjkjtzt tv}||k^v |vktjkvkjjtkkjkrkttzv ~j^J_v t{tsjjjkvjjvjjk ttkt|krPppv }vttkkjjkjtkjkvkk kzjkkttk {^Ssokot |tt{tkvjjjvjvvkrltk ktkkjtz|vrEopojj |vtvkkjzvvkjvjktztzvvktk{ k_spprkjkt |rprks ~vttjvvvkvjjkjotvk tkjkv{r Spkkkjkos zrokkt tkkjvjtkkjvk zjvvzrQrpjkljlko t^kkrvk| vkvvvzvkjjkk kvzzr_opopjkkkrkt s^okktj vjjkktzjkjvk jzvI_rproknprpjlt }vksrnjkv }vjjk vjjkkvj{jzkvzpBrpkkmkIGrkkk kko_rpjk zkjkvkzjkjzvvkvvzr^opoknp Irrkkjv jkkkFrpsk {tktkvztkkj tzjtzsBrppopr B^^pjkz tpzjpkG^kr {kvkvtzvkkv{tz ppop^^pFIrpvkrv zBrzjpk^qrr vktzt|kt{qrrrpp^^pn^Iprkjov srpvkpk^r^j ~~}~}}} ztzvkv k|s^rpqprGpprr^pkrlrv |koGpzjrkrBI} {{q^qrprrpppkorrkjksj trkrFmvkokkGr ~~}}~} |||zGrprprpppkkokprkrk| rrkF^zxrpksI| }{~}} }|}|}GIprprrprIszoprklsr ksorBpkzkrnS^ }}zGrrqr^pqF^Gkorrkkkr{ kkrkkrrzvkpj^ A^pppBrrGrp^prrrrzrr{ |trkrprprzjpkkk ~}}|~} Bppq^r^^rp^Bpr^skor| k^ktvrkrpvvksr~ ~~~}~}} rI^plrrp^^kkrrrrrz|rk| jk|^z}js{skv|ov| }qjpAvkpkk^stpktkr |t}kj}zk {kavkjv pjzqrb rkvps tz|jz zjt{kttmsj s^lpTipkvop jkjzrk pjttzj j{TkUka{v {vctv zvav}t vvttz |bu}t IdAutore aving studied and collaborated with his father, Jean Clouet, he later developed a more elegant style that owed much to the Italian, Dutch and German traditions and ultimately preempted his father's position as court painter. His main works include the Portrait of Fran ois I of France (Uffizi), the Lady Taking a Bath (Washington, National Gallery), and the Portrait of Elizabeth of Austria (Paris, Louvre). He also produced many drawings and paintings of mythological subjects that relate to the Fontainbleau School, like the Diana Bathing (Rouen, Mus e des Beaux-Arts)..).).s)....).).).).s)....s).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando OIS CLOUET Tours 1510 ca. - Paris 1572 Portrait of Francis I of France on Horseback francopera objectclass 48>>; $$(1$+ 9>985 775.> &....4 .1(..( !111(1. "((.( #!!1!11!1! :$.1.11.--- 4---- 44+-4 %%%%%% >#22%S 2%"2%2%%2 7%%2%!%% 52Q%% %Q%%\5% %%2!222 R!%g5%R2 QN!"%U#%2 %%2%%2 "2J!#?#QJ %%"%%%%"Q\Q 2JRQR 26gQR 7QQQLJ >"Q?gQJz QgzQQO 999:6> #"%$M QQ{{Q N22QR J""%$ 6%"%R%%%%P Ng>Qg 2%%"%R2%%%JQ\ 9%%!%%% ;%%2%%% ?Q6#%%%% IdAutore e trained under Vasari and thus gained initial experience working as his assistant in decorating the Salone dei Cinquecento and Fran ois I's Study in Palazzo Vecchio in Florence. He soon embraced the late Mannerist idiom and emerged as a lively narrator in his own right. He executed numerous decorative cycles in Rome, most of them at the behest of Cardinal Ferdinando de' Medici. These included The Age of Iron, The Age of Silver, the Age of Gold , painted for Villa Medici and now at the Uffizi, the paintings at Palazzo Firenze, those he did for the Aldobrandini Chapel in Santa Maria in Via, the decorations for the Tribune of Santo Spirito in Sassia and the large fresco in the hall at Palazzo Rucellai-Ruspoli, considered his masterpiece..ce....e....ce....e....e.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JACOPO ZUCCHI Florence 1541 ca. - Rome 1589/90 The Age of Iron, The Age of Silver, the Age of Gold 0 F ' FrancOpera ObjectClass t{|st~ BS|vt ^Ibzt }}top BI^}- |p{}F^prp I_{}} *msI_sy kzzz}{z IrIr^rkz}| SI{rnrI Fsrkr rprszsz ksssr ,!2/-7* IdAutore e was the son of the architect Francesco Moroni and was trained in Moretto's workshop in Brescia, though he spent most of his professional life in Bergamo. Like his master, he began by focusing on religious subjects, but ultimately made a name for himself as a portraitist with a penchant for vibrant colors and an eye for realistic detail and expressions. Two fine examples of his work are the Portrait of the Poet Giovanni Antonio Pantera and the Portrait of Pietro Secco Suardo (both at the Uffizi); however, mention should also be made of the Orator (Vienna, Kunsthistorisches Museum), the Knight(Milan, Pinacoteca Ambrosiana), the Portrait of a Girl (Bergamo, Accademia Carrara) and the Tailor (London, National Gallery)..).).).).).).).).y)....y)....y).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI BATTISTA MORONI Albino, Bergamo 1529/30 - Bergamo 1578 Portrait of Pietro Secco Suardo Portrait of the Poet Giovanni Antonio Pantera FrancOpera ObjectClass FrancOpera ObjectClass IGGK^b GBBF} GGUMG TGGCG BGGBB HGCBG GGTGGC HCGGG HGCCELC LMLKMMKF EEGGGFCG IdAutore e probably studied with Vincenzo Foppa, and was initially influenced by Florentine painting and the art of the Po Valley in the early 1500s. He later absorbed much from the Flemish masters as well as capturing something of the Venetian pictorial atmosphere in the wake of Giovanni Bellini, Giorgione and Titian. His most important works include the Transfiguration (Uffizi), the Mary Magdalene (London, National Gallery) and the Adoration of the Shepherds (Turin, Galleria Sabauda). At the height of his career, he also painted the Nativity (Brescia, Pinacoteca Tosio Martinengo) and the Saint Matthew and the Angel(New York, Metropolitan Museum), both of which are now recognized as heralding the art of Caravaggio..o.o.o.o...o.o.io....o....o....o.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI GIROLAMO SAVOLDO Brescia 1480 ca. - Venice or Brescia 1548 Transfiguration FrancOpera ObjectClass ~~~~~~ ~tttt ~~~~~ /62262 cP`bIM //666 ..7*.H IdAutore e largely trained under his father, Galeazzo Campi, and with Solario, though he later opted for the manner of Pordenone, Giulio Romano and Camillo Boccaccino. He painted some important altarpieces and frescoes for churches in Lombardy and especially, Cremona. These include the decorations for the church of Santa Margherita and the large cycle for San Sigismondo in Cremona, which he painted with his brother Antonio. He was also a successful portraitist, as demonstrated by the Portrait of Galeazzo Campi and the Portrait of a Musician at the Uffizi..zi....i.i.....i....i....zi....zi.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIULIO CAMPI Cremona 1500 ca.-1573 Portrait of a Musician FrancOpera ObjectClass @b^(X(X( IdAutore e studied under Antonio Badile, and in 1566 married his daughter Elena. The painting of Giovanni Girolamo Savoldo, Parmigianino and Giulio Romano made a great impression on him. Though he began working in his home town of Verona, in 1553, he moved to Venice, where his work soon met great acclaim, winning him important public commissions which he would alternate with brief stays in the countryside to embellish the villas of the aristocracy with fresco decorations. The San Fermo Altarpiece dated /1548/ (Verona, Castelvecchio) was his first work, followed by the no longer extant decorations in Villa Soranzo at Castelfranco. His impressive debut in Venice involved decorating the ceiling of the Sala del Consiglio dei Dieci in Palazzo Ducale and painting the frescoes in the church of San Sebastiano, as well as embellishing a number of patrician residences. As for the fresco cycles he painted in the country villas of the Venetian nobility, they were renowned for their brilliance of color and their inventive use of perspective. Villa Barbaro a Maser is a supreme example. His famous dinners are considered to be among the absolute masterpieces of the Cinquecento: the Supper at Emmaus (Paris, Louvre), for example, or the Dinner at the House of Simon (Turin, Galleria Sabauda), the Wedding at Cana (Paris, Louvre) and the Dinner at the House of Levi (Venice, Gallerie dell'Accademia). Mention should also be made of the Holy family with Saint Barbara and the Young Saint John, the Annunciation , the Martyrdom of Saint Justine, Esther Is Taken Before Ahasuerus, Saint Agatha Crowned by Angels, Venus and Mercury Present Their Son Anteros to Jupiter , all at the Uffizi, and four Allegories of Love (London, National Gallery). Following the fires of 1574 and 1577, Veronese was back at work in the Palazzo Ducale, where he also painted the large canvases with the Victory of Lepanto for the Sala del Maggior Consiglio. His many portraits include the Portrait of the Da Porto Couple (Florence, Contini-Bonacossi Collection) and the Portrait of the Cuccina Family (Dresden, Gem ldegalerie)..).).).).).).).).e)....).).).).e)....e)....e)....).).e)....).).).).).).e)....e)........).).)....)....e)....+ tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Paolo Caliari alias VERONESEm Verona 1528 - Venice 1588 Annunciationk The Martyrdom of Saint Justine Venus and Mercury Present Their Son Anteros to Jupiters The Holy Family with Saint Barbara and the young Saint John% FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass ETIHIJKKKKI MIEIFIIEIJJM CIEEIEEKEFHEI HIHHJFHICJIEJGFIFIDJFJDIKH JIIIJJJIIIJIFJIJJKMJFJKIJDDJJJK 66622 TFJKF DKJIKDBKIII_ DKTTJKBIK JJJIFK JKJTIIBJ IJJ_TJI IKDJJT *TJJ_JIFF T_JJJTJKTF TFDKT IDDK_J 7TKJTJG KJTDB TJJIJII IKKBIDBTIIDIJKJ FJJJ_BF BJDDKDBI TIFFFJBI IJII_ JTJ_I 8KK7JKJI IMMJTJKM7 IJJKI ***** JTEJB7 J*JMKKT7 DKDFJJKK JJKJIKKDJD MKDKJMK KFFFFHIFIDBKFT GGHHHIIHFFIIFHIIIJIHIHHI KKDDKKKKKKKMMM KDDKJK KDIJIJJKJFJHF HFHHDKEJFEJCJKKKKMKKM DKKKM DKKKMKJKKK FKEDEDDIKMIJEFKEDKIHIHH ..-..6 ..... .4554 5.554 % & & -.5..5 VW8%<NUd //whwxww )!%5. {{>eN Xd>e~ NhZZZ |]hw~ w}ff| |X}[|~ M9,04 h|ihWLhw~ xX*-5 wZ|ZX f\gNf 8;U|d &NhZX }$"%%%& wlxZ;O wilihw hliii iliwxb ~whiw |wlilihl hhhhihxf wlililixe lhlhhhix w]hhhhhx ]hlhli 3033-, whhhl woXfi Ulwww aniwhw 84ew]lhh nihhil =N=NYe qllhw{ /6455 WccW>OU 65000 ./.-- 5....3 -........ cVO;= ;NUVNNNN;>W eVVX[XdWYed e=XXW dXWXW>N[WVOWWWWZWWOW=NW>OW[ NdcWV MU;eNO ==UNNUUOVN X>VOW; UTMMDMKMMM7TM ***** 6JTPt` UbUabbabaUaUTbbPaTTPPPPPPTQBMTPFPPDMTJTPMTMaML`PPfbPbfP aUba@bVBPcUUbT cbbcc }tsBII* ssBb}| *{|}| ssT}}{ **IIBKstJ JssrFI KIIFII} {z{~~ {tz{} sJ_BI sTIBI s_BJI _TIIT baTITs IdAutore is name derives from his father's profession as a cloth-dyer, or tintore. For a brief period, he studied with Titian, though this relationship soon became one of distinct rivalry. He was an exuberant, restless artist who spent most of his life in Venice working on commissions for the Government of the Republic and the Schools. He became acquainted with the work of the great Michelangelo and the Mannerist painters of central Italy through copies and engravings. Outstanding among his early works are the Washing of the Feet (Madrid, Prado) the Last Supper (Venice, San Marcuola) and Venus, Vulcan and Eros (Florence, Galleria Palatina), which he handled in extremely original terms, arranging his figures in complex architectural settings and using light with great skill and originality. Next came the paintings of Adam and Eve (Venice, Gallerie dell'Accademia), Saint George (London, National Gallery), and the three large canvases for the School of San Marco with the Finding the Saint's Body (Milan, Pinacoteca di Brera), the Stealing the Body and the Miracle of the Shipwreck (Venice, Gallerie dell'Accademia). Tintoretto's most demanding undertaking kept him busy for twenty years at the height of his career: the cycle of fifty large canvases for the School of San Rocco. They were painted in three different stages: first those for the hall of the Albergo (1564-1565), including the outstanding Crucifixion; then those for the upper hall (1576-1581), including the Baptism, the Christ Healing the Paralytic and the Dinner; and finally those for the ground floor hall (1583-1587) with the Mary Magdalene and Maria Egiziaca. There are many other fine works that deserve mention, such as the Leda and the Swan, the Portrait of an Unknown Man, the Portrait of Alvise Cornaro (Florence, Galleria Palatina), or religious paintings like the two pictures with The Samaritan Woman at the Well, executed for the organs in the church of San Benedetto a Venezia, and now also kept at the Uffizi. In old age Tintoretto also painted the huge Paradise, the largest canvas in existence, for the Sala del Maggior Consiglio in Palazzo Ducale, and the cycle for the church of San Giorgio Maggiore that includes the famous Last Supper..+.+.+.+.++....++....++....++....+.+.+.+.+.+.+.+.+.+.++....+.+.+.+.+.+.+.+.+.+.++....+.+.+.+.+....q tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo Robusti alias TINTORETTO Venice 1518-1594 Portrait of an Unknown Man Leda and the Swan The Samaritan Woman at the Well FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass MFKFFIIIII JIIMIIJ IJIIJ IEKDJ LKKM< APAAQt sTBABCT sBTsB MIC@P sssTsss Ts__ss MUMMCN@b UUbbUH TBMMBFLLBMCMCEE=ECE ENMKTLCMML FFLTM>T= P@MLTC **4... IdAutore is training coincided with the last splendors of Renaissance art in Urbino, and soon after he moved to Rome with his friend Taddeo Zuccari, where he decorated the ceiling of Pius IV's Casina in the Vatican Gardens with frescoes. Ill health made him return to the Marches, and it was there that he developed a style of his own that reconciled the ethereal colorism of Tuscan painting with the solemnity promoted by the Counter Reformation. In his most successful works, such as the Deposition (Perugia, Duomo), the Pardon at Assisi (Urbino, San Francesco) and above all the Madonna of the People (Uffizi), the heritage of Raphael, Correggio and Titian is absorbed into a highly original idiom that heralds the nascent baroque manner. Other works of great importance are the Vocation of Saint Andrew (Brussels, Mus e des Beaux-Arts), the Circumcision (Paris, Louvre), the Blessed Michelina and the Flight into Egypt (Pinacoteca Vaticana). Barocci also worked as a portraist, the Portrait of Francesco II della Rovere being a fine example of his output in this genre.e.e.e.e.e....e....e....e....re....e.e.e.e.....re.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando < J t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Federico Fiori alias BAROCCIO Urbino 1535-1612u Portrait of Francesco II della Rovere Madonna of the People Christ and Mary Magdalene FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass srIGs JIrrrs^F ^FM^^^IIG^ rFrIr^B IJrKI^G I^_FG^ BBF^^FB BGGGB7 VA>>>ANMU UM=M== @@@TNUa PAaUMUU>NUUU @TUMU@ :H9;N= MLU<L :;:L:9LN UUUUN NNUNLUU OVOOP UNNO` ??VOaa Vbcta ??NVc ;U\=>bWb `VNOb NUNU:N> ;:UUU =UUN=;eP;;:9 ?sQUc U:;:MU aR_?NU U;=L; |U;;O ^ssbs =`S_r rSSRS_ ^S^SbcV tttstss S?Q_S r^^_`ssi _^^`s^ tsss> _bs_`O Ss?O? =NN9Nc N:NNN= >>>=>>=;N ??=NN=NNN =>>?>NNN U@>U== >NNN?UN> ==N==NN?N ===NNNNN <;>;=NNNNNNNOUO IdAutore e was the son of the painter Jacopo Bassano, whose style he adopted. After obtaining some early professional experience in his home town, he moved to Venice, where he made a name for himself as a portraitist. In particular, mention should be made of the portrait of Podest Cappello (Bassano, Museo Civico), the Portrait of Marino Grimani (Dresden, Gem ldegalerie) and the Portrait of Doge Priuli (Vienna, Kunsthistorisches Museum), as well as the Concert (Uffizi) and the Cycle of the Months (Vienna, Kunsthistorisches Museum)..).).m)....).).).).).).m).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando Leandro da Ponte alias LEANDRO BASSANOQ Bassano 1557 - Venice 1622 Concert FrancOpera ObjectClass baQQa ;I;LI LU;EL cbVVP POB=P SBG?U UMPON >NMCU;V MN?NcNE< a?S>@ OC=ONbN `SWOPVb RORQa O@S]] SRaPV tjtsi jtjts bsjjb t``stRQR\ tjib` j]a`R` bttii IdAutore aving studied with Alessandro Allori and with Bernardo Buontalenti, he worked as a painter and architect in Florence and Rome. He was an artist with a quest who soon forsook the forms of late Tuscan Mannerism and instead opted for the baroque idiom. His most deeply religious works include the Saint Francis Receives the Stigmata (Uffizi), the Martyrdom of Saint Stephen and the Ecce Homo (Florence, Galleria Palatina) which was painted to rival Caravaggio. In 1604, he obtained an important commission to paint an altarpiece with Saint Peter Heals the Lame Man for St Peter's Basilica. He settled in Rome and worked for Pope Paul V and for Cardinal Scipione Borghese..04.... ....4 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Ludovico Cardi alias CIGOLI Cigoli 1559 - Rome1613S Saint Francis Receives the Stigmata FrancOpera ObjectClass ;L@C?NCL K;8UTW NNCOOU5 /.63/ /.0/. cCM8HG IdAutore & > 5 e initially worked under his father Francesco Bassano and with Bonifacio Veronese, developing an early style that derived much in atmosphere from Titian. However, he soon moved on to the bolder compositions and emphatic use of color typical of the Mannerism of central Italy. During this period, he painted such works as the Way to Calvary (Cambridge, Fitzwilliam Museum), The Rich Epulone (Cleveland, Museum of Art), the Decollation of John the Baptist (Copenaghen, Statens Museum for Kunst) and the Crucifixion (Treviso, Museo Civico). Later, in works such as the Good Samaritan (Rome, Musei Capitolini) and the Rest on the Flight into Egypt (Milan, Pinacoteca Ambrosiana) he also portrayed rural scenes. The same tendency is visible in the painting of Two Dogs (Uffizi). In his maturity, he once again succumbed to the influence of Titian and Tintoretto, as seen in the dramatic nocturnal settings of the Susanna (N mes, Mus e des Beaux-Arts) and the Baptism of Saint Lucille (Bassano, Museo Civico)..).).).).o)....)....o)....).).).).).).).).).).).).o).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Jacopo da Ponte alias JACOPO BASSANO Bassano 1517 ca. - 1592 He initially worked under his father Francesco Bassano and with Bonifacio Veronese, developing an early style that derived much in atmosphere from Titian. However, he soon moved on to the bolder compositions and emphatic use of color typical ofthe Mannerism of central Italy. During this period, he painted such works as the Way to Calvary (Cambridge, Fitzwilliam Museum), The RichEpulone (Cleveland, Museum of Art), the Decollationof John the Baptist (Copenaghen, Statens Museum for Kunst) and the Crucifixion (Treviso, Museo Civico).Later, in works such as the Good Samaritan (Rome, Musei Capitolini) and theRest on the Flight into Egypt (Milan, Pinacoteca Ambrosiana) he also portrayed rural scenes. The same tendency is visible in the painting of Two Dogs (Uffizi). In his maturity, he once again succumbed to the influence of Titian and Tintoretto, as seen in the dramatic nocturnal settings of the Susanna (N mes, Mus e des Beaux-Arts) and the Baptism of Saint Lucille (Bassano, Museo Civico).).).).).).ow.w.w.w.w.w. Two dogs FrancOpera ObjectClass ~~~~~ ~~~~~ ~~~~~~~ ~~~~~ ~~~~~ ~~~~~~ N;;NN S@P>@~ A@SACA AGR>P@>RO ~~~~~ PP>Ua P?@@c ::NNNd= <LHd~ ~~~~~ ~~~~~ <;NEHH ~~~~~~~ :L;:UdddU NH<== ~~~~~ ~~~~~ ~~~~~ ~~~~~ ~~~~~~ NUW9U8 4455.. 45-44 IdAutore his Spanish painter of Greek origin came to Venice in 1565 and worked with Titian, whose rich palette he then adopted. He was also influenced by Tintoretto's use of dramatic compositions. Around 1570, he moved to Rome, then back to Venice in 1573, and finally to Spain in 1576. Works painted while he was in Italy include the Stigmata of Saint Francis (Geneva, private collection), the Portrait of Giulio Clovio (Naples, Capodimonte), the Expulsion of the Merchants from the Temple (Washington, National Gallery and Minneapolis, Institute of Arts) and the Healing of the Blind Man (Parma, Galleria Nazionale). He settled in Toledo permanently in 1577, gradually moving away from Italian painting and developing a highly original style in which the figures are deformed and the colors dramatically contrast to remarkable visionary effect. This new tendency is seen in his paintings of the Trinity (Madrid, Prado), the Assumption (Chicago, Art Institute), the Martyrdom of Saint Maurice (Escorial), Saint John the Evangelist and Saint Francis (Uffizi) and the Burial of Count Orgaz (Toledo, church of San Tom ). The works of his maturity are even more dramatic, the Assumption (Toledo, Museo de Santa Cruz), the Fifth Seal of the Apocalypse (New York, Metropolitan Museum) and the Laocoon (Washington, National Gallery) embody a startling degree of spiritual intensity..y.y.y.y.y.y.y.y.ty....y.y.y.y.y.y.y.y.y.y.y.y.y.y.ty....y.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Domenikos Theotok pulos alias EL GRECO Candia 1541 - Toledo 1614 Saint John the Evangelist and Saint Francis FrancOpera ObjectClass }}}}}} ~}}}~ krppk ~pm}}~ vp}}}| }~~}}|} ~movz}~ }vk{}} }prpk}~ }pl{} }pp{p}~~} vkoz~ |pp}z ~~}k| n~|qr} }ztqnkk }^r^Grkz v^zpo^rqk {pkrp{ vprrkzkv{^} zkpqkvpzprj zrpqkzqk}kp ~tprrkvkp| rqpqkvzp rBprpk j^rqrkqz tGpprpkpk tpp~} Bpkzjz|q~ |B^ppmx|kkkprpri Bz{zk{|{^qkj rGF*r{ok kk|{s^ ~p^pprkko{{ zz^rqkp }pBBrkpk vz|rv~y }r^qkrp {jzk^t {Apmpq pGrpr rrpqj{rq| }krpp{} 8vpq} |prrzj}v| |q^pok qplvz vkzy{} 0#,0$ IdAutore e was trained in Santi di Tito's workshop, where he met Cigoli. The two became friends, and in the wake of Federico Barocci and Ludovico Carracci they strove to go beyond the aesthetics of Mannerism. His most important works include the Pyramus and Thisbe (Uffizi), the Healing of Tobias (Florence, Galleria Palatina) and the various versions of the Madonna and Saints (St Petersburg, Hermitage; Citt di Castello, Pinacoteca; Recanati, Museo civico)..).).).).o)....o)....o)....o)....o)....o).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GREGORIO PAGANI Florence 1558-1605 Pyramus and Thisbes FrancOpera ObjectClass ~O9VW }S@b`d t|Pa}} ePOVe be@VOc} cdVb@ VafbQO IdAutore e studied under Giovanni Bilivert, who certainly influenced early works such as the Angelica and Medoro (Uffizi). In 1640, his paintings began to grow more luminous, and it was in this period that he produced some of his foremost works, such as the Death of Dido (Bissone, Museo Tencalla), for instance, or the Funeral of Saint Albert (Florence, Santa Lucia alla Castellina) and the Martyrdom of Saint Erasmus (Florence, Accademia). His last achievement was the decoration of the Certosa del Galluzzo, for which he painted thirteen canvases and frescoed two ceilings......s.s.s.s.s.s.gs....s....! tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ORAZIO FIDANI Florence 1606-56 Angelica and Medoro FrancOpera ObjectClass ~~}~~ ssrps rsrrss ts|tB ssrrs ssrrk sIkss srIkM ssrrs ssrrk tsrsrs |t_T^Gk s^^rG ~~|AG rpIss ~~}~~ {sG^B^^ sprrp tssIp EjsB^ pIrrIpk Q}fSf| pIssz UGAj{ sIssrI stss__^B^ rIp}sG ^GBBG s|aGABBr srsrs{ rsr^pkF t_G|~ ~~}~~ AATA_ VLaiAAC AMszNaA IdAutore iovanni Martinelli largely focused on fresco cycles, producing work that embodied great luminosity and narrative skill. In this sense, he was true to the best seventeenth century Florentine tradition of Francesco Furini and Lorenzo Lippi. Yet his work also indicates to his contacts with Orazio Gentileschi, whom he probably met on a trip to Rome. Outstanding among his early works are the Miracle of the Mule (Pescia, San Francesco) and the frescoes in the cloister of the church of the Santissima Annunziata in Pistoia. He settled in Florence in 1636, painting altarpieces such as the Glory of Saint Nicholas (Poppiano, Guicciardini Castle Chapel) and the Miracle of Saint Zenobius (Pistoia, church of the Umilt ), but mainly focusing on allegorical and Biblical subjects: the Young Man's Temptation (Berlin, von Klopmann collection), for instance, and Music (Florence, Galleria Corsini), or what is regarded as his masterpiece, the painting of Baldassar's Banquet (Uffizi)..i)....).).).).).).).).).).i)....i).......... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI MARTINELLI Montevarchi 1600/1604 - Florence1659 Baldassar's Banquet FrancOpera ObjectClass }}}}} }}}}}} ~~~~~ zkkkkk ~~~~}~~~ zkk2z z2k2sk ssssssk kkz2pksssss ksrsss kskkssssssk kk2sskkkksk ksrIppprss ssrssz2sssk sszsssssssssrk pkskksssskr kk2ks krrsr rrBCT kkszszk sskprrrsrk UACPb sprssk zIkrksssssrrIkps pksssppsr kIsskIssspIsrz rrssrrrssrspk ssrss^Frrprk kkrksFr^rr kIsssBKrIssk rprk^^Frsrsz csGrsF_Br^rk 8MBTTJ* kIrrGr sTS_a_ zTPMCM| s^rss bsLMC UGPTPaa TaTACAT *;c8IPa NPPPALa ATB@T TTMNN ~}~}~ IdAutore ogether with Rubens and Van Dyck, he was one of the foremost Flemish artists of the 1600s. Although Jordaens remained in his home town of Antwerp, his work was deeply influenced by his studies of the late Renaissance painters in Italy. Even early works such as the Holy Family (New York, Metropolitan Museum) and the Adoration of the Shepherds (Grenoble, Mus e des Beaux-Arts) indicate his familiarity with Michelangelo and Caravaggio, albeit filtered through copies made by his friend Rubens. His paintings have a style of their own, however, showing a predilection for the tactile qualities of paint, for marked graphic impact and for dramatic juxtapositions of color and tone. His interpretations of religious and mythological subjects are also highly original in the way they avoid pompous solemnity, instead opting for figures and settings that are thoroughly down to earth. Examples of this genre include the Satyr and the Peasant (Kassel, Staatliche Kunstsammlungen), the King Drinking and Pan and Syrinx (Brussels, Mus e des Beaux-Arts) and the Sacrifice of Pomona (Madrid, Prado). In other works he makes remarkable use of light: in the Holy Family (Brussels, Van Galder Collection), for example, and the Martyrdom of Saint Apollonia (Antwerp, Sant'Agostino) as well as the Fecundity of the Earth (Brussels, Mus e des Beaux-Arts), which is conidered to be his absolute masterpiece. Mention should also be made of his brilliant career as a portraitist, as witnessed by the Portrait of a Gentlewoman at the Uffizi..zi....i.i.i.i.i.i.i.i.i.i.i.i.i.i.zi....zi....i....i.i.i.i.zi....zi.... L Z ' j x t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JACOB JORDAENSo Antwerp 1593-1678 Portrait of a Ladyi FrancOpera ObjectClass IJIII $~)^.>3 IdAutore fter studying in Antwerp, he spent eight years in Italy. He was appointed court painter by the Gonzagas in Mantua, and from here traveled around considerably, visiting Venice, Rome and Genoa and copying the works of the great Italian artists of the 1500s. When he returned to Antwerp in 1608, he was able to reap the benefits of his Italian experience, founding a highly successful workshop that was visited by the foremost Flemish artists of the time, including Van Dyck, Jordaens and Bruegel the Elder. He won such favor with the Governor of the Low Countries, Arch Duke Albert, that he was entrusted with diplomatic missions in Spain and England. While in Italy, he painted a great many works, most of them of religious subjects. Outstanding among them are the Holy Family (Florence, Galleria Palatina), the Lamentation on the Dead Christ (Rome, Galleria Borghese), the Virgin Mary in Glory with Saints (Rome, Santa Maria in Vallicella), The Gonzaga Family Adoring the Trinity (Mantua, Palazzo Ducale) and the Adoration of the Shepherds (Fermo, Pinacoteca Comunale). In these works, he combines the heritage of the Italian masters with a grandiose style of his own that heralds the art of the baroque period. The workshop he opened on his return to the Low Countries was one of the most prolific in the history of painting. Surrounded by excellent collaborators, within the space of thirty years he produced an astounding number of religious works, for Antwerp Cathedral (the Erection of the Cross and the Deposition), for the Municipality (the Adoration of the Magi, now in Madrid, Prado) and for the Jesuit church (the Annunciation at the Kunsthistorisches Museum in Vienna), and mythological scenes such as the Battle of the Amazons (Munich, Alte Pinakothek), the Landscape with Philemon and Baucis (Vienna, Kunsthistorisches Museum), and Deianeira Tempted by the Fury with its pendant Heracles in the Garden of the Hesperides (Turin, Galleria Sabauda). His absolute masterpieces include the Last Judgement (Munich, Alte Pinakothek), the decorative cycles at the Luxembourg Palace devoted to Maria de' Medici (Paris, Louvre) and Henri IV (Uffizi), the Portrait of Isabella Brandt (Uffizi and Washington, National Gallery), the artist's first wife, and that of H ne Fourment (Lisbon, Gulbenkian Foundation; Munich, Alte Pinakothek; Paris, Louvre). Aside from the painting of Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris , his painting of Judith and Holofernes is also at the Uffizi, as well as two other works connected with him: Bacchus on a Barrel , which was painted by his workshop, and a copy of the lost Equestrian Portrait of Philip IV of Spain ..81....1#....1#....1#....1#....#....#.#.1#....1#....#.#.#.#.#.#.#.#.#.#.#.#.#....#.#.#.#.#.#.#....1#....#....1#....1#....1#....! tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando PIETER PAUL RUBENS Siegen, Westphalia 1577 - Antwerp 1640 Self-Portrait Portrait of Isabella Brandt Bacchus on a Barrelll Equestrian Portrait of Philip IV of Spain Judith and Holofernes Henry IV at the Battle of Ivry and Henry IV's Triumphal Entrance to Paris FrancOpera ObjectClass L b ' FrancOpera ObjectClass ,%B%' FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera objectclass IDTDT s_TTBKC TIBKFGK BHHGFFT GGBMF GHGGG BHCLCGT 78MU5L8 _S>TPab ***** 034wM -55.78 0..-0 BAUP;M 6330& MLLMULMUULUMMULTLMU UMULMUM |t|tt iti^^| ttj_Bv {|}|z ta}ttttTsiPrv |}}|{|}} tbttsSsrs` btsT_i ttsj_Ts ~}}~|v v__tt`K }|tvt |istsBstb tttv^tb_bis sttia_tsb MFEHC MFHKTH MGTAM IHHCM TGKMJ TMMCU* TTGGSA BCBCH ABKKH TGCPM .ICPD CCCTU CADCC EMUAT 2FBFB SABMD SB7TTH MMMGD NFBBCH CF*7T 7FT66 6//22 6262/ 62222 226627 22226226 6666226 22662 66666 62622 262622 /666* /2666 2222/ 6//266 66666/6 66226/6 626666 <MMLCLLCC<LC=LLL;<8 ;<MLNLLNULNUMMUVNUMMMU ~~~~~~~~~ ~~~~~~ ~~~~~~ N;8;43. ;NL;6 8;<233 V=O[O fXWVX[XWU edVXONXZd ddOOO cdWNU cV;LO NMU;< MLL:7 ;HNNd WWdbd H;C;=; <=LLNNNN@=NNL==NH< IdAutore e studied under Willem de Vos in Antwerp and Frans Pourbus the Younger in Paris before moving to Florence at the age of twenty-three to become the official portraitist to the de' Medici court. While holding this position, he painted a number of famous works, such as the Portrait of Galileo Galilei (Uffizi) and portraits of various members of the Grand Duke's family. He was also called to the other main Italian and European courts to immortalize sovereigns such as Charles of Lorraine (Florence, Galleria Palatina) and Ferdinand II (Vienna, Kunsthistorisches Museum). Moreover, he painted a number of genre pictures in the Italian and Flemish tradition of the sixteen hundreds..ds....ds....s....ds....} tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JUSTUS SUSTERMANS Antwerp 1597 - Florence 1681 Portrait of Galileo Galilei FrancOpera ObjectClass U=LG<UU MT<CMTTU UMEGN PBBSA PCCG@G BGGCFGT GABBT CBTCB IdAutore e was a follower of Rubens and Van Dyck who spent time in Rome, Venice and Vienna, where he was appointed court painter. He painted altarpieces, portraits and cartoons for tapestries. Aside from the two Uffizi paintings of Hercules Between Vice and Virtue and the The Triumphal Entrance into Antwerp of the Cardinal Infante Ferdinando of Spain, mention should also be made of the two portraits of the Arch Duke of Austria Leopold Wilhelm and the Allegory of Day and Night (Vienna, Kunsthistorisches Museum), as well as the Lamentation on the Dead Christ (Bordeaux, Mus e des Beaux-Arts). He ended his brief career in the Low Countries, mainly working on religious paintings..s.s.s.s.gs....gs....gs....gs.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JAN VAN DEN HOECKE Antwerp 1611 - Brussels? 1651 The Triumphal Entrance into Antwerp of the Cardinal Infante Ferdinando of Spain Hercules Between Vice and Virtue FrancOpera ObjectClass FrancOpera ObjectClass AASASSASSASAA B_T__T_s MbM.0 CE... .-.U_bbB UMBLHH T;IE. ^AAASSAAAAAAA A@@>A A@>@@CCC@C=MBLC<ECHE;HHHH ER____SS_aaaaPaaaPPaPaPPP@@@@@@PP@NT@BM@T@CBCCCC;F<EEEE;E GGLBK FHHFK TMCFT BGBTB CFBMF; MMGFGK HMMHb, MGIHK CGGFHQ KGFBb TTBGT TBGCGB EJKHI GCIGHHGGG Bb*HI FGHG; DIGFCT IIGHH JCKKMT IdAutore e was a precocious and extraordinarily prolific artist who opened a workshop of his own in Antwerp when he was only sixteen. By the time he was nineteen, he was enrolled in the Painters' Guild and at the start of a career in which his friendship, collaboration and rivalry with the older Rubens was to play a considerable part. His skill in portraiture was such that he soon surpassed his master, as the early portrayal of Frans Snyders and his wife (Kassel, Staatliches Kunstsammlungen) attests. Between 1621 and 1627, he was in Italy, spending time in Genoa, Rome, Florence, Bologna, Venice and Palermo. The many paintings dating back to this period all echo something of the soft tones of Venetian painting. They include Susanna and the Elders (Munich, Alte Pinakothek), the Holy family (Turin, Galleria Sabauda) and the Portrait of Cardinal Bentivoglio (Florence, Galleria Palatina) which is considered one of his masterpieces. He returned to Antwerp between 1627 and 1632, painting religious subjects (the Ecstasy of Saint Augustine , Antwerp, the Augustinian Church), mythological scenes (Rinaldo and Armida, Paris, Louvre) and portraits (Martin Pepyn, Antwerp, Mus e des Beaux-Arts). During his last ten years spent in London, he largely concentrated on portraits, painting masterpieces such as the Portrait of Charles I on Horseback (London, National Gallery) and Charles I Hunting, Duke Tommaso di Savoia Carignano and the Portrait of the Sons of Charles I of England, both of which are now kept at the Galleria Sabauda in Turin. The Uffizi also possesses a fine collection of his portraits, including the Portrait of Charles V on Horseback, the Portrait of Jean de Montfort, and the Portrait of Margaret of Lorraine, Duchess of Orl ans..87....7#....7#....7#....7#....#.#.#.#.#.#.#.#.#.#.7#....#.#.#.#.7#.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ANTONIE VAN DYCK Antwerp 1599 - London 1641 Portrait of Charles V on Horseback Portrait of Jean de Montfort Portrait of Margaret of Lorraine, Duchess of Orl FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass 226/666 jtjp^r Tkkrrktrrqs Trrrrr sszss EIEMMT TTMMT PMECHG @!$& IdAutore he dramatic ups and downs of Caravaggio's life are legendary, his brushes with success, misery, crime and tragedy having become a topos for artistic genius and bohemianism. He grew up in Rome, working in Cavalier d'Arpino's workshop where he painted flowers and fruit. However, he soon made a name for himself working for Cardinal Francesco Maria del Monte and the Roman aristocracy. He had a fiery, violent temper, and in 1606, he killed a man during a fight and was forced to flee to Naples and then Malta. From here, he sought refuge in Sicily, then back in Naples, and finally in Porto Ercole, where he died. He looked more to the atmosphere of Venetian and Lombard painting of the late 1500s than he did tan imposing emphasis of Mannerism. Yet his approach to his subject matter was extremely original in the way he contrasted conventional portrayal with realism and used light to highlight the effect. This is already evident in early works such as the Concert (New York, Metropolitan Museum), the two versions of The Fortune Teller (Rome, Musei Capitolini ; Paris, Louvre), the Medusa and Bacchus (Uffizi) as well as the Basket of Fruit (Milan, Pinacoteca Ambrosiana). It is hard to trace a linear stylistic evolution in a career that was both short and replete with major works, from the Triumphant Love (Berlin, Staatliches Museen) to the Supper at Emmaus (London, National Gallery; Milan, Brera), from the Sacrifice of Isaac (Uffizi) to the Deposition (Vatican, Pinacoteca), from the Death of the Virgin Mary (Paris, Louvre) to the two cycle for the Roman churches of San Luigi dei Francesi (the Martyrdom of Saint Matthew, the Vocation of Saint Matthew, Saint Matthew and the Angel) and Santa Maria del Popolo (the Conversion of Saint Paul, and the Crucifixion of Saint Peter). The paintings he created during the years of his flight and exile are particularly dramatic: the Decollation of John the Baptist (La Vallette Cathedral), the Burial of Saint Lucia (Syracuse, Santa Lucia) and the Crucifixion of Saint Andrew (Cleveland, Museum of Art)..).).t)....).).t)....).).).).).).).).t)....t)....t)....).).).).t)....t)....t)....).).).).t)....)....).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Michelangelo Merisi alias CARAVAGGIO Caravaggio 1573 - Porto Ercole 1610 The dramatic ups and downs of Caravaggio's life are legendary, his brushes with success,misery,crime and tragedy having become a topos for artistic genius and bohemianism. He grew up in Rome, working in Cavalier d'Arpino's workshop where he painted flowers and fruit. However, he soon made a name for himself working for CardinalFrancesco Maria del Monte and the roman aristocracy. He had a fiery, violent temper, and in 1606 he killed a man during a fight and was forced to flee to Naples and then Malta. From here he sought refuge in Sicily, then back in Naples, and finally in Porto Ercole, where he died. He looked more to the atmosphere of Venetian and Lombard painting of the late 1500s than he did to the declamatory emphasis of Mannerism. Yet his approach to his subject matter was extremely original in the way he contrasted conventional portrayal with realism and used light to highlight the effect. This is already evident in early works such as theConcert (New York, Metropolitan Museum), the two versions of The Fortune Teller (Rome, Musei Capitolini ; Paris, Louvre),the Medusa and Bacchus(Uffizi) as well as the Basket of Fruit (Milan, Pinacoteca Ambrosiana). It is hard to trace a linear stylistic evolution in a career that was both short and full of major works, fromthe Triumphant Love (Berlin, Staatliches Museen) to the Supper at Emmaus (London, National Gallery; Milan, Brera), from theSacrifice of Isaac (Uffizi) to the Deposition (Vatican, Pinacoteca), from the Death of the Virgin Mary (Paris, Louvre) to the two cycle for the Roman churches ofSan Luigi dei Francesi (the Martyrdom of Saint Matthew;the Vocation of Saint Matthew, Saint Matthew and the Angel) andSanta Maria del Popolo (the Conversion of Saint Paul;the Crucifixion of Saint Peter). The paintings he did during the years of his flight and exile are particularly dramatic: theDecollation of John the Baptist (La ValletteCathedral), the Burial ofSaint Lucia (Syracuse, Santa Lucia) and the Crucifixion of Saint Andrew (Cleveland, Museum of Art).).).).).).).).).).).).).).).).llazione del Battista (La Valletta, Duomo), il Seppellimento di santa Lucia (Siracusa, Santa Lucia) e la Crocifissione di sant'Andrea (Cleveland, Museum of Art).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).).). FrancOpera ObjectClass Bacchus The Sacrifice of Isaac Medusa FrancOpera ObjectClass FrancOpera ObjectClass /--'- 2622/ /266+ GBTBT TBTsB TA__BT ts^TA IGBGBCGCCB BGGBBCMT BGGABTM BCCTT BGCGGGG GBBGC CCCCG CGBMT GCBTBT CGBCBBBBAT GCCGGCCGCBTT IdAutore ollowing short apprenticeships with painters in Leyden and Amsterdam, including Pieter Lastman, who painted historical scenes in the Italian manner, Rembrandt opened a workshop of his own in Leyden with his friend Jan Lievens. In 1631, he settled permanently in Amsterdam and two years later married Saskia, niece of the wealthy art dealer Hendrick van Uylenburgh, who launched him as the best portraitist in the city. His next ten years were extremely successful, and then in 1642, his wife died, causing a personal crisis with a subsequent fall in important commissions. Despite such adversity and the financial difficulties that forced him to sell his collection of paintings and antiques, Rembrandt continued painting until his death. He began with historical pictures, somewhat reminiscent of Caravaggio, but soon focused his attention on using color and impasto to penetrate his subject's psychology. Thus in certain Biblical scenes, such as Jeremiah Weeping over the Destruction of Jerusalem (Amsterdam, Rijksmuseum) or the Supper at Emmaus (Paris, Louvre), the simplicity of the composition and the emphatic chiaroscuro contribute to the intense spirituality of the picture. His first great masterpiece was The Anatomy Lesson of Doctor Tulp (The Hague, Mauritshuis), where the group portrait becomes an excuse for analyses of poses and attitudes that together contribute to a perfectly orchestrated composition. Rembrandt handled a wide range of subjects, from Biblical scenes such as Baldassar's Banquet (London, National Gallery) and Susanna and the Elders (The Hague, Mauritshuis) to mythological ones, such as The Rape of Proserpine (Berlin, Staatliche Museen) and Danae (St Petersburg, Hermitage). However, his psychological introspection reached its zenith in his group portraits, such as the Night Watch and The Drapers' Guild, (both in Amsterdam, Rijksmuseum) and his numerous individual portraits, including Saskia Laughing (Dresden, Gem ldegalerie) the Man in Oriental Costume (New York, Metropolitan Museum), and the Portrait of an Old Man (Uffizi). He also produced a magnificent series of engravings and self-portraits, including the Self-Portrait in Old Age and the Self-Portrait as a Young Man at the Uffizi..zi....zi....zi....i.i.i.i.i.i.i.i.zi....i.i.i.i.i.i.zi....i.i.i.i.zi.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando REMBRANDT HARMENSZ VAN RIJN Leyden 1606 - Amsterdam 1669 Youthful Self-PortraitU Self-Portrait in Old Age Portrait of an Old ManS FrancOpera ObjectClass FrancOpera ObjectClass FrancOpera ObjectClass ~}~~}~}~} }~~~~ ~~}}}}}} ~~}~~ }~~~~~ }}~~}} ~~~~} ~~~~~ }~}~}~ ~~}~} }}}}}}} }}~~~ }}~~} ~}}}}~ }}}}} ~~~~~ 888888L998 8L88L89 K8E88898:998:88 ~KHGB ;K8HHH }~~}~ }~~}} }}}}} }}}~| }}~}}~}~}}}}~} }~~}~}}~~}~ ~~}}}}~}~~}}~}}~~} }}}~} }}}}} ~}}~} }}}}} }}}~} }}~}~ }|}bt }|}}|t |}t}} t_tts ~~~~~} ~~~~~ ~}~}~} ~}}~}} }~}~~ ~}}tI }}~~~}}~} ~}~~~ ~}}~}}~ ~}}~~}~~} }~~~}~}~} ~~}}} ~}~}~ ~}}}~~ }}~~}~~}~}~}~} }}}~}}~ }~~~}~~~ }}~}}}~~ ~}}}}} }}}~}~}}}~} }}~~}~}}~ }}}}}~} ~}~~~ }}~}~}}}}}~ }~}}~~~ }~}~}}} }}}}~}~}~} ~}~~} ~}~}}}} }}~}~}~ ~}}}~}} }}}}}}} }}}}}~}~}}~ IdAutore nnibale Carracci's experience as an artist consists of two different stages. The first relates to his achievements with his brother Agostino and his cousin Ludovico, with whom he founded a famous academy in Bologna and painted great decorative cycles such as the Stories of Jason in Palazzo Fava and the Stories of Romulus in Palazzo Magnani that essentially reflect northern Italian Mannerist art. At the same time, he also painted genre pictures such as The Butcher's Workshop (Oxford, Christ Church), The Bean Eater (Rome, Galleria Colonna), the Man with a Monkey (Uffizi) and mythological scenes such as Venus, Satyr and Cupids (Uffizi). In these works, Annibale developed a distinctly naturalistic vein of his own. The great turning point was 1595, when he moved to Rome. There he painted the frescoes in Palazzo Farnese with the Stories of Heracles and The Passions of the Gods, compositions of great grandeur and animation whose architectural vistas and blue skies herald the flamboyance of baroque decoration..n....on....on....on....on....n....n.n.on....n.n.n.n. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando : H t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ANNIBALE CARRACCI Bologna 1560 - Rome 1609 Venus, Satyr and Cupids Man with a Monkey FrancOpera ObjectClass FrancOpera ObjectClass tbasa tjvjs^_rA _srrsjv}tt ktaA^r v{|{| baB^B _GH_st ttv^svk c@R?^rS _ABBS_BsBr ^rrjvsjvtt tvtjj B_PS_ sS^A^BABBS STBAr^^skr rsk^rv} btisjj ssjvtj tbbisA^Ar a_t__s| iTS_b_ ATAAt MPATAAT A^_t~ ;CLC;CM CBBATTB C;E;E<E; <FCEBPPMCC cTBaUc ;EE;E HEHCU5 HHCTb M<CEEH }~xkv~ CBMB@MTP aTUat it|bb H<C<CC E<CBTPLCCM ~}}v{v} FHFHFGGH FCTPC HFTTEH<EBT |pv}| CBCFHH<B z|~}kklk zzkpkzmy{t ;EBTP} HCLbT CEBUbtaM bTMBCP HH<GC LC;EC;EMG TC<F<<C C;CH;ECFA }~~}~ ~~}~~ }~}}~ }~}~}~ ~}}~} tMGHF a_BFb ta_Ba aPtBGT} }tS|~b ~}v_BB IIIIHIIII IIIII 7JIIIII IIIIIJII 7II7J I7JJJI IHJ7I IIIII IIIIIII HHIIII IIIIIIIJ IIII7 HIIII 7II7J IdAutore ian Lorenzo Bernini undoubtedly owes his fame more to his work as a sculptor, architect and proponent of the flamboyant Roman baroque style than he does to his achievements as a painter. In fact, his paintings were relatively few: the Portrait of Urban VIII (Rome, Galleria Barberini), for instance, or the three Self-Portraits (one in Montpellier, Mus e Fabre, and two in Rome, Galleria Borghese) and the Head of a Young Man(Uffizi). Yet he was nevertheless successful as a painter, attracting a number of followers and obtaining commissions for altarpieces for St Peter's Basilica. These pieces were designed by Bernini and executed by his pupil, Carlo Pellegrini..2....2 tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIAN LORENZO BERNINII Naples 1598 - Rome 1680 Head of a Young Man FrancOpera ObjectClass UUTUUUUTUMMTMMLML;DKKM;K KKKKKKLC8KLJLKL;LLLLLMLJ @=C<HG<C;=CEHEHI NLMCLLL8CKLE;CC;C;EEEEJ KKE8JJ8 NMNLLCKEC;;K;CLCLEK8E LNCCLC C8CE;C;C8EC CMMLM;EEC8KC;ECC I;CLMMMUTNC EEJ;EK;J LL;JCLC8;C IJLMPVbVc JIEJE CCCC;K;KJJELM IE;UPcVUPUPP ML8;K VbU@PUPU PUbcc LKC;C baUMUU@PUPUaVUbccbbcb EJIJ;J C;CL;J ;bbPUUMTMNUUPUV bbbbcbbb MLCLKC;CKE CcbUUVVUUPPbPPVbUbV EELJE CEL;C;M;C;E VaVUPUUPUPUUPVbcb IEJEC L8CC;KCNEEV UUUbbaaUaUaUPUbb KIEEJC CCL;N=NMCN PVUaUUVU LLCKCLLCLd PUPPVUbbbVbVMUPb ECLLLCK=b PUUTbUbVbUb P@PUbbb L;CCL;;McaMUPaUPa bUPVbbc C;KLKECVbNUPaUV aUVUbb LC;;ECMbUNbUVPUaPUaUaPbV C;KC;=Ub@UVPUUVUUVVVPUbV JEEK; C;ENEC bNPNPPPPPNPUUUPUaVcV LC;MEL VMNTNNNUPUUPPPUPUUP bbbbba LC;E;MdPPNNPUTPUPPPNNN@NPb bbbbbbUaV |~~~~~ ;EMCEU UTPN@NPN@UUPU@NNTUba ccbVUTaaUab CC;M=VcaNPU@NNNPPPU@M@N@P@N baUUaUVa LL=LCb VUPPUN@TUPUPUNNMNN bUbaTaUPc CCLC=b VTUUPMONaUPPP@@NN@Ubb VbVUaUaU LCL=Lc aaVN@MPUPNNUUM@NMat aaUPUP LCCCc N@UaPUTPPPPUPTP bbUbbVUVPb EJ;=c bcbbTUPUUPPNUPUV CE;CLb ccbVPPUaPUPUPNUPcP LCCLCc VcbVUPUUPUNNPPUPbNP<P C;CC<Td cPUaUPNP@MP@U T@NCa EN;McbPVaUPVUPUNNPPUa NNT=M EC;ECMcVUbUPPUPN@NPUVc PC=N=@b CVVUUPUUP@UPPVb bCCCNCNb EEIIF8PaVUPPPV NBNPPabbcb ;EUVUPTUUUPPb |T=NC=MNVc IUbaTNPVab @MC=N=PP ILbVVPb C=NCNC=Tb EEEECE U<NC;@TVd EE;EE;H P==CNac HEE;L ;EEE;E @CNBbc HCLEL ;;CIEE HLC;; H;CC; EEC<E ;C;;EE VcPb@P }N<;CLL C;<EEEE NUUcTPbc LIC;EN E;EEE; UOPNNNP CEE;ECE dccUNUNUcc C;EEL ELCEE;E bVPNPVNV ~FH;E;E; LCEE;ECC ;C8E; CLC;EE; ECEE<L LC;EL JEEEEL NLEJEEEEE JE;E;E ECE;EL LCL<ELCC C;C;CL C=CLCCE;EE IEE;;;;CC L@LC;EEEEE E;CCCNCL; =L=LC;;;EE LC;CC; CCLC;CEE JEC;E;MC NLCN;C;FE EKEEELC;C=C =@LCNC;;EE EE;CLCL; LM=@LC;C;E E;E;ELL=LCC C=MN;C<;EE ;E;;E=CLCNL NNNCCCCL;EC;E EDEEEECLCLN=MC @CCL=MCCC;;EEEEEE <C;CL;LCLELB MNNCL=LNLCC;L=EEEEEHE <;;ECECC;LE;L; ;CCNECC=C;CECEE EEEEE I<;EE NCNCNC;C;EEE<E H;E;CE;C;C ECLCLCLNNL@NOMNU IdAutore t was the study of Emilian painting of the 1500s that shaped his artistic education, particularly the work of Dosso Dossi, Scarsellino and Nicol dell'Abate. However, he was soon attracted to the art of Ludovico Carracci and the Venetian circles. Such wide-ranging influences are evident in the first ten years of his work, as in the Madonna with Saints Bernardino and Francis (Cento, Pinacoteca), for instance, in Saint William of Aquitaine (Paris, Louvre) and in the Open-Air Concert (Uffizi). He won the favor of the Archbishop of Bologna, Alessandro Ludovisi, who later became Pope Gregory XV, who summoned Guercino first to Bologna, and then, in 1621, to Rome. He stayed there for two years, painting, among other works, the fresco with Aurora at the Casino Ludovisi and The Exequies of Saint Petronilla for St Peter's Basilica. While in Rome, he also studied the work of his fellow countryman, Guido Reni, which encouraged him to adopt a more classical style. Thus, the compositions of his mature works in Cento and Bologna are more balanced, and the colors he uses are quieter and more harmonious. This is evident in his painting of Our Lady of the Assumption (Reggio Emilia, Cathedral), for example, or in the Saint Francis (Bologna, San Giovanni in Monte) and the Death of Cleopatra (Genoa, Palazzo Rosso..o.o.o.o.o.o.o....o.o.o........so....o.o.o.o.so....so....so....o.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando h v ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giovan Francesco Barbieri alias GUERCINO Cento 1591 - Bologna 1666 Open-Air Concert FrancOpera ObjectClass !$$$$$$ !!$!$$$ !!$!$!!$#!$ !!!!" "$$$$ !!!!!$!#!$$## !!$!!! $$$!$$ $!!!!!$$$$$$ $!!$$ $$$$$$$ $$$$$$$$$$$$$ $$$$$$$$! !!$$$$$$$!$$!$!$$$#$$$$ $$!$$!$!$$$$$$$$$$$$$$$$$ $#$#" $$$!! !!!!$!$!!$!!$!$$$ ##$$!#### !!$$$$$$ !!!## IdAutore e came to Rome when he was very young and chose the Eternal City as his permanent home, leaving it only for brief trips to Naples and France. He specialized in landscape painting, establishing contacts with the great northern artists devoted to this genre who were then working in Italy, such as Paul Brill , for instance, and Nicolas Poussin. His airy, panoramic views, partially based on fantasy and partially taken from real life, were embellished with lively genre scenes. A typical example is his painting of a Port with Villa Medici (Uffizi), or indeed the Port at Dawn (Paris, Louvre), the Landscape with a View of Delphi (Rome, Galleria Doria Pamphilj) and the Landscape with the Nymph Egeria (Naples, Capodimonte). He won great acclaim among European dealers and collectors, to the extent that he was obliged to defend himself from forgeries by publishing a constantly updated catalogue of the designs of all his paintings, the Liber Veritatis that first appeared in 1636 (London, British Museum)..).).).).).).).).m)....m)....m)....).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Claude Gell e alias CLAUDE LORRAIN Chamagne, Nancy 1600 - Rome 1682) Port with Villa Mediciiii 8 N ' FrancOpera ObjectClass 266-+& +--/0- /620/22 ,2022 //,%/ /,,/% /,%%, //0/2 !%,!,%' //,%, ,,$", IdAutore e painted both intense religious pictures and charming profane allegories, spending many years in Italy, especially in Rome, where he lived between 1612 and 1627. He thus became acquainted with the work of Caravaggio, Guido Reni and Guercino. During this period, he painted the Stories of Saint Francis and the Virgin Mary (Rome, San Lorenzo in Lucina),the Annunciation (Uffizi) and Time Conquered by Hope, Love and Beauty (Madrid, Prado). He was summoned back to France by Louis XIII and appointed court painter. Once there, he opened a famous school of painting, completing among other works, important commissions such as the Saint Carlo Borromeo (Brussels, Mus e des Beaux-Arts) and the Presentation at the Temple (Paris, Louvre)..).).).).).).e)....).).e)....)....e).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando SIMON VOUET Paris 1590-1649 Annunciatione FrancOpera ObjectClass 222/2 26226 TTTGB PGBGa IGBIa BFTFDJFFFBDFBBAa MTT_tbFGIG* sTB^^rrr} t_bTB ^rrB^A^ rrr^r ^^B^^r GBGSI rrr^^s aD_BtT Gq^^^r^s F^r^^^^^^s ^rG^r^^r^ p^B^Gr^^r Irrs^^^^^^ BA^^rrBG^^s GBr^r^rA_ BG^^^^^A BBI^r_ MKIIBq6 MJKJI JG^^^ jGsbaB r^^r^s rrtsttt TGrBB IIBtts _GGztkttz FsBGz tktt{ ttszt IdAutore e studied under Frans Hals, and together with his brother Job, became an excellent painter of extremely precise and detailed architectural views. His chosen palette was gentle, and he handled light with great skill in his portrayals of the squares and monuments of Dutch cities. The painting of Groote Markt in Haarlem is typical of his work. There are various versions of this at the Uffizi, in Lyons at the Mus e des Beaux-Arts, and in London at the National Gallery. Another of his paintings, the Dam di Amsterdam also exists in two versions (Amsterdam, Rijksmuseum, and Paris, Louvre). Moreover, he painted numerous landscapes, including some Forest Views (Amsterdam, Rijksmuseum)..).).).).m)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando GERRIT BERCKHEYDE Haarlem 1638-1698 Groote Markt at Haarlem FrancOpera ObjectClass LN::;9:;; L<;9;; ;;;9M LL9LM9L:;LE;E;;HH:;< 9:L9: ;LL<L LMLLM:L L;UL9L LL;:;:;; ;<E;<;;;LLLLLNLL:M:L:MLL ;:LE99;L;;E<; :L;;9; ;:L:89 NLLL;L MLLLL;L:LLL9;:L ;L;;;;<<;L;;L;E <;:;: LLLLLL L9L;L<;;H;HE; 99=;;;H L;;LL;;; <C;<;;;;;;;HH H:LL; LH9C< %03$30, -/%-,,--%% //./-,-,&* 03/030 3/0/30- ,%,##" ,"#,%&)) "," & //-#,%"%"%&)%" &%%& ,%,&%) -&%-% 5/554 /- %&&% 0////,,-%-% -/-/-% &%-%&% &&& ""3-% 0-/.. %%"" %-&%,- 0300000 -,"! "/ !& % )&%!"*&,,/ 223340003/0/- ,,,,,"!) ,")* " ,%%,, 00033 2300.5003 0/0/- ""&&%%%,// 3366/000030 300/-,-% %#!!!")&*) *$! & %&&&)"##, 06//3003 //-/-- " ""####,,% 333/003 3/-6/-//,* *!!!!! ! !%%#,%#, 30033/00/-- !!"!!! ,",,, 30/0/30- ! ! ! &! "!&, 30/00/3/0///.% ,,,% &&&&&-&, 30/6. 0/0-6/ * !#!"""% /04//--. &!!,,,,%,& &,%%-,-/-/- 03,""##$,,, #"',!#"! ! ",!!"""$#% #,###,, "$!"#!#!"!$ ,$,#,#,%#!##$$ -%-02 ###"!#!!!! !"#"" ", !!!$,#,,!!! ######!!!! !!"!#!$$ !!",, ,#!##!,",!! $#!#,,# "!,%-//000//303233 ,"!#!"!#" '",!",#,###0,00 ,#-66/030-0303 ,,$"!#"!#""### .0/6033003033023 ,###!#!"###"#,### /-/34030/333/ ,,##### ,###/3 00/633333303 ,"### 03333 #","#, ###,# #,--/0333 3446604 3....53 IdAutore n his early works, including the painting of the Copper Mine (Uffizi), he was clearly influenced by the highly detailed paintings of the Flemish artist Joachim Patinir. He appears to have been active in Italy at the end of the 1400s, and his style certainly bears witness to Renaissance tastes. (Diana, Strasbourg, Museum). His name derives from the "civetta" or owl that features in almost all his paintings, including the Landscape with the Good Samaritan (Namur, Archeological Museum), the Landscape with the Flight into Egypt (Copenhagen, Statens Museum for Kunst) and the Preaching of Saint John the Baptist (Dresden, Gem ldegalerie and Vienna, Kunsthistorisches Museum)..".".".".".".""".".")."""").""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando Herri Met de Bles alias CIVETTA Bouvignes or Dinant 1480 ca. - Ferrara? 1555) Copper Mines FrancOpera ObjectClass L8;KKE 5L88977 GGGGG LLLLL HE:99845 E<;78L878 EC;E;E FE:9;C;8EL9 L888K: E8LLIC;8;;:E;; ;;LL;L9 ;9MLLL KL;::E<EEE L8;;L LC;LKL8L L988K88C8;EEEE JJJIEDE EEHHCEEE;DL KLK;MLK ;;K;K;KEEFFHEHHHE IdAutore is early style resembled that of Gerrit Dou, with whom he probably studied in Leyden, where he is recorded as enrolled in the Painters' Guild from the year 1648. In 1657, he moved to Amsterdam and was influenced by the outstanding artists of the time, especially Rembrandt and Vermeer. The result was a high degree of eclecticism that found expression in genre paintings: the series of the Forges (London, National Gallery), the Sick Girl and the Dinner (both in Amsterdam, Rijksmuseum),the Lady and Knight (Uffizi) and the fine view of the Herb Market in Amsterdam (Paris, Louvre)..).).e)....).).).).).).e)....e)....)....} tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GABRIEL METSU Leyden 1629 - Amsterdam 1667 Lady and Knight FrancOpera ObjectClass aUVPabVcdcbc 7.M}} rsss} srsss tssA_T_ vsS^^^B s^^^r_rt C\^rcv} ~^RM8QgBC t\\iwC EM@^s ~NFP@ IdAutore he painted still lifes with an attention to detail and overall harmony that are typically feminine. Works such as the Study of Flowers (London, National Gallery), the Fruit and Insects (Uffizi), and the Vases of Flowers (Amsterdam, Rijksmuseum, and The Hague, Mauritshuis) reveal the high quality of her painting and testify to her apprenticeship under Willem van Aelst..24.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando RACHEL RUYSCH Amsterdam 1664-1750 Fruit and Insects FrancOpera ObjectClass NNNNLNUU UUUUNNNUNL UNNU@ cNNNUUNUUN?UU NN?O= UUNN=N N>N>Nc; =9==:U =:NNN ;==NUU WUOUcU >9==U VUcUUNU P`R>`e br^As^ A^Bsb SASSV ASRG= ASA^^ @@S^Ba eLP|t@ datS@ S`aSV >VSQ>_R@Q UU@NNLWNP cNL;@N9 IdAutore e was a painter and engraver who studied with Gillis van Coninxloo and worked in Haarlem, Amsterdam, Utrecht and The Hague, where he enrolled in the respective Guilds . We only have examples of his landscape paintings, including the Mountainous Landscape at the Uffizi that was once part of Rembrandt's private collection, the Valley with Red Houses (Rotterdam, Boymans Museum) and the View of Rhenen (Berlin, Staatliche Museen). As an engraver, he experimented with an original technique that produced some excellent sfumato effects..ts....s.s.s.s.ts....ts....s....s....= tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando HERCULES PIETERSZ SEGHERS Haarlem 1589/90 - Amsterdam 1638 ca.q Mountainous Landscape FrancOpera ObjectClass 262662 266/66/6 POUUN U=E:8;< TC=LML= @MNPTMUUMU LCU;L <<LTUB .*--* 0/--. .--/06// /**&** &--*- -/66/ 6/-/- &-/-/ --&%+ IdAutore e was a follower of Jan van Goyen, whose daughter he married and he worked in Leyden, The Hague, Delft and Haarlem. He was an extremely prolific painter of genre scenes, over seven hundred of which are attributed to him. His realism and lively satirical vein brought him considerable fame and numerous commissions. His works include the Luncheon (Uffizi), the Tooth Drawer (The Hague, Mauritshuis), the Sick Woman (Amsterdam, Rijksmuseum), the Tavern Party (Paris, Louvre) and the Sleeping Courtesan (London, National Gallery)..).).).).).).).).y)....y).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando (HAVICKSZOON) JAN STEENA Leyden 1626-1679g Luncheon/ FrancOpera ObjectClass ceett thhijioio effXXeXXXdXeeedte]t ttedeededXXfXfdegh tedtettdXXegZf tettef efeet eXeefu hhZfift gggfffft tfgeee hfffg itefe e\\\t teeei \\Z\\Z \ZWZdeee \dXfuZ Zhh\]\\ XXed\\]]] eU;ZtW ZeXte\]hlh X\ZZXfXWXV cX`\\i \\\iitjpx \\]ht qqkkvppq pppjvppq pqqkjpqpj qqpjkqqpj ppqoppppn jqpppppppp pqpqqpqqqt ]r]]m N>NN=NN titXX\ >NU9UWU NWOWOc>U YOWdt [?NWZc efefec IdAutore e studied under Abraham Bloemaert and lived most of his life in Utrecht, where he painted delicate landscapes that were usually a background to religious scenes. He was in Italy between 1617 and 1625, working in Florence, for the de' Medici court, and in Rome. His stay in Italy evidently influenced his painting, which then tended to incorporate gently portrayed classical ruins. His works include the Landscape with Ruins and Cattle Dealers (Paris, Louvre), the Adoration of the Magi (Genoa, Pinacoteca), the Angel Leading the Shepherds (London, Wellington Museum), Mercury and Batto (Uffizi) and the Tivoli Waterfall (Munich, Alte Pinakothek)..).).k)....).).).).).).....g tipoHot ObjectClass rimando tipoHot ObjectClass rimando CORNELIS VAN POELENBURG Utrecht 1586 ca.-1667 Mercury and Batto FrancOpera ObjectClass ~~}~~ MTIIF }~~}} }~~}} 76776 }}|*bJ IFIFBIIGIB IdAutore e descended from a famous family of Haarlem artists, learning to paint from his uncle Salomon and soon devoting himself to landscapes. In 1650, his style began to turn toward Romanticism, with dramatic contrasts of light and shade that capture the disquieting side of nature. In 1656, he moved to Amsterdam, where paintings such as the Landscape with Shepherds and Peasants (Uffizi), the Mill at Wijkbij Duurstede (Amsterdam, Rijksmuseum) and the Beach at Scheveningen (Chantilly, Mus e Cond ) won him fame and a considerable following among Dutch artists. Mention should also be made of his View of Haarlem (Berlin, Staatliche Museen), the Tempest (Paris, Louvre), the Landscape (Madrid, Prado) and the Jewish Cemetery (Dresden, Gem ldegalerie)..).).).).).).).).).).).).e).... tipoHot ObjectClass rimando JACOB VAN RUYSDAEL Haarlem 1628/29 - Amsterdam? 1682 Landscape with Shepherds and Peasants FrancOpera ObjectClass ;E;;NLNNUN NU<LUNLLNU LLLUN 8.... /-63- .5622 -6&-*~ ---/* *+-----/ 22222 +//60 *-..32 -..42 ////- **+&** ***** 3//6--) 36260// ,''') *.6.6 20---++,++ ,,,-- -*..0.6 -/,%+,++ +,,,,,+',++-,,,,,,--- ****** 22223 320/,,,%%+,+,+++,,,,,- --.022 ,%,,+,,%+,,,,,-+ /3222 ,%,+++,,,/%,, 260022 +,,',,,+% 206/26 236/,, -//63 260066 2260- /./360 2/.000 ,+-++%+ ////+-. 06662 3/660 200--6/ /,/,/////// /----/0- ///63 //00600322 /0//600262 /6/66226 20-+--/.33632022 066222 -/662 IdAutore e studied with Gerrit Dou and joined the Painters' Guild in Leyden in 1658, making a name for himself due to his precision and attention to detail. He mainly painted portraits, including the Lady with a Dog (Thyssen Collection), and the Self-Portrait (Munich, Alte Pinakothek, and London, National Gallery), and scenes of everyday life such as the Two Old Men at the Table, The Dutch Charlatan (both at the Uffizi) and The Soothsayer (Dresden, Gem ldegalerie)..).).e)....).).).).).).).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando FRANS VAN MIERIS THE ELDER Leyden 1635-1681) The Dutch Charlatan FrancOpera ObjectClass 222222 BBUTT UMUUNU IdAutore is father was the stage designer Bernardo Canal, in whose professional footsteps he briefly followed. However, he soon opted for painting views instead, and absorbed all he could from the work of Luca Carlevarijs, Marco Ricci and the views of Roman antiquities painted by Giovanni Paolo Pannini. Aside from a stay in Rome and another in England, he lived and worked in Venice. His work met wide acclaim among English collectors, as well as winning him the protection of John Smith, the English Consul in Venice, who was also a keen collector. In his early works such as The Grand Canal Toward Rialto and the Rio dei Mendicanti (Milan, Crespi Collection), or the six Views of St Mark's Square (Windsor Castle), he used his theatrical experience in focusing on the use of perspective as well as idealizing his subject in keeping with the work of the Roman vedutisti. However, around 1730 he started developing a more individual style that derived from his growing interest in painting from life. His colors became more luminous and his rendering of light and air more realistic. He was able to produce the many masterpieces that include the twenty-two Venetian Views painted for the Duke of Bedford (Woburn Abbey), the Views of Riva degli Schiavoni from the Basin (Toledo, Museum of Art), the View of the Basin of St Mark's (Boston, Museum of Fine Arts) and the two Uffizi paintings (View of Palazzo Ducale in Venice and the View of the Grand Canal ), as well as the Reception of Ambassador Bolagno at Palazzo Ducale and the Departure of the Bucintoro for the Wedding with the Sea (both in Milan, Crespi Collection). He also painted numerous views in England: The Thames from the Terrace at Richmond House (London, the Duke of Richmond's Collection), for instance, and The House of the Old Guard at St.James Park (Basingstoke, the Earl of Malmesbury's Collection). Finally, mention should also be made of the splendid series of etchings with views of the Lagoon and the Venetian hinterland..d.d.d.d.d.d.d.d.nd....nd....d.d.d.d.d.d.nd....d.d.d.d.d.d.d....nd....nd.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Giovanni Antonio Canal alias CANALETTOg Venice 1697-1768 View of Palazzo Ducale in Venice View of the Grand Canal FrancOpera ObjectClass FrancOpera ObjectClass 3/3-/ 3000030000030 30300/000/0//333 0/0/000- 000330/ 00/66/0/60/0.30363 73030 300,030/000/3360 0400/3/ 4060660/4006336633033300 /060440566/63 333/363 03430333 433333 ***** 6/040 .75.5 0-./.- .---- 33,/0 )&)) #,/#! )' !"!,,,,/0 ,,%,, )))"'%' /,#,,,"""%"#0- / &) '" 0//// ,#,%,,,"#""! %,%,,',+-,/, //.//-00 ,,#,!" $!!! " ,",#",, !,,#####!"%" ","##" ,,""! ! ! #!#,##,,, 2.4.-45. "#,#," " ! "" !"",,#,#,, /3.44 6.400 4##"#,,## #"#,##"!! &)!!!!" !",,#,,, #,!#"!,,#,"",#!' "!!,"",, ///00 3$,#,""#!#,#####,& ) #",###,, 3###!##!####,!,,, )!!!!"!#, ,,,,, /!,,,!!!!# !!#""#,,,, "!"!"#,""",,") !"#",##, /$""" #!","#!#" "!!""#,,,,,,, +#!""""!!#,!#,!%")) ","#####, -#,""!"",",#,%"!!" ) ) !!""",#,#,,, !"$!! "##%"""! !,!#,,# "!"#!##,,, """"!!! """!#,###,,,, #!"""!!" !!!#"#,,#, +#!#!! !!!##"## -#!,!"$ !!!!! !""#,#, .!!!", !!!!"###,# "!#!""!!" ! $!!!!",##,, . !,",!!!!! !!"###,# ,#,"!""!! " ! ! ! !!#"!!"#,, ###!#!#!!"!! !!!!"!!#####, ,/,,,, ,##!!!"!!!"! !!!!#!#!#,,, ,!##,"$ !!!!,,""# ##!!!!!!"!$ !!"!"#"# 6!,,##!#!!!" !!"!""! / ,%,,# ""!!! $!!!!!!$!###,#,# %,%'&%%"!!! !!!,!"#,, !!"!!!##!"#,# ///0/# 0#,''+ "!!#!!#""!",###,,## %%,'''& !"""#,#$!#,# -,/,%,%,% &) ! !!#"$!!##"#!#,,, ,%,%,,,%%&&&" $$$$$ $$$$$$,$$# #$$%### ##,$",$ 660/-//00-66 //.//6/-/.6-/.-.-/..0. 6-.2. ...63 54344 UcNUUc 99N9L98 UUL9N U9UVLLLLUU:M 3----- LLULUV ),-/-/-/6----/.0-&&-/% /06/0./6/6/----/-/--6-//6 cNLUVc &-----/-/0//-------/////-%/04. 4/6/6-4 %-/-//-./--//----/--/-/---/--/% &%--- ------/----.-/-/--- .--%.///////.4 ./-/.-.//6///-./--. .--,-/-----.... -//66.0/./-/-6../----.- -%--------- -5..- /6//0/666/6-/.--55.--..---.--- 32333006066//06//.-./...6. .-...- 3330200 363060000//-/--.-... -----6/..4.. 36036606/.///.-.-. .-&-&--....5.. 330636 00/0./5///6/..- --.-...6.55.5..-. 32333 333660///0//////-- .&-+&&&& ----...-....5. .--...-44/4454.4 30060600//-//---/-/. &--&&& -..-....6. ....6.6.555 554488 6606////0--/-//------.-&- --...-....5 6.5..5..6666//655 55585 6/0//00-///-///---/--- -/6.-----% *&--- ..6.. 54.0660/66654566654 00300////-///,/-,----&-,-/-.-...--.%- -&-&-& .--.....4.. .6664/6///56444545 6//00///0/-//- --+-%,....---& -%---.-..........66 /60.0660665634 33232300/////-00 ,-/-----,--- %-%--- ......5... 5.5556/066/50654464 3206606/0// ',-/- ,,,---,+------& &&---- ...... 666660/6644 360000000/- ,-,,--/- --,------&-& 6..6. .0/66/.666 4464555 323200/00/0// ,/,,/-//---&--&---&-- &&-&& ......6...66../.4. 6665/5844585 32233 300/00///- -,-//,-/ --/--,+-&---- ---&&& -----.- .--.- ..../..--../-/ 5/4.6/5544 3300/00/00/ -/--/,+,-+-&.- ...--...../5-6./../../66.45466.555555 0/00///0 ///-,-/--,-,-,++&-% .%--- .........-../-..../.6.-./.6.0./50664 00/000 /00-, ,-/,-,---%--& ./--......6-../--//.66666560645 --/-,------&% -....... .././.6--/.../.65 54554235 //,,-,-', -&---& ----- ----. .-.-..6/.66.....-./-/-/.60.5446 448884 00/0/ /-//-/-, +%-+,,--&&--& .--,--5.-//.../..-/.5.-/...5./54 /---,-&-&+-& &.&&& ..... 5,,,/-////-06/..56..656.6/.05 464.5 0//00 //,,+,-,-+,&%-% --,--,//-//-/5../....6/..6656544648 /0000 ///// -,-%%----. 4%../,-,,-///-/06. 66./6.66655454/54834 000///00//0///, ..,-,/-/--//.65//-/4./6.65/.554 0000/ 0//// ////,/, --/-.---- ..... ./-&,--, -,/605.665 66666666053239 0//0/ /,-/////6... /-,--/ --66/55656/6/6634664459 ///// -,-/././. .-.-.. .-%-,-%/-/-////054/60/6.4666/45648 20403 0///-/,/,///0//... -,/-, -/-//--/////066//664.66/5880460/ //0/0 /-/---........ /-------0-/0/////0/5 055/55843432/3 00///0////// /-//-........ ---,-/--/--/////0//06045530606606006 00000 0000/-06//0/-0/6566.... ----- ,///,-////////054//3 /000406306 /00/000/00//00//44606/66/.5 .//------,-/ -/-/-///06/0/00/006360603/4 000000//-/4606//./. .....6.. .-////--- -/-,-/,--//-/////// /0600636/ 6000065 646/6.64 ..-../-....... -----/0--/,--/,/0////// ,06////0/06060 04666565544 5586.5.55 .---/.. -///-/-/////-//-//-0/-//0/0///60306303 3003260636046664555 5.55.5.4 .--/6. ......-///--,/-/---/--/--/-////-/0//0-///3600/63 //2636/04464565 5.5.53 55./6./ ....5/0///--/--/--/-/-//,--/////00/0063060366 636263 ..4.554 343//65 5-0//4///////0-0/-////////060/66363360 630466 364463344444 5456445 26.55 555.53 ..5//66./606//6//6////6/64//30233364060600/006 IdAutore he began her career as a miniaturist, but soon made a name for herself in the difficult art of portraiture. Pastels were her medium, and her style was light and elegant. In 1703, she was made a member of the Accademia di San Luca in Rome, and in 1720 of the one in Paris. She mostly worked in Venice, though she also spent time in Paris, Modena and Vienna, where she obtained commissions from princes and nobles. Her most famous works are the Portrait of a Girl (Paris, Louvre), the Portrait of the Duke of Wharton (London, Buckingham Palace), Flora (Uffizi) and the Portrait of a Gentleman (London, National Gallery)..).).y)....).).).).y)..../ tipoHot ObjectClass rimando tipoHot ObjectClass rimando ROSALBA CARRIERA{ Venice 1675-1757 Flora FrancOpera ObjectClass YVN9L;;= ,//%0 436/00/ U3--#,% 3#$"% )--/4 30/33-%& &-64 64./.64 3030/- }~~}~ & 5 &--54 }~~}~ ~}~}} }~}~} 45455 }~~}~} ~}~}~~ IdAutore e was trained within the school of Pierre-Jacques Cazes, No l Coypel and Jean-Baptiste Van Loo. He lived in France and made a name for himself in the circles of the Acad mie, winning the favor of the Parisian bourgeoisie. Nevertheless, his technique and choice of subject matter reflected that of the Dutch artists of the 1600s, especially Vermeer. In fact, he was particularly skillful in capturing figures in the intimacy of their own environments and in handling still lifes. His paintings of The Ray and The Buffet (Paris, Louvre) mark the beginning of his official career around 1730. Over the course of about forty years he painted nearly one thousand pictures, including many masterpieces such as the Little Organ (New York, Frick Collection), the Boy with a Spinning Top and the Jar of Olives (both in Paris, Louvre), The Kitchen Maid, and The Tavern Boy (Glasgow, Hunterian Museum). The two paintings at the Uffizi are also fine works: the Girl with a Shuttlecock and the Boy with a Card House . They are replicas of two paintings that belonged to the Rothschild Collection in Paris. During his latter years, he had problems with his vision, which led him to abandon the Academy and oil painting and to concentrate on pastels and portraiture. The results of this change embody great psychological insight: the Self-Portrait, for instance, and the Portrait of the Artist's Wife (Paris, Louvre)..).).).).e)....e)....).).).).e)....).).).).).).e)....e)....e)....e)....e).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JEAN BAPTISTE SIM ON CHARDIN7 Paris 1699-1779 He was trained within the school of Pierre-Jacques Cazes, No l Coypel and Jean-Baptiste Van Loo. He lived in France and made a name for himselfin the circles of the Acad mie, winning the favor of the Parisian bourgeoisie. Nevertheless, his technique and choice of subject matter reflected that of the Dutch artists of the 1600s, especially that ofVermeer. In fact he was particularly skillful in capturing figures in the intimacy of their own environments and in handling still lifes. His paintings ofThe Ray and TheBuffet (Paris, Louvre) mark the beginning of his official career around1730. In the course of about forty years he painted nearly one thousand pictures, including many masterpieces such as the Little Organ (New York, Frick Collection), theBoy with a Spinning Top and theJar ofOlives (both in Paris, Louvre), The Kitchen Maid, The Tavern Boy (Glasgow, Hunterian Museum). The two paintings at the Uffizi are also fine works: theGirl with a Shuttlecockand the Boy with a Card House . They are replicas of two paintings that belonged to the Rothschild Collection in Paris. During his latter years he had problems with his sight that led him to abandon the Academy and oil painting and to concentrate on pastels and portraiture. The fruits of this change embody great psychological insight: the Self-Portrait, for instance,and the Portrait of the Artist's Wife (Paris, Louvre).).).).).).).).).).).).). Boy with a Card House Girl with a Shuttlecock FrancOpera ObjectClass FrancOpera ObjectClass bcdbf bXQRZOZ .YPUdN ;Uj_u` "-//00//23 3/033 /3#03 ,,&)%,-/0/ }||}|} 33/0/0/"%, )& %-%0 300//00"%- )&-%, -" ", ",% %,-"#, ,%33} }||{| ,%% %!,% , +. *Lf7J IdAutore e was trained within the sphere of the foremost Emilian pictorial tradition of the 1600s, with Correggio, Parmigianino and the Carraccis as his main influences. He then widened his scope by traveling to Venice, Urbino and Florence. His earliest religious paintings such as The Temptations of Saint Anthony at San Nicol degli Albari and the frescoes with The Banquet of the Gods and the Triumph of Heracles in Palazzo Pepoli Campogrande in Bologna make effective use of naturalism in an essentially baroque context. At the turn of the century, he broadened his repertoire and began to paint the genre scenes for which he was renowned. Many of them were executed in Florence for the de' Medici court and are now at the Uffizi, including the famous painting of The Flea and the Fair at Poggio a Caiano. However, his masterpiece was painted in Bologna: the series of the Seven Sacraments (Dresden, Gem ldegalerie) commissioned by Cardinal Pietro Ottoboni. He devoted his last years to religious subjects (the Madonna and Child with Saints in Sarzana Cathedral) and portraits (The Portrait of Cardinal Lambertini at the Pinacoteca Vaticana and the Self-Portrait in the Pinacoteca di Brera). The picture of The Painter's Family is also kept at the Uffizi..zi....i.i.i.i.i.i.i.i.i....zi....zi....i....i.i.i.i.i.i.zi....i....i.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando l z ' tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando alias the Spagnolo GIUSEPPE MARIA CRESPI Bologna 1665-1747 The Painter's Family The Flea FrancOpera ObjectClass FrancOpera ObjectClass MLb8WMdMNN 9.L88 L;.VM L;7UNU VMccONMLOO @LC;CNHB<M F=CMCFC< <H;B=EL XX`Q\ i_iu|~ e@igiu~ eRiit f\Rfttc *LfefdeW ebedfQd QfQQXQf@ aOZZX@?fZa OZOZZOQ\\O Q?Q?a?QZ ZEOWC[E> >>==NOQ= N;;NUM P=L;O UUMLNL U==@P NMNLM IdAutore e spent his youth in Saragossa and Madrid, where he studied the painting of Diego Vel zquez and came into contact with Giambattista Tiepolo and Anton Raphael Mengs. His career began rapidly improve after his return to Spain after a short stay in Italy, culminating in his appointment as the '"first court painter" in 1799. The French invasion and Goya's support for the Spanish liberals brought about his gradual estrangement from public life, and following the Restoration he retired to his country house at Manzanarre, where he suffered from deafness and died in solitude. His first important works were the frescoes he painted in 1771 for the church of Our Lady of Pilar at Saragossa and those executed slightly later at the Carthusian Monastery of Aula Dei. His first royal commissions included the sixty cartoons with genre scenes for tapestries (Madrid, Prado) that won him the favor of the Spanish court. His portraits also met with great acclaim. In fact, he managed to reconcile supreme formal elegance with realism and almost merciless psychological insight. This is evident in the Portrait of the family of Charles IV (Madrid, Prado), the Portrait of Don Manuel Osorio (New York, Metropolitan Museum) and the Portrait of Ferdinand Guillemardet (Paris, Louvre). There are also female portraits of singular grace and sensuality, such as those at the Uffizi: the Portrait of Maria Teresa de Vallabriga on Horseback and the Portrait of Countess de Chinch n Standing , or the famous Maya vestida and the Maya desnuda at the Prado. The Civil War left its mark on Goya's civil and artistic conscience. This is evident in paintings like the The Execution of the 3rd of May (Madrid, Prado) and in the series of engravings illustrating The Disasters of War. In his latter years, far removed from tumultuous court life, his art revealed a prophetic, visionary vein that is dramatically present in the "black paintings" of the Quinta del Sordo and in the Disparates engravings.."."."""."."s.""""s.""""s.""""s.""""s.""""."."."."."."""""""""""s."""".""""" tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando FRANCISCO GOYA Y LUCIENTES Fuendetodos, Saragossa 1746 - Bordeaux 1828 Portrait of Maria Teresa de Vallabriga on Horseback Portrait of Countess de Chinch n Standing FrancOpera ObjectClass FrancOpera ObjectClass VTUVt| LM;f| b@EHDL 300.4 0HUEP 4%6/- %%.--- %&#%##& $"%%",%" %,,%! %##! $$$$$$$& $$$$$$$ #%!$$! $$$$$$$$$$$$$ $$$$$$$$$$$$$$$$-3 ###"! $$$$$ $$$$$$$$$ %#%%&! $$$$$ $$$$$$ %$#"!" $!$$$ ####& TFBFFBFGI IdAutore e trained in the workshop of his older brother Giovanni Antonio and became the most illustrious member of a Venetian family of painters. He worked with his brother on religious subjects, showing a fondness for the effects of light and air on the landscape. This tendency was also evident in his first autonomous works: the Saint in Ecstasy (Trent, Museo Nazionale) and the Allegories of Charity and Hope (Sarasota, Ringling Museum). When his brother died in 1760, he abandoned figure painting and focused on views, initially following in the realist wake of Marco Ricci and Canaletto. Works of this period include the views of Santa Maria della Salute (Chicago, Art Institute) and St Mark's Square (London, National Gallery). However, he soon moved toward a more imaginary and less documentary vein. Thus his many capricci such as the Capriccio with Arch and Pier and its pendant Capriccio with Bridges over a Canal (Uffizi) as well as the views that were commissioned to celebrate the Republic's special events (many of them are at the Louvre, including The Doge at the Basilica della Salute and The Feast of the Thursday before Lent in the Square) are merely an excuse for creating the illusion of dilated space through the arrangement of figures and buildings and the play of light reflected on water. The same can also be said for paintings such as The Pontifical Mass of Pius VI in the Church of Santi Giovanni e Paolo (Cleveland, Museum of Art) and the Gala Concert in the Philharmonic Hall (Munich, Alte Pinakothek)..).).).).k)....k)....k)....k)....).).).).k)....k)....).).).). tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando FRANCESCO GUARDI Venice 1712-1793; Capriccio with Arch and Pier and Capriccio with Bridges over a Canal FrancOpera ObjectClass ~~~~~ ~~~~~~~ ~~~~~ 44/4.44 ~~~~~ ~~~~~ ~~~~~ 8c03450- 0-/0%3 334-03 4-444 434443 %-4-06- .3044 -3-%%-*%&&&..0 %/6-/6 0%/0-433403/-40433 44645 30//&*% &-&%--%/-- 4////%0-4 ////& -0466034034 4544. ..4%&4&% &&&%&-/.%--&---,///6-- 4046400343 003343/ &5*/4 -.,--- *&&64%) &&&)%&&%,%-0-%-40-3/0/ 3%000-/.6034333044 -*)44 0--%% &&---,,%-3-040/0, 3-0/-//300306443 %/-6* %)-&-))-&%%&&)%%&0-%,/%/----//% ,300/4-336/03444444 0&),% 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&%/%,-6/04 44%30,/ 3/3-30-3 33/33 23300-/0,40%0/633/30/330/0030 -/00.06.-//,6 %./-/-,%-/-5%4--.---&-%- --6/&--,--%-///6/.-6.-6-.//./- 6--.-.-5/ -4//.4-44 44&4/-4/6-6-&---&& -%&&.% &&&&%&& &&&&%&%&% ,%,-%&,-%/%,4-0 -3/-/0/ -000-/-/3033 0333334 304/0--0/00/0330000400/3-/-0//30/-00/0%///--,//6-.- ---*%- 006///& --/////-0/////--.-./666/-.../.6/--..-&..6--4-/.636 ,%60-3,%--/---&& ,-&&/./0 ,-%-///64//4-,-/33/-30/4333 3/03/0/-%0/%043003603006/0/0-/3///0/000/06,4,/%/--,%/-0--- -00/%//0--00--00/--/5--/-6/-/.-.-6.//6//-/6/0.4--65/./6-/43 034- 4/ --//& &&-&&&, &&--,%--4--000-0-0////-0--3300/ 03334303033340 3-330,-6//-3 00/3-0//060//-30//36606/0/00//---% -6-/-//---/ --&/36)%&)//66-----,--,-4//./6/-//-6--046.-44-/.--0//-.---4-//-/6.0/4/- .-046,%-/% %---)&%-- &%%&&&%-,,&&-,--4%/%-4,-,0//0-/-00 340434 3300- 330030033/33-//0-30330/3-0/3/433030330/0300///-//0-&%-0&/- -/-/0-%-&,-6.& -/,3-,/-,..0--56060-/6-/-0/--06/6-60///.%/,/0-0..04-6.-/-/6.44 -&-0./0&-% 4,/-/--&% &&&&&&--%&%-%/-6/,-6640,//0-0/ 33340 044/00343303 43333/3-/33 400-3333030/40600303330/3/46 33340033/4//-0/540-%-/,-%0-,--%//%/ -/.,---0,%-%/----./-0-/--/4--/--..04-%-%---6..4.4/0-//-04/60 .&-/0///0-,%-/&6)) &&&&&&&&&&&)&& &)%-&&%-&%% &-%-,-&-,-/%/-03-3300,---000/ 030/03043//06/444//-.///0/4300333/6443304033 30-/-06-/6//%%--%-%,6/ --.6- //%/-%///%---/--0-/- /.4/6, ./4.//-/%-0 6--6--//06---/4/.4/ 0/-4-.64/. %-&--4)/,---. --%%/& %%&&&&&& ,&%%-/&&- --%%--,////004-63/4/03//%3/304 /3/-033-/ 4304304/ 030-0.,//003%//33303333 3/6/4 44046406//6-//3-&00-,%/&%%&60/-/&//.-&-&,-0,-&%%0-,//-0%-6--.6-%--.0---.&/-0--06/-66-- 0/006604 6/6400,-03// -//--. -&&%&)-&4& -&%- &,/))&/% &-/-&)-&% &&)-,--&-%-,,,--%/,-&0-/3-4-00/0-3// 3/0%3 //333303 /300404/34/30/000-,3003 030.440 403060030003-60%,-/-%0,.6,---,&,-0%-0%./-/-,,0%--/%--,-4/--/-/4-%---0,- --//0./-/0000-460./464 33/0046303033&/ 00-,4.,3/-/-&6-,--)&% --*/0 -&&%---% 66%-&,& &)%0& % %-/ / /-%0-%%-,& /0-3300/ 30-/04 03336033300-330--030/00-000033/ /00034443//4063/,60%//,/-/-.%% ,-36,--/-% /-6/060%&--//,,&-%-/-.%/%0-%0/--/%/-0040444336/06-- 36343 04/4-/6&6-0./%4-,0--3%.--60-0.-/&-%/&-- &-/5-5&4-04-3,//--0-,6 4/00420304/000344//3 333/6 3/33//430--/0--0,00/00/0/3/0 4444360306646-/44-,/006/0-,/%%//0--66%/0%&&-%/0/6%/ ,%0&%-%-%,,,/0-%--///4-//006463400 40430664 46000.606634 .3/6-6-3.//6-00% %--6-///& --,-%-&///0/6/--0/0-0%43%-4/-043034306 -0-/000/04/33404 03/036640/044,/6-34406& .--46/--%../0-- &,-,-.,.--/,- ///,-66-60-//00/6306--3360440 4434346 IdAutore e was a portraitist and painter of elegant genre scenes that were particularly popular among the great families of the European capitals. He traveled widely, working in Paris, Rome, Constantinople, Vienna, London and Holland. He returned to Geneva in 1757 and in his latter years focused on still lifes. His most important works include the Beautiful Chocolate Seller (Dresden, Gem ldegalerie), the Beautiful Reader (Amsterdam Rijksmuseum), the Portrait of Marie Adelaide of France in Turkish Costume (Uffizi), Prince Frederick William (Windsor Castle) and the Turkish Woman (Geneva, Mus e d'Art et d'Histoire)..).).).).e)....).).).). tipoHot ObjectClass rimando JEAN-ETIENNE LIOTARD Geneva 1702-1789 Portrait of Marie Adelaide of France in Turkish Costume FrancOpera ObjectClass ytv`* Piv}~ JtbT7J Ta{{iT {aTTF IJt{v vutbBa zTMTasa KKJKI IJJIJ IJMMK KLKII JsIHI J7J8K JTIvP IKKI7IJI IJIJMJJIJ JKKJJ7KK JFJII JJIJJIJJII KjtTT IIJJK JIJKJ JKJJI JIJKK y|ymn{ymyv KDTasBu|J IIJIJIJ IDMKKJ IJIJI KKJKJK ttII_ KJKJIJI tTBD_t JIJJII TJMKJJ MTJTT KJKJJIJI JIJJIJ JJKJJ I7JJI JKJJIJJIJI II7IJJ JJKMM yy{{|i| 7JJKJI7J JJMJK JJIJIJK JJTJK IJJII KJ7JJ JKMJJ {{yy{b J7JKJ {|}|f} MKJM7 MT7IJJM KJMKMJM IdAutore ollowing in the steps of his famous father Pietro Longhi, he began his career painting religious subjects. However, he soon turned to portraiture, using a touch of caricature to achieve great expressive vivacity. Toward the end of his career, his painting became distinctly Neoclassical. His most successful works include the Portrait of Giulio Contarini (Rovigo, Accademia dei Concordi), the Portrait of a Gentlewoman (Uffizi), the Portrait of Jacopo Gradenigo (Padua, Museo Civico), the Portrait of Procurator Pisani's Family and the Portrait of the Artist's Father (Venice, Gallerie dell'Accademia)..).).....a)....).).a)....a)....Y tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Alessandro Falca alias ALESSANDRO LONGHI Venice 1733-1813 Portrait of a Gentlewoman FrancOpera ObjectClass :;EHM ~~~~~ ~~~~~ ~~~~~~ IdAutore e was the son of a silversmith, and he studied with the Academic painter Antonio Balestra. His first works focused on religious and mythological subjects, though not to great effect, as shown by the frescoes with the Fall of the Giants in Palazzo Sagredo in Venice. His interest in genre painting and scenes of everyday life was born when he visited Bologna and came into contact with the work of Giuseppe Maria Crespi. Longhi's genre scenes give us an extremely interesting view of Venetian social life at all levels, from the humble realms of the Bun Seller (Venice, Ca' Rezzonico) and the Tooth Drawer (Venice, Gallerie dell'Accademia) to those of the bourgeoisie and indeed the aristocracy , as revealed in the Presentation (Paris, Louvre) and the Villa Games (Bergamo, Accademia Carrara). His repertory also includes a number of highly original themes such as The Confession (Uffizi), for instance, and the famous Rhinoceros (Venice, Ca' Rezzonico)..)....o)....).).o)....).).).).o)....).).).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando Pietro Falca alias PIETRO LONGHI Venice 1702-17859 The confession FrancOpera ObjectClass ~~~~~ ~~~~~~ ~~}~~ ~~}~~ ~~~~}~ ~~~~~}~~~ ~~~~~~ ~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~ IdAutore e was the most famous member of a family of painters whose studies at the Academy were followed by considerable acclaim in the courts of France, Holland and Russia. His refined style and somewhat courtly taste won him the favor of Louis XV, who commissioned him to paint family portraits. In fact, his most successful works include the portraits of Mademoiselle de Clermont (Chantilly, Mus e Cond ), Mademoiselle de Lambesc Dressed as Minerva (Paris, Louvre) and Madame Ad laide Dressed as Diana (Versailles). There is another version of this latter portrait at the Uffizi, along with one of Maria Zeffirina of France as a Child and Henriette of France Portrayed as Flora, Marie Adelaide of France Portrayed as Diana ..39....9#....#.#.#.#.9#.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando JEAN-MARC NATTIER Paris 1685-1766 Henriette of France Portrayed as Flora, Marie Adelaide of France Portrayed as Diana Maria Zeffirina of France as a Childs FrancOpera ObjectClass FrancOpera Objectclass FrancOpera objectclass !!,,022 }}~~}~ ~}~}~ }~~}~ }}~}~ ~}}~}~ ~}~}}~}~} ~~}~} }|~|~} }~}~~}~} }~}~} }}~}~ ~}~}~ }~}~}~ }~}~} ULNNLULN<9 LU9LU NUNNNU NN9MN UMLL< UUUUL; >OdcNL U;:N= ;UN=< LUUNU ;;<;==< :NL;:NN cVcUNUNc UOVUVOVVOONNONN?VUO UU99;=N UUcUN UUUUVUUU UNNUUUUNUc N=>NV Uccbt MM;@L <M<bV baNaVb dcUM- MN;<;C NEENNVPE 5.-8= =NC<CM;C ;C;LQP= L=NNLEUNUM ONC=NMCEE NPVMN :9VCVNP=@ VVP;CU@NN; MPP=aL<= UPbP<N@MPN PUPUV UPOPbcVc =@UVPUVPUP PUPTNc VUbcb 4.445U 5-55WU 895.. IdAutore e was the son of a Venetian sculptor and engraver who spent a few years in Bologna learning from Giuseppe Maria Crespi and Guercino. In 1711, he returned to Venice where he opened a workshop that was to become so successful that he was later appointed director of the Accademia. The grand scale and marked chiaroscuro of the altarpieces he painted for different Venetian churches reveal his debt to his Emilian masters. They include the Saint James the Greater, Saint Jacob Dragged to Martyrdom (San Stae), the Virgin Mary and Saint Filippo Neri (church of la Fava) and the Glory of Saint Dominic (Santi Giovanni e Paolo). In later works such as Susanna and the Elders (Uffizi), Our Lady of the Assumption (Paris, Louvre), and the Praying Saints (Venice, church of the Gesuati), his palette grows lighter and more luminous. Toward the end of his career, he also painted scenes of everyday life such as the Soothsayer (Venice, Gallerie dell'Accademia). He was to be a major influence for many eighteenth century Venetian painters, including Giovan Battista Tiepolo..78........%.%.%.%.8%....%.%.%.%.8%....%.%.8%....8%.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando D R ' b n t7 tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVANNI BATTISTA PIAZZETTA Venice 1682-1754i Susanna and the Elders? FrancOpera ObjectClass MMMMJ K;MEI TTMKGFT BGDD_ IdAutore e studied with Jacques-Louis David, from whom he derived his precision of form and power of expression. He painted historical subjects, landscapes and portraits, working for a long time in Rome and Florence. His foremost works include the Portrait of the Duke of Feltre (Nantes, Mus e des Beaux-Arts), the Portrait of Antonio Canova (Montpellier, Museo Fabre) and the Portrait of Vittorio Alfieri and Portrait of the Countess of Albany at the Uffizi. In fact, he became a close friend of these latter subjects and later inherited their rich collection of art and antiques. Upon his death, the collection was donated to his home town of Montpellier..er....r.r.r.r.er....? tipoHot ObjectClass rimando tipoHot ObjectClass rimando OIS-XAVIER FABRE Montpellier 1766-1837 Portrait of Vittorio Alfieri and Portrait of the Countess of Albany FrancOpera ObjectClass *JUKK zr^^r spts^Grrs rks^^Gpr ^rss^IrG rr^rGrp rrIp^ r^^GrGpp r^rrGGrp^ ^^qGrFrzJ ^BGr^^ GqrGrrk F^rG^rGrk^ B^^rsrGssr ^rGrs^^k^ rG^s~3 Bq^skr^krs }srr^rrB_ B^rrts rrks^ ^rz{jt A^^kzTsr ^Grsskzrk IdAutore ' is environment was that of the Venetian rococo at its zenith, and he widened his figurative horizons by turning to Sebastiano Ricci, Veronese and especially Piazzetta for inspiration. By 1717, he had already made a name for himself in Venice, and he soon won acclaim as a decorator and was commissioned to paint frescoes that that revolved around spatial illusions in numerous palaces and villas in northern Italy. With his sons, Giandomenico and Lorenzo, in 1750, he began decorating the residence of the Bishop Prince Carl Phillipp von Greiffenklau in W rzburg, where he was engaged for about three years. Then in 1761, Charles III summoned him to the court in Madrid, where he died nine years later. Tiepolo's early work echoes Piazzetta's marked chiaroscuro, as shown by the Madonna del Carmine (Milan, Pinacoteca di Brera) and the Martyrdom of Saint Bartholomew (Venice, San Stae). The first of his works to embody what later became his characteristic virtuousity and luminous handling of space was the cycle at the Archbishop's Palace in Udine, where he painted Biblical Stories and the Fall of the Rebel Angels, between 1726 and 1728. In later paintings of both religious and profane subjects, he clearly turned for inspiration to Veronese's use of architectural settings and bright palette. This is evident in the Apollo and Daphne (Paris, Louvre), for example, and in the The Erection of a Statue of the Emperor (Uffizi), the Madonna and Saints (Chicago, Art Institute) and the Saint Clement Adoring the Trinity (Munich, Alte Pinakothek). This decorative idiom was further developed in the cycle at Palazzo Labia in Venice illustrating the Stories of Antony and Cleopatra, and again at the W rzburg residence, where the Stories of Frederick Barbarossa were enriched with gilded plasterwork. Although this latter work is considered to be his masterpiece, before leaving for Spain, Tiepolo also painted some other important cycles in Italy, including the famous frescoes at Villa Valmarana just outside Vicenza and the ones at Villa Pisani at Stra. Outstanding among his achievements at the Spanish court are the frescoes at the Royal Palace illustrating the Apotheosis of Spain, the Grandeur of the Spanish Monarchy and the Apotheosis of Aeneas. The painting of Rinaldo abandons Armida also belongs to the Uffizi collection..on....n.n.n.n.n.n.n.n.n.n.on....n.n.n.n.on....n.n.on....n.n.on....n.n.n.n.n....on....on....on....on.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando GIOVAN BATTISTA TIEPOLO Venice 1696-Madrid 1770 The Erection of a Statue of the Emperor Rinaldo abandons Armida FrancOpera ObjectClass FrancOpera ObjectClass M{"$$# !2!$!$$ bPufb !%%"", -%"%-, -&-%6. 0%!%& #%$##!" --03/0-& "#-/. /-,0, * /%",!% "#%#,- %%#%#,-./ 0-&%-& -3%%" 0450-- %%44c - 0// &&%"# "",,0, FLab5 %,%-0 #,,"/ 40,#% 0#!"# ,,%$/4M a6Iaf btbbT bJMbKH )&%!! %%#$0 aabTT}f *TaK`., EB;aK CTu4. ##%%# 4"$$# #!"$/ $!!$/ ,/,/, 0$ ,#,%, IdAutore e have little documentary material relating to the life and work of Niccol di Buonaccorso. He was probably born in Siena, where he is recorded as a member of the Painters' Guild in 1356 and where he appears to have held civic offices on several occasions. His only signed work is the elegant painting of the Marriage of the Virgin (London, National Gallery), which was part of a polyptych that also comprised the small Uffizi painting of the Presentation of the Virgin. Although scholars are still working on the definitive catalogue of his works, it certainly includes numerous small altars for private worship. His style, which can be related to that of Ambrogio Lorenzetti and Simone Martini, makes distinctive use of glazed colors, a focus on facial detail, and elegant brushwork..rk....rk........k.k. tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando NICCOLO' DI BONACCORSO Siena doc. 1358-1388 Presentation of the Virgin in the Temple FrancOpera ObjectClass MLKJ8 EC;J8EEEE UOOVO 5.... saVst 85856 Ptabj .6422/ aUULM @UUMNVbcb? ?UUUNU NUNaP VbNUL UUUOV UbNUN UTUNa OcUcV UTUNN UUNNU =MNLN NTL=L NNN<U <MNCM b@ECCEEG EHHE;;FK;E;EEI .0.60./ G<<E<== E;<HE 23206 88::8 IdAutore his painter gradually abandoned the Byzantine idiom and instead embellished the sacred image with lively narrative scenes that illustrate the influence of coeval Franciscan doctrine.. WORKSHOP OF BONAVENTURA BERLINGHIERI (Lucca, mentioned 1228 - 1274)Q Crucifixion and Madonna and Child with Saints FrancOpera ObjectClass JJ77I 7777.7 IrGrI *rI*_ _JII^ IrFrF IdAutore trend in painting led by artists active in Florence around the middle of the Trecento who adapted the basically Byzantine tradition to new expressive formulae.. FLORENTINE SCHOOL OF THE MID 13th CENTURY Madonna and Child FrancOpera ObjectClass IdAutore LUCCAN SCHOOL OF THE MID 12th CENTURY Crucifix with Stories of the Passion? FrancOpera ObjectClass LUCCAN SCHOOL OF THE MID 12th CENTURY trend in painting led by artists active in and around Lucca toward the mid-12th century whose works demonstrate increasing autonomy with respect to the Byzantine tradition and greater interest in the drama inherent in sacred subject matter.. ePLMQ fctL@ ;A@VaP eSUe`N =@RUUEV `NCC< @~?^g lf<@@U TNPU@ CPu~H XxqQU bWWPVWU H=CCi} LUMVVb CA@BCCBAA@ fZ\QZZf eZgZRQ b\\gh ZZff| ebcfabf fbbfPbfbb PMLMM UbcbN@ fagg`XagQZ QQg`g`f@ Uh`QaQPQ` PQA@S te8cV PbefeefUbN IdAutore his eclectic painter was active in Parma between the 1400s and 1500s. His religious works imitate both the Emilian painters (Lorenzo Costa and Francia) and artists working in Rome (Raphael and Pinturicchio). Though uneven, his technique was excellent and his skill in constructing the picture won him important commissions such as the frescoes with The Dispute of Saint Catherine and Saint Jerome (Parma, Cappella di Santa Caterina), for instance, and the Stories from the New and the Old Testament (Parma, Convento di San Paolo). He also painted the Portrait of Barbara Pallavicino (Uffizi), the Annunciation (Parma, Galleria Nazionale) and the Marriage of the Virgin (Parma Duomo)..).).).).o)....).).).).....o)....)....)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando ALESSANDRO ARALDI Parma 1460 ca. - 1528/29 Portrait of Barbara Pallavicino FrancOpera ObjectClass ??O>??O?NO @NPVUNU NVUOOPOPOP @NNLUPVOVc ;<EE;=H VUUcUcUU =XRXP QQWWc A>RRab OaXVMQ cOR?O bWba= PL;NO cUUVNNVNOO ccUbP ONPON>N=NQ IdAutore e was probably trained within the artistic sphere of Ercole de' Roberti and is recorded from an early age as working for the d'Este family in Ferrara. He addressed religious subjects with such calligraphic precision that his pictures recall certain German engravings. Yet his use of bright colors for background painting is more reminiscent of the work of Lorenzo Costa. His output was considerable, but special mention should be made of the Christ Among the Doctors (Berlin, Staatliche Museen), the San Bartolo Altarpiece (Ferrara, Pinacoteca), the Holy Family (Munich, Alte Pinakothek), the Massacre of the Innocents and the Madonna and Child with Saints (both at the Uffizi)..).).i)....).).).).).).)....).... tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando LUDOVICO MAZZOLINO{ Ferrara 1480 ca. - 1528 ca. Massacre of the Innocent FrancOpera ObjectClass !!!$!!! ###!!$!$$!$# !$!!$,!! !,!!! #$!$!"!!! ,#,$!!! $$$$$ /6/662 62222 BB}}} s^}*B{ TT7Bs /--0, kst{~ rBs{B rB^^kz |^sst tssssst II__IG ^r_st tjIIr SGAIG FIIBI bzbTsGIB_IB *F_{I krrstrs BBD}J sAI^F s^Gs} G}{rIB}}} G^s^Gr szvs{ ~TIs_^s rbGatI rs_sqI ,BI76 7GIIG s^Fr} IdAutore is name derives from his father's profession as a cloth-dyer, or tintore. For a brief period, he studied with Titian, though this relationship soon became one of distinct rivalry. He was an exuberant, restless artist who spent most of his life in Venice working on commissions for the Government of the Republic and the Schools. He became acquainted with the work of the great Michelangelo and the Mannerist painters of central Italy through copies and engravings. Outstanding among his early works are the Washing of the Feet (Madrid, Prado) the Last Supper (Venice, San Marcuola) and Venus, Vulcan and Eros (Florence, Galleria Palatina), which he handled in extremely original terms, arranging his figures in complex architectural settings and using light with great skill and originality. Next came the paintings of Adam and Eve (Venice, Gallerie dell'Accademia), Saint George (London, National Gallery), and the three large canvases for the School of San Marco with the Finding the Saint's Body (Milan, Pinacoteca di Brera), the Stealing the Body and the Miracle of the Shipwreck (Venice, Gallerie dell'Accademia). Tintoretto's most demanding undertaking kept him busy for twenty years at the height of his career: the cycle of fifty large canvases for the School of San Rocco. They were painted in three different stages: first those for the hall of the Albergo (1564-1565), including the outstanding Crucifixion; then those for the upper hall (1576-1581), including the Baptism, the Christ Healing the Paralytic and the Dinner; and finally those for the ground floor hall (1583-1587) with the Mary Magdalene and Maria Egiziaca. There are many other fine works that deserve mention, such as the Leda and the Swan, the Portrait of an Unknown Man, the Portrait of Alvise Cornaro (Florence, Galleria Palatina), or religious paintings like the two pictures with The Samaritan Woman at the Well, executed for the organs in the church of San Benedetto a Venezia, and now also kept at the Uffizi. In old age Tintoretto also painted the huge Paradise, the largest canvas in existence, for the Sala del Maggior Consiglio in Palazzo Ducale, and the cycle for the church of San Giorgio Maggiore that includes the famous Last Supper..+.+.+.+.++....++....++....++....+.+.+.+.+.+.+.+.+.+.++....+.+.+.+.+.+.+.+.+.+.++....+.+.+.+.+....O tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando tipoHot ObjectClass rimando WORKSHOP OF JACOPO TINTORETTO Venice 1518-1594 Saint Augustine Heals the Lame FrancOpera ObjectClass francopera objectclass Allegory of Felicity '!"2!! }}}|} }|||||}d |}|}~} |~}}} }~}}}~} }~}}~~ ~}~}~ }~}~~} L8;UHH U9U;:E ~~~~~ }~~}~ ~~}~} *M|tM $$!$$$$$ $$$$!$ +6 ) IdAutore FLEMISH SCHOOL OF THE 17th CENTURY Head of the Medusa FrancOpera ObjectClass FLEMISH SCHOOL OF THE 17th CENTURY term used to refer to 17th century paintings which owed something of their style and fondness for genre scenes, generic landscapes and scenes with gloomy atmospheres to the Flemish influence.. LCBcP JTUUUU LKUUME LMTUMU BUcPb bbcbb VVUUUUVU UVUcbVVVUb aUTVbaUU IdAutore FRENCH SCHOOL OF THE 16th CENTURY Portrait of Christine of Lorraine FrancOpera ObjectClass FRENCH SCHOOL OF THE 16th CENTURY he artistic circles that revolved around the French court at the end of the 1500s, where stately portraits were particularly popular among the aristocracy.. IdAutore term used to refer to paintings that share stylistic and iconographic features with the work of many Italian artists of the 1500s.. ITALIAN SCHOOL OF THE 16th CENTURY FrancOpera objectclass Fortuna kzkFT| ITTD| FIbJI BF|}} ^AAs}| Ht|t| FBi^I }}|}| aBaTa }}||}| IdAutore e lived and worked in Haarlem, where he studied in Frans Hals's workshop along with Judith Leyster, whom he married in 1636. He painted a number of fine portraits (Family Portrait, Amsterdam, Rijksmuseum) but mostly focused on delightful genre scenes set in bourgeois interiors (Young Woman at the Harpsichord, Amsterdam, Rijksmuseum, and the Musical Pastime, London, National Gallery). Sometimes he also painted low-life pictures, such as the Tavern Scene at the Uffizi in which the freshness of his brushwork and his lively imagination recall the work of his master, Frans Hals..ls....s.s.s.s.s.s.s.... tipoHot ObjectClass rimando tipoHot ObjectClass rimando JAN MIENSE MOLENAER Haarlem 1609/10 - 1668 Tavern Scene[ FrancOpera objectclass )-6-4 660646603 36232 ;=LL?N NM=MNLCNUL C@MP@CNUOM UMUUNUOU LL>>C C=C=LMN TLMLLML e``g`gRZ a\\ZZ`\R \]\\f OaRRORPR acbQQPRaQP aPPROP `RQbP aQQaQ SPRP`PVPQQ SRSRPR a`QaaQR Q`abb RSORR OS`QQ aabbQQbPQa VPPaSRPSPP RSRS?PQ_Qa abbaa`QP`R RPaPR?S \SSQQRP RORSO aSQaa bP?Sb SOS?SP QQVbabbc cbVbb`PQ SSPSR PQPbb baPab QaabPb bbab_ aPbMMaa VVcVV RRORU bdQ@? Q?MUROVV b>LNO ?PPUVcc UCO@@S?W >NUNOU ccdcc NNOUV VWdXcc <;:=;:>N? =LNNUU IdAutore PISAN SCHOOL OF THE LATE 12th CENTURY Crucifix with Stories of the PassionO FrancOpera objectclass PISAN SCHOOL OF THE LATE 12th CENTURY rend in painting led by unknown artists working in Pisa at the end of the 12th century, whose workshops produced paintings on wood still influenced by traditional Byzantine iconography.. 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**.** **.** 460664 0646//66/6@ 4~2~2~ dilavoro f0gng opere acceso riempi confronti 08888 0088888 00888888888888888888888888 088888888888888 0000000000 00088888888888888888888888888888 numsale sala prec sala succ vista precc vista succc mappa porte prec prec succ succ viste veloci salaprec 10088888 salasuc Sala sucessiva salacorrente vaiavista VisteVeloci buttonclick buttonclick VisteVeloci[][] 4salacorrente vaiavista ( ][2]) objectclass vista su sala sucessiva helpino 7000,5000 helppos Sala sucessiva Sala precedente salacorrente vaiavista VisteVeloci buttonclick buttonclick VisteVeloci[][] 4salacorrente vaiavista Bprec objectclass vista su sala precedente helpino 7000,5000 helppos Sala precedente confronti1 confronti2 Portrait of Procurator Pisani's Family The Presentation of Mary at the Temple David Saint Mary Magdalene and Stories from her Life The Soothsayer (the Witch Melissa) San Giobbe Altarpiece The Tempest Stories of Saint Ursula: the Arrival of the Ambassadors The Martyrdom of Saint Ursula: The Martyrdom and Funeral of Saint Ursula Apparition of the Virgin to Saint Bernard Heracles and Antaeus Saint George Stories of John the Baptist: Herod's Banquet Rhinoceros Camera di San Paolo: ceiling Saint Stephen Led to Execution and Stoned Stories of the Virgin: The Presentation of Mary at the Temple Scrovegni Chapel: The Dream of Joachim Scrovegni Chapel: Lamentation on the Dead Christ Handing Over the Keys - Stories of Christ Moses Receives the Tables of the Law Sermon on the Mount Aurora Stories of the Passion: Jesus before Pontius Pilate Stories of the Passion: The Resurrection Stories of Saint Peter: Saint Peter Heals the Sick Brancacci Chapel: Healing the Lame Man and the Resurrection of Tabitha The Distribution of Alms and the Death of Anania The Tribute Brancacci Chapel: View of the Left Wall The Last Supper Madonna del parto Stories of Saint Fina Monument to Niccolo' da Tolentino Monument to Giovanni Acuto The Last Judgement: The resurrection of the Flesh Stories of Saint Stephen and Saint John the Baptist: Birth and Substitution Stories of the Virgin and the Holy Cingulum: The Arrival in Prato and the Dagomari's Sleep Portrait of a Man Deposition Venus and Cupid Sacred and Profane Love Lamentation on the Dead Christ Sacred Conversation with Saints Barbara, Justine and Two Pious Persons Stories of Joseph the Jew: The Search for and Recovery of the Stolen Cup Danae The Bean Eater Self-Portrait The Fair at Poggio a Caiano David the Victor Self-Portrait Fornarina Turkish Slave Death of Lucretia Stories of Joseph: Joseph Explains the Dreams to His Parents The Four Philosophers Portrait of a Young Englishman Portrait of Maddalena Doni Portrait of Cardinal Guido Bentivoglio Bartolini Tondo: Madonna and Child with Stories from the Life of Saint Anne Holy Family Concert Venus, Vulcan and Eros Duke Tommaso di Savoia Carignano A Devout Man Deianeira Tempted by the Fury Heracles in the Garden of the Hesperides The Passion Portrait of the Sons of Charles I of England Visitation The Ray Wedding at Cana (d. musicians) The Feast of the Thursday Before Lent in the Square Virgin of the Rocks Gabrielle d'Estr es and One of Her Sisters Madonna with Lionello d'Este Mona Lisa Death of the Virgin Presentation The Anatomy Lesson of Doctor Tulp Maest The Archangel Saint Michael The Coronation of the Virgin Man with a Red Beret Danae Judith Benois Madonna Birth of the Virgin Mary Maest Crevole Madonna Crucifixion The Passions of the Gods: Heracles at the Fork Saint Ludovic of Toulouse Crowning Robert of Anjou Tabernacle of the Linen-Drapers The Last Judgement Marriage of the Virgin Coronation of the Virgin Annalena Altarpiece San Marco Altarpiece Death of the Virgin Mary Silver Cupboard: (from the Mystical Wheel to the Dispute with the Doctors) Crucifixion and Saints Madonna Enthroned Between Two Saints Madonna Feast of the Rosary Tabernacle Madonna Enthroned with Eight Saints Biblical Stories: Rachel Hides the Idols Stole from her Father Madonna of the Milk Fall of the Giants Flagellation Wedding Chamber: ceiling - d. central oculus Stories of Heracles: View of the Gallery Ceiling Stories of Antony and Cleopatra Magi Chapel Maest Guidoriccio da Fogliano at the Siege of Monte Massi Salone dei Cinquecento Expulsion of the Duke of Athens Stories of Camillus Polyptych Deposition Transfiguration Foligno Madonna Flight into Egypt Basket of Fruit Deposition Febo da Brescia The Dead Christ Valle Romita Polyptych Marriage of the Virgin Laura da Pala Crucifixion Massacre of the Innocents The Last Judgement Madonna of Humility Presentation of Jesus at the Temple (Copy from Tintoretto) The Execution of the 3rd of May Adam and Eve Portrait of Charles V at the Battle of M hlberg Maya desnuda Maya vestida Death of the Virgin Mary Noli me tangere Last Supper Stories of the Virgin: Meeting at the Golden Gate Crucifix Stories of Saint Stephen and Saint Lawrence Stories from the Life of Mary Magdalene and the Virgin Mary The Baroncelli Coronation Saint Francis and Stories from His Life San Francesco e San Giovanni Battista Deposition Stories of Saint Francis: The Expulsion of the Devils from Arezzo Stories of the Passion Frescoes for the Basilica of San Francesco in Assisi: Crucifixion Maest Vision of Saint John the Evangelist at Patmos Saint Juvenal San Leolino Altar-Frontal Annunciation Burial of Saint Lucia The Vocation of Saint Matthew Crucifixion of Saint Peter Last Supper Crucifixion Trinity The Flood Stories of Saint John the Evangelist and Saint Philip Stories of the Virgin Mary and John the Baptist The Strozzi Altarpiece Judgement, Inferno and Paradise Creation Visitation Saint John the Evangelist Tomb of Julius II: Moses Nerli Altarpiece Saint Jacob Dragged to Martyrdom Stories of Saint Francis: Confirmation of the Rule San Zaccaria Altarpiece San Zeno Altarpiece Stories of Saints Jerome, Trifone and George Crucifixion Rooms: The School of Athens Villa Maser: view of the cross-vault The Doge at the Church of the Salute The Effects of Good Government on the City Last Supper Still Life with Jar of Olives Gentleman in Black Madonna Agony in the Garden Monteoliveto Polyptych Portrait of Alvise Cornaro Deposition The Mystical Marriage of Saint Catherine The Legend of the True Cross Stories of the Adamites Annunciation Saint Jerome Our Lady of the Assumption The Resurrection Saint Cecilia and Eight Stories Still Life Madonna and Child with Saints Supper at Emmaus Moses Defends the Daughters of Jethro Medusa's Head Crucifixion Fruit with Insects Open Air Concert Madonna Enthroned Maest Ascension Adoration Circumcision Coronation Still Life Adorat.- Supper at Emm. St John. - Apparit. front Dukes of Urbino Diptych Concert Portinari Triptych Madonna and Child with Saints Epiphany Portinari Triptych Badia Altarpiece Madonna Enthroned Madonna and Child with Saints Coronation =d. dancing women Adoration = d. looks Joseph ... d. rhinoc. Cimabue Guardi Gent. da Fabriano Gent. da Fabriano confronti3 Longhi Alessandro (1733-1813) Giovanni da Milano (14th cent.) Titian (1477/89-1576) Michelangelo (1475-1564) Maestro della Maddalena (13th cent.) Piazzetta Giovanni Battista (1683-1754) Bellini Giovanni (1430-1516) Giorgione (1477- 1510) Lorenzo Monaco (1370 c.-1423) Carpaccio Vittore (1460 c.-1526) Carpaccio Vittore (1460 c.-1526) Fra Angelico (1387-1455) Lippi Filippino (1457-1504) Pollaiolo Antonio (1433-1498) Donatello (1386-1466) Masolino (1383-1447) Longhi Pietro (1702-1785) Correggio (1489-1534) Fra Angelico (1387-1455) Giotto (1266-1336) Giotto (1266-1336) Giotto (1266-1336) Perugino (1445/50-1523) Rosselli Cosimo (1439-1507) Rosselli Cosimo (1439-1507) Guercino (1591-1666) Pontormo (1494-1556) Pontormo (1494-1556) Masaccio (1401-1428) Masolino (1383-1447) Masaccio (1401-1428) Masaccio (1401-1428) Masolino -Masaccio -Lippi Filippino Ghirlandaio Domenico (1449-1494) Piero della Francesca (1410/20-1492) Ghirlandaio Domenico (1449-1494) Andrea del Castagno (1410-1457) Paolo Uccello (1397-1475) Signorelli Luca (1441-1523) Lippi Filippo (1406-1469) Gaddi Agnolo (14th cent.) Parmigianino (1503-1540) Raphael (1483-1520) Cranach Lucas the Elder (1472-1553) Titian (1477/89-1576) Rubens Peter Paul (1577-1640) Palma il Vecchio (1480-1528) Bachiacca (1494-1557) Correggio (1489-1534) Carracci Annibale (1560-1609) Fontana Lavinia (1552-1614) Crespi Giuseppe Maria (1665-1747) Reni Guido (1575-1642) Andrea del Sarto (1487 c.-1530) Raphael (1483-1520) Parmigianino (1503-1540) Lippi Filippino (1457-1504) Perugino (1445/50-1523) Andrea del Sarto (1487 c.-1530) Rubens Peter Paul (1577-1640) Titian (1477/89-1576) Raphael (1483-1520) Dyck Anton van (1599-1641) Lippi Filippo (1406-1469) Rubens Peter Paul (1577-1640) Titian (1477/89-1576) Tintoretto (1518-1594) Dyck Anton van (1599-1641) Weyden Roger van der (1399 c.-1464) Rubens Peter Paul (1577-1640) Rubens Peter Paul (1577-1640) Memling Hans (1425/40-1494) Dyck Anton van (1599-1641) Weyden Roger van der (1399 c.-1464) Chardin Jean Baptiste Simeon Veronese (1528-1588) Guardi Francesco (1712-1793) Leonardo (1452-1519) Fontainebleau School (16th cent.) Bellini Jacopo (1400-1470) Leonardo (1452-1519) Caravaggio (1573-1610) Longhi Pietro (1702-1785) Rembrandt (1606-1669) Memmi Lippo (1285 c.->1361) Pollaiolo Antonio (1433-1498) Bellini Giovanni (1430-1516) Sebastiano del Piombo (1485 c.-1547) Carpaccio Vittore (1460 c.-1526) Rembrandt (1606-1669) Giorgione (1477-<1510) Leonardo (1452-1519) Lorenzetti Pietro (1280-1348 c.) Duccio (1260 c.-1318) Duccio (1260 c.-1318) Masaccio (1401-1428) Carracci Annibale (1560-1609) Martini Simone (1284-1344) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Fra Angelico (1387-1455) Rosso Fiorentino (1494-1540) Gentile da Fabriano (1370 c.-1427) rer Albrecht (1471-1528) Orcagna Andrea (14th cent.) Daddi Bernardo (1290 c.-1350) Tiepolo Giambattista (1692-1770) Lorenzetti Ambrogio (1285-1348 c.) Giulio Romano (1499-1546) Piero della Francesca (1410/20-1492) Mantegna Andrea (1431-1506) Carracci Annibale (1560-1609) Tiepolo Giambattista (1692-1770) Gozzoli Benozzo (1420-1497) Martini Simone (1284-1344) Martini Simone (1284-1344) Chronicle and Vasari Giorgio Orcagna Andrea (14th cent.) Tintoretto (1518-1594) Salviati Francesco (1510-1563) Lorenzetti Pietro (1280-1348 c.) Caravaggio (1573-1610) Raphael (1483-1520) Raphael (1483-1520) Barocci Federico (1526-1612) Caravaggio (1573-1610) Rosso Fiorentino (1494-1540) Lotto Lorenzo (1480-1556) Mantegna Andrea (1431-1506) Gentile da Fabriano (1370 c.-1427) Raphael (1483-1520) Bellini Giovanni (1430-1516) Lotto Lorenzo (1480-1556) Giovanni di Paolo (1403 c.-1482 c.) Reni Guido (1575-1642) Giovanni di Paolo (1403 c.-1482 c.) Giovanni di Paolo (1403 c.-1482 c.) Giovanni di Paolo (1403 c.-1482 c.) Goya Francisco (1746-1828) rer Albrecht (1471-1528) Titian (1477/89-1576) Goya Francisco (1746-1828) Goya Francisco (1746-1828) Mantegna Andrea (1431-1506) Correggio (1489-1534) Andrea del Castagno (1410-1457) Gaddi Taddeo (1300 c.-1366) Cimabue (1240-1302) Daddi Bernardo (1290 c.-1350) Giovanni da Milano (14th cent.) Giotto (1266-1336) Berlinghieri Bonaventura (1235-1274) Domenico Veneziano (1400-1461) Pontormo (1494-1556) Giotto (1266-1336) Lorenzetti Pietro (1280-1348 c.) Cimabue (1240-1302) Cimabue (1240-1302) Correggio (1489-1534) Masaccio (1401-1428) Meliore di Jacopo (13th cent.) Lippi Filippo (1406-1469) Caravaggio (1573-1610) Caravaggio (1573-1610) Perugino (1445/50-1523) Caravaggio (1573-1610) Leonardo (1452-1519) Perugino (1445/50-1523) Masaccio (1401-1428) Paolo Uccello (1397-1475) Lippi Filippino (1457-1504) Ghirlandaio Domenico (1449-1494) Orcagna Andrea (14th cent.) Orcagna Andrea (sec. XIV) Paolo Uccello (1397-1475) Pontormo (1494-1556) Pontormo (1494-1556) Michelangelo (1475-1564) Michelangelo (1475-1564) Lippi Filippino (1457-1504) Piazzetta Giovanni Battista (1683-1754) Ghirlandaio Domenico (1449-1494) Bellini Giovanni (1430-1516) Mantegna Andrea (1431-1506) Carpaccio Vittore (1460 c.-1526) Tintoretto (1518-1594) Raphael (1483-1520) Veronese (1528-1588) Guardi Francesco (1712-1793) Lorenzetti Ambrogio (1285-1348 c.) Andrea del Sarto (1487 c.-1530) Chardin Jean Baptiste Simeon (1699-1779) Lotto Lorenzo (1480-1556) Jacopo del Casentino (1297-1358) Lorenzo Monaco (1370 c.-1423) Lorenzo Monaco (1370 c.-1423) Tintoretto (1518-1594) Bartolomeo della Porta (1472-1517) Lotto Lorenzo (1480-1556) Piero della Francesca (1410/20-1492) Piero della Francesca (1410/20-1492) Lotto Lorenzo (1480-1556) Leonardo (1452-1519) Titian (1477/89-1576) Piero della Francesca (1410/20-1492) Maestro della s. Cecilia Munari Berlinghieri Workshop Pontormo Rosso Fiorentino Anon. Flemish artist Master of the Virgo Ruysch Guercino Pietro Lorenzetti Cimabue Mantegna Mantegna Mantegna Mantegna Cranach the Elder Empoli Botticelli-Empoli El Greco-Dossi Piero della Francesca Manfredi H. van der Goes Berlinghieri Workshop Mantegna H. van der Goes Giotto Lorenzetti Bonaventura B. Workshop Fra Angelico Gentile da Fabriano Granacci Dossi + El Greco Maest Arched Bridge Adoration of the Magi Adoration of the Magi confronti4 Accademia Accademia Accademia Accademia Accademia Accademia Accademia Accademia Accademia Accademia Accademia Alte Pinakothek Badia Bargello Bargello Baptistery Ca' Rezzonico Camera di San Paolo Nicholine Chapel Scrovegni Chapel Scrovegni Chapel Scrovegni Chapel Sistine Chapel Sistine Chapel Sistine Chapel Casino Ludovisi Certosa del Galluzzo Certosa del Galluzzo Church of the Carmine Church of the Carmine Church of the Carmine Church of the Carmine Church of the Carmine Church of Ognissanti Cemetery Collegiata Cathedral Cathedral Cathedral Cathedral Cathedral Borghese Gallery Borghese Gallery Borghese Gallery Borghese Gallery Borghese Gallery Borghese Gallery Borghese Gallery Borghese Gallery Colonna Gallery Uffizi Gallery Uffizi Gallery Uffizi Gallery Uffizi Gallery National Gallery of Ancient Art National Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Palatine Gallery Sabauda Gallery Sabauda Gallery Sabauda Gallery Sabauda Gallery Sabauda Gallery Sabauda Gallery Sabauda Gallery Louvre Louvre Louvre Louvre Louvre Louvre Louvre Louvre Louvre Mauritshuis Musei Civici Bardini Museum Museo Civico Museo Civico Correr Museum Hermitage Museum Hermitage Museum Hermitage Museum Museo dell'Opera Metropolitana Museo dell'Opera Metropolitana Museo dell'Opera Metropolitana Capodimonte Museum Capodimonte Museum Capodimonte Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum San Marco Museum Diocesan Museum of Sacred Art San Matteo National Museum Narodni Museum Orsanmichele Orsanmichele Palazzo Arcivescovile Palazzo Arcivescovile Palazzo del Te' Palazzo Ducale Palazzo Ducale (Wedding Chamber) Palazzo Farnese Palazzo Labia Palazzo Medici Riccardi Palazzo Pubblico Palazzo Pubblico Palazzo Vecchio Palazzo Vecchio Palazzo Vecchio (Siviero Coll.) Palazzo Vecchio (Sala delle Udienze) Pieve di S. Maria Pinacoteca Pinacoteca Pinacoteca Pinacoteca Pinacoteca Ambrosiana Pinacoteca Comunale Pinacoteca di Brera Pinacoteca di Brera Pinacoteca di Brera Pinacoteca di Brera Pinacoteca di Brera Pinacoteca di Brera Pinacoteca Nazionale Pinacoteca Nazionale Pinacoteca Nazionale Pinacoteca Nazionale Pinacoteca Nazionale Prado Prado Prado Prado Prado Prado Prado S. Apollonia S. Croce S. Croce S. Croce S. Croce S. Croce S. Croce S. Croce (Museum) S. Felicita S. Francesco S. Francesco S. Francesco S. Francesco S. Giovanni Evangelista S. Giovenale S. Leolino S. Lorenzo S. Lucia S. Luigi dei Francesi S. Maria dei Bianchi S. Maria del Popolo S. Maria delle Grazie S. Maria Maddalena dei Pazzi S. Maria Novella S. Maria Novella S. Maria Novella S. Maria Novella S. Maria Novella S. Maria Novella S. Maria Novella S. Michele S. Michele a Pontorme S. Pietro S. Pietro in Vincoli S. Spirito S. Stae S. Trinita S. Zaccaria S. Zeno Scuola di S. Giorgio degli Schiavoni Scuola Grande di S. Rocco Raphael Rooms Villa Barbaro Louvre Palazzo Pubblico S. Salvi (Cenacle) Louvre Borghese Gallery Madonna di Piazza (Oratory) Accademia Accademia Palatine Gallery Palatine Gallery Accademia Carrara Church of San Francesco Church of San Francesco Museo Civico Pinacoteca Church of Santa Maria dei Frari Pinacoteca Comunale confronti5 Venice Florence Venice Florence Florence Venice Venice Venice Florence Venice Venice Munich Florence Florence Florence Castiglione Olona-Varese Venice Parma Vatican Padua Padua Padua Vatican Vatican Vatican Florence Florence Florence Florence Florence Florence Florence Florence Monterchi-Arezzo S. Gimignano-Siena Florence Florence Orvieto-Terni Prato Prato Florence Florence Florence Florence Parma Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Turin Turin Turin Turin Turin Turin Turin Paris Paris Paris Paris Paris Paris Paris Paris Paris The Hague S. Gimignano-Siena Florence Pesaro Viterbo Venice St Petersburg St Petersburg St Petersburg Siena Siena Siena Naples Naples Naples Florence Florence Florence Florence Florence Florence Florence Florence Florence Volterra Prague Florence Florence Udine Siena Mantua Urbino Mantua Venice Florence Siena Siena Florence Florence Florence Florence Arezzo Vatican Vatican Vatican Vatican Milan Volterra-Pisa Milan Milan Milan Milan Milan Milan Siena Bologna Siena Siena Siena Madrid Madrid Madrid Madrid Madrid Madrid Madrid Florence Florence Florence Florence Florence Florence Florence Florence Florence Assisi Assisi Assisi Assisi Parma Cascia-Perugia Panzano-Florence Florence Syracuse Citta' della Pieve-Perugia Milan Florence Florence Florence Florence Florence Florence Florence Florence Carmignano-Florence Empoli-Florence Vatican Florence Venice Florence Venice Verona Venice Venice Vatican Maser-Treviso Paris Siena Florence Paris Scarperia-Florence Florence Florence Florence Florence Bergamo Arezzo Arezzo Recanati-Ancona Vatican Venice Sansepolcro-Arezzo riempi glossario mappa porte The Archeology Room (closed) The Primitives and Giotto Room The Sienese Trecento Room The Florentine Trecento Room The Ornate Gothic Room The Early Renaissance Room The Filippo Lippi Room The Antonio del Pollaiolo Room The Botticelli Room The Leonardo Room The Map Room The Hermaphrodite Room (closed) The Tribuna The Perugino and Signorelli Room The D rer and German Masters Room The Giambellino and Giorgione Room The Flemish and German Masters Room The Correggio Room The Miniatures Room (closed) The Michelangelo and Florentine Masters Room The Raphael and Andrea del Sarto Room The Pontormo and Rosso Fiorentino Room The Titian Room The Parmigianino Room The Emilian Masters Room (closed) The Dosso Dossi Room The Sebastiano del Piombo and Lorenzo Lotto Room The Cinquecento Corridor The Veronese Room The Tintoretto and Barocci Room The Rubens Room The Niobe Room (closed) The Caravaggio Room The Rembrandt Room The 18th Century Masters Room The Buontalenti Vestibule The Imaginary Room The Corridor riempi sale fatto se hai scritto pi di 25 messaggi bisogna cambiare le dimensioni dell'array!!! un p ovunque dilavoro messaggi J`messaggi buttonclick buttonclick "se hai scritto di 25 messaggi bisogna cambiare le dimensioni dell'array!!! un p ovunque" temp[25] dilavoro fill B] order dati "fatto" riempi messaggio + , #> confronti confronti titolo autore buttonclick buttonclick SET MY CONT TO TEXT OF FIELD PP confronti[][] titolo ocont][2] autore dati =4]&" - "& "t0t> &Button frasi camera degli idoli gabinetto delle gemme: corniole, pietre incise 1584/1587 Bernardo Buonatalenti aria, acqua, terra fuoco: alchimia delle arti 1589 Ludovico Buti, Stefano Buosignori "Il dominio vecchio fiorentino", "lo Sato di Siena", "L'Isola d'Elba" secondo corridoio, il giardino della pittura Memoria, collezionismo, conservazione Palazzo della Signoria Belvedere Ponte vecchio 1588: Laboratori di arti minori e officina di profumi, veleni e contravveleni Arte e artigianato Giovanni Michelucci, Carlo Scarpa, Ignazio Gardella: il pensiero dell'architettura italiana Duccio, Cimabue, Giotto: le sorgenti dell'arte italiana Armeria Granducale Allegorie di Firenze, della Toscana, carri di Giove, Marte, Saturno, Venere la storia di Firenze nello specchio della mitologia Armeria Granducale 1588/ Ludovico Buti, scene di vita fiorentina Armeria Granducale 1588/ Ludovico Buti: grottesche, piante e personaggi del Nuovo Mondo il pensiero di luce e oro della pittura senese Ex teatro mediceo la pittura dello Spazio e della Storia seqfilmati 7000 14,15000 13,27000 26 10000 23,30000 26 7000 25,20000 26 8000 24,18000 26 2000 5, 14000 6,25000 26 5000 3,14000 4,24000 26 5000 16,14000 17,23000 18,32000 26 10000 19,18000 20,25000 26 4000 21,12000 22,30000 26 5000 1,10500 2,19000 26 3400 12,10000 13,19000 26 messaggi Do you want to interrupt this theme route? Printing finished Select an entry from the artists or pictures index Uffizi: print artist biography Uffizi: print comment on picture Which panel do you want to see? Which portrait do you want to see? Which picture do you want to see? right part left part central part Pippo Spano Farinata degli Uberti There's no printer connected Uffizi: print introduction Uffizi: print theme route To enlarge a detail of a picture, click on the desired point. To return to the whole picture, click the right hand button of the mouse. from from from tratto dalla sante destro del mouse. Brano tratto dalla o dalla atto dalla eggiata a temamouse. dilavoro stampa confronti txtcartelli txtglossario datiradar datisale txtcommenti1 txtcommenti2 txtcommenti3 txtcommenti4 txtcommenti5 txtcommenti Do you want to interrupt this theme route? Printing finished Select an entry from the artists or pictures index Uffizi: print artist biography Uffizi: print comment on picture Which panel do you want to see? Which portrait do you want to see? Which picture do you want to see? right part left part central part Pippo Spano Farinata degli Uberti There's no printer connected Uffizi: print introduction Uffizi: print theme route To enlarge a detail of a picture, click on the desired point. To return to the whole picture, click the right hand button of the mouse. from messaggi opere acceso Angels Angels and the soul have something in common: they exist even for people who don't believe in them. Apart from actual religions, mythologies also imagine that between the gods and human beings are winged creatures with an anthropomorphic body or face. They represent abstract qualities, as in Bronzino's Allegory of Felicity, or they bring tidings and advice, as in the case of the Christian angels. In Jewish and Christian theology it is not always clear whether or not they are visible; indeed, it has been argued that angelic visions belong to the intellect and not to the senses. This is why the Madonnas of the Annunciation, like the one portrayed by Alessio Baldovinetti, don't look their interlocutors in the face. As often as not there's an obliging column in the way, which in itself is a symbol of Christ. Yet Leonardo, who could conjure up impalpable realities like air and water in paint, chose an extremely solid Archangel Gabriel for his Annunciation, emphasizing his physical presence by carefully delineating the shadow he throws on the ground. Thus, angels ultimately belong to whatever species of creature the arts wish to portray. In this way anyone beholding a painted or sculpted angel can have visions and encounter angels. Francesco Botticini's painting of "The Three Archangels" informs us of three important angelic functions: on the left Michael is dressed as a knight and therefore represents Defense; in the center Raphael is leading the young Tobias and pointing out the way to him, so he clearly stands for Guidance; whereas Gabriel, the third figure, proffers a lily to the Virgin Mary to announce the birth of Christ, thus acting as a Divine Messenger, which is the original meaning of the word "angel". It's a most effective painting because the figures form a sort of barrier against the gentle and somewhat melancholy landscape that seems to stretch out to infinity, luring the unwitting boy toward all sorts of dangers. Botticini has also deliberately captured the sexual ambiguity of angels: Michael is distinctly masculine, whereas Raphael has long hair and wears female robes; as does Gabriel, despite his boyish haircut. The gender of angels was a tricky problem that artists generally tended to avoid by portraying them at an age when such things are not quite so blatant: childhood, for instance. As an example let us take Rosso Fiorentino's angels in the "Madonna and Child with Saints." They entirely resemble little rascals with about as much interest in serious matters as the cheeky putti of ancient sculpture. However, there are plenty of more obedient and worthy-looking angels around: suffice it to inspect the winged creatures carrying the Madonna in Fra Bartolomeo's portrayal of the "Apparition of the Virgin Mary to Saint Bernard." Apart from bringing tidings in paintings angels also transport people and things, including the celestial sphere itself, as in the" San Marco Altarpiece by Botticelli." The other angelic age par excellence is adolescence. Botticelli chose it for the angels in his" Madonna of the Pomegranate." Unlike childhood, adolescence does not neutralize sexual identity, but rather confines the masculine and feminine extremes within an absolute, androgynous model of beauty. Such are the angels in the "Madonna of the Magnificat:" young court pages whose beauty so resembles that of the Mother and Son that they don't even have to show their wings. Mother Queen, angel pages: in painting the metaphorical idea of the Angelic Court takes on all the attributes of an earthly court with thrones, crowns, ladies, as in Pietro Lorenzetti's "Maest ," where the angels seem to be maids of honor with their wings tucked away where we can't see them. One other detail indicates the angelic nature of these girls; the halo, of course, but also the sort of hair band consisting of a palm design on a red background. This is no mere ornament. In the earliest "Santa Trinita Madonna" by Cimabue this band is part of a hairdo. In places it seems to be made of a lock of hair, elsewhere of ribbons that stand out against the gold of the halo. It is a detail that derives from an important symbol: the flame. The red and blue of these strange bands actually symbolise the substance of the angelic body that is made of fire and air. The ladies painted by Lorenzetti embody a more modern version of the same idea; it could even explain the persistence of the golden curls that adorn the heads of most painted angels. Body of air and fire: as always it is Mantegna who sticks most closely to the Scriptures. The angels in the "Ascension Triptych" are unquestionably Cherubim and Seraphim: they are entirely red as they appear through the blue clouds; those bearing the Virgin Mary are tinged with fiery tones or natural reflections. Mantegna even paints a philologically precise figure in the relief decorating the architecture in the "Circumcision:" a cherub with six wings at the center of the main action, just as the scriptures relate. The chromatic imagination of painters has been greatly stimulated by the concept of angelic bodies. The angels of Lorenzo Monaco incorporate all the colors of the rainbow the Master of Hoogstraten imbues his angels with the glistening color of light, reminiscent of the hues found in the robes of the angels in the "Madonna and Child" and the "Saint Anne" by Masolino and Masaccio. Hugo Van der Goes also achieved some interesting shimmering effects based on full and void contrasts in the "Portinari Triptych." However, the incorporeity of the flying angels is contradicted by the worldly attire of the sublimely winged creatures who are kneeling. The fact that their robes are ecclesiastical suggests that the artist was humoring those who adhered to the medieval doctrine of a correspondence between the angelic hosts and the church hierarchy. The overlapping of these two realms is also to be found in earlier works: like in the "Archangel," attributed to Bonaventura Berlinghieri's workshop. Here the figure wears ecclesiastical robes which nevertheless reveal the vanquished dragon, serpent or evil beast. Such proximity smacks of promiscuity, not only here but also in the Angel painted by Alessandro Allori. As it flies above the head of Abraham it seems more like a portrayal of Mercury or a genie of the classical world. Caravaggio's angel in the "Sacrifice of Isaac" is altogether different. It swoops in to stop Abraham's arm in mid air with a sense of action that is not to be found in Allori. With its sketchy, colorless wings it appears to belong to the same species as the wretched Isaac. The similarity is significant. Just as angels reflect the divine light, so they also reflect our qualities. And as for demons, the fallen rebel angels, they originally belonged to the same joyous, luminous ranks of the angels so dear to Fra Angelico. However distant the latter may be, they nevertheless do things for us, have feelings, respect the concrete reality of small gestures, offer fruit and flowers, and even play instruments and dance.y Piero di Cosimo the scene is actually dominated by the creature. And there is another terrifyingly magnificent dragon in a painting by Lemberger. But the imagination doesn't just conjure up dragons, but also obsessions, ideas of omnipotence and the relative feelings of guilt. Perhaps this is why many painters have chosen to call themselves monkeys, creatures that love to play and pretend. In this sense the highly unusual picture of a "Man with a Monkey" by Annibale Carracci could be seen as a highly cultured artist's homage to the wild happiness that he shares with monkeys when he plays with forms and messes with colors. What differentiates monkeys from human beings can defy religion and the strictest morals. This is why the devil and vanity are sometimes portrayed with a monkey's face. In "The Crucifixion" attributed to the Master of the Virgo inter Virgines, where a small monkey plays with a skull at the foot of the Cross, thus irreverently reducing the pathos of the scene is a perfect example. The arts will continue to look to animals for inspiration, for in such creatures they will find what human beings no longer possess: an instinctive awareness of good and evil, elegance without affectation, or the warmth of a simple, faithful friendship like the one Guercino places in the center of his "Open Air Concert." It goes without saying that in the end this convivial pursuit of animals was bound to lead us to the only painting that an artist of the 16th century could devote exclusively to animals: the "Two Dogs" captured in paint by Jacopo Bassano as they happily snooze and sniff. The animals at the Uffizi certainly cannot be captured in this short tour. There are still leopards, hares, chimpanzees, rhinoceroses, cats, doves, asses, horses camels and other myriad creatures waiting to make your acquaintance.us" were closed in sleep, as are those of her little dog, the whole atmosphere of the picture would change. No longer would Venus be able to exercise the art of seduction. The Birth of Venus is also surrounded by a constellation of sensory messages. See how the zephyrs embrace, note the flowers, mark the way Venus modestly covers herself with her hand and golden tresses. Yet she looks straight at the spectator with a boldness that is almost out of character for so idealized a figure. It may well be precisely this sort of incoherence that makes the protagonists of pictures so interesting. As for the flowers, their scents are inevitably lost in painting. They say our sense of smell is our earliest, most instinctive sense. Certainly it is the hardest to conjure up in paint. The fact that we can't see smells is something of a defeat for painting. Unless the subject is actually sniffing, like the nice dog portrayed by Jacopo Bassano, pictures practically never cater to our olfactory organs; It's a question of physiology, of parts of the brain that communicate: a particular smell can whisk us back to a particular time or place with no effort at all. And it is this sense of situation and atmosphere that paintings can conjure up. Take Claude Lorrain's imaginary landscape with the Port and Villa Medici: the color of the sky and the quality of the light are tangibly defined by the water, even though such a place does not actually exist. Francesco Guardi is another artist who created recognizable atmospheric conditions in his paintings using the effects of water on skies and clouds and the very air that surrounds and gives substance to the small figures that move in his pictorial space. There is one painting that bears witness to all that we have been saying: Guercino's "Open Air Concert," which resounds with voices, instruments, physical and eye contact and a sense of situation, of atmosphere. The people and the animals are there for a special event that neither they nor we will ever forget: even the sky and the weather is impressed on our memory. What does it matter if the whole scene is a figment of the artist's imagination? 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P015.BMP P016.BMP P017.BMP P018.BMP P019.BMP P020.BMP P021.BMP P022.BMP P023.BMP P024.BMP P025.BMP P026.BMP P027.BMP P028.BMP P029.BMP P030.BMP P031.BMP P032.BMP P033.BMP P034.BMP P035.BMP P036.BMP P037.BMP P038.BMP P039.BMP P040.BMP P041.BMP P042.BMP P043.BMP P044.BMP P045.BMP P046.BMP P047.BMP P048.BMP P049.BMP P050.BMP P051.BMP P052.BMP P053.BMP P054.BMP P055.BMP P055R.BMP P055V.BMP P056.BMP P057.BMP P058.BMP P059.BMP P060.BMP P061.BMP P062.BMP P063.BMP P064.BMP P065.BMP P066.BMP P067.BMP P068.BMP P069.BMP P070.BMP P071.BMP P072.BMP P073.BMP P074.BMP P075.BMP P076.BMP P077.BMP P078.BMP P079.BMP P080.BMP P081.BMP P082.BMP P083.BMP P084.BMP P085.BMP P086.BMP P087.BMP P088.BMP P089.BMP P090.BMP P091.BMP P092.BMP P093.BMP P094.BMP P095.BMP P096.BMP P097.BMP P098.BMP P099.BMP P100.BMP P101.BMP P102.BMP P103.BMP P104.BMP P105.BMP P106.BMP P107.BMP P108.BMP P109.BMP P110.BMP P111.BMP P112.BMP P113.BMP P114.BMP P115.BMP P116.BMP P117.BMP P118.BMP P119.BMP P120.BMP P121.BMP P122.BMP P123.BMP P124.BMP P125.BMP P126.BMP P127.BMP P128.BMP P129.BMP P130.BMP P131.BMP P132.BMP P133.BMP P134.BMP P135.BMP P136.BMP P137.BMP P138.BMP P139.BMP P140.BMP P141.BMP P142.BMP P143.BMP P144.BMP P145.BMP P146.BMP P147.BMP P148.BMP P149.BMP P150.BMP P151.BMP P152.BMP P153.BMP P154.BMP P155.BMP P156.BMP P157.BMP P158.BMP P159.BMP P160.BMP P161.BMP P162.BMP P163.BMP P164.BMP P165.BMP P166.BMP P167.BMP P168.BMP P169.BMP P170.BMP P171.BMP P172.BMP P173.BMP P174.BMP P175.BMP P176.BMP P177.BMP P178.BMP P179.BMP P180.BMP P181.BMP P182.BMP P183.BMP P184.BMP P185.BMP P186.BMP P187.BMP P188.BMP P189.BMP P190.BMP P191.BMP P191A.BMP P191B.BMP P192.BMP P193.BMP P194.BMP P195.BMP P195V.BMP P196.BMP P197.BMP P198.BMP P199.BMP P199X.BMP P19X.BMP P200.BMP P201.BMP P202.BMP P203.BMP P204.BMP P205.BMP P206.BMP P207.BMP P208.BMP P209.BMP P210.BMP P211.BMP P212.BMP P213.BMP P214.BMP P215.BMP P216.BMP P217.BMP P218.BMP P219.BMP P220.BMP P221.BMP P222.BMP P223.BMP P224.BMP P225.BMP P226.BMP P227.BMP P228.BMP P229.BMP P230.BMP P231.BMP P232.BMP P233.BMP P234.BMP P235.BMP P236.BMP P237.BMP P238.BMP P239.BMP P240.BMP P241.BMP P242.BMP P243.BMP P244.BMP P245.BMP P246.BMP P247.BMP P248.BMP P249.BMP P250.BMP P251.BMP P252.BMP P253.BMP P254.BMP P255.BMP P256.BMP P257.BMP P258.BMP P259.BMP P260.BMP P261.BMP P262.BMP P263.BMP P264.BMP P265.BMP P266.BMP P267.BMP P268.BMP P269.BMP P270.BMP P271.BMP P272.BMP P273.BMP P274.BMP P275.BMP P276.BMP P277.BMP P278.BMP P279.BMP P280.BMP P281.BMP P282.BMP P283.BMP P284.BMP P285.BMP P286.BMP P287.BMP P288.BMP P289.BMP P290.BMP P291.BMP P292.BMP P293.BMP P294.BMP P295.BMP P296.BMP P297.BMP P298.BMP P299.BMP P300.BMP P301.BMP P302.BMP P303.BMP P304.BMP P305.BMP P306.BMP P307.BMP P308.BMP P309.BMP P310.BMP P311.BMP P312.BMP P313.BMP P314.BMP P315.BMP P316.BMP P317.BMP P318.BMP P319.BMP P320.BMP P321.BMP P322.BMP P323.BMP P324.BMP P325.BMP P326.BMP P327.BMP P328.BMP P329.BMP P330.BMP P331.BMP P332.BMP P333.BMP P334.BMP P335.BMP P336.BMP P337.BMP P338.BMP P339.BMP P340.BMP P341.BMP P342.BMP P343.BMP P344.BMP P345.BMP P346.BMP P347.BMP P348.BMP P349.BMPGj tour1 0,0.,send vaistep ("301 o301") 34999,0, send vaistep ("1406 o57") 68000,0, send vaistep ("1408 o94") 104000,0, send vaistep ("104 o104") 184000,0, send vaistep ("223 o223") 216500,0, send vaistep ("194 o194") 234500,0, send vaistep ("74 o74") 250000,0, send vaistep ("71 o71") 276500,0, send vaistep ("67 o67") 294000,0, send vaistep ("1 o1") 317500,0, send vaistep ("1361 o1") 334500,0, send vaistep ("1362 o16") 383500,0, send vaistep ("1363 giochi") 404500,0, send vaistep ("1364 giochi") 412000,0, send vaistep ("1365 giochi") 427500,0, send vaistep ("1366 o38") 441500,0, send vaistep ("170 o170") 449000,0, send vaistep ("1405 o53") 461875,0, send vaistep ("1375 o77") 500000,0, send vaistep ("1376 o10") 522000,0, send vaistep ("291 o291") 538500,0, send vaistep ("1417 o309") 560000,0, send vaistep ("42 o42") 580500,0, send vaistep ("1382 o42") salva 34999,0, send vaistep ("1406 o57") 68000,0, send vaistep ("1408 o94") 104000,0, send vaistep ("104 o104") 184000,0, send vaistep ("223 o223") 216500,0, send vaistep ("194 o194") 234500,0, send vaistep ("74 o74") 250000,0, send vaistep ("71 o71") 276500,0, send vaistep ("67 o67") 294000,0, send vaistep ("1 o1") 317500,0, send vaistep ("1361 o1") 334500,0, send vaistep ("1362 o16") 383500,0, send vaistep ("1363 giochi") 404500,0, send vaistep ("1364 giochi") 412000,0, send vaistep ("1365 giochi") 427500,0, send vaistep ("1366 o38") 441500,0, send vaistep ("170 o170") 449000,0, send vaistep ("1405 o53") 461875,0, send vaistep ("1375 o77") 500000,0, send vaistep ("1376 o10") 522000,0, send vaistep ("291 o291") 538500,0, send vaistep ("1417 o309") 560000,0, send vaistep ("42 o42") 580500,0, send vaistep ("1382 o42"))),0, send vaistep ("1382 o42"))))81834,0, send vaistep ("42 o42") 505127,0, send vaistep ("1382 o42")))step ("1382 o42"))) pass1 Angels Angels and the soul have something in common: they exist even for people who don't believe in them. Apart from actual religions, mythologies also imagine that between the gods and human beings are winged creatures with an anthropomorphic body or face. They represent abstract qualities, as in Bronzino's Allegory of Felicity, or they bring tidings and advice, as in the case of the Christian angels. In Jewish and Christian theology it is not always clear whether or not they are visible; indeed, it has been argued that angelic visions belong to the intellect and not to the senses. This is why the Madonnas of the Annunciation, like the one portrayed by Alessio Baldovinetti, don't look their interlocutors in the face. As often as not there's an obliging column in the way, which in itself is a symbol of Christ. Yet Leonardo, who could conjure up impalpable realities like air and water in paint, chose an extremely solid Archangel Gabriel for his Annunciation, emphasizing his physical presence by carefully delineating the shadow he throws on the ground. Thus, angels ultimately belong to whatever species of creature the arts wish to portray. In this way anyone beholding a painted or sculpted angel can have visions and encounter angels. Francesco Botticini's painting of "The Three Archangels" informs us of three important angelic functions: on the left Michael is dressed as a knight and therefore represents Defense; in the center Raphael is leading the young Tobias and pointing out the way to him, so he clearly stands for Guidance; whereas Gabriel, the third figure, proffers a lily to the Virgin Mary to announce the birth of Christ, thus acting as a Divine Messenger, which is the original meaning of the word "angel". It's a most effective painting because the figures form a sort of barrier against the gentle and somewhat melancholy landscape that seems to stretch out to infinity, luring the unwitting boy toward all sorts of dangers. Botticini has also deliberately captured the sexual ambiguity of angels: Michael is distinctly masculine, whereas Raphael has long hair and wears female robes; as does Gabriel, despite his boyish haircut. The gender of angels was a tricky problem that artists generally tended to avoid by portraying them at an age when such things are not quite so blatant: childhood, for instance. As an example let us take Rosso Fiorentino's angels in the "Madonna and Child with Saints." They entirely resemble little rascals with about as much interest in serious matters as the cheeky putti of ancient sculpture. However, there are plenty of more obedient and worthy-looking angels around: suffice it to inspect the winged creatures carrying the Madonna in Fra Bartolomeo's portrayal of the "Apparition of the Virgin Mary to Saint Bernard." Apart from bringing tidings in paintings angels also transport people and things, including the celestial sphere itself, as in the" San Marco Altarpiece by Botticelli." The other angelic age par excellence is adolescence. Botticelli chose it for the angels in his" Madonna of the Pomegranate." Unlike childhood, adolescence does not neutralize sexual identity, but rather confines the masculine and feminine extremes within an absolute, androgynous model of beauty. Such are the angels in the "Madonna of the Magnificat:" young court pages whose beauty so resembles that of the Mother and Son that they don't even have to show their wings. Mother Queen, angel pages: in painting the metaphorical idea of the Angelic Court takes on all the attributes of an earthly court with thrones, crowns, ladies, as in Pietro Lorenzetti's "Maest ," where the angels seem to be maids of honor with their wings tucked away where we can't see them. One other detail indicates the angelic nature of these girls; the halo, of course, but also the sort of hair band consisting of a palm design on a red background. This is no mere ornament. In the earliest "Santa Trinita Madonna" by Cimabue this band is part of a hairdo. In places it seems to be made of a lock of hair, elsewhere of ribbons that stand out against the gold of the halo. It is a detail that derives from an important symbol: the flame. The red and blue of these strange bands actually symbolise the substance of the angelic body that is made of fire and air. The ladies painted by Lorenzetti embody a more modern version of the same idea; it could even explain the persistence of the golden curls that adorn the heads of most painted angels. Body of air and fire: as always it is Mantegna who sticks most closely to the Scriptures. The angels in the "Ascension Triptych" are unquestionably Cherubim and Seraphim: they are entirely red as they appear through the blue clouds; those bearing the Virgin Mary are tinged with fiery tones or natural reflections. Mantegna even paints a philologically precise figure in the relief decorating the architecture in the "Circumcision:" a cherub with six wings at the center of the main action, just as the scriptures relate. The chromatic imagination of painters has been greatly stimulated by the concept of angelic bodies. The angels of Lorenzo Monaco incorporate all the colors of the rainbow the Master of Hoogstraten imbues his angels with the glistening color of light, reminiscent of the hues found in the robes of the angels in the "Madonna and Child" and the "Saint Anne" by Masolino and Masaccio. Hugo Van der Goes also achieved some interesting shimmering effects based on full and void contrasts in the "Portinari Triptych." However, the incorporeity of the flying angels is contradicted by the worldly attire of the sublimely winged creatures who are kneeling. The fact that their robes are ecclesiastical suggests that the artist was humoring those who adhered to the medieval doctrine of a correspondence between the angelic hosts and the church hierarchy. The overlapping of these two realms is also to be found in earlier works: like in the "Archangel," attributed to Bonaventura Berlinghieri's workshop. Here the figure wears ecclesiastical robes which nevertheless reveal the vanquished dragon, serpent or evil beast. Such proximity smacks of promiscuity, not only here but also in the Angel painted by Alessandro Allori. As it flies above the head of Abraham it seems more like a portrayal of Mercury or a genie of the classical world. Caravaggio's angel in the "Sacrifice of Isaac" is altogether different. It swoops in to stop Abraham's arm in mid air with a sense of action that is not to be found in Allori. With its sketchy, colorless wings it appears to belong to the same species as the wretched Isaac. The similarity is significant. Just as angels reflect the divine light, so they also reflect our qualities. And as for demons, the fallen rebel angels, they originally belonged to the same joyous, luminous ranks of the angels so dear to Fra Angelico. However distant the latter may be, they nevertheless do things for us, have feelings, respect the concrete reality of small gestures, offer fruit and flowers, and even play instruments and dance. pass2 "Animals The great liturgical significance" Pontormo's Supper at Emmaus" lies in the fact that the artist uses the painting to involve the spectator in the sacrament of the Eucharist. Half hidden, between the legs of the chairs, near the bare feet of the Apostles, are two cats and a little dog watching the spectator. What are they doing there? What do they want? What have they got to do with the scene? Many peoples have thought of their gods as more similar to animals than to themselves. Zeus, the head of the Greek pantheon, readily turned into an eagle or a swan in order to be united with his beloved nymphs. Such metamorphoses express man's envy and admiration of the animal world. As for the amorous promiscuity between the two species, it first fired the Greek myth and then inspired paintings of great harmony and sensuality such as Pontormo's "Leda and the Swan." By contrast, in the Jewish and Christian tradition animals are used as metaphors that clarify the sacred discourse.("This is the lamb of God that takes away the sins of the world.") And in painting, animals are sometimes used as rhetorical devices. This is the case in Rosso Fiorentino's picture of "Moses Defending the Daughters of Jethro: " the four lambs in the middle of the brawl between the shepherds and the girls underline the idea of martyrdom. Thus in Caravaggio's "Sacrifice of Isaac" the proximity between Isaac and the lamb establishes an association between the two while the look in the animal's eye seems to question the violence of Abraham's action, thereby accentuating the contrasting states of mind. It is almost as though Isaac himself is split between the figure of the boy and the animal. As for the serpent, it plays the foremost role in the story of the original sin and becomes the symbol of that fatal episode, as the paintings of El Greco and Dosso Dossi clearly show. So it is strange to think that in the classical tradition the serpent stood for the science of medicine. Of course it's part of the dialectics of symbols that certain animals can be positive figures one minute and negative ones the next. And when they become rhetorical devices they tend to lose their real shape, their colors, their expressions and their habits. Take, for example, the serpent painted by Lucas Cranach: how charming it is. The artist is unlikely to have painted it from real life, yet he has done his best to reproduce the pattern of the skin and its sinuous coils. The Uffizi houses a considerable number of beautiful snakes. Most of them are to be found on the severed heads of two Medusas, one painted by Caravaggio and the other by an unknown painter of the Flemish school. Both artists were fascinated by their tangled aspect and their screams; in Caravaggio's picture the snakes seem to echo the ghastly howl of the Medusa. In the bottom right hand corner of the Flemish painting there is a frog that observes the hideous episode. It appears realistis: curious, yet detached; it sits there and watches from more or less the same position as the spectator, thereby helping to focus attention on the main event. It could be said that the presence of animals accentuates the atmosphere that dominates the scene. In the "Discovery of the Body of Holofernes" by Botticelli, for example, even the horse seems to be struck by the same feeling of pity and horror that pervades the picture. The empathy between animals and humans is also expressed by the ox and the ass that are always to be found in Nativity scenes, even that of D rer. Not only do they help keep the holy family "warm"; they also bear witness to the fact that all creatures, great and small, understand the importance of the birth of Christ. That is why they are never missing and sometimes play a leading role in the picture, for instance, in the "Nativity" by Simone dei Crocefissi. In the "Adoration of the Magi" by Botticelli the horses on the left look at the spectator in exactly the same way as the man on the right does (he is believed to be a self-portrait of the artist). Pontormo's cats also look out of the picture, as we have already mentioned. But whereas when human beings look out toward the spectator they are usually there to draw attention to the main action, when it is animals that observe the spectator, the relationship between picture and external reality is turned upside down and the spectator is drawn into the event portrayed. There is a splendid painting of Fruit and Insects by Rachel Ruysch in which a fly sits on a peach and a butterfly alighting frightens a green lizard. The fly is so realistic that one is tempted to wave it off the peach. The device is an illusion that painters have been using since the times of antiquity. Great skill is required to cheat the eye in this way. Yet the mind is also cheated. Here, as in many still lifes, there is a fly that has been sitting on a peach for ever, though we all know that flies only stay still for very short periods. Thus we have a sort of temporal paradox: on the one hand the fly that poses for the artist; and on the other the impossibility of such a thing. The harmony of Raphael's painting of the "Madonna of the Goldfinch" clearly derives from the pyramidal composition of the figures and the way they relate to the landscape. Yet what would become of the picture without the goldfinch? The small bird that lets itself be stroked by two children lends atmosphere to the scene and a sweetness that would be lost without it. Another delightful goldfinch features in the portrait of Giovanni de' Medici by Bronzino kept in the Tribuna. This time it looks worried because it is in the clutches of a real child who is probably hurting it. Both creatures, bird and child, are caught in an unnatural pose which beautifully expresses the playful restlessness of childhood. So much for small animals. But the Uffizi also houses a number of very special large ones. Andrea Mantegna differed from other colleagues and men of letters of his time because he was particularly interested in exotic animals from far away places. The camels portrayed in his "Epiphany" are simply spectacular and one can't help wondering where he could have studied them in such close quarters. Painters create. It was Veronese who declared in 1573 that "painters adopt the license of poets and madmen"; even before that Leonardo wrote in his Treatise on Painting that "if a painter wishes to see beauties that he could fall in love with, he is free to generate them". Artists can certainly give form to mental images as well as to Nature, thereby making fantastical figures seem natural. Take the "Centau"r painted by Botticelli, for instance. So it is that we get to know certain creatures only through pictures of them, or dreams. Where in the world could one find an animal that resembles the one the girl is standing on in the "Portinari Triptych?" And where do the unicorns live that draw the carriages of the Duke and Duchess of Urbino portrayed by Piero della Francesca? As for dragons, in the "Rescue of Andromeda" painted by Piero di Cosimo the scene is actually dominated by the creature. And there is another terrifyingly magnificent dragon in a painting by Lemberger. But the imagination doesn't just conjure up dragons, but also obsessions, ideas of omnipotence and the relative feelings of guilt. Perhaps this is why many painters have chosen to call themselves monkeys, creatures that love to play and pretend. In this sense the highly unusual picture of a "Man with a Monkey" by Annibale Carracci could be seen as a highly cultured artist's homage to the wild happiness that he shares with monkeys when he plays with forms and messes with colors. What differentiates monkeys from human beings can defy religion and the strictest morals. This is why the devil and vanity are sometimes portrayed with a monkey's face. In "The Crucifixion" attributed to the Master of the Virgo inter Virgines, where a small monkey plays with a skull at the foot of the Cross, thus irreverently reducing the pathos of the scene is a perfect example. The arts will continue to look to animals for inspiration, for in such creatures they will find what human beings no longer possess: an instinctive awareness of good and evil, elegance without affectation, or the warmth of a simple, faithful friendship like the one Guercino places in the center of his "Open Air Concert." It goes without saying that in the end this convivial pursuit of animals was bound to lead us to the only painting that an artist of the 16th century could devote exclusively to animals: the "Two Dogs" captured in paint by Jacopo Bassano as they happily snooze and sniff. The animals at the Uffizi certainly cannot be captured in this short tour. There are still leopards, hares, chimpanzees, rhinoceroses, cats, doves, asses, horses camels and other myriad creatures waiting to make your acquaintance. pass3 +The Senses Painting is a great factory of sensations that involve more than just the eyes. Painters try to represent everything, even what it not easy to portray. Rendering a smell, a taste or a voice in pictorial terms involves skills little short of magic. In his "Annunciation," Simone Martini transforms the angel's words into an inscription. There is nothing particularly unusual about this, except the fact that inscription actually makes the Virgin Mary move, as though blown by the wind. The inscription, thus, becomes airborne, and hence, once more a voice. Not that you necessarily have to add an inscription that speaks to create sensation, a flower that smells, a loaf of bread that you can eat with your eyes will do. In the Santa Cecilia altar-frontal, for instance, the precision with which the loafs, the fish and the wine in the glasses is portrayed makes the scene real and familiar, but hardly mouth-watering. To get the taste-buds going, painted food needs to be more than just realistic. Muddle is the measure of Cristoforo Munari's "Still Life:" the cookies have fallen from the pan, the lemons looks as though they're about to roll off the table and the whole composition seems less arranged and more convincing. The fruits are peeled or cut, and some of them are overripe, subject to the passing of time. Even the three identical bowls have been placed at different angles. All these aspects help the spectator transcend the two-dimensional space of the picture and let himself be enticed by the consistency of the melons or the fragrance of the cookies...The painting encompasses books as well as food, thereby suggesting allegorical interpretations. However, it also indicates that the place portrayed is more symbolic and intellectual than it is realistic. The painters of the seventeenth century were wont to turn even the kitchen into a place of contemplation. In fact Empoli's "Still Life" is a compendium of tastes and flavors. The plates stacked with food of every sort are accompanied above by a complete range of meats and poultry. All the dead animals hanging elicit slight feelings of pity, not least because they, like us, are made of flesh and blood. How this picture differs from a portrayal of colorful flowers! The mass of food and butchered animals hones right in on our senses, forcing us to see how time also passes as we appease our senses. The message is less lyrical than the one expressed by the beauty and withering of flowers, and more detached. It takes the rawest of materials and turns them into objects of esthetic and philosophical contemplation. And the secret lies in the way the artist renders consistency. It's when it comes to consistency that the eyes can be tricked. So is it perhaps a sort of "excess" of painting that stimulates our other senses? Caravaggio's Bacchus raises his glass of wine to the spectator; the grapes protruding from the basket look deliciously ripe; even the ribbon in the boy's hand is so well painted that it can only be velvet... Hold on! You mustn't touch! And yet it comes so naturally to stretch out a finger to see... The very idea that the artist has actually shaped those surfaces makes physical contact almost irresistible. The artist and the spectator are both aware of it. Perhaps we really want to touch to make sure that what looks so real is in fact merely painted. Surely one way to obtain synesthesis is to potentialise the tactile qualities of paintings. So often the realistic effect of a painting has little to do with what the eye actually perceives at a certain distance. In Antonio Pollaiolo's "Portrait of a Woman" the profile is detailed and the skin smooth and even, despite the fact that the artist could never have perceived such particulars from where he stood in relation to the model. Nor would he have been able to define the details of her sleeve or count the number of pearls in her hair. It is as though the painting embodies two visual registers: one for distance which tends to flatten things; and one for close up, like an enlargement seen through a magnifying glass. The outcome is an image that is both real and ideal. The same applies to Bronzino's Portrait of Eleonora of Toledo," who appears as an ethereal being wearing a splendid brocade gown. Something special takes place when the characters in the picture touch each other as well. In the Madonna and Child painted by Bonaventura Berlinghieri's workshop, the general rigidity of the figures and composition fades when the observer takes in the way the Virgin Mary's hands surround the Child and the way their cheeks are touching. The angels in Duccio's "Maest " touch the throne and it becomes a three-dimensional reality. In Giotto's" Badia Polyptych," the Christ Child holds the Madonna's hand with one hand and has put the other down the front of his mother's dress. It is such a simple gesture that it imbues the entire scene with feeling. Likewise, the baby Jesus of Pietro Lorenzetti's "Madonna Enthroned with Child and Angels" behaves like any infant, putting his hand practically in his mother's mouth. Raphael's "Madonna of the Goldfinch" is hardly touching the young Saint John at all, whereas the Christ Child treads on her feet and leans against her knees. The way the children stroke the bird completes the subtle circle of physical contact between the figures that gives the picture its aura of intimacy. In the "Piet " painted by Giottino the way people touch each other is no less essential to the story told. Each character touches at least one other, with the exception of Mary Magdalene, who holds her head in her hands with solitary melancholy. Such physical contact turns figures into real people with real feelings. Exactly the same process takes place, albeit in reverse, in Correggio's painting of the "Virgin Mary Worshipping the Child," where the infant's great solitude is emphasized through the lack of physical contact. Many painters have tried to portray sound in their pictures, but the task is not an easy one. Often the cantors that invaded 17th century painting were portrayed with their mouths wide open; yet there is something strained about them which simply underlines the fact that the painting is mute. However, Bartolomeo Manfredi's "Concert" is more effective, perhaps because the situation is musical and the mouths of the singers are only slightly open, as though they were humming quietly and could continue to do so for as long as the spectator chooses to stand there. In Pontormo's "Deposition," not far from the Uffizi, all the characters are open-mouthed. This detail, together with the unreal colors and weightless bodies, creates the impression of a chorus of grief surrounding the dead Christ. Screaming and howling is a different matter. In his "Medusa," Caravaggio works with some extremely effective distorsions: the Medusa's expression is so distorted by her shriek of fear that she almost seems to mirror the horror of the observer before the ghastly sight of the bloody head crowned with snakes. Of course painters who wish to invest their pictures with sound usually do so by means of musical instruments. The type of instrument is clearly related to the type of sound and hence the overall atmosphere of the picture. In Dosso's "Witchcraft" the tambourines suggest rhythmical effects and rites that are perfectly suited to the esoteric nature of the scene. By contrast, Rosso Fiorentino's "Angel Making Music" hugs his lute as if to establish a wistful space of his own; the A Minor chord he appears to be playing can only emphasize this state of mind. Sight is of course what you need to paint a picture or indeed to look at one. However, there's more to seeing in pictures than first meets the eye. Space is measured by the way people look at it. In his "Adoration of the Magi," Gentile da Fabriano has each one of his many figures looking in a different direction so that they create a network of potential spaces and perspectives within the picture that help transcend its two-dimensional reality. Some children are frightened by pictures that seem to look at them. It's as though they perceive the paradox implicit in being observed by what we are supposed to behold. Yet the device can be highly effective as far as communication is concerned. A Madonna who looks at us, like the "Ognissanti Madonna" by Giotto, appears to be listening more carefully to the prayer. By the same token a portrait usually works better when the subject faces the spectator rather than turning sideways in profile and gazing at something beyond the picture frame. The way a fruitful relationship can be established between subject and viewer is evident in Raphael's portrait of Francesco Maria della Rovere. Painters use the device of eye contact with their viewers as a way of drawing them into the imaginary space they conjure up. If the eyes of Titian's "Urbino Venus" were closed in sleep, as are those of her little dog, the whole atmosphere of the picture would change. No longer would Venus be able to exercise the art of seduction. The Birth of Venus is also surrounded by a constellation of sensory messages. See how the zephyrs embrace, note the flowers, mark the way Venus modestly covers herself with her hand and golden tresses. Yet she looks straight at the spectator with a boldness that is almost out of character for so idealized a figure. It may well be precisely this sort of incoherence that makes the protagonists of pictures so interesting. As for the flowers, their scents are inevitably lost in painting. They say our sense of smell is our earliest, most instinctive sense. Certainly it is the hardest to conjure up in paint. The fact that we can't see smells is something of a defeat for painting. Unless the subject is actually sniffing, like the nice dog portrayed by Jacopo Bassano, pictures practically never cater to our olfactory organs; It's a question of physiology, of parts of the brain that communicate: a particular smell can whisk us back to a particular time or place with no effort at all. And it is this sense of situation and atmosphere that paintings can conjure up. Take Claude Lorrain's imaginary landscape with the Port and Villa Medici: the color of the sky and the quality of the light are tangibly defined by the water, even though such a place does not actually exist. Francesco Guardi is another artist who created recognizable atmospheric conditions in his paintings using the effects of water on skies and clouds and the very air that surrounds and gives substance to the small figures that move in his pictorial space. There is one painting that bears witness to all that we have been saying: Guercino's "Open Air Concert," which resounds with voices, instruments, physical and eye contact and a sense of situation, of atmosphere. The people and the animals are there for a special event that neither they nor we will ever forget: even the sky and the weather is impressed on our memory. What does it matter if the whole scene is a figment of the artist's imagination? 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Accademia Florence The Presentation of Mary at the Temple Titian (1477/89-1576) Accademia Venice David Michelangelo (1475-1564) Accademia Florence Saint Mary Magdalene and Stories from her Life Maestro della Maddalena (13th cent.) Accademia Florence The Soothsayer (the Witch Melissa) Piazzetta Giovanni Battista (1683-1754) Accademia Venice San Giobbe Altarpiece Bellini Giovanni (1430-1516) Accademia Venice The Tempest Giorgione (1477- 1510) Accademia Venice Lorenzo Monaco (1370 c.-1423) Accademia Florence Stories of Saint Ursula: the Arrival of the Ambassadors Carpaccio Vittore (1460 c.-1526) Accademia Venice The Martyrdom of Saint Ursula: The Martyrdom and Funeral of Saint Ursula Carpaccio Vittore (1460 c.-1526) Accademia Venice Fra Angelico (1387-1455) Alte Pinakothek Munich Apparition of the Virgin to Saint Bernard Lippi Filippino (1457-1504) Badia Florence Heracles and Antaeus Pollaiolo Antonio (1433-1498) Bargello Florence Saint George Donatello (1386-1466) Bargello Florence Stories of John the Baptist: Herod's Banquet Masolino (1383-1447) Baptistery Castiglione Olona-Varese Rhinoceros Longhi Pietro (1702-1785) Ca' Rezzonico Venice Camera di San Paolo: ceiling Correggio (1489-1534) Camera di San Paolo Parma Saint Stephen Led to Execution and Stoned Fra Angelico (1387-1455) Nicholine Chapel Vatican Stories of the Virgin: The Presentation of Mary at the Temple Giotto (1266-1336) Scrovegni Chapel Padua Scrovegni Chapel: The Dream of Joachim Giotto (1266-1336) Scrovegni Chapel Padua Scrovegni Chapel: Lamentation on the Dead Christ Giotto (1266-1336) Scrovegni Chapel Padua Handing Over the Keys - Stories of Christ Perugino (1445/50-1523) Sistine Chapel Vatican Moses Receives the Tables of the Law Rosselli Cosimo (1439-1507) Sistine Chapel Vatican Sermon on the Mount Rosselli Cosimo (1439-1507) Sistine Chapel Vatican Aurora Guercino (1591-1666) Casino Ludovisi Stories of the Passion: Jesus before Pontius Pilate Pontormo (1494-1556) Certosa del Galluzzo Florence Stories of the Passion: The Resurrection Pontormo (1494-1556) Certosa del Galluzzo Florence Stories of Saint Peter: Saint Peter Heals the Sick Masaccio (1401-1428) Church of the Carmine Florence Brancacci Chapel: Healing the Lame Man and the Resurrection of Tabitha Masolino (1383-1447) Church of the Carmine Florence The Distribution of Alms and the Death of Anania Masaccio (1401-1428) Church of the Carmine Florence The Tribute Masaccio (1401-1428) Church of the Carmine Florence Brancacci Chapel: View of the Left Wall Masolino -Masaccio -Lippi Filippino Church of the Carmine Florence The Last Supper Ghirlandaio Domenico (1449-1494) Church of Ognissanti Florence Madonna del parto Piero della Francesca (1410/20-1492) Cemetery Monterchi-Arezzo Stories of Saint Fina Ghirlandaio Domenico (1449-1494) Collegiata S. 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Museo dell'Opera Metropolitana Siena Maest Duccio (1260 c.-1318) Museo dell'Opera Metropolitana Siena Crevole Madonna Duccio (1260 c.-1318) Museo dell'Opera Metropolitana Siena Crucifixion Masaccio (1401-1428) Capodimonte Museum Naples The Passions of the Gods: Heracles at the Fork Carracci Annibale (1560-1609) Capodimonte Museum Naples Saint Ludovic of Toulouse Crowning Robert of Anjou Martini Simone (1284-1344) Capodimonte Museum Naples Tabernacle of the Linen-Drapers Fra Angelico (1387-1455) San Marco Museum Florence The Last Judgement Fra Angelico (1387-1455) San Marco Museum Florence Marriage of the Virgin Fra Angelico (1387-1455) San Marco Museum Florence Coronation of the Virgin Fra Angelico (1387-1455) San Marco Museum Florence Annalena Altarpiece Fra Angelico (1387-1455) San Marco Museum Florence San Marco Altarpiece Fra Angelico (1387-1455) San Marco Museum Florence Death of the Virgin Mary Fra Angelico (1387-1455) San Marco Museum Florence Silver Cupboard: (from the Mystical Wheel to the Dispute with the Doctors) Fra Angelico (1387-1455) San Marco Museum Florence Crucifixion and Saints Fra Angelico (1387-1455) San Marco Museum Florence Madonna Enthroned Between Two Saints Rosso Fiorentino (1494-1540) Diocesan Museum of Sacred Art Volterra Madonna Gentile da Fabriano (1370 c.-1427) San Matteo National Museum Feast of the Rosary rer Albrecht (1471-1528) Narodni Museum Prague Tabernacle Orcagna Andrea (14th cent.) Orsanmichele Florence Madonna Enthroned with Eight Saints Daddi Bernardo (1290 c.-1350) Orsanmichele Florence Biblical Stories: Rachel Hides the Idols Stole from her Father Tiepolo Giambattista (1692-1770) Palazzo Arcivescovile Udine Madonna of the Milk Lorenzetti Ambrogio (1285-1348 c.) Palazzo Arcivescovile Siena Fall of the Giants Giulio Romano (1499-1546) Palazzo del Te' Mantua Flagellation Piero della Francesca (1410/20-1492) Palazzo Ducale Urbino Wedding Chamber: ceiling - d. central oculus Mantegna Andrea (1431-1506) Palazzo Ducale (Wedding Chamber) Mantua Stories of Heracles: View of the Gallery Ceiling Carracci Annibale (1560-1609) Palazzo Farnese Stories of Antony and Cleopatra Tiepolo Giambattista (1692-1770) Palazzo Labia Venice Magi Chapel Gozzoli Benozzo (1420-1497) Palazzo Medici Riccardi Florence Maest Martini Simone (1284-1344) Palazzo Pubblico Siena Guidoriccio da Fogliano at the Siege of Monte Massi Martini Simone (1284-1344) Palazzo Pubblico Siena Salone dei Cinquecento Chronicle and Vasari Giorgio Palazzo Vecchio Florence Expulsion of the Duke of Athens Orcagna Andrea (14th cent.) Palazzo Vecchio Florence Tintoretto (1518-1594) Palazzo Vecchio (Siviero Coll.) Florence Stories of Camillus Salviati Francesco (1510-1563) Palazzo Vecchio (Sala delle Udienze) Florence Polyptych Lorenzetti Pietro (1280-1348 c.) Pieve di S. Maria Arezzo Deposition Caravaggio (1573-1610) Pinacoteca Vatican Transfiguration Raphael (1483-1520) Pinacoteca Vatican Foligno Madonna Raphael (1483-1520) Pinacoteca Vatican Flight into Egypt Barocci Federico (1526-1612) Pinacoteca Vatican Basket of Fruit Caravaggio (1573-1610) Pinacoteca Ambrosiana Milan Deposition Rosso Fiorentino (1494-1540) Pinacoteca Comunale Volterra-Pisa Febo da Brescia Lotto Lorenzo (1480-1556) Pinacoteca di Brera Milan The Dead Christ Mantegna Andrea (1431-1506) Pinacoteca di Brera Milan Valle Romita Polyptych Gentile da Fabriano (1370 c.-1427) Pinacoteca di Brera Milan Marriage of the Virgin Raphael (1483-1520) Pinacoteca di Brera Milan Bellini Giovanni (1430-1516) Pinacoteca di Brera Milan Laura da Pala Lotto Lorenzo (1480-1556) Pinacoteca di Brera Milan Crucifixion Giovanni di Paolo (1403 c.-1482 c.) Pinacoteca Nazionale Siena Massacre of the Innocents Reni Guido (1575-1642) Pinacoteca Nazionale Bologna The Last Judgement Giovanni di Paolo (1403 c.-1482 c.) Pinacoteca Nazionale Siena Madonna of Humility Giovanni di Paolo (1403 c.-1482 c.) Pinacoteca Nazionale Siena Presentation of Jesus at the Temple (Copy from Tintoretto) Giovanni di Paolo (1403 c.-1482 c.) Pinacoteca Nazionale Siena The Execution of the 3rd of May Goya Francisco (1746-1828) Prado Madrid Adam and Eve rer Albrecht (1471-1528) Prado Madrid Portrait of Charles V at the Battle of M hlberg Titian (1477/89-1576) Prado Madrid Maya desnuda Goya Francisco (1746-1828) Prado Madrid Maya vestida Goya Francisco (1746-1828) Prado Madrid Death of the Virgin Mary Mantegna Andrea (1431-1506) Prado Madrid Noli me tangere Correggio (1489-1534) Prado Madrid Last Supper Andrea del Castagno (1410-1457) S. Apollonia Florence Stories of the Virgin: Meeting at the Golden Gate Gaddi Taddeo (1300 c.-1366) S. Croce Florence Crucifix Cimabue (1240-1302) S. Croce Florence Stories of Saint Stephen and Saint Lawrence Daddi Bernardo (1290 c.-1350) S. Croce Florence Stories from the Life of Mary Magdalene and the Virgin Mary Giovanni da Milano (14th cent.) S. Croce Florence The Baroncelli Coronation Giotto (1266-1336) S. Croce Florence Saint Francis and Stories from His Life Berlinghieri Bonaventura (1235-1274) S. Croce Florence San Francesco e San Giovanni Battista Domenico Veneziano (1400-1461) S. Croce (Museum) Florence Deposition Pontormo (1494-1556) S. Felicita Florence Stories of Saint Francis: The Expulsion of the Devils from Arezzo Giotto (1266-1336) S. Francesco Assisi Stories of the Passion Lorenzetti Pietro (1280-1348 c.) S. Francesco Assisi Frescoes for the Basilica of San Francesco in Assisi: Crucifixion Cimabue (1240-1302) S. Francesco Assisi Maest Cimabue (1240-1302) S. Francesco Assisi Vision of Saint John the Evangelist at Patmos Correggio (1489-1534) S. Giovanni Evangelista Parma Saint Juvenal Masaccio (1401-1428) S. Giovenale Cascia-Perugia San Leolino Altar-Frontal Meliore di Jacopo (13th cent.) S. Leolino Panzano-Florence Annunciation Lippi Filippo (1406-1469) S. Lorenzo Florence Burial of Saint Lucia Caravaggio (1573-1610) S. Lucia Syracuse The Vocation of Saint Matthew Caravaggio (1573-1610) S. Luigi dei Francesi Perugino (1445/50-1523) S. Maria dei Bianchi Citta' della Pieve-Perugia Crucifixion of Saint Peter Caravaggio (1573-1610) S. Maria del Popolo Last Supper Leonardo (1452-1519) S. Maria delle Grazie Milan Crucifixion Perugino (1445/50-1523) S. Maria Maddalena dei Pazzi Florence Trinity Masaccio (1401-1428) S. Maria Novella Florence The Flood Paolo Uccello (1397-1475) S. Maria Novella Florence Stories of Saint John the Evangelist and Saint Philip Lippi Filippino (1457-1504) S. Maria Novella Florence Stories of the Virgin Mary and John the Baptist Ghirlandaio Domenico (1449-1494) S. Maria Novella Florence The Strozzi Altarpiece Orcagna Andrea (14th cent.) S. Maria Novella Florence Judgement, Inferno and Paradise Orcagna Andrea (sec. XIV) S. Maria Novella Florence Creation Paolo Uccello (1397-1475) S. Maria Novella Florence Visitation Pontormo (1494-1556) S. Michele Carmignano-Florence Saint John the Evangelist Pontormo (1494-1556) S. Michele a Pontorme Empoli-Florence Michelangelo (1475-1564) S. Pietro Vatican Tomb of Julius II: Moses Michelangelo (1475-1564) S. Pietro in Vincoli Nerli Altarpiece Lippi Filippino (1457-1504) S. Spirito Florence Saint Jacob Dragged to Martyrdom Piazzetta Giovanni Battista (1683-1754) S. Stae Venice Stories of Saint Francis: Confirmation of the Rule Ghirlandaio Domenico (1449-1494) S. Trinita Florence San Zaccaria Altarpiece Bellini Giovanni (1430-1516) S. Zaccaria Venice San Zeno Altarpiece Mantegna Andrea (1431-1506) S. Zeno Verona Stories of Saints Jerome, Trifone and George Carpaccio Vittore (1460 c.-1526) Scuola di S. Giorgio degli Schiavoni Venice Crucifixion Tintoretto (1518-1594) Scuola Grande di S. Rocco Venice Rooms: The School of Athens Raphael (1483-1520) Raphael Rooms Vatican Villa Maser: view of the cross-vault Veronese (1528-1588) Villa Barbaro Maser-Treviso The Doge at the Church of the Salute Guardi Francesco (1712-1793) Louvre Paris The Effects of Good Government on the City Lorenzetti Ambrogio (1285-1348 c.) Palazzo Pubblico Siena Last Supper Andrea del Sarto (1487 c.-1530) S. Salvi (Cenacle) Florence Still Life with Jar of Olives Chardin Jean Baptiste Simeon (1699-1779) Louvre Paris Gentleman in Black Lotto Lorenzo (1480-1556) Borghese Gallery Madonna Jacopo del Casentino (1297-1358) Madonna di Piazza (Oratory) Scarperia-Florence Agony in the Garden Lorenzo Monaco (1370 c.-1423) Accademia Florence Monteoliveto Polyptych Lorenzo Monaco (1370 c.-1423) Accademia Florence Portrait of Alvise Cornaro Tintoretto (1518-1594) Palatine Gallery Florence Deposition Bartolomeo della Porta (1472-1517) Palatine Gallery Florence The Mystical Marriage of Saint Catherine Lotto Lorenzo (1480-1556) Accademia Carrara Bergamo The Legend of the True Cross Piero della Francesca (1410/20-1492) Church of San Francesco Arezzo Stories of the Adamites Piero della Francesca (1410/20-1492) Church of San Francesco Arezzo Annunciation Lotto Lorenzo (1480-1556) Museo Civico Recanati-Ancona Saint Jerome Leonardo (1452-1519) Pinacoteca Vatican Our Lady of the Assumption Titian (1477/89-1576) Church of Santa Maria dei Frari Venice The Resurrection Piero della Francesca (1410/20-1492) Pinacoteca Comunale Sansepolcro-Arezzo Saint Cecilia and Eight Stories Maestro della s. Cecilia Still Life Munari Madonna and Child with Saints Berlinghieri Workshop Supper at Emmaus Pontormo Moses Defends the Daughters of Jethro Rosso Fiorentino Medusa's Head Anon. Flemish artist Crucifixion Master of the Virgo Fruit with Insects Ruysch Open Air Concert Guercino Madonna Enthroned Pietro Lorenzetti Maest Cimabue Ascension Mantegna Adoration Mantegna Circumcision Mantegna Coronation Mantegna Cranach the Elder Still Life Empoli Adorat.- Supper at Emm. Botticelli-Empoli St John. - Apparit. El Greco-Dossi front Dukes of Urbino Diptych Piero della Francesca Concert Manfredi Portinari Triptych H. van der Goes Madonna and Child with Saints Berlinghieri Workshop Epiphany Mantegna Portinari Triptych H. van der Goes Badia Altarpiece Giotto Madonna Enthroned Lorenzetti Madonna and Child with Saints Bonaventura B. Workshop Coronation =d. dancing women Fra Angelico Adoration = d. looks Gentile da Fabriano Joseph ... d. rhinoc. Granacci Dossi + El Greco Cimabue Maest Guardi Arched Bridge Gent. da Fabriano Adoration of the Magi Gent. da Fabriano Adoration of the Magi {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This evocative setting was designed by the architects Michelucci, Scarpa and Gardella as part of the renovation that took place at the Uffizi during the 1950s. The room alludes to the style of the early Tuscan churches of the 1300s and is thus perfectly suited to the three large Maest s by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Cimabue{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Duccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giotto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Despite their cultural and conceptual differences, these works constitute milestones in the history of Italian art. The other paintings are by early Tuscan artists and bear witness to the great vitality of the art of the 13th century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This small exhibition space was made during the fifties renovations to house a precious selection of masterpieces of Sienese art of the 1300s that have recently been restored. With their characteristic gold backgrounds, their lively feeling for color and their almost dreamy atmospheres, the famous paintings by the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lorenzetti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 brothers and by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Simone Martini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 as well as the less familiar works of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Niccolo' di Bonaccorso{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=2; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Ser Sozzo Tegliacci{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 all bear witness to the way the fantastic element in Sienese painting distinguished it from the severity of coeval Florentine art.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Like the previous two, this room was also made during the course of the fifties renovations out of what was once the Teatro Mediceo. It features a careful selection of paintings produced in and around Florence that were deeply influenced by Giotto's work.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room contains some of the foremost examples of the movement in painting that goes by the name of international gothic or ornate gothic with its characteristic focus on detail, bright colors and its wealth of gilded decoration. \par Such paintings, diptychs and miniatures tended to be small in size so that they were easy to transport. Through them an graceful, refined style spread throughout Europe, transforming religious and courtly subjects in elegantly serene fables. \par Florence too was susceptible to the charm of this style, as certain highly refined work clearly show: for instance, the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Gentile da Fabriano, who was one of the greatest ornate gothic artists, or the equally splendid \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Coronation of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=38; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Lorenzo Monaco.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room offers a drastic but exquisite synthesis of early Renaissance painting. Just a few highly significant works have been chosen for the way they represent the formal and intellectual achievements that marked the end of the Middle Ages. The paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Masaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Paolo Uccello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Piero della Francesca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=2; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 all bear witness to the new conception of the human figure as a physical presence and the organization of space according to criteria of perspective and the recovery of the classical tradition. Fra Angelico's \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Coronaton of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=42; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 thus acts as a link between the austere spiritualism of gothic art and the Humanist approach of the Florentine Renaissance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 As with the Primitives Room, with its white walls and roof trusses this exhibition space is deliberately reminiscent of Romanesque churches. It houses the works of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Filippo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Filippino Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , father and son, whose careers reflect the periods and styles of the entire Florentine Quattrocento: first the achievements of the early fifteenth century masters that are clearly illustrated in Filippo Lippi's \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Coronation of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna and Child with Two Angels{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=78; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 ; and then the influence of Botticelli and Leonardo and the echoes of Flemish art that are evident in the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=82; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and in the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Otto Altarpiece{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=80; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Filippino. The room also contains the work of other interesting artists of similar or closely related Florentine provenance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This is the last of the rooms to have been renovated during the fifties. It houses paintings produced by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Antonio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Piero del Pollaiolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and their busy workshop. Apart from their skills as goldsmiths and sculptors, the Pollaiolos paid particular attention to the study of anatomy and the human body in movement in their paintings, thereby influencing much contemporary painting. Thus we have the painting of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Saints James, Vincent and Eustace{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=91; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , painted by the two together, and beside it \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Heracles and Antaeus and Heracles and the Hydra{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=92; } \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of a Woman {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Antonio, as well as the series of the six Virtues by Piero. There are other coeval works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Jacopo del Sellaio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Credi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A ; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 that share stylistic features with the paintings mentioned above.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 The current arrangement of the room was inaugurated toward the end of the 1970s. It is located in part of what was once the original Teatro Mediceo, of which three large ceiling trusses have been restored. The room contains the world's most important collection of works by Botticelli, from absolute masterpieces such as the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Birth of Venus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=69; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Primavera{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=68; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 to lesser known works such as the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 San Marco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=74; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 altarpiece. However, it also houses a masterpiece of Flemish art, the great \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portinari Triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O ; ObjectClass=Hot; rimando=77; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Hugo van der Goes, a work that deeply influenced Florentine painting in the second half of the 1400s, as the three paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Domenico Ghirlandaio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , also exhibited in this room, clearly show.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This carefully designed room is devoted to works of the Florentine and Umbrian schools of the second half of the Quattrocento. It is named after Leonardo, three of whose early works are a major attraction: the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Annunciation{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=94; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , the unfinished \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=95; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Baptism of Christ{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=96; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , much of which was painted by his master \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Andrea Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=7; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , in whose famous Florentine workshop \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Credi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 also received their training. Apart from the works of the latter two artists, the room also features paintings by two other very different and highly original artists of the late Quattrocento: \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Luca Signorelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Piero di Cosimo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room was originally a loggia facing east. It is named after the frescoed maps of the "Old Florentine Dominion," of the "Island of Elba" and the "State of Siena" painted on the walls by Ludovico Buti (1589) on designs by Stefano Buonsignori. The allegorical paintings on the ceiling are by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Zucchi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Until the 18th century, the room was actually an astronomical and geographical cabinet that contained a number of scientific instruments from the Grand Duke's collection. In the 19th century, the frescoes were papered over, and the room was used for housing masterpieces of the Quattrocento and classical sculptures. Recent renovations have partially revived the original aspect of the room, which now features Rogier Van Der Weyden's \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Deposition{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=103; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Three Archangels{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=104; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Francesco Botticini and a number of ancient sculptures.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 The Tribuna is the heart of the Museum. It was designed by Buontalenti at the behest of Francesco I and was thus conceived as an ideal cosmos, with decorations which recall the four Elements: Earth in the marble flooring; Fire in the red of the drapes; Water in the mother-of-pearl inserts in the dome; Air in the compass-card of the clearstory and the weathercock outside. \par It originally housed a number of classical statues brought from Rome, including a \b0 \i \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Dancing Faun\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the famous \b0 \i \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 de' Medici Venus\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , as well as works by the most fashionable painters of the time. \par The paintings currently displayed there all relate to the Tribuna itself and to the Florentine Cinquecento and include an outstanding series of de' Medici portraits by Bronzino and other important works by Andrea del Sarto, Rosso Fiorentino and Raphael.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Until the 18th century, this room and the four that follow constituted the Armory, as the frescoes with military scenes painted on the vault by Agnolo Gori in 1665 clearly suggest. Today the room houses important paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Luca Signorelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , and other artists of the Florentine Quattrocento such as \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Credi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Piero di Cosimo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Moreover, there are works by artists such as \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo Costa{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=10; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Girolamo Genga{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 that bear witness to the influence of Tuscan painting on the rest of central Italy.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 The decorations, with views of Florentine squares and feast days, date back to the 19th century, though they probably echo the original late 16th century ones which were painted when the room was still part of the Armory. The paintings kept here are by German artists and include masterpieces by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 which reveal the influence of the Italian pictorial tradition, as well as typically northern works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lucas Cranach the Elder{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Painters such as \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Hans Baldung Grien{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=6; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Georg Lemberger{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot ; rimando=15; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Hans S ss Von Kulmbach{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; } \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 are also duly represented.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room was also originally part of the de' Medici Armory. It is decorated with grotesques featuring figures and animals of the Americas painted by Ludovico Buti, who clearly responded to the Grand Dukes' interest in the New World. The paintings displayed here are by the Venetian masters of the second half of the 1400s, first and foremost Giovanni Bellini, whose touching monochrome \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Lamentation on the Dead Christ{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=157; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 is also accompanied by the enigmatic \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Sacred Allegory{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=156; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Then there are works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Vittore Carpaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=10; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 (two small paintings of Biblical subjects), \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Cima da Conegliano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=6; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Bartolomeo Vivarini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=6; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The two small paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Cosme' Tura{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and Lorenzo Costa bear witness to the close links between the Venetian and Ferrarese schools.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Ludovico Buti's frescoes with battle scenes refer to the original function of this room as the de' Medici Armory. Today it constitutes an ideal continuation of the D rer and German Room, as it focuses on German and Flemish paintings of the 15th and 16th centuries. The main body of work is by Hans Memling and includes the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Benedetto Portinari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot ; rimando=172; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The other three portraits by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Hans Holbein{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass= Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 are also splendid works. Moreover, there are highly individual paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Altdorfer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=6; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 as well as works by the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Master of the Baroncelli Portraits{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Joos Van Cleve{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This is the last of the rooms used by Ferdinando I as his Armory and decorated by Ludovico Buti with scenes pertaining to the art of war. It is now named after Correggio and houses a number of his elegant paintings, including the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Virgin Mary Worshipping the Child{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=181; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . In this room there are also some outstanding masterpieces by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Andrea Mantegna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 as well as works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Boltraffio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Luini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Vincenzo Foppa{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and others who together provide a complete panorama of painting in the Emilian and Lombard regions in the first half of the Cinquecento.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This is the first room of the Third Corridor devoted to Italian and foreign paintings of the 16th to 17th centuries. Room 25 is completely dominated by the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Doni Tondo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Michelangelo. This exceptional work, his only certain painting on wood, is one of the greatest attractions of the entire Gallery. The surrounding works are by artists who were, to various degrees, connected with or influenced by Michelangelo. They speak for aan especially productive fruitful moment in the history of Florentine painting; from \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Berruguete{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot ; rimando=8; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , whose work heralds the approach of Spanish \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 to the classically orientated paintings of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Fra Bartolomeo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and his companion \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Mariotto Albertinelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Last but not least , there are paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Francesco Granacci{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , who was a close friend of Michelangelo's.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 The display of this room has recently been changed so that it now accommodates the paintings by Raphael and Andrea del Sarto kept at the Uffizi. The result is a sequence of masterpieces that testify to their great classical genius. The works by Raphael are the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the Goldfinch{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=208; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , a superb synthesis of the art of Urbino and Florence, and a number of portraits, including the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Self-Portrait{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=204; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=207; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Those by Andrea del Sarto are the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the Harpies{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=198; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , the Saints from the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Vallombrosana Altarpiece{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=199; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the San Jacopo ensign. \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Franciabigio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 was Andrea del Sarto's assistant and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Puligo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=2; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 his pupil, so it is only fitting that two fine portraits by these artists should also be included in this room.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room offers a carefully selected overview of early Florentine \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . First and foremost there are works by Pontormo, including the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Saint Anthony Abbot{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot= O; ObjectClass=Hot; rimando=214; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the sublime \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Supper at Emmaus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=218; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Beside these, there are paintings by Andrea del Sarto's other great disciple, Rosso Fiorentino: the \b0 \i \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Santa Maria Nuova Altarpiece\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Moses Defending the Daughters of Jethro{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O ; ObjectClass=Hot; rimando=219; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and two portraits. Finally, there are also works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Agnolo Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , a follower of Pontormo, and by other Florentine Mannerists.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room was rearranged during the current century to display the vibrant colors and florid renaissance forms of Titian. There are nine paintings here by the great Venetian artist, including the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Urbino Venus {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=232; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Palma il Vecchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , a follower of both Giorgione and Titian, also reveal a similarly soft and sensual use of color as well as some of the same structural balance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Here we have three works by Parmigianino, who was one of the foremost exponents of Emilian \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . They include the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna with the Long Neck{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=239; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The surrounding paintings offer a wide-ranging panorama of central and northern Italy during the 1500s. The common denominator among artists as different as \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Salviati{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Perin del Vaga{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Beccafumi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , Garofalo etc., is the influence of Raphael and the inclusion of classical Roman motifs.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 La carrellata sulla pittura emiliana del Cinquecento prosegue in questa saletta, dove sono esposte, fra l'altro, piccole ma significative opere di Niccol dell'Abate, Ludovico Mazzolino e del Garofalo.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 The series of Emilian paintings of the 1500s ends with the works of Dosso Dossi, who was one of the most original and refined exponents of the Ferrarese school. The paintings exhibited here bear witness to the way he was influenced by Titian and Giorgione, while managing to give free rein to his own extraordinary imagination.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Along with other sixteenth century artists of the Venetian school this room features the work of two painters who reconciled the colorism of Giovanni Bellini and Titian with influences of other origins. Lorenzo Lotto enriched his own pictorial background by traveling, often through central and northern Italy, as his paintings of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 The Chastity of Susanna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=249; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 The Holy Family with Saints Jerome, Anne and Joachim{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot= O; ObjectClass=Hot; rimando=250; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 clearly show. By contrast, Sebastiano del Piombo's \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Death of Adonis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=252; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of a Woman{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=O; ObjectClass=Hot; rimando=251; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 are essentially Roman and Raphaelesque in inspiration.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room presents a number of smaller works that bear witness to the favor that \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; } \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 received in the courts of Europe during the second half of the Cinquecento. The point of departure is naturally Cosimo I de' Medici's splendid court in Florence, that attracted artists of great talent such as \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Agnolo Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giorgio Vasari{ \b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , represented here along with their respective pupils \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Alessandro Allori{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Zucchi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . To speak for Mannerism in the rest of Europe, there are German paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Christoph Amberger{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=1; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , works by the French artist \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Fran ois Clouet{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=4; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and by the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Fontainebleau School{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=6; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room is devoted to the Lombard school of the 1500s and to \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Veronese{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , whose three splendid paintings bear witness to his glorious palette and his superbly skillful compositions. The Lombard paintings include some powerful portraits such as those of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Battista Moroni{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , an imposing \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Transfiguration{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=255; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by Girolamo Savoldo and other portraits by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giulio Campi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , who was the head of a highly successful dynasty of artists in northern Italy.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Like the Veronese Room, during the seventeenth century this room contained a collection of self-portraits. During the present century it was rearranged to house works by Tintoretto, Federico Barocci, Jacopo Bassano, and other artists who complete the panorama of Italian painting during the Cinquecento. There are four paintings by Tintoretto, including the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Leda and the Swan{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot= O; ObjectClass=Hot; rimando=270; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 The Samaritan Woman at the Well{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=271; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The five works by Barocci are dominated by the splendidly busy \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the People {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=263; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . No less interesting are Bassano's Biblical scenes and the unusual painting of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Two Dogs{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=265; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The room also includes a splendid work by El Greco, the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Saint John the Evangelist and Saint Francis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=273; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room was originally devoted to the medal collection, and later to ancient statues. Today it houses works by some of the foremost exponents of Flemish painting of the 1600s. In particular, there are some fine works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Pieter Paul Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , including the two great Stories of Henry IV of France that were commissioned by his wife, Maria de' Medici, and brought to the Uffizi later. No less significant are the paintings by Antonie Van Dyck, which include the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Charles Von Horseback{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=285; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Finally, mention should be made of the works by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Jacob Jordaens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the de' Medici portraitist \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Justus Sustermans{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room is devoted to the work of Caravaggio, including the famous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Bacchus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=308; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , and of Annibale Carracci, whose sensuous \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Venus, Satyr and Cupids{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass= Hot; rimando=311; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 is displayed here. These two charismatic artists heralded and inspired much of Italian art of the 1600s. Among their various followers there were painters of the caliber of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Guercino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and the French vedutista resident in Rome, \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Claude Lorrain{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . Works by these two artists and others of the same sphere of influence complete the picture.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 This room hosts what is practically a complete panorama of the genres and protagonists of great Flemish painting of the 1600s. First and foremost, \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Rembrandt{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , with three of his most important self-portraits; then \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Ruysdael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 with a disquieting landscape and an evocative architectural view by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Gerrit Berckheyde{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 ; finally there are also some low-life and genre scenes by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Gabriel Metsu{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Jan Molenaer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=2; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and a still life by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Rachel Ruysch{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Our tour around the Gallery ends with this room recently rearranged to display 18th century paintings from Italy and France. Of particular interest are the works of the Venetian painters \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Canaletto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Guardi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=7; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Rosalba Carriera{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Tiepolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=9; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Piazzetta{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . However, there are also genre scenes by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Alessandro Longhi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass= Hot; rimando=3; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giuseppe Maria Crespi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The painters of 18th century France are also well represented by the portraits of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Nattier{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Fabre{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 as well as some delightful paintings by \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Chardin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 . The Uffizi has recently acquired two important works by Francisco Goya which have been added to complete the panorama of European painting during this period. They are the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Countess de Chinch n Standing{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=345; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 and that of \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Maria Teresa de Vallabriga on Horseback{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=344; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 In the luminous area before the Buontalenti steps and the Gallery exit, there are some ancient sculptures and a number of works by Italian painters of the 1600s. Outstanding among them is the \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the Snow{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=276; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 by the Bolognese artist Guido Reni.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Nel progettare il palazzo degli Uffizi, \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Giogio Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , che pure in altre occasioni non si era riguardato dal distruggere importanti costruzioni, non se la sent di abbattere uno fra gli edifici pi antichi e significativi di Firenze comunale. La chiesa di San Pier Scheraggio, consacrata nel 1068 e costruita su una precedente chiesa longobarda, aveva infatti ospitato i consigli del Comune e della Repubblica fiorentina prima della costruzione della Sala dei Dugento nell'adiacente Palazzo Vecchio. Vasari dunque prefer inglobare nella nuova costruzione la chiesa, che gi allora era priva della navata sinistra, abbattuta nel Quattrocento per allargare via della Ninna. A questo storico ambiente, a lungo trascurato e nel tempo adibito a deposito, un recente intervento ha restituito dignit , mettendo in luce i resti della sottostante chiesa longobarda, gli archi e le colonne della navata e l'elegante curva dell'abside. Insieme a ci che resta dell'originaria decorazione della chiesa, frammenti di affresco e una tavola trecentesca con la "Madonna della Ninna", in quella che diventata a tutti gli effetti una sala della galleria sono esposti i ritratti degli \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Uomini illustri{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=138; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 di \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Castagno{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=121; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , provenienti dalla Villa di Legnaia. Nel 1983 si aggiunta la grande \b0 \i \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Battaglia di San Martino\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , dipinta da Corrado Cagli nel 1936 e liberamente ispirata alla \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Battaglia di San Romano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=54; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 di \b0 \i0 \strike0 \f0 \fs16 \uldb \up0 \dn0 \cf1 Paolo Uccello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=17; }\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 , a testimoniare una sorta di continuit ideale con i maestri del Rinascimento.} Melozzo da Forl {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Melozzo degli Ambrosi alias Melozzo da Forl (Forl 1438-1494). A follower of Piero della Francesca, whose works he studied in Urbino, where he probably lived for quite some time. Later, he spent time in Rome and Loreto where he left important works that testify to his mastery of perspective and his sensitive handling of color.} of Anjou {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Angers 1409- Aix-en Provence 1480) Duke of Lorraine and King of Naples for just 4 years. His court at Tarascona Castle was magnificent and attracted a great number of artists.} Bloemaerth Abraham {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Gorincem 1564 - Utrecht 1651) Dutch painter; he was an exponent of the elegant late-Mannerist taste of the Fontainebleau School, though he later favored the style of Caravaggio.} Accademia del Disegno {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 this Academy of the Art of Drawing was founded in Florence in 1563 by Cosimo I; it was the first cultural institution aimed at training artists.} fresco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 technique of mural painting in which paint pigment dissolved in water is applied onto fresh plaster which then permanently absorbs it, due to the chemical process of carbonation.} Chigi Agostino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Siena 1465 - Rome 1520) Sienese banker who became treasurer to the Church at the beginning of the 1500s. He was an extremely rich patron. The construction and decoration of his villa (1509-1511), later known as 'la Farnesina,' was one of the major artistic achievements of Papal Rome.} Vivarini Alvise {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice 1445 ca - 1505) painter. He trained in the workshop of his father Antonio V, but broke away from what remained of the gothic tradition and instead turned toward Antonello da Messina and the study of new sculptural forms.} Anonimo Magliabechiano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 manuscript containing information about many artists, written by an unknown author between 1530 and 1541; it is named after the scholar Antonio Magliabechi, who owned it during the 18th century, and is kept at the Biblioteca Nazionale in Florence.} Mengs Anton Raphael {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Aussig, Bohemia 1728 - Rome 1779) German painter and theoretician. He defined and spread the principles of the new neoclassical ideal and also won international fame as a portraitist.} Antonello da Messina {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Antonello di Antonio alias Antonello da Messina (Messina 1430 ca -1479); he trained in Naples around 1450 and later absorbed artistic influences from other Italian cities, developing a style that was both modern and highly individual. His work embodies Flemish naturalism and the quintessential Renaissance spatial perspective and sculptural form.} Balestra Antonio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Verona 1666 - 1740) painter. He studied under Carlo Maratta in Rome before returning to his home town to paint somewhat classical academic pictures.} Rossellino Antonio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Settignano 1427 - Florence 1478/1481) sculptor. His portraiture was expressive and realistic, and he created new concepts for altars and funeral monuments.} Vivarini Antonio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Murano 1420 ca - d. before 1484) painter and head of a busy workshop in competition with the Bellinis. His style reflected the local tradition, and he produced works that still embodied much of the late gothic idiom.} Zanchi Antonio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Este 1631 - Venice 1722) painter who imitated Tintoretto. His hallmarks were grandiose compositions and emphatic chiaroscuro.} Apelles {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Colophon ?, 4th Cent. BC.) Greek painter of great fame in the ancient world. Alexander the Great's official portraitist, he was renowned for the extraordinary naturalism and perspective of his works.} Arcadia {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 literary academy founded in Rome in 1690 by Giovan Maria Crescimbeni intended to restore simplicity and oppose affectation in literature, typical of to baroque tastes.} Bandinelli Baccio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1493-1560) sculptor and painter who studied under Giovanfrancesco Rustici. He was an imitator and rival of Michelangelo who largely worked for the Medici court.} Baccio d'Agnolo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Bartolomeo Baglioni alias Baccio d'Agnolo (Florence 1462-1543), a famous architect and carver. He was master mason for the building works at Santa Maria del Fiore and was in much demand as a builder among the Florentine bourgeoisie of the late 15th-early 16th century.} Peruzzi Baldassarre {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Siena 1481 - Rome 1536) painter and architect. He was a successful artist in Raphael's circle in Rome, replacing him as the director of the work at St Peter's.} baroque {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 a trend in taste that developed in Italy and Europe during the 17th century. It featured flamboyant forms, emphatic and theatrical tones, and audacity in the handling of perspective. It was comprised of a wide range of styles.} Bartolo di Fredi {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Siena 1330 ca -1410) painter active in Siena and the surrounding area. His deliberately archaic style was based on that of the great Sienese masters of the 1300s.} Montagna Bartolomeo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Brescia 1450 ca - Vicenza 1523) painter trained in the style of Bellini who was also influenced by Antonello da Messina. He was part of the new school of Venetian painters.} Benedetto da Maiano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Maiano, Florence 1442 - Florence 1497) architect in the wake of Brunelleschi who worked on the construction of Palazzo Strozzi. He was also a sculptor who favored decorative realism, and he often worked with his brother Giuliano da Maiano.} Gozzoli Benozzo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Benozzo di Lese, alias Gozzoli Benozzo (Florence 1420 - Pistoia 1497) As a painter who studied under Fra Angelico and favored a descriptive style of somewhat courtly origin, he never really completely absorbed the great pictorial innovations of his time.} Bentivoglio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Bolognese family that ruled in the city from 1400 to 1506, when Pope Julius II brought their hegemony to an end.} Cellini Benvenuto {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1500 - 1571) sculptor. Trained as a goldsmith and medalist, he won favor at the Papal court, later focusing on refined, anti-classical statuary.} Bergognone {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Ambrogio da Fossano alias il Bergognone (mentioned 1481-1522), was painter active in Milan and Lombardy who observed both the innovations of Foppa and Leonardo and the realism of Flemish origins.} Berenson Bernard {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Butremanz 1865 - Settignano 1959) art historian and critic devoted to the study of the Italian Renaissance. He published numerous essays and monographs and compiled a collection of precious masterpieces of the 1400s which is now kept at Villa I Tatti, then his residence.} Buontalenti Bernardo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1531 - 1608) architect and stage designer to the Medici court. A brilliant exponent of Florentine Mannerism whose pronounced taste for the bizarre and the marvelous also came to the forefront in his ornamental and stage designs.} Strigel Bernhard {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Memmingen 1460 ca - 1528) German painter, official portraitist to the Viennese court; he also painted large altarpieces.} Bertoldo di Giovanni {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1420 ca - Poggio a Caiano 1491) sculptor and medalist, he studied under Donatello and became one of the main connoisseurs of the art of Antiquity. He was the young Michelangelo's master in the Medici garden of San Marco.} white lead {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 basic lead carbonate used from the Middle Ages as a white pigment for paintings on wood.} Borghese {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Roman family of Sienese origins that attained great power when Camillo Borghese was elected Pope Paul V in 1605. There were many other important members of the family, from Cardinal Scipione to Prince Camillo who married Paolina Bonaparte in 1803.} Borso d'Este {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ferrara 1431 - 1471) Duke of Ferrara, Modena and Reggio from 1450. He was a great patron of the arts and for a while his court became a meeting place for the foremost Italian and Flemish artists of the period.} Bramante {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Donato di Pascuccio di Antonio alias Bramante (Monte Asdruvaldo, Pesaro 1444 - Rome 1514) architect and painter. He made a name for himself in Milan and Urbino and was appointed superintendent of the Papal buildings. He was one of the promoters of the new trend in architecture of the 1500s.} Brunelleschi Filippo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Filippo (Florence 1377 - 1446) architect and sculptor. With Donatello and Masaccio, he was in the forefront of the early 15th century renewal of the arts based on humanist ideals and rational thought inspired by Antiquity. He was one of the most brilliant minds of the Italian Renaissance.} caduceus {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 a winged staff with two serpents entwined around it. It was an attribute of Mercury and a symbol of prosperity and peace.} Boccaccino Camillo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Cremona 1504 - 1546) painter; he trained in Venice at the time Titian was holding sway, later turning toward Correggio and Parmigianino and developing a style of his own that was to become the basis of the Cremonese school.} capriccio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 artistic genre that developed in the 17th century. It consisted of fantastic, bizarre compositions, imaginary landscapes and picturesque scenes with grotesque figures and great ornamental lan.} Crivelli Carlo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice 1430/35 - Ascoli Piceno 1494/1500) painter trained in Paduan antiquarian circles who developed a style of his own using brilliant colors, a wealth of decorative detail, and sharp lines.} Pellegrini Carlo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Carrara 1605 - 1649) painter who studied with Bernini. He mostly worked in Rome, where he received various Vatican commissions. A member of the Academy of San Luca; he was drawn toward the classical tendencies of Andrea Sacchi and Poussin.} Charles III {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 of Bourbon (1716 - 1788) King of Spain, fifth son of Philip V and Elisabetta Farnese. Through his mother, he inherited the Dukedom of Parma, and the Grand Duchy of Tuscany when his brother Gian Gastone died. He renounced both in 1738 in exchange for the Kingdoms of Naples and Sicily.} Charles V {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ghent 1500 - San Jeronimo de Yuste 1558) emperor, son of Philip the Fair of Hapsburg and of Joan of Aragon, from whom he inherited a vast dominion. The fate of Europe was in his hands until 1556, when he abdicated in favor of his brother Ferdinand and his son, Philip II.} Charles VIII {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Amboise 1470 - 1498) King of France from 1483, son of Louis XI, he tried but failed to conquer certain Italian states; the main branch of the Valois family ended with his death.} Carracci {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 group of Bolognese painters (Ludovico and the cousins Annibale and Agostino) of differing artistic levels and personalities, their life studies and their focus on the great masters of the early 1500s contributed to the renewal of Mannerist painting.} chest {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 item of furniture used from Medieval times for storing clothes and linen; some were decorated with painted panels, inlays, carvings, or the application of embossed metals and precious materials.} Caterina de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1519 - Blois 1589) Queen of France; daughter of Lorenzo de' Medici, Duke of Urbino, and Madeleine de la Tour d'Auvergne. In 1533, she married the future French sovereign Henry II, the first son of Fran ois I.} Cavalier d'Arpino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Giuseppe Cesari alias il Cavalier d'Arpino (Arpino 1568 - Rome 1640) A Roman painter whose fame is due not so much to his Mannerist works as to the fact that the young Caravaggio once worked in his workshop.} Cennini Cennino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Colle Val d'Elsa late 14th cent. - early 15th cent.) painter who studied with Agnolo Gaddi, better known as the author of the Libro dell'arte, a precious treatise on painting technique used during the Trecento.} Dandini Cesare {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1596 - 1657) painter who studied with Cristofano Allori. He was a member of the Academy of Drawing and painted essentially classical works.} Clement VII {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Giulio de' Medici (Florence 1478 - Rome 1534), illegitimate son later recognized of Giuliano, brother of Lorenzo the Magnificent. In 1527, he restored Florence to Medici rule. When he was elected Pope in 1523, numerous artists flocked to the Papal court.} Coppo di Marcovaldo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1225 ca - 1280 ca) painter; though true to the styles of Byzantine art, he breathed new life into them, heralding the awakening of a new awareness.} cornucopia {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 a large horn overflowing with fruit and flowers signifying abundance and fertility; an attribute of deities or allegorical figures related to prosperity.} Cosimo I de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1519 - 1574) the first Grand Duke of Tuscany. A descendent of a cadet branch of the de' Medici family, son of Giovanni dalle Bande Nere and Maria Salviati, he rose to power and was named Duke of Florence in 1537, thus founding an authoritarian regime that continued for two centuries of Medici sovereignty. In 1569, he obtained the title of Grand Duke. He extended the confines of the Florentine state and made patronage an essential part of his government, bringing new glory to the city through architectural projects that included the construction of the Uffizi as the headquarters for government offices, the Vasarian Corridor, the embellishment of Palazzo Vecchio, and the luxurious alterations at the new Palazzo Pitti residence that were executed for Eleonora di Toledo, whom he married in 1539. The plans were drawn up and the works directed by the foremost exponents of Tuscan Mannerism: Vasari, Bronzino, Benvenuto Cellini, Bartolomeo Ammannati, Giambologna.} Cosimo de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Cosimo de' Medici (Florence 1389 - 1464) was the banker son of Giovanni di Bicci. He carried out important political and diplomatic missions, and although he took on no official role, he acted as the head of the Republic from 1434 and toward the end of his life adopted the title Father of the Fatherland. The stable economic power derived from the Medici bank together with his rule encouraged great cultural and artistic growth. The foremost masters of the Renaissance who worked for the Florence of Cosimo included Brunelleschi, Michelozzo, Fra Angelico, Benozzo Gozzoli and Donatello. Moreover, the Medici court also attracted a circle of Humanists and philosophers who laid the foundations of the Neo-Platonic movement.} Christine of Sweden {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Stockholm 1626 - Rome 1689) crowned in 1644, she converted to Catholicism, and in 1655, she left Sweden for Rome where she became the center of cultural activities that gave rise to the Arcadia.} Degas Edgar {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paris 1834 - 1917) painter and sculptor. He was one of the foremost artists of 19th century France, renowned for his powerfully evocative views of Parisian society. Although friends with the great exponents of Impressionism, he did not follow the same experimental trend.} Calvaert Denys {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp 1540 - Bologna 1619) A Mannerist painter born in Holland but a longtime resident in Bologna, where he opened a school in 1574 at which Guido Reni, Domenichino and Francesco Albani were trained.} Plate of Nativity {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 circular wooden tray that was given to women in childbirth. It was often decorated with allegorical scenes or illustrations of Christ's Nativity. During the second half of the 1400s it gave rise to the spread of the 'tondo'.} zquez Diego {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Seville 1599 - Madrid 1660) painter and portraitist to the royal Spanish court. He also painted religious subjects and genre scenes with lucid objectivity in a manner reminiscent of Caravaggio.} Bouts Dirck {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Haarlem 1415 - Louvain 1475) A Flemish painter who studied with Rogier van der Weyden, though he never adopted his master's focus on pathos; instead, he was interested in the study of perspective.} Beccafumi Domenico {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Domenico di Giacomo di Pace alias Beccafumi Domenico (Montaperti 1486 - Siena 1555). He was a Mannerist painter with a highly individual style based on unearthly light effects and crowded compositions.} Tintoretto Domenico {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice 1560 - 1635) painter; son and pupil of the famous Jacopo Robusti, he assisted him in painting the great decorative cycles for the Republic of Venice. He largely adopted his father's style and made a name for himself as a portraitist.} Donatello {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Donato di Niccol di Betto Bardi alias Donatello (Florence 1386 - 1466) sculptor. He interpreted the classical ideals of art and humanist ideals of the early 1400s, replacing the dictates of gothic sculpture with a new approach to his subjects.} altar-frontal {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 decoration hung at the front or the back of the altar, where it is visible to the congregation. Itcan be made of marble, gold, silver, precious fabrics or painted wood.} Henry IV {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Pau 1553 - Paris 1610) of Bourbon, King of France. From 1569 he led the French Calvinists, but abjured in 1593 to enter Paris. In 1600, he took Maria de' Medici as his second wife.} Henry VIII {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (London 1491 - 1547) King of England from 1509. Unable to obtain an annulment of his marriage from Pope Clement VII he broke with Rome and proclaimed himself Head of the Church of England.} Erasmus of Rotterdam {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Rotterdam 1467 ca - Basle 1536) Dutch humanist and forerunner of the Lutheran reform. In his famous "In Praise of Folly" (1509) he condemned the moral decadence of his times and of the Church.} Ercole de' Roberti {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ferrara 1450 ca - 1496) one of the foremost properties of the Ferrarese school of painting, following Cosm Tura and Francesco del Cossa. He helped establish a new pictorial trend in other parts of the Emilian region.} Ercole I d'Este {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ferrara 1431 - 1505) brother of Borso d'Este and his successor; He became Duke of Ferrara, Modena and Reggio in 1471, and was a learned and sophisticated patron who drew other artists and men of letters to his court and the city.} Eugene IV {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Gabriele Condulmer (Venice 1383 - Rome 1447), who succeeded to Martin V in 1431. A friend of Cosimo de' Medici, he was in Florence in 1434 and for the Council of 1439, when the reunion with the Eastern Church was proclaimed.} Federico da Montefeltro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Gubbio 1422 - Ferrara 1482) Duke of Urbino. A tenacious condottiere and politician, he trebled the size of his dominions and enriched his court with the foremost artists and men of letters of the Renaissance.} Gonzaga Federico {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Mantua 1500 - 1540) Marquis and later (1530) Duke of Mantua. The son of Francesco and Isabella d'Este he continued their patronage and enriched the city with many works of art, including the famous Palazzo del T Frederick II {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 alias the Wise (Winzingen 1482 - Alzey 1556). Elector Prince of the Palatinate serving the Hapsburgs, he promoted the election of Charles V to the imperial throne.} Ferdinando I {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 de' Medici (Florence 1549 - 1609) Grand Duke of Tuscany, son of Cosimo I and Eleonora of Toledo. He succeeded his brother Francesco I in 1587, and in 1589 married Christine of Lorraine. Under his rule, de' Medici patronage also embraced the theater, with productions of magnificent shows that included the first opera in history, "Euridice" by Jacopo Peri, performed in a hall in Palazzo Pitti on October 6, 1600, for the marriage of Maria de' Medici.} Ferdinando II {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 de' Medici (Florence 1610 - 1670) Grand Duke of Tuscany. The son of Marie Magdalene of Austria and Cosimo II, to whom he succeeded in 1620, in 1637, he married Vittoria della Rovere. He not only collected works of art but also promoted science, acting as a patron to Galileo Galilei, among others.} Ferdinando III {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 of Lorraine, Grand Duke of Tuscany (Florence 1769 - 1824); he succeeded his father Pietro Leopoldo in 1791 when the latter became Emperor. He was exiled by the French in 1799 but returned to Florence in 1815, continuing the refurbishment of Palazzo Pitti and adding to the art collections.} Philip of Bourbon {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Madrid 1720 - Alexandria 1765) Duke of Parma, Piacenza and Guastalla, fourth son of King Philip V of Spain and of Elisabetta Farnese. He married a daughter of Louis XV, Louise Elizabeth, and under his rule, the economic and cultural state of the Duchy was considerably improved.} Philip II {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Valladolid 1527 - Escorial 1598) King of Spain, son of the Emperor Charles V and of Elizabeth of Portugal. An ardent Catholic, he was involved in many political and religious struggles. He had the Escorial royal monastery built in memory of the victory of San Quintino; various Italian artists were involved in this project.} Philip IV {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Valladolid 1605 - Madrid 1665) King of Spain, son of Philip III and Margaret of Austria. The baroque style of art prevailed during his reign, and in 1660, a Fine Arts Academy was founded in Seville by the painter Murillo.} Philip V {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Versailles 1683 - Madrid 1776) King of Spain. He was a nephew of Louis XIV the Sun King, by virtue of being the son of the grand Dauphin Louis of Bourbon. He was the first Spanish sovereign of this dynasty; and in 1715, he married Elisabetta Farnese.} Foppa {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Vincenzo (Brescia 1427 ca - 1515 ca) A Lombard painter of the early Renaissance who ignored the gothic style and instead adopted classical forms and proportions mitigated by typically Lombard naturalistic inserts.} Francesco di Giorgio Martini {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Siena 1439 - 1502) architect, painter, sculptor and military engineer. His clearly Renaissance approach was a development of the teachings of Brunelleschi and Alberti. He worked for the most enlightened Italian princes.} Francesco I {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1541 - Poggio a Caiano 1587) Grand Duke of Tuscany. The son of Cosimo I de' Medici and Eleonora of Toledo, he married Joan of Austria in 1565 and Bianca Cappello in 1579. He was interested in the occult sciences, and as a patron, he embodied all the restlessness of his times. He commissioned works such as the Studiolo in Palazzo Vecchio and favored artists who could express the taste for marvels and contrivances in their work. He also promoted theatrical events in late 16th century Florence, including the completion of the Uffizi and its theater, inaugurated in 1586, and the famous Tribuna, where the most important works of art were to be kept. This latter structure is considered the original prototype for all museums.} Laurana Francesco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (La Vrana, Zara 1430 ca - Avignon ? 1502 ca) Dalmation sculptor and medalist who worked in Italy and France. His point of reference was the purity of forms and ideals of Piero della Francesca and the Humanists.} Squarcione Francesco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Padua 1397 - 1468) A painter and tailor, collector and dealer of antiquities, he helped spread the nascent taste for archeology. The many pupils in his workshop included artists such as Andrea Mantegna and Carlo Crivelli.} Traini Francesco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Pisa mentioned 1321 -1363) a complex painter whose few extant works reveal the influence of the Bolognese miniaturists and the gothic painters of Siena and Avignon.} Boucher Fran {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paris 1703 - 1770) painter and engraver, pupil of Watteau. He was widely acclaimed at the court of Louis XV and became one of the liveliest exponents of rococo art.} Hals Frans {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp 1580 ca - Haarlem 1666) A supremely expressive painter and perceptive portraitist. He painted likenesses of ordinary people with direct, enthusiastic realism somewhat reminiscent of Caravaggio.} Pourbus Frans the Younger {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp 1569 - Paris 1622) Flemish painter who worked for many of the European courts, especially as a somewhat traditional and stately portraitist.} Bellini Gentile {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice 1429 ca - 1507) painter, brother of Giovanni Bellini and brother-in-law of Andrea Mantegna. He adhered more closely to tradition than his relatives and focused on precisely descriptive and realistic painting.} Dou Gerrit {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Leyden 1613 - 1675) pupil of Rembrandt. He mostly painted small paintings, often of figures in interior or night scenes with effective handling of light.} guild {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 The northern equivalent of the medieval Italian corporations of craftsmen and merchants; they continued until to the 19th century.} van Coninxloo Gillis {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp 1544 ca - Amsterdam 1606) Flemish painter who specialized in sweeping landscapes of a natural and fantastic vein.} Penni Giovan Francesco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1488 ca - Naples 1528)painter, Raphael's pupil and assistant in the great decorative cycles painted in the Roman and Vatican palaces.} Bilivert Giovanni {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1576 - 1644) painter of Flemish origins who worked in Florence and Rome. He largely specialized in religious subjects.} Giovanni da Udine {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Giovanni Nanni alias (Udine 1487 - Rome 1564) This painter who studied under Raphael acquired fame as a decorator specializing in 'grotesques' in Rome and other Italian cities.} Pannini Giovanni Paolo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Piacenza 1691 ca - Rome 1765) painter who trained and specialized in mural perspectives. He was also renowned for genre scenes and views of ancient Roman ruins.} Giovanni Pisano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Pisa 1248 ca - Siena after 1314) A sculptor and architect, son of Nicola Pisano, in whose footsteps he followed by contributing to the renewal of Italian art. He also established close links with the transalpine gothic tradition.} Santi Giovanni {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Urbino 1435 - 1494) painter who worked at the courts of Urbino and Mantua. His place in history is largely due to the fact that he was the father of the famous Raphael.} Girolamo da Carpi {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ferrara 1501 - 1556) painter and architect. His paintings reveal a Raphaelesque influence blended with coeval artistic trends from the Emilian region.} Giuliano da Maiano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Maiano 1432 - Naples 1490) He first made a name for himself as an inlayer, and later as an architect. He brought Florentine art to many Italian cities, and at Lorenzo the Magnificent's behest he executed projects for the Aragonese court in Naples.} Julius II {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Giuliano della Rovere (Albissola 1443 - Rome 1513) Elected in 1503 following the death of Alexander VI, he engaged in politics and various battles yet also managed to draw important artists to the Vatican, including Michelangelo, Raphael and Bramante, whom he commissioned to design the Vatican Palaces and the new St. Peter's basilica.} Joost van Wassenhove {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Known as Giusto di Gand in Italian (mentioned 1460-1475), he was a Flemish painter who worked with Hugo van der Goes. From 1471, he was employed at the court of Urbino where he executed works that combined the legacies of the Italian Renaissance and the Flemish tradition.} ering {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Hermann (Rosenheim 1893 - Nuremberg 1946) A German politician who was among Hitler's earliest followers, he was responsible for pillaging numerous works of art from Italian museums and homes.} Gonzaga {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 An aristocratic family that originally came from Gonzaga, in Lombardy, they settled in Mantua in the 12th century and rules the city for several centuries.} international gothic {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Also called courtly or ornate gothic; it refers to a style in art that flowered around the end of the 14th and the beginning of the 15th century. It was the last stage of the gothic style, and it spread throughout the main European courts.} graduals {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 a manuscript, usually illuminated, containing liturgical antiphons. The term is often extended to include the codex itself.} Grand-Ducal Wardrobe {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 in Florence, rooms in Palazzo Vecchio and in Palazzo Pitti used for storing clothes and objects, including works of art, belonging to the Grand Duke and his family. Most of them were scrupulously registered in inventories.} Holbein Hans the Elder {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Augsburg 1460/65 - Isenheim 1524) A painter who led the renewal in German art and its acceptance of Italian Renaissance criteria.} Infrared X-ray surveys {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 A technique used in restoration by means of which it is possible to study the layers beneath the painted surface where there may be drawings, earlier paintings or original versions. The way such layers reflect the infrared rays creates an image that differs from those on the surface.} Innocent VIII {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Giovanni Battista Cybo (Genoa 1432 - Rome 1492): He succeeded Sixtus IV in 1472. He was on good terms with Lorenzo the Magnificent, appointing the thirteen year old Giovanni de' Medici as Cardinal and arranging the marriage between one of Lorenzo's daughters, Maddalena, and the young Franceschetto Cybo.} Isabella d'Este {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Ferrara 1474 - 1539) Marchioness of Mantua. The daughter of Ercole d'Este and Eleonora of Aragon, she married Francesco Gonzaga Marquis of Mantua in 1490, attracting the foremost men of letters and artists of the time to her court.} de' Barbari Jacopo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice ? 1445 ca - 1515 ca) painter and engraver active in Venice and various German courts. He drew up the first perspective plan of Venice.} Ligozzi Jacopo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Verona 1547 - Florence 1627) Mannerist painter who settled in Florence, bringing with him the Venetian taste for color. He specialized in illustrations of the animal world and botanical atlases.} David Jacques-Louis {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paris 1748 - Brussels 1825) painter, one of the foremost exponents of French neoclassicism. He took part in the revolutionary uprisings and later became Napoleon's official portraitist.} van Eyck Jan {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Maastricht? 1390 ca - Bruges 1441) Flemish painter who worked for the principal European courts. He is considered the initiator of the new Flemish school of the 1400s.} van Goyen Jan {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Leyden 1596 - The Hague 1656) Dutch painter renowned for his landscapes. He painted views of cities, rivers and landscapes of great atmosphere.} Clouet Jean {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Brussels 1475 ca - Paris 1541) painter and miniaturist. He worked for the French royal court, where he introduced a stately form of portraiture which was long in vogue. He also introduced the use of pastels in portraits.} van Loo Jean-Baptiste {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Aix en Provence 1684 - 1745) French painter of Dutch origins, famous for his portraits. He also painted historical and genre scenes.} Patinir Joachim {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Bouvignes 1485 ca - Antwerp 1524) Flemish painter who was essentially a landscape artist.} Orsi Lelio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Novellara 1511 - 1587) painter from the Emilia region whose work embodies both the Mannerism of Michelangelo and the compositional sophistication of Parmigianino; such elements were often blended into fantastic scenes.} Alberti Leon Battista {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Genoa 1404 - Rome 1472) architect and Humanist, author of important philosophical, literary and artistic treatises expounding Humanist theories.} Leo X {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Giovanni de' Medici (Florence 1476 - Rome 1521). The second son of Lorenzo the Magnificent, he was elected Pope in March, 1513. He was a great patron and promoter of the arts, and during his pontificate, the Italian Renaissance reached its zenith.} Leopoldo de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1617 - 1675) Cardinal and the youngest son of Cosimo II and Marie Magdalene of Austria. He was a man of vast learning with a passion for science. In 1657, he founded the Accademia del Cimento. His greatest contribution to the Medici passion for collecting was his acquisition program carried out by agents and experts such as Paolo Del Sera in the Venetian area. The sculptures, glyptics, arms, porcelain, medals and, above all, the early drawings and artist's self-portraits that were acquired became the nucleus of the two famous Uffizi collections.} Books of Hours {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 volumes of early manuscripts containing prayers, often decorated with fine miniatures.} Lorraine {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 An old ducal family that became part of the history of Florence in the 18th century, following the death of Gian Gastone de' Medici in 1737, when the Grand Duchy of Tuscany was given to Duke Francesco Stefano. It remained in the hands of a cadet branch of the family until 1860.} Lorenzo di Pierfrancesco de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 known as il Popolano (Florence 1463 -1503). He was a descendent of Lorenzo, the brother of Cosimo de' Medici, so he belonged to a cadet branch of the family (cf. entry Popolani). Some important works by Botticelli are believed to have been painted at his behest.} Ghiberti Lorenzo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1378 -1455) A sculptor, goldsmith, and architect who played a major role in the gradual transition from the gothic style to the new values of the Renaissance, including the return to antiquity, the rational order of space, and classical composition.} Lorenzo the Magnificent {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Lorenzo di Piero de' Medici alias Lorenzo the Magnificent (Florence 1449 - 1492), was the most eminent personality in Florentine history of the 1400s. In effect, he ruled over the city, proving to be an excellent political leader. A humanist and poet in his own right, he made Florence the artistic and cultural center of the Renaissance. Like his forebearers, he collected works of art from Antiquity; however, he was also one of the most astute patrons of his time. Many great masters, like Leonardo, Michelangelo, Botticelli, and Giuliano de Sangallo, enjoyed his early patronage and then went on to achieve widespread fame. He died when he was still quite young at his villa at Careggi, where the Accademia Platonica had been meeting since the days of Cosimo.} Carlevarijs Luca {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Udine 1663 - Venice 1730) painter specialized in views, particularly of Venice; his medium was both paint and engraving, and while the overall composition of his work was theatrical, he also had a keen eye for detail.} della Robbia Luca {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1400 ca - 1482) sculptor. He introduced the idea of works in glazed terracotta, creating one of the most active and famous workshops of the Renaissance.} Lucas Hugenszoon {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 known in Italy as Luca di Leyda (Leyden 1489/94 - 1533), Dutch engraver and painter. He achieved fame throughout Europe for his fine graphic works. His subjects heralded the taste for genre scenes.} Luca di Tomm {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (mentioned 1355 -1389) Sienese painter also active in Umbria. The dark tones and sharp sculptural quality of his work make his style similar to that of Pietro Lorenzetti.} Pacioli Luca {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Borgo San Sepolcro 1455 - Rome 1517) mathematician who studied with Piero della Francesca. He wrote the treatise entitled "De divina proportione," in which the links between science, nature and art reflect the theories of Leonardo da Vinci.} Carracci Ludovico {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Bologna 1555 - 1619) Counter Reformation painter intent on renewing Mannerism. Toward 1585 he founded the Accademia degli Incamminati, thus promoting an artistic trend based on the return to Classicism.} Ludovico il Moro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Ludovico Sforza alias Ludovico il Moro (Vigevano 1452 - Loches, France 1508) Duke of Milan, son of Francesco Sforza and Bianca Maria Visconti. He was often involved in wars, yet he was also a great patron, partially due to the influence of his wife, Beatrice d'Este.} Louis XII {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Blois 1462 - 1515) King of France, cousin and successor of Charles VIII in 1498. He prepared an expedition to Italy with the support of Pope Alexander VI, to whose son, Cesare Borgia, he gave the Duchy of Valentinois.} Louis XV {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Versailles 1710 - 1774) The King of France following the death of the Sun King, Louis XIV, in 1715. It was during his reign that the rococo style became widespread. The taste that prevailed at his court also left its mark on the design of furniture.} Luther {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Martin (Eisleben 1483 - 1545), theologian, initiator of the Protestant reformation. His vehement attacks on corruption in papal Rome provoked Pope Leo X to declare him a heretic and Charles V to banish him, yet Frederick of Saxony welcomed him to his castle.} Master of the Lively Child {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (first half of 15th cent.) painter as yet unidentified. Contacts with Spanish art visible in his works have led some scholars to identify him with Miguel Alcaniz, others with Gherardo Starnina, who worked in Spain for a few years.} Master of the Bigallo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (first half of 13th cent.) painter active in Florence around the mid 1200s. A cross painted by him is kept at the Museo del Bigallo.} Master of Fl malle {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 painter usually identified with Robert Campin (Valenciennes 1375 ca - Tournai 1444). He was one of the leaders of the new trend in Flemish art and was also Rogier van der Weyden's master.} Mannerism {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 art movement that developed in the 1530s to exalt the 'manner' of certain masters who were perceived as models to be imitated. It coincided with the rejection of Renaissance composition in favor of dynamic lines, a somewhat irrational strain and a taste for the bizarre.} Ricci Marco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Belluno 1676 - Venice 1730) painter of landscapes, seascapes and views of ruins. He also worked as a stage designer and lived for a few years in England.} Maria de' Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1573 - Cologne 1642) Queen of France, daughter of Grand Duke Francesco I de' Medici and Joan of Austria. In 1600, she married the future King of France, Henry IV.} Marie Magdalene of Austria {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (1587 - 1637) Grand Duchess of Tuscany, daughter of Charles of Hapsburg and sister of Ferdinand II of Hapsburg. In 1608 she married the future Cosimo II de' Medici, and when he died in 1621 she assumed the regency together with her mother-in-law, Christine of Lorraine.} Ficino Marsilio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Figline Valdarno 1433 - Florence 1499) Humanist and philosopher, principle theorist of the Neo-Platonic movement, a concept upon which the Florentine Accademia Neoplatonica, founded in 1459 by Cosimo il Vecchio, was based.} Maso di Banco {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence mentioned 1341 - 1346) A painter recorded by his contemporaries as Giotto's foremost pupil. He favored somewhat geometrical compositions with an emphatic use of color.} Maximilian I {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 of Hapsburg (Wiener Neustadt 1459 - Wels 1519) Emperor. He played an active role in European history between the 1400 and 1500s, especially in Italy following his second marriage to Bianca Maria of Savoy, the niece of Ludovico il Moro.} Medici {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 rich family of bankers that dominated the politics and culture of Florence during the 1400s. In 1530, their power was officialized with the birth of the Duchy and then the Grand Duchy of Tuscany. The descendants of Cosimo I occupied this throne until 1737. Memmo di Filippuccio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (early 14th cent.) painter active in and around Siena who absorbed the teachings of Giotto and Duccio while favoring compositions with a marked narrative vein.} Wolgemut Michael {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Nuremberg 1434 - 1519) German painter, engraver and carver who directed a famous workshop and was D rer's master.} Michele di Ridolfo del Ghirlandaio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Michele Tosini alias (Florence 1503 - 1577). A painter who studied under Lorenzo di Credi, he took the name of the artist with whom he collaborated. He was inspired by various masters of his time, yet often showed a descriptive vein of his own.} Michelozzo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 di Bartolomeo (Florence 1396 - 1472) architect and sculptor who inherited and interpreted the style of Brunelleschi. He designed various buildings and palaces for the Medici, and he also collaborated with Donatello and Luca della Robbia.} Della Casa {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Monsignor Giovanni (Mugello 1503 - Montepulciano 1556) man of letters who took religious orders and frequented the papal court, where he received various appointments. His best known work is the Galateo, a treatise of good manners.} Montefeltro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Counts of, dynasty of the Lords of Urbino who took on the title of Dukes in 1443. The original family died out in 1508 with Guidobaldo, who adopted his nephew Francesco Maria della Rovere, and thus ratified the transfer of the Dukedom to the new family.} Moretto {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Alessandro Bonvicino alias (Brescia 1498 - 1554) painter. A ready exponent of the Lombard school of lively genre paintings, he was also an excellent portraitist and painter of somewhat domestic religious scenes.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Greek mythology. Any of the nine daughters of Mnemosyne and Zeus, who lived on Mount Helicon, each of whom presided over a different art of science.} Neoclassicism {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 cultural movement that spread across Europe from the mid 1700s as a reaction to baroque rhetoric, which it opposed with a new aesthetic ideal founded on the purity of forms and the harmony and elegance of classical art, especially sculpture.} Neri di Bicci {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence 1419 - 1491) painter. Though sensitive to the new trends in Florentine art, he never completely severed his ties with what remained of the late gothic tradition.} Alunno {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Niccol di Liberatore alias (Foligno 1430 ca - 1502) painter; his contacts with various artistic circles were reflected in paintings that revealed Venetian, Tuscan and Umbrian influences.} Nicholas V {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Tommaso Parentucelli (1397 - 1455) elected in 1447. He brought the Western schism to an end and founded the Vatican Library. His love of antiquities and interest in art spurred him to summon various artists to the Vatican, including Fra Angelico and Leon Battista Alberti.} Poussin Nicolas {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Les Andelys 1594 - Rome 1665) painter. He was the dominant figure of the European baroque scene. He also promoted the return to classicism conceived as the recovery of harmony between mankind and nature and gave great impetus to the preference for landscape painting.} Nicol dell'Abate {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Modena 1509 ca - Fontainebleau 1571) Emilian painter who worked in France, taking with him the Italian manner and the preference for large painting cycles illustrating heroic poems.} Coypel Noel {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paris 1628 - 1707) classical painter who worked at the court of Louis XIV. From 1672, he directed the French Academy in Rome.} Gentileschi Orazio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Pisa 1563 - London 1639) painter. He enriched the idiom of Tuscan Mannerism with a handling of light and color reminiscent of Caravaggio's early work.} Palma il Giovane {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Jacopo Nigreti or Negretti alias (Venice 1544 - 1628) painter, grand-nephew of Palma il Vecchio. He was a pupil of Titian's and later worked with him. His painting bears witness to this collaboration, to the influence of Tintoretto, and to the early baroque style in religious pictures.} Paolo di Giovanni Fei {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Siena, active 1372 - 1410) painter belonging to the circle of Lorenzetti, whose descriptive vein he developed while remaining true to the linear style of gothic art.} Paul III {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Alessandro Farnese (Canino 1468 - Rome 1549), successor to Clement VII de' Medici in 1534. He initiated the Counter Reformation and gave considerable impulse to buildings and decorative projects in Rome, including Michelangelo's frescoes in the Sistine and Pauline Chapels.} Brill Paul {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp 1554 - Rome 1626) Flemish painter active in Rome who specialized in classical landscapes.} Pazzi {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 ancient Florentine family that has gone down in history due to the plot created in conjunction with Pope Sixtus IV against the de' Medicis. It was enacted on April 26,1478, and resulted in the wounding of Lorenzo the Magnificent and the death of his brother Giuliano.} Berruguete Pedro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paredes de Nava 1450/55 - Avila 1504) Spanish painter working in Urbino when cultural activity there was at its zenith. In his work, he assimilated Flemish influences and the impact of Piero della Francesca, introducing them to his own country upon his return.} Tibaldi Pellegrino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Como 1527 - Milan 1596) architect, painter and sculptor. He designed some imposing buildings in Lombardy and was one of the most interesting artists working in the manner of Michelangelo. He also made a name for himself with his brilliant perspective decorations.} Petrarch {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Francesco (Arezzo 1304 - Arqu 1374) A great poet and scholar of the classical world, he heralded the evolution of Humanism and was widely acclaimed by his contemporaries. In the 16th century his sonnets inspired love poems throughout Europe.} Christus Petrus {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Baerle 1410 ca - Bruges 1472 ca) Flemish painter whose unusual style stood out for its simplification of forms and tendency toward geometrical abstraction. This traits were learned while staying in Italy.} Cazes Pierre-Jacques {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Paris 1676 - 1754) painter. An outstanding figure at the French Academy during the early 1700s; he largely focused on historical and religious subjects.} Bruegel Pieter the Elder {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Breda 1528/30 - Brussels 1569) Flemish painter who upheld the local tradition, producing delightful scenes of low life and charming landscapes.} Lastman Pieter {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Amsterdam 1583 - 1633) painter. From 1603 to 1607, he was in Rome, where he came into contact with the Carraccis and Caravaggio, whose innovations he studied and later took back with him to Holland, passing them on to his pupils, including Rembrandt.} Aretino Pietro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Arezzo 1492 - Venice 1556) writer with anti-academic tendencies. He also wrote biting satires and comedies. He spent time at the foremost Italian courts and befriended numerous artists and their patrons.} Bembo Pietro {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Venice 1470 - Rome 1547). A man of letters, he frequented the principal Humanist courts of the late 1400s, promoting the return to the Tuscan idiom of Petrarch for poetry and Boccaccio for prose. He was papal secretary to Leo X, and was appointed Cardinal by Pope Paul III Farnese in 1539.} Pinturicchio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Bernardino di Betto alias Pinturicchio (Perugia 1454 ca - Siena 1513) painter who studied under Perugino. He made a name for himself with his lively descriptive scenes and the major decorative projects he developed for the papal court.} French gothic painting {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 important artistic development that spread through Europe toward the end of the 12th century. Its style was based on lively descriptive qualities and bright colors that were particularly suitable for miniatures.} polyptych {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 An altarpiece composed of various painted panels placed side by side or one above the other. The central section generally contains a portrayal of the Madonna and Child or of the saint to whom the work is dedicated. A diptych is a pair of pictures, usually sculpted or painted ivory or wood panels held together by hinges. A triptych is a group of three related paintings or relief carvings. A predella is a series of painted panels arranged along the base of an altarpiece featuring episodes relating to the main scene.} Poliziano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Agnolo Ambrogini alias (Montepulciano 1454 - Florence 1494) poet and Humanist from the circle of Lorenzo the Magnificent, who appointed him tutor to his children.} popolani {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 a cadet branch of the de' Medici family that descended from Cosimo's brother, Lorenzo. The name Popolano was adopted by his nephew, Lorenzo di Pierfrancesco, who wished to emphasize his democratic outlook following the expulsion of the Medicis in 1494.} Pordenone {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Giovanni Antonio de Sacchis alias (Pordenone 1484 ca - Ferrara 1539) painter active in northern Italy whose solemn but widely accessible style opposed that of the Titianesque painters.} Primaticcio {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Francesco alias Bologna (Bologna 1504 -Paris 1570) Emilian painter and sculptor. He was initially summoned to the French court at Fontainebleau Castle as Rosso's assistant and then became the leader of the Fontainebleau school, which he invested with elegance and refinement.} Fontana Prospero {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Bologna 1512 - 1597) painter. He was part of the artistic trend that looked to Raphael and Michelangelo for inspiration, and he made a name for himself in various Italian cities.} Metsys Quentin {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Louvain 1466 - Antwerp 1530) Flemish painter. In his handling of space and his marked expressiveness he contributed to the style that became characteristic of what was known as the Antwerp school that was to shape the development of northern Mannerism.} Raffaellino del Garbo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Raffaello di Bartolomeo alias (San Lorenzo a Vigliano 1466 ca - Florence 1524) This painter's art largely imitated to Filippino Lippi, though he also assimilated elements from the Umbrian tradition. He is sometimes also referred to as Raffaello de' Carli or Raffaello de' Capponi.} retablos {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Spanish term used for large painted altarpieces divided into different sections and comprising elements in relief. They were widespread in Spain during the 14th century.} Robert of Anjou {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (1278 - 1343) King of Sicily and Naples, he was crowned in Avignon in 1310. Together with the Florentines, he opposed Arrigo VII and he was a friend of Petrarch.} Longhi Roberto {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Alba 1890 - Florence 1970) art historian and critic. An author of fundamental works on Italian painting, he renewed research methods, freeing them from the constraints of purely theoretical and philosophical approaches.} rococo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 artistic trend that evolved in France at the beginning of the 1700s and then spread throughout Europe. A reaction against the pompous flamboyance of the baroque style, it promoted lighter forms and less opulent decorations in favour of a simpler, more refined form of elegance.} Siviero Rodolfo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Guardistallo, Pisa 1911 - Florence 1983) philologist. In 1943, he collaborated with the Allied secret services devoting himself to tracing and recovering works of art pillaged by the Nazis before and during the Second World War. He was appointed Plenipotentiary Minister and Head of the Recovery Office in 1946, and within the space of a few years, managed to recover a great number of masterpieces.} Sack of Rome {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 The terrible plunder that befell Rome in May, 1527, when the imperial troops of Charles V invaded the city for days, killing and destroying. The episode also provoked the flight and definitive departure of many artists.} Santi di Tito {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Borgo Sansepolcro 1536 - Florence 1603) painter and architect who participated in the Reformation movement that was opposed to the excesses of Mannerism, instead proposing a return to Renaissance classicism.} Sassetta {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Stefano di Giovanni di Consolo da Cortona alias Sassetta (Cortona 1400 ca - Siena 1450) One of the foremost Sienese masters of the early 1400s, he adapted the refinement and narrative intent of the gothic tradition to the art of his time with its new approach to form and space.} Savonarola {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Girolamo (Ferrara 1452 - Florence 1498) A Dominican friar who lived in Florence from 1482 and violently opposed the worldly culture of the time by burning the books and works that expressed it. He preached penitence and the advent of divine punishment that would strike Florence. He influenced many Florentines, thus paving the way for a profound religious crisis that also involved artists such as Botticelli and Fra Bartolomeo. He was condemned to death in 1498.} Scarsellino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Ippolito Scarsella alias Scarsellino (Ferrara 1550 ca - 1620) Emilian Mannerist painter who was drawn to Venetian colorism and in later life to the Carracci school.} plastering {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 A treatment of a wall surface that can involve renewing the plaster layer or simply whitewashing. This treatment has often irreparably damaged the frescoes it covered.} Borghese Scipione {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Rome 1576 - 1633) Appointed Cardinal by his maternal uncle Pope Paul V, he was a great patron and protector of Bernini. He also acquired a fine collection of works of art that today partly constitute the nucleus of the Villa Borghese Gallery in Roma.} scriptorium {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 in the Middle Ages, room in convents used for studying and copying manuscripts. It later came to mean a study or room for lessons in antiquities.} Danube School {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 also known as "Donaustil," a term introduced in 1892 to refer to a group of artists, including Altdorfer and Huber, whose work was typical of painting in southern Germany and particularly the Danube region between 1500 and 1530. A constant feature was the fondness for landscape.} Ricci Sebastiano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Belluno 1659 - Venice 1634) Venetian painter. He obtained a wide range of experience in different parts of Italy and developed a style that differed from that of baroque compositions, focusing instead on an imaginative use of color, great luminosity and an airy handling of space that heralds the nascent rococo idiom.} sfumato {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 term used to refer to the technique in landscape painting whereby clear cut outlines are gently dissolved so that the figures blend in with the surrounding atmosphere.} Sixtus IV {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Pope, Francesco della Rovere (Celle Ligure 1414 - Rome 1484) elected in 1471. He was involved in various political events, including the Pazzi plot. He had the Sistine Chapel built, and for its decoration, appointing a team of artists that included Botticelli, Ghirlandaio, and Perugino.} Solario {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Andrea (Milan 1473 ca - 1520) A painter active in Venice and Milan who absorbed Bellini's teachings and also borrowed from Leonardo. To this heritage, he added the pictorial experience he acquired during a stay in France.} Spinello Aretino {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Arezzo 1346 ca - 1410) painter. One of a group of artists who looked to Giotto for inspiration, producing simple narrative works that are both lively and decorative.} Stefano {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Florence first half of 14th cent.) A painter known exclusively through the admiration for him expressed by his contemporaries. Scholars are inclined to attribute certain works to him that suggest he studied under Giotto and worked in or around Assisi.} stiacciato {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Tuscan term meaning 'schiacciato', or 'flattened'. It was used in the Renaissance to refer to a type of very low relief introduced by Donatello that created pictorial effects and emphasized spatial perspective.} Zuccari Taddeo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Sant'Angelo in Vado 1529 - Rome 1566) painter. He was trained within the Mannerist circles of Raphaelesque derivation, making a name for himself in Rome as a decorator with narrative paintings that often included trompe-l'oeil effects.} tenebrous {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 used to refer to the Venetian 'tenebrosi' painters of the 1660s who began a stylistic trend that went beyond Caravaggio in its predilection for gloomy atmospheres, pathos and emphatic naturalism. The drama of these paintings is reminiscent of Ribera's work .} Thomas More {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (London 1478 - 1535) English politician and Humanist who was made a saint. He was made Lord Chancellor by Henry VIII, who had him beheaded when he refused to subscribe to the Act of Supremacy which made Henry, not the Pope, head of the English Church.} Tasso Torquato {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Sorrento 1544 - Rome 1595) late Renaissance poet. His works reveal an awareness and a sense of unrest that were typical of the late 1500s.} trompe-l'oeil {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 an optical illusion created in paintings by using perspective in such a way that the objects portrayed stand out as though they were real.} Vermeer {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Jan (Delft 1632 - 1675) One of the foremost exponents of seventeenth century Dutch painting, particularly renowned for his pictures of figures in middle class interiors, portrayed with great elegance and a delicate handling of light.} Vignola {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Jacopo Barozzi alias Vignola (Vignola 1507 - Rome 1573) Emilian architect who trained as a perspective painter. He studied ancient monuments and designed important churches and palaces in Rome, thereby establishing the canons of Counter Reformation architecture.} Vitale da Bologna {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Vitale degli Equi alias (1309 ? - 1360 ca) the foremost painter of the 1300s in the Emilian region. His pictures embody a dynamism of their own, with curiously expressive figures and somewhat unreal atmospheres.} Vittoria della Rovere {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Pesaro 1622 - Pisa 1695) Grand Duchess of Tuscany; daughter of Federico Ubaldo della Rovere and Claudia de' Medici. In 1637, she married the Grand Duke Ferdinando II de' Medici. Her own estate greatly enriched the de' Medici artistic heritage by adding invaluable masterpieces from the Urbino court.} de Vos Willelm {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Antwerp mid 16th cent. - after 1629) Flemish painter and friend of van Dyck who became master of a workshop in Antwerp in 1593, following a long family tradition. He specialized in historical paintings and portraiture.} van Aelst Willem {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Delft 1626 ca - Amsterdam 1683) Dutch painter who also worked in Florence. He specialized in still lifes with animals, flowers, fruit or pottery.} Huber Wolf {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (Feldkirch 1490 ca - Passau 1553) German painter and engraver of the Danube School. Both his religious paintings and his landscapes were singularly dramatic in style.} Zenale {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Bernardo (Treviglio 1450 ca - Milan 1526) painter of great balance and composure who liked to place his figures in grandiose architectural settings.} Perspective {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 the part of descriptive geometry by means of which a three-dimensional body or space can be represented on a flat surface from a given observation point. The scientific system of perspective portrayal was perfected by Filippo Brunelleschi and expounded in the treatise "De pictura" which Leon Battista Alberti dedicated to him in 1436.} Iconography {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 (from the Greek eikon = image and graphia = representation) This is the study of the meaning of artistic images, tracing the symbolic significance and the allegorical, religious, and mythological content back to their original roots.} Sodoma {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 Giovanni Antonio Bazzi alias (Vercelli 1477 - Siena 1549). A painter who studied under the Piedmontese artist Martino Spanzotti. He settled in Siena in 1501. During a stay in Rome, he was influenced by Raphael, and his work later became a point of reference for Sienese Mannerist painters.} Miniature {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 from the Latin "miniare," to write the initial letters of a text in red ink made "minium." Pictorial decoration on paper or parchment used for volumes of manuscripts from the earliest Christian era. In the 1500s, the term was extended to include very small paintings or portraits.} gothic {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 \cb0 An artistic style that developed in Europe over a long period of time. In Italy, it can be traced from the beginning of the 13th century to the first decades of the 15th. It shaped all aspects of the figurative arts as well as religious and secular architecture, though the effects varied according to the previous regional traditions. The predominant characteristic in both painting and sculpture was ornamental effects created by means of sinuous, intricate lines; bright colors were also a common feature.} Lippi Lorenzo {\rtf1 \ansi \deff0 {\fonttbl {\f0 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 (Florence 1605-1665); Florentine early baroque painter who continued the naturalistic trend begun by Santi di Tito; he favored mythological and literary subjects and was also to some extent influenced by guest artists at the Medici courtsuch as Salvator Rosa. He was also a writer, producing works such as \b0 \i \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 Malmantile riacquistato\b0 \i0 \strike0 \f0 \fs16 \ulnone \up0 \dn0 \cf1 .} The Archeology Room (closed) The Primitives and Giotto Room The Sienese Trecento Room The Florentine Trecento Room The Ornate Gothic Room The Early Renaissance Room The Filippo Lippi Room The Antonio del Pollaiolo Room The Botticelli Room The Leonardo Room The Map Room The Hermaphrodite Room (closed) The Tribuna The Perugino and Signorelli Room The D rer and German Masters Room The Giambellino and Giorgione Room The Flemish and German Masters Room The Correggio Room The Miniatures Room (closed) The Michelangelo and Florentine Masters Room The Raphael and Andrea del Sarto Room The Pontormo and Rosso Fiorentino Room The Titian Room The Parmigianino Room The Emilian Masters Room (closed) The Dosso Dossi Room The Sebastiano del Piombo and Lorenzo Lotto Room The Cinquecento Corridor The Veronese Room The Tintoretto and Barocci Room The Rubens Room The Niobe Room (closed) The Caravaggio Room The Rembrandt Room The 18th Century Masters Room The Buontalenti Vestibule The Imaginary Room The Corridor {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The painting is signed and dated /1340/ on the base of the throne; nothing is known of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 mentioned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Mention should be made of the conversation between Mother and Son that Pietro Lorenzetti handled with remarkable expressive originality on a number of different occasions. Wide sweeps of color enhance the solidity of the figures and the way strong light is used to illuminate the right side of the throne is also interesting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the Sienese artist's most controversial works, not least because it is hard to date. The inscription and date on the painting itself are not original. From the stylistic point of view it would appear to have been painted fairly late, around 1340. An eighteenth century drawing has made it possible to reconstruct the original intent: the central figure portrays the Blessed Humility, founder of the Florentine Convent of the Donne di Faenza. The eleven side panels tell the story of her life; the two missing ones are kept in Berlin. The work embodies both the sculptural solidity of the Giotto school and the linearity and palette typical of the Sienese painters.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These paintings come from the Florentine church of San Procolo. Together with a painting of the Saint that has probably been lost, they made up an \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 altar-frontal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=66; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . They can be dated around 1332-1334 and illustrate Charity, a subject that Ambrogio Lorenzetti particularly favored. The portrayal of a fairly complex series of stories within limited confines bears witness to the artist's remarkable ability in handling space. Of special note are the use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the vivacity of the scenes. Moreover, the portrayal of landscape in the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Miracle of the Corn\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 also speaks for Lorenzetti's interest in natural detail.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted for the San Crescenzio Chapel in Siena Cathedral and dated /1342/, this painting was the central section of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot =G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 whose side panels with their portrayals of Saint Crescenzio and the archangel Michael have been lost. The artist has returned to a theme that he treated over a decade before: the edifice with three aisles found in the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Consecration of the Saint\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Stories of Saint Nicholas{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot =O; ObjectClass=Hot; rimando=3; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Here space is handled with a more complex use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Inspired by a passage from the Gospel of Saint Luke, the scene focuses on the moment in which the prophets, Simeon and Anna, speak. The portrayal of the Holy Child with his finger in his mouth is worthy of particular note, in that it speaks for Ambrogio's interest in the world of childhood, whose simple traits are preferred to the more imposing gestures of sacred majesty. The painting won immediate acclaim, as attested by the many \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 copies{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=213; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 made of it. The most famous of these was painted over a century later by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Di Paolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=110; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and is now kept at the Siena Pinacoteca.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although the parts of this \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 were recognized as such back in 1922, they were only put back together in 1959, when \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bernard Berenson{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 donated the central panel with the Virgin and Child to the Uffizi Gallery where the two side panels with Saints Nicholas and Procolo were located. It was originally painted for the church of San Procolo in Florence, and is mentioned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo Ghiberti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=130; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , by the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Anonimo Magliabechiano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Here again the essence of the subject matter is maternal love, as expressed by small but eloquent gestures such as the look in the Madonna's eyes and the way the infant Jesus clasps her finger.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Similar in size, style and frame to the panel with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Marriage of the Virgin\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the National Gallery in London, this painting was probably part of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of unknown structure. The refined use of color and the elegance of the composition bring to mind the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bartolo di Fredi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot =G; ObjectClass=Hot; rimando=21; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Paolo di Giovanni Fei{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=170; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whereas the spatial arrangement of the scene bears witness to the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ambrogio Lorenzetti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=116; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stolen from the church of Sant'Antonio in Bosco near Poggibonsi, this painting eventually turned up in Paris and in 1922 was entrusted to the Uffizi. It was first attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bartolo di Fredi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=21; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and later to Niccol di Ser Sozzo, who is thought to have painted it toward the end of his life. The quality of the painting is particularly high, which is a typical characteristic of this artist's work. It embodies both Lorenzettian elements and the influence of Pisan culture as expressed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Francesco Traini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=88; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed in the lower margin /Symon pinxit/, this Nativity was painted when the artist was still young (around 1380) and very much influenced by the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vitale da Bologna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=221; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It is one of the best of the Bolognese artist's works, in that it combines a particular liveliness with a freedom of composition and an eye for realistic detail.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was conceived for the altar of the Sant'Ansano Chapel in Siena Cathedral, where it was installed in 1333. It was painted by Simone Martini and his brother-in-law Lippo Memmi, as testified by the original inscription partly covered by the nineteenth century frame. Although art historians have in time come up with a wide range of hypotheses concerning the different roles of the two artists in creating this masterpiece, the lack of documentary evidence makes it difficult to establish any clear dividing lines. At present scholars tend to think of their collaboration as so close enough to make such distinctions practically pointless. The painting shows particular care in the life-like portrayal of details such as the marble of the flooring, the vase of lilies and the inlay of the throne.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two panels belong to a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that came from the Santa Chiara convent in Lucca. On either side of the figure of Christ on the Cross in the left panel we have \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Swooning Virgin Mary\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Virgin Mary Greeting John\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 ; below this is the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Way to Calvary\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Deposition from the Cross\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The right panel shows the Virgin and Child surrounded by Saints Peter, John the Baptist, Claire, Andrew, Anthony of Padua, the Archangel Michael, Francis and Jacob. The artist Bonaventura Berlinghieri has been mentioned in relation to this painting, both on account of his activity in the Lucca area and because the work has much in common with his large painting of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint Francis and the Stories from his Life{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=234; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the church of San Francesco in Pescia.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one side of a portable Franciscan \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , evidently intended for private worship. The painting has often been referred to the Luccan school, which scholars have traditionally considered alongside the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Coppo di Marcovaldo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=53; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as the source of Maestro del San Francesco Bardi's work. It is worth noting that the artist has largely focused on the Crucifix rather than the stigmata, as later artists were to do.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work comes from the Convent of the Santissima Annunziata and has been kept at the Uffizi since 1948. Restoration carried out in the mid-'thirties was able to remove two layers of partial repainting, one of which had considerably damaged the head of the Evangelist. The work shows certain affinities with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 altar-frontal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=66; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept at the Museum of Decorative Arts in Paris, one of the very few paintings that scholars are agreed in ascribing to this artist. The two small figures at the Saint's feet are the patrons who commissioned the work.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was commissioned in 1285 by the Company of Laudists for the church of Santa Maria Novella. Its name derives from the Rucellai Chapel, where it was kept for over three centuries before being moved to the Uffizi in 1948. It was traditionally attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cimabue{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=100; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the basis of indications given by a fourteenth century commentator on the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Divine Comedy\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and later confirmed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, by the beginning of this century the Madonna was generally recognized to be the work of Duccio. Recent restoration (1989) has recovered all its original splendor, thus showing how the refined use of color and the arrangement of the throne owe much to French art of the period.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted by Giotto for the Ognissanti church in Florence, probably around 1310, shortly after the decoration of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Scrovegni Chapel{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=F; ObjectClass=Hot; rimando=32; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The painting embodies a mature synthesis of the innovative elements that had featured in the artist's earlier works. Like the nearby \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Santa Trinita Madonna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cimabue{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=100; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rucellai Madonna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Duccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=101; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work is set off by an abstract gilded background. However, the pathos of the figures and their sculptural solidity seem much more than a few decades removed from those earlier paintings. Moreover, great attention has been paid to naturalistic detail and a wealth of decorative elements that recent restoration has brought to light.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 We do not know for sure exactly when this work was painted, though most experts opt for around 1285-1286. However, it could have been done around 1280, in concomitance with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for the basilica of San Francesco in Assisi. Intended for the main altar of the Florentine church of Santa Trinita, the painting acts as a sort of bridge between the archaic conventions of Byzantine art, visible in the handling of the figures and the highlighting of their robes, and later forms of pictorial expression (the prophets).} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work comes from the main altar of the church of the Badia Fiorentina and was painted some time between the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Upper Church in Assisi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass= Hot; rimando=248; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and those of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Scrovegni Chapel{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in Padua. The artist's approach to his commission is interesting, in that he has chosen an arrangement of five panels featuring a number of the early saints, portrayed with all due solemnity. The remarkable quality of this painting makes this work one of the artist's foremost masterpieces.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the earliest examples of a rectangular \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 altar-frontal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=66; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with a raised central part, and certainly one of the best preserved. Starting from the left, the figures portrayed are Saint Peter, the Virgin Mary, John the Evangelist and Saint Paul, as the side inscriptions relate. The cherub heads surrounded by garlands were added in the latter half of the fifteenth century. Apart from the innovative focus on the robes, which are highlighted in gold, from the stylistic point of view the work recalls the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 San Leolino Altar-Frontal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=256; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at Panzano.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is also known as the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Pisa Madonna\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , after the collector who donated it to the Uffizi. It is the central part of an early tabernacle that originally had a silver background. It has stylistic features that recall the early mosaics of the dome of the Baptistery in Florence and the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Coppo di Marcovaldo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=53; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who was a constant point of reference for the generation of artists active around the middle of the 13th century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted in the mid-thirteenth century, the full value of this work was long hidden beneath a thick layer of repainting, fortunately removed during restoration. For many years, it was attributed to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Maestro del San Francesco Bardi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=103; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the artist who painted the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Stigmata of Saint Francis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept in the same room. However, experts have recently come to reject this attribution, opting instead for the Lucca school in view of Christ's characteristically tormented expression, the highly sculptural nature of the composition and other typical features. The far ends of the arms of the Cross are missing.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the other \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Crucifix with Stories of the Passion{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in this room, here again we have a case of heavy-handed repainting. Fortunately such later additions have now been removed, so that the original work can be appreciated in its original integrity. Exactly when and where it was painted is unknown, though it clearly bears the influence of the Pisan figurative school: suffice it to compare this painting with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Cross\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that was once kept at the church of Santa Cristina in Pisa and is now to be seen at Saint Catherine's sanctuary in Siena. The panel at the top of the Cross and that of the right arm were incorporated later.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Piet was painted for the church of San Remigio around 1360-1365 and is considered to be one of the most beautiful examples of Florentine painting of the Trecento. With great originality the artist has managed to unite the grieving figures with the dramatic reality of the moment, thereby imbuing the subject with new poetic pathos. Details such as the spots of blood on the Cross and the dress of the young patroness introduced to the scene by Saint Remigio also show an innovative perception of reality. The outcome is an idiom that differs from that of Florentine painting of the period, a sensitivity that is more reminiscent of the Lombard masters. This latter influence would have reached Giottino through his father \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Stefano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=212; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , or indeed through the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni da Milano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It is no coincidence that Giovanni da Milano should have been inspired by this Piet in a similar part of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept in the Galleria Nazionale di Arte Antica in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small painting of the Crucifixion is probably part of the predella of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that Agnolo began painting for the church of San Miniato al Monte but failed to finish before his death. Educated within the sphere of Giotto's influence by his father \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Taddeo Gaddi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=2; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , he tried to embrace stylistic innovation by paying greater attention to details and by introducing the fantastic elements beloved of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 late-gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 artists.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Dated /1328/, this \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from the Ognissanti Convent in Florence is signed /Bernardus de Florentia me pinxit/. As such this Madonna and Child with Saints Matthew and Nicholas is the Giottesque artist's first known work.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Cuspidate in shape, this small painting of the Virgin and Child enthroned with Saints Peter and Paul and eight angels is signed and dated /1334/. It is an excellent example of the smaller works in which Daddi, who headed a busy workshop, so clearly excelled.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is the most complex of Bernardo Daddi's known works. It comes from the Florentine church of San Pancrazio and was painted between 1335 and 1340. It was later taken apart and is now missing certain elements. The most interesting parts of the work are the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 scenes, where the painter is able to develop his narrative vein. They feature \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Joachim Expelled from the Temple\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Joachim among the Shepherds\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Meeting at the Golden Gate\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Birth of the Virgin\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Presentation at the Temple\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Annunciation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Nativity\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . At this stage of his output Bernardo Daddi shows the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Maso di Banco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=150; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ambrogio Lorenzetti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=116; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed and dated /1355/, this Madonna and Child was painted for a member of the Segni family, whose coat of arms features on the base of the throne. The work was later placed in the family chapel in the San Lucchese Convent in Poggibonsi. It is the mature work of an artist who had worked with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giotto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=102; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for over twenty years and remained faithful to his teachings.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The five panels with pairs of saints and the five sections of the predella with the heavenly hosts are all that remain at the Uffizi of the large \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that Giovanni da Milano painted for the Ognissanti church toward 1360. The work as a whole, particularly the predella panels, show how strong the influence of Giotto still was in the latter half of the century, especially the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Baroncelli Coronation{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=232; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at Santa Croce. However, the painting also bears witness to a somewhat northern atmosphere, with the sumptuous costumes recalling the courtly \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 tradition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a finely wrought portable tabernacle. The central section features a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child Enthroned between Angels and Saints Bernard and John the Baptist\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 ; on the left there is the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stigmata of Saint Francis and Two Saints\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 ; on the right the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Crucifixion\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . This work is fundamental to our knowledge of the artist's output, as it is the only painting we have that bears his signature. Although the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giotto {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=102; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is still very strong, this painting also has a certain gothic atmosphere, despite the fairly limited palette.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although the provenance of this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Crucifixion\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is unknown, it was probably once part of a tabernacle. The predella is decorated with half-length portraits of saints. The work dates back to the early second half of the 14th century, when Florentine painting was just beginning to reveal new figurative developments. The influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Maso di Banco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=150; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is evident in both the composure of the figures and the spatial arrangement of the composition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This altar-piece was painted at the beginning of the 1380s for the church of Santa Maria at Monticelli. The approach to the subject immediately brings to mind the other \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna Enthroned and Saints{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=44; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept at the Uffizi, though in this case the scene is less crowded and the palette less lively.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 altar-frontal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=66; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was painted for the church of Santa Cecilia in Florence just after the fire that broke out there in 1304. It portrays the saint enthroned, surrounded by scenes of episodes from her life. The complex architectural context is particularly interesting, as the use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 has clearly still not been fully mastered. The anonymous artist may well have assisted \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giotto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=102 ; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at Assisi, so it is not surprising that the latter master's influence should be so strong in this painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was commissioned by the Arte del Cambio, the guild of Florentine bankers, and features their patron Saint Matthew with some of the stories from his life. The painting was intended to be a facing for a pillar in the church of Orsanmichele, rendering its current display is actually true to the original. Andrea, who died the year after the altarpiece was commissioned, is said to have developed the design that was ultimately carried out by Jacopo.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small painting came from the San Micheletto Monastery in Lucca and was bought by the Uffizi in 1906. It is a product of the Venetian artist's maturity, showing how familiarity with the works of the Tuscan painters and with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea Mantegna{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=79; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 contributed to the greater solidity of the figures and the elegant handling of space that enhance the traditional \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 idiom.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is signed and dated /1445/. It features the Virgin and Child surrounded by Saints Peter and Paul and, on the outside, Thomas and Dominic. Painted during the artist's latter years, it bears witness to his highly individual use of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 idiom and his debt to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Sassetta{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=200; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , from whom he derived the imposing strength of the composition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These four panels portraying Mary Magdalene and Saints Nicholas, John the Baptist and George were once the side sections of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault ; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by Gentile in 1425 for the church of San Niccol Oltrarno, some time after the painting of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 The Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Gold leaf has been used profusely to add to the splendor of the robes, especially the embroidered dalmatic worn by Saint Nicholas. However, the influence of the Florentine environment is particularly evident in the quieter, more intimate tones of the Predella scenes now kept in the Vatican Galleries in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was finished in May 1423, as the gothic inscription on the painting itself declares. It was commissioned by the rich Florentine merchant Palla Strozzi, who wanted it for the family chapel in Santa Trinit . The subject was fashionable in Florence during the 1400s. Gentile interpreted it as a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 courtly{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 scene, with the procession giving him the chance to portray in all due detail a parade of magnificently dressed characters and a wealth of exotic plants and animals. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 scene with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Presentation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the temple is a copy of the original predella that was confiscated by the French and is now kept at the Louvre.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This large \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was painted for the main altar of the Camaldolite Convent of Santa Maria degli Angeli, where the artist monk lived for a long time. It was intended to be a replacement for an earlier altarpiece, as the incomplete inscription indicates, and is signed and dated /1413/. Although it is the only proven work that we have by this artist, it bears eloquent witness to the persistence of archaic elements in Florentine painting when the new Renaissance idiom was about to burgeon. In their frozen brightness, the strongly outlined figures appear to stand out against the gold background, arranged in hierarchical orders that have no coherent spatial relationship to each other. The artist's debt to the sculptor \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo Ghiberti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=130; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , his contemporary, is evident in the movement of the bodies and in the glimpses of landscape in the predella.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 We have documentary evidence that this work was painted by Lorenzo Monaco for the Sant'Egidio altar around 1421-1422. Its present-day rectangular shape dates back to the latter half of the century, when \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo Rosselli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=114; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 added the figures of the prophets and the Annunciation in the pendentives. Painted nearly a decade after the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Coronation of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault ; tipoHot=O; ObjectClass=Hot; rimando=38; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , it extends the verticality of the figures and the negation of the new concepts of space, thereby achieving some remarkably abstract and fantastic effects that are accentuated by the strange shapes of the naked rocks and improbable buildings that populate the background landscape.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting once belonging to the Contini Bonacossi Collection, was confiscated by the Germans and finally brought back to Italy by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the great expert on recovering stolen art works. It has only been on show at the Uffizi for a few years, and is still the subject of considerable discussion regarding dates. Many scholars believe that Masolini painted it between 1430 and 1435, after his collaboration with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Masaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whose influence is clearly visible in the use of chiaroscuro and the balanced spatial arrangement. However, others are inclined to opt for an earlier period. In any case, the painting embodies all the elegance and sweetness that are typical of Masolino's artistic output.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This fascinating picture was once attributed to painters of the caliber of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Paolo Uccello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=17; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 or even the young \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Angelico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, it is now thought to be the work of Gherardo Starnina, a somewhat mysterious artist whose output has largely been lost. The painting illustrates scenes of monastic life at Thebes in Egypt and shows the artist's ability in capturing fantastic atmospheres and telling stories. There is no coherent use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 or spatial arrangement (see the unreal size of the boats and castles in the foreground), whereas plants and animals have been portrayed so carefully as to be perfectly recognizable.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The presence of Saint Giles near Saint Dominic in the multitude of saints confirms \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's claim that this painting, completed around 1435, was once kept in the church of Sant'Egidio in Florence. The two small paintings of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 concerning the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Betrothal{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=150; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Death of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=154; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 are kept at the San Marco Museum, where most of this great artist's output is to be found. While the painting as a whole reflects the canons of Renaissance \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the delicate but realistic treatment of the figures speaks for the artist's familiarity with the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Masaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Note how the gold of the background reverberates to magnificent effect on the two central figures and the striking way color is used in the robes of the bystanders.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was the central part of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that originally adorned the parish church at Pontassieve. On the base there is a fragmentary inscription in gold lettering that refers to the names of the probable patrons. The use of light and color and the balanced spatial arrangement of the figures are typical features of this artist's work.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted around 1484 for the church of San Giusto alle Mura, which was destroyed when Florence was besieged between 1529-1530. It expresses the classical Florentine tradition of the period between \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Angelico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Benozzo Gozzoli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=24; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Baldovinetti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=18; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The pierced balustrade acts as a dividing line between the crowded scene of the Sacred Conversation, which heralds the great Ghirlandaio frescoes, and the landscape with its tall cypresses and bountiful fruit trees. By contrast, the vividly realistic detail speaks for the influence of the northern school.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Dated /1478/ in Roman numerals, this large tondo was painted for the Tornabuoni family during the period in which they also commissioned Domenico Ghirlandaio to paint the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Santa Maria Novella fresco cycle{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=270; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The extraordinary fame of this painting may not be fully justified, yet the work does reveal the artist's great ability as an illustrator, his fondness for citations and his eye for detail (see for instance the striped attire of the Moorish servant to the left of the guards at the back). The flowery field in the foreground with the flask and the rough canvas bag is distinctly reminiscent of Flemish painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Unanimously attributed to Botticelli, this small painting may have been commissioned by the Arte della Lana, the Wool Guild. In view of certain similarities to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fortitude{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept in the Pollaiolo Room, it would seem to have been painted around 1470. The humus that nurtures this painting, and indeed much of Botticelli's early output, is clearly the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=31; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is also visible, especially in the tactile qualities of the portrayal of the Child.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the Rose Garden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=46; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work is also attributed to Botticelli and is dated around 1470. It is one of the first paintings in which the artist frontally portrays a full-length figure. Although the treatment of the Virgin's face reveals the artist's lasting debt to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the handling of volume and space speaks for a distinctly individual approach. The subtle sadness veiling the Child's face was to become a constant feature of the figures portrayed by Botticelli.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 For a long time this work was identified with a painting commissioned for the church of Santa Elisabetta delle Convertite, which explains why it is also known as the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Convertite Altarpiece\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In actuality, it comes from the Florentine Convent of Sant'Ambrogio. Establishing the authorship of the work has also been far from straight-forward, not least in view of the substantial repainting affected during the eighteenth century; the original painting was so altered that scholars were undecided about attribution, opting for a number of different artists. The somewhat traditional composition and the way the figure of Saint Catherine clearly seems to herald that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fortitude{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 suggest that this is an early work dating back to between 1467 and 1470. Recent restoration has revealed Botticelli's awareness of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 color and light\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painting supremely developed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico Veneziano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of Botticelli's most important portraits. The mellow landscape with its Flemish overtones and the anonymity of the handsome young man portrayed increase the painting's sense of mystery. What is certain is that the sitter was connected with the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 environment, given the fact that the medal bears a portrait of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . One hypothesis is that it might be Antonio, brother of Sandro, a goldsmith and medallion engraver also at the de' Medici court. In fact, there is a distinct likeness between this young man and the self-portrait of the painter in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=50; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was commissioned by Guasparre Del Lama for his chapel in Santa Maria Novella. It is mentioned by a number of writers of that period and is described in detail by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who was the first to interpret the Three Wise Men as portraits of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , his son Giovanni and his grandson Giuliano. Latter-day art historians have partially corrected Vasari's account, suggesting that the figures portrayed were exponents of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Marsilio Ficino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=149; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's Neoplatonic circle. The man in yellow on the right is thought to be a self-portrait of the artist. This work was commissioned by the broker to the Arte del Cambio, the guild of money-changers and bankers to which the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 also belonged. Painted around 1475, it is clearly honorary in intent, especially in the portrayal of the members of the de' Medici family as the Three Wise Men. A similar commission was fulfilled by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Benozzo Gozzoli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=24; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Chapel of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=178; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The Epiphany was a fairly common subject in Florentine painting of the time and Botticelli had already produced two versions of it.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1445 and 1447 for the Florentine church of Santa Lucia dei Magnoli, this is unquestionably the artist's foremost masterpiece. It is interesting to see how the usual ogival frame of the gothic \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptychs{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 has been so transformed as to appear here as an elegant open-air Renaissance loggia that reproduces the structure of a chancel. With this contrivance, the artist contrasts light and shadow to full effect, achieving a confident use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that even embraces the plate bearing Saint Lucia's eyes, to the right. The artist also reveals an outstanding ability to capture the exact physical and spiritual nature of the figures like the realistic and tormented Saint John the Baptist, which imitates the sculpture of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo Ghiberti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=130; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Donatello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and the singular carnality of Saint Zenobius, whose rich cope illustrates the persistence of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 late gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 tradition. The use of luminous, clear colors is a typical feature of Domenico Veneziano's painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small painting of private provenance was rescued from Germany by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and became part of the Uffizi collection in 1988. Most art historians have agreed upon attributing it to Masaccio since \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Roberto Longhi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=195; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 first suggested this in 1950. As a product of the artist's latter years, the painting is traditional in composition, offering a distinctly human and earthly interpretation of the two sacred figures.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Masolino and Masaccio worked together on this painting, thus establishing an artistic partnership that was to continue in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault ; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Brancacci Chapel{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=51; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in Florence and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Santa Maria Maggiore Polyptych\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in Rome. \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 mentions the work as belonging to a chapel in the church of Sant'Ambrogio, and we can be almost certain that it was painted between 1424 and 1425. In keeping with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Longhi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=195; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's analysis, Saint Anne and all except one of the angels are generally thought to have been painted by Masolino. The angel to the top right and the Madonna and Child group reveal sculptural qualities and a confident use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that are typical of Masaccio. The use of space is also interesting, in that it clearly heralds some of the solutions used for the Brancacci Chapel in the way a succession of parallel and vertical planes is used, starting with the Virgin Mary's knees in the foreground and continuing with the sturdy figure of the Child she is holding, then her own head and shoulders, the figure of Saint Anne, the cloth and the angels, and the gold background.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Together with two other similar paintings, now kept at the Louvre and at the National Gallery in London, this work constituted a sort of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 celebrating the battle won by the Florentines against the Sienese on June 1, 1432, at San Romano. The episode illustrated here heralded the end of the battle. It features the unseating of Bernardino della Ciarda by Niccol da Tolentino, who led the Florentine troops. Scholars agree that the painting must have been commissioned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , though doubts still remain as to the chronology and occasion. Along with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cloister of Santa Maria Novella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=266; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the three panels are the best known and most acclaimed works of this early master of the Florentine Renaissance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Following the death of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vittoria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=222; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 became part of the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Collections. It is generally thought to have been painted around 1465, when the Dukes of Urbino became Piero's main patrons. Painted on both sides, we have Federico da Montefeltro and his wife Battista Sforza on the back, and the allegorical triumphs of the couple's virtues on the front, as the Latin epigraphs in capital letters relate Federico's virtues as a condottiere and statesman, and those of the patience and chastity of his spouse.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting comes from the de' Medici villa at Cafaggiolo in Mugello and was commissioned around the middle of the century by Piero de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the son and heir to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The elegant drape that acts as a backdrop beyond which trees and flower gardens are just visible recalls the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Angelico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , with whom Baldovinetti worked on the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Silver Cabinet{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=155; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 now kept in San Marco. However, the luminous use of color clearly owes more to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico Veneziano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando =14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted for the church of San Giorgio alla Costa in Florence around 1457. It features the same vegetation found in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna and Child with Saints{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , though here it is cut off by a wall of precious marble reflections whose colors, like those of the loggia where the Annunciation takes place, were much favored by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico Veneziano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This large \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by Nicolas Froment is signed and dated May 18, 1461. It was commissioned by Francesco Coppini, the Papal Legate in Flanders, and was donated by him to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Cosimo may not have appreciated a painting that was so far removed from the quiet elegance of the Florentine idiom, since he gave it away to the Franciscan Convent of Bosco ai Frati in the Mugello, whence it reached the Uffizi during the last century. Coppini is portrayed in prayer with two family members on the wings of the triptych, whereas the central inner section shows the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Raising of Lazarus\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , with \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Martha before Christ\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Mary Magdalene\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on either side. With its almost expressionistic faces and crowded figures, this is one of the most important and typical northern paintings to have reached Florence during the course of the Quattrocento. As such, it indicates the fruitful relationship between the Tuscan and the Flemish figurative traditions that took root there.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was commissioned by the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medicis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the early 1440s for the Novitiate Chapel at Santa Croce. Parts of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pesellino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=22; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and later disassembled, are also kept in this room, whereas others now belong to the Louvre. Early sources suggest that \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Castagno{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=121; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 may have collaborated on this work, though we have no firm proof. What does seem to be true is that the architecture and somewhat classical spatial structure of the painting reflect the environment designed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Michelozzo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=156; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in which the picture was to be placed.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These are the panels of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of unknown provenance. Having long dismissed them as derivative, art historians now tend to relate these paintings to the period in which Filippo Lippi was beginning to free himself of the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Angelico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Coronation was painted between 1441 and 1447 for the main altar of the Florentine church of Sant'Ambrogio. It was commissioned by the magistrate Francesco Maringhi, who is portrayed on the left together with Filippo himself in Carmelite habit. It is one of the artist's finest compositions, reconciling the Flemish love of detail with a monumental structure and sculptural impact that owe much to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Masaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Luca della Robbia{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=133; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The highly ornate frame that originally surrounded the work required the skills of the foremost craftsmen of the period. However, it has unfortunately been lost, and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Annunciation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that has been set into the modern reconstruction is quite out of place.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These three scenes were painted for the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the splendid altarpiece, commissioned by the Barbadori family for their chapel in the church of Santo Spirito and now kept at the Louvre. The figures portrayed relate to the saints in the main painting. They are \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Frediano Changing the Course of the Serchio\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Announcing of the Virgin's Death\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Vision of Saint Augustine\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painted is now recognized as being the one mentioned first by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leon Battista Alberti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=124; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and then by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the Annalena Convent in Florence. Although it was painted around 1453, its somewhat fairy-tale atmosphere, the distorted \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the detail of the meadow bear witness to the persistence and strength of the earlier \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 tradition. The figures clearly reflect the use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 stiacciato{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=213; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 relief introduced by Donatello and his followers.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Once again the artist had to deal with the subject of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this time for the Camaldolite hermitage. The altarpiece was commissioned by Lucrezia Tornabuoni, mother of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo the Magnificent{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=131; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and its structure recalls the scene of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Child with Saints Joseph, Jerome, Mary Magdalene and Hilarion{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=63; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in this same room. However, it has even more in common with the altarpiece painted for the Chapel of the Magi in Palazzo Medici Riccardi, now kept in Berlin. As F. Zeri has pointed out, this painting bears witness to the period in Filippo's output in which draftsmanship prevailed over "sculptural focus."} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 belonged to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna and Child with Saints{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=59; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who was Pesellino's master, exhibited in this same room. Only three of the panels are original; the others, portraying the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stigmata of Saint Francis\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saints Cosma and Damian\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 are modern copies of originals that were taken to Paris in 1813. The predella paintings bear witness to the young Pesellino's assimilation of his master's art, to his fondness for delicate colors and a suavity of figure.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 As the partly repaired inscription reveals, this work was commissioned by /Giacomo di Andreuccio setaiuolo per sua devozione/ (silk merchant Giacomo di Andreuccio for his worship) and was painted in 1457. It came into the Grand Duke of Tuscany's possession at the end of the eighteenth century and from there to the Uffizi. The tripartite composition of the painting and the abundant decorations and use of gold-leaf reveal a marked resistance to the changes brought in by the Renaissance. It can thus be seen as a minor work of an artist who embraced both the Sienese \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 tradition and the more modern Florentine influences.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The great fame of this painting can also be measured by the number of copies that were made by the artist's followers. It has not been firmly established exactly when it was painted, and scholars opt for somewhere between 1481 and 1485. However, the importance of the work transcends its most evident qualities (its sumptuousness, the sweet and melancholy beauty of the faces) and embraces a highly sophisticated formal innovation: the geometry of the two-dimensional plane is in fact interwoven with a convex mirror effect that gives rise to a complex play of volumes and skillfully interrelated forms that are further enhanced by the eye-contact that relates the figures to each other.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was probably done in the early 1480s for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Pierfrancesco de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=129; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . For a long time it remained in the early de' Medici residence in via Larga (almost adjacent to present-day Palazzo Medici Riccardi), but was later moved to the Castello villa, as certain sixteenth century documents relate. It is a work of great beauty that has induced myriad art historians to search for a convincing interpretation of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The most coherent suggests that the Primavera is a portrayal of the reign of Venus.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is generally thought to have been done a few years after the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Primavera{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=68; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 relates that both were at the de' Medici villa at Castello around 1550. We do not know who the picture was commissioned by or where it was originally located, though art historians have long tended to believe that it was painted at the behest of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Pierfrancesco de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=129; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Here again the same literary references have given rise to a number of different critical interpretations: a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Hymn to Venus\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by Homer, Ovid's poetry, the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stanzas\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 composed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Poliziano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=186; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 ; in other words sources that lead to very much the same refined cultural climate that nurtured the Primavera.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was commissioned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Pierfrancesco de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=129; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and features in the inventory for the palace in via Larga for the year 1498. The most convincing interpretation of the work revolves around the concept of morality: the conflict of virtue and vice, which was a recurrent theme in the works collected by the de' Medicis during the Quattrocento. However, some scholars have preferred to interpret the painting in political terms, seeing it as a celebration of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo the Magnificent{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=131; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's diplomatic skill or as the victory of the de' Medici over the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pazzi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=173; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The pertinence of the picture to the de' Medici circle would also seem to be confirmed by the interwoven rings with diamonds that embellish the maiden's dress, for this was one of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's traditional emblems that was later adopted by other members of the family as well. Art historians now tend to agree that the work was painted around 1482, after the artist's stay in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 A detailed report of this tondo and its elegant frame is to be found in the inventory of goods that was drawn up on the death of Cardinal Leopoldo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (1675). The fact that it contains the gilded lily motif on a blue background, as used in the decoration of the Audience and Lily Rooms at Palazzo Vecchio, has led scholars to suggest that it was the fruit of a public commission, perhaps for the Tribunale dei Massai di Camera (the Chamber Stewards' Court). The balance of the composition, the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconographic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 complexity with its wealth of Marian symbols (the roses, the lilies and the words of the Annunciation on the crossed bands on the angel's chest), the skillful use of color and the perfection of the face all indicate that this is a fairly late work, certainly painted after the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna of the Magnificat{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=67; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This altarpiece was commissioned by the Physicians and Apothecaries Guild for the guild church of San Barnaba. It was severely damaged during the eighteenth century when the church was undergoing alterations: the original frame was removed, the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was taken away (three of the original scenes were lost) and the painting was cut down in size. The work marks an important moment in Botticelli's artistic development, and in its spatial complexity, its solemnity and celebratory emphasis it seems to herald the art of the 1500s while losing something of the freshness of the earlier works. The ascetic John the Baptist, the manly Saint Barnabas and the armed figure of the young Saint Michael all bear witness to the influence of Donatello and to the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Castagno{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=121; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The inscription on the steps of the throne derives from Dante's \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Paradise\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Botticelli had already shown interest in the poet in a number of drawings he did to illustrate the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Divine Comedy\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The liveliness of the composition and colors of the remaining scenes from the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 are also worthy of note.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was commissioned by the banker Benedetto Guardi for the Cestello Convent in Borgo Pinti in Florence and during the eighteenth century was dedicated to Santa Maria Maddalena de' Pazzi. Recent restoration has confirmed the attribution to Botticelli rather than to his workshop, as had previously been thought. Indeed, the evenness of style and the quality of the painting are typical of Botticelli's mature work with its new moral content. As for the artist's spiritual intensity, it is evident in the figures of the angel and the Virgin Mary, the former bowing low and wrapped in an intricately folded gown, and the latter spiraling upward in a manner that recalls the same figure in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Annunciation{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=257; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The golden frame is original and has been restored to its pristine splendor.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This altarpiece was painted toward the end of the 1490s for the goldsmiths' chapel in the church of San Marco dedicated to Saint Eligio, the goldsmiths' patron saint. The painting was in particularly bad condition, possibly because the wooden support had not been primed properly, and this necessitated protracted restoration that kept the work from public view for many years. It was finally ready for exhibition again in 1989, when experts could begin to formulate balanced and better informed judgments of it. The way the altarpiece has been divided into two areas, one for the human and the other for the divine sphere where gold prevails, is in itself an innovation. The dynamism of the upper part with the angelic figures is counterbalanced by the static pose of the four saints: from the left, his raised arm creating a link between the two spheres, there is Saint Augustine, then Saint Jerome and Saint John the Evangelist, who also feature in the lively scenes of the predella, and finally Saint Eligio.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Art historians believe this painting to date back to between 1490 and 1495 in view of its stylistic similarities to other works of this period. Long attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the basis of an erroneous indication of Vasari's, this small but imposing painting deals with a subject with which the artist was already familiar. However, whereas the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Augustine\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the Ognissanti church revealed the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Castagno{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=121; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in its focus on vigorous, heroic action, through this scene the prevailing atmosphere is one of domestic simplicity and humble reality as expressed by the pieces of paper on the floor. This process of simplification was a gradual one that can be traced in works such as the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint Barnabas Altarpiece{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=72; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint Mark Altarpiece{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=74; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small painting has a complex allegorical framework inspired by a painting by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Apelles{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=15; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that would be unknown were it not for a description by Lucian that was revived during the Renaissance. Enthroned on the right is King Midas with the ass's ears that symbolize the bad judge who listens to the mendacious words of Ignorance and Suspicion (his back turned) while holding out his hands to Malice. This latter leads Calumny, dressed by Peril and Deceit, who drags the Innocent by the hair. The scene is completed by an aged hooded figure who symbolizes Penitence, and by the naked Truth. Though we know about the personal events that led Apelles to paint his picture, it is much harder to work out why Botticelli should have addressed the subject. He may have intended \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Savonarola{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=201; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as the slandered person, or Piero de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , or indeed himself: for accusations and denunciations were very common at the time. The artist's knowledge of figurative and literary sources is evident in what is indeed a highly conceptual painting imbued with moral content.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the most important works painted by Hugo van der Goes. It was commissioned by Tommaso Portinari, the de' Medici banking agent in Bruges, who is portrayed with his wife and children on the wings of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It is likely to have been completed by 1478, and was brought to Florence in 1483 and placed on the main altar of the church of Sant'Egidio, near the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by some of the foremost early Florentine Renaissance artists, unfortunately since lost. The work was immediately considered a fundamental example of Flemish painting, to the extent that it was long to exercise a substantial influence on Florentine painting of the late 1400s.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is the most famous of Filippo Lippi's sacred paintings, the one that was to act as a point of reference for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A ; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's early work. Painted some time between 1455 and 1466, it is a product of the artist's maturity that bears witness to the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Luca della Robbia{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=133; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Donatello {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . With great skill Lippi has established a relationship between the group in the foreground and the airy, pre-Leonardesque background landscape.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work is generally identified with the beautiful \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Jerome\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by Filippino that \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 mentions in his biography of the artist. According contemporary sources, in the second half of the 1600s, the painting was still to be seen in the church of the Badia Fiorentina, exactly where the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Coronation of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , one of Filippino's foremost works, is now located. The \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Jerome\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 dates back to an early period in the artist's life, when he was still deeply influenced by the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is responsible for the fact that this traditional \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Sacred Coversation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is called the Otto Altarpiece because he erroneously claimed that it belonged to the ancient law courts of the Otto di Pratica. To the contrary, it was really intended for the altar of the Council Room, now the Salone dei Duegento in Palazzo Vecchio, where it remained for a long time before being moved to the Uffizi toward the end of the eighteenth century. Its relationship to the Florentine institutions is certified by the presence of the four saints connected with the life of the city: Saint John the Baptist, Saint Victor, Saint Bernard of Chiaravalle and Saint Zenobius. Moreover, the banner of the Florentine people billows above the entire scene. The intricate architecture with its halting rhythms and profusion of classical decorative detail (candelabra, masks, shells) paved the way for Filippino Lippi's later developments.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted during the artist's youth, around 1477-1478, and was purchased by the Uffizi in the early 1900s. It is faithfully modeled on a tondo with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration of the Child\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept in Piacenza, which explains why it was initially attributed to a "friend of Sandro's."} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 According to the inscription on the back, this work was painted in 1496 for the monks of San Donato at Scopeto who wished to replace an unfinished painting of the same subject that they had commissioned \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 to paint fifteen years earlier. The circular construction of the figures surrounding the sacred group and the dynamism of the background certainly derive from Leonardo's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Adoration of the Magi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=95; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , but the wealth of references to Florentine and Flemish art of the period contribute to an overall impact that is distinctly eclectic. Since the monks belonged to the Augustinian order, there are also numerous references to Saint Augustine's writings. However, the main figures have traditionally been identified with certain exponents of the de' Medici branch of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Popolani{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G ; ObjectClass=Hot; rimando=187; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Dated /1470/, \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Fortitude\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is the first of Botticelli's dated works. Often mentioned by authors of the period, it belongs to a series of paintings of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Virtues\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , many of them executed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piero del Pollaiolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot =A; ObjectClass=Hot; rimando=26; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , that were commissioned by the Tribunale della Mercatanzia for the decoration of its headquarters. The figurative framework largely echoes that of the older artist, yet the painting as a whole is highly individual, a precocious revelation of Botticelli's great ability as an artist: skillful draftsmanship, inventive imagination, and a feeling for color. The fine sculptural figure recalls the work of Verrocchio, though the treatment of the face is distinctly reminiscent of the Saint Catherine in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint Ambrogio Altarpiece{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault ; tipoHot=O; ObjectClass=Hot; rimando=48; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Together with the small painting of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 The Discovery of the Body of Holofernes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=85; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work was part of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 given by Rodolfo Sirigatti to the Grand Duchess Bianca Cappello to decorate one of her rooms in Palazzo Pitti. It is generally dated around 1472. Despite the diptych's small size and the painter's extreme youth, the two paintings already reveal a remarkable ability to handle light in the interests of form. Moreover, in the painting of Judith the artist has achieved a splendidly effective relationship between the human and the landscape. In this case he adopts an essentially classical \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (in that the dynamism of the figure is emphasized by the movement of her dress) of the sort used by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Donatello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for the base of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint George{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=18; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Florence, Bargello Museum) and by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippo Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the figure of the maiden in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bartolini Tondo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=102; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Florence, Palatina Gallery).} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This goes with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 The Return of Judith from the Enemy Camp{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 to make up a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and shares with it a number of formal and structural features. The painting reveals great attention to detail, skill in the handling of light, and a predilection for a Pollaiolesque movement of line that attains particularly fine results in the naked figure in the foreground.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Along with two other panels portraying the Triumph of Mordecai and the Death of Queen Vasti now kept in storage at Uffizi, this painting was part of the decoration of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 chest{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=47; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and was bought by the Gallery at the end of the eighteenth century. Elegant in composition and decorative in impact, it would appear to belong to the last period of the artist's output, after the year 1490, when the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 mixed with that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico Ghirlandaio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=10; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work comes from Cardinal Leopoldo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's collection and was acquired by the Uffizi in 1861. Despite restoration carried out in the mid-1970s that removed thick layers of repainting that had long obscured the original, the authorship of the work is still uncertain. It was traditionally attributed to Lorenzo di Credi, a gifted pupil of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=31; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's; however, more recently it has been related to the manner of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippino Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=21; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the six \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Virtues\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by Piero Pollaiolo for the Audience Room in the Tribunale dell'Arte della Mercatanzia (the Court of the Traders' Guild) in the palace in Piazza della Signoria. Clearly the chosen subject and the public venue it was to decorate were closely related: the hall in question was where the special committee would meet to resolve disputes between traders. The \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Virtues\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 consist of a homogeneous \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 corpus\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 executed between 1469 and 1470 using the same basic structure with an enthroned female figure portrayed in \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from below. \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Charity\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was the first figure to be painted. On the back there is a drawing by the artist's brother \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=27; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Along with the portrayal of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Charity{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=88; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this second \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Virtue\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted by Piero Pollaiolo for the Audience Room in the Tribunale dell'Arte della Mercatanzia (the Court of the Traders' Guild) is one of the finest of the cycle. Indeed it has stimulated scholars to reflect on the extent to which the artist's brother \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonio del Pollaiolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=27; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 had a hand in the painting. The attitude of \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Temperance\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as she pours water from the jug is particularly elegant, while the rich brocade of her dress is rendered with great pictorial skill.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This elegant portrait of a woman was at first attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piero della Francesca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and later to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piero del Pollaiolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=26; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Since then restoration has led scholars to affirm that the work was actually painted by Antonio del Pollaiolo around 1475, when the artist's career was already well-established. The tense, dynamic use of line to define form also reveals an uneasy view of the reality, whereas the meticulous description of the noblewoman's gown and jewels clearly reflects Antonio's experience as a sculptor and goldsmith.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting comes from the Chapel of the Cardinal of Portugal in the Florentine church of San Miniato al Monte, where it has since been replaced with a copy. It was painted between 1467 and 1468 and is still surrounded by the original frame carved in \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giuliano da Maiano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=103; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's workshop. An elegant balustrade separates the landscape from the three Saints whose figures are set off by the geometrically patterned marble floor. The design of this composition is attributed to both brothers; its execution to Piero alone.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two minute paintings are replica of the three large works portraying the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Labors of Heracles\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that were probably commissioned by Piero de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and were painted by the brothers Antonio and Piero Pollaiolo. These earlier paintings have been lost, and we do not know exactly what brought about these replicas or precisely when Antonio painted them. Scholars generally date them around 1475. They illustrate Heracles's struggle with the giant Antaeus, who could only be beaten if he was lifted from the Earth and thus separated from Mother Earth, his mother, and his killing of the many headed Hydra of Argolis. This latter subject was particularly dear to the Florentine humanists, who saw in it a symbol of pride. However, it was equally stimulating for an artist interested in bodies in movement and the portrayal of vital energy. Antonio dealt with the subject of Heracles on a number of occasions, including the bronze statuette with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Heracles and Antaeus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=17; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that clearly derives from this painting now kept at the Bargello Museum in Florence.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 A portrait of Galeazzo Maria Sforza "painted ...by the hand of Piero del Pollaiuolo," is mentioned in the de' Medici inventory of 1492, where it was described as being in \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=131; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's bedroom on the ground floor of the palace in via Larga (now Palazzo Medici Riccardi), along with the three battle scenes painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Paolo Uccello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=17; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Profile portraits were usual at the time, in keeping with the tradition established for medallions. Pollaiolo himself had painted a number of portraits of this sort. Yet here he manages to capture his sitter's haughty attitude by portraying him turned toward the viewer. The sitter's attire with the fleurs de lis embroidered in gold alludes to the marriage of Galeazzo Maria to Bona of Savoy.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Annunciation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was painted between 1472 and 1475 for the Convent of San Bartolomeo at Monteoliveto, just outside Florence. Although it demonstrates to the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=31; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , in whose workshop Leonardo was trained, it is generally thought to be a totally autonomous early work. The elegance of the composition with skillful focus on detail together contribute to a concept of background landscape that was later to lead to the artist's inquiries in to nature.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Commissioned in 1480 for the main altar of the church of San Donato at Scopeto, this painting was left unfinished when Leonardo departed for Milan, and was never delivered to the monks who commissioned it either. They therefore turned to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippino Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=21; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with a similar commission. This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 marks an essential moment in Leonardo's artistic development and heralds certain elements of his later works.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting and the Madonna and Child at the Berlin Staatliche Museen are among the few works by Andrea Verrocchio which still exist. According to early sources later confirmed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Baptism\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was painted for the Florentine church of San Michele at San Salvi in collaboration with Leonardo, who was then Verrocchio's pupil. Recent X-rays have in fact revealed that the charming angel on the left and the hazy background landscape were painted by another hand, but experts now tend to identify this with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo di Credi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=25; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 or \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Baptism\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is typically Florentine in its construction and sculptural vigor. It shows Verrocchio's style as a mixture of graphic precision and clarity with softer chiaroscuro effects involving both the figures and the landscape.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted around 1505 for the Tedaldi Chapel at the church of the Santissima Annunziata in Florence; the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot= G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 has been lost. The \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Incarnation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 reflects the artist's quirky, restless personality and his interest in both the fantastic and the realistic. With two groups of saints on either side, the center of the scene is occupied by the Virgin illuminated by the light of the Holy Spirit, her throne raised on a marble plinth featuring the Annunciation bas-relief.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Some historians date this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=31; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's favorite pupil at the very beginning of the 1500s, others around 1510. Much acclaimed until the nineteenth century, it was commissioned by the merchant Jacopo Bongianni, a follower of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Savonarola{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=201; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's who probably features in the painting, for the church of Santa Chiara. It bears witness to the period in which Lorenzo di Credi's work reflected that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Bartolomeo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rapha{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=e86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a fairly late painting executed for the Florentine Convent of Annalena between 1502 and 1505. The highly personal interpretation of the subject demonstrates Luca Signorelli's great inventive ability. The imposing figure of Christ dominates the unreal landscape from above. On the left there are archeological ruins (including an imaginative echo of Castel Sant'Angelo), and on the right, a pyramid of bodies intent on removing Christ from the Cross. In the center of the flowery meadow in the foreground, illustrating distinctly northern influence, there is a skull with a lizard.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The date generally accepted for this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child with Saints\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is stated on the base of the throne /1493/, though some experts have related the work to the year 1488, and hence to the foundation of the Martini Chapel at San Domenico in Fiesole for which the painting was executed. It bears witness to Perugino's particular gifts in handling wide, luminous landscapes and portraying his sacred subjects with quiet elegance and composure. However, it also shows how the artist tended to paint faces that became stereotypes of conventional religious expression.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Along with the more famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piet {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=102; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 also showing in this room, the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Christ in the Garden\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was painted for the friars of the church of San Giusto in Florence. It is generally dated around 1495-1496, just before the commission to paint the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 frescoes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the Collegio del Cambio in Perugia. In fact, this painting heralds a number of the formal and decorative solutions used in the later work. The bewitching light of dust swathes a composition that is both elegant and well-balanced.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In his life of Pietro Perugino, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 describes this work in accurate detail, saying that it was to be found in the church of San Giusto degli Ingesuati (demolished for defense reasons just before the siege of Florence in 1530) along with the painting of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Christ in the Garden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=101; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by the same artist and a Crucifix by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Benedetto da Maiano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=23; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The Piet was painted toward 1493-1494, a particularly fruitful period for an artist who, like many of his fellows, was touched by the intense spirituality of the sphere of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Savonarola{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=201; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The sacred group is rendered in highly sculptural terms and placed in the foreground, surrounded by an atmosphere of sharp but measured grief that emphasizes the superb figure of Christ in rigor mortis. Artists of the time often used classical buildings to separate those figures directly involved in the sacred drama from the background landscape. In this case, both architecture and landscape are bathed in transparent, almost metaphysical light. The old man with a beard is Joseph of Arimathea, while the younger man is probably Nicodemus.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was almost certainly painted by Van der Weyden when he visited Italy for the Jubilee of 1450. However, it did not join the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 collections until the eighteenth century. The picture bears eloquent witness to the relationship between Italian and northern painting that characterized the Quattrocento due to the presence in Italy of foreign artists and works. In fact, this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Deposition\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was clearly influenced the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piet {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=F; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Angelico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=13; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now kept at the Alte Pinakothek in Munich but once part of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Mark Altarpiece\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, the atmosphere is far from Fra Angelico's quiet aura of meditation, as the northern artist followed his own local traditions in focusing on grief and piety and in describing the landscape in minute detail.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These three archangels appear to have been painted in the early 1460s, when Botticini was very close to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in his work. The general composition seems to derive from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonio del Pollaiolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=27; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's painting of \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Tobias and the Angel\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now kept at the Galleria Sabauda in Turin, whereas the dreamy faces of the archangels recall Botticelli's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Return of Judith{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The overall idiom of the painting is eclectic in the way it embodies elements of the work of many of the principal Florentine and Flemish artists of the time.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Duke Alessandro de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 commissioned this work as a pair for the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=106; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It was painted in 1534, over forty years after the death of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo the Magnificent{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=131; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , yet it clearly reveals the qualities that made Vasari the favorite artist of the de' Medici court.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1519, this posthumous portrait was commissioned by Goro Gheri, secretary to Lorenzo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , Duke of Urbino. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 echoes that of the fifteenth century medallions. In the scroll, on the olive branch and on the back of the stone seat there are inscriptions which allude to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and his family tree.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 claims that this painting, also known as a portrayal of Charity, was owned by a mason who received it from Pontormo in payment for work he had done at the artist's house. Dated between 1527 and 1535, the turn of the Madonna's body is reminiscent of Michelangelo's figures in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Doni Tondo {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the Medici Chapels, in particular the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from the New Sacristy, especially in light of the leg position of Madonna and Child.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1543 and 1545, when the artist was working in Florence on the frescoes for the Audience Room at Palazzo Vecchio, this work reveals the pyramidal structure of figures and the spiraling movement that were typical of Salviati's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . During his stay in Rome, he had explicitly studied the work of Raphael86 and classical sculpture.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Bartolomeo Panciatichi was the Florentine Ambassador to France. His portrait and that of his wife Lucrezia Pucci are masterpieces of their genre. Painted by Bronzino toward 1540, they remained in the family palace for a long time before joining the grand-ducal collections at the Uffizi.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Experts have long disagreed over the authorship of this painting of the young John the Baptist, though many tended to attribute it to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giulio Romano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=43; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who had been a pupil of Raphael's. It was probably painted between 1518 and 1520 for Cardinal Colonna and joined the grand-ducal collection some time later. However, the gentle play of light on the saint's complexion and the Leonardesque attention paid to the dark background landscape have led recent art historians to identify it as the work of the master from Urbino.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Madonna and Child with the young Saint John was probably painted for a chapel in the church of San Pier Maggiore in Florence around 1517-1518. Like many of Franciabigio's works, the arrangement of the figures and the delicate landscape attest to the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , to whom the painting was initially attributed.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although it was long considered an autonomous work, it is now believed that this small painting once belonged to a large composition, possibly an altarpiece. In fact, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 infra-red photography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=112; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 has revealed other objects beneath the dark background. Painted around 1522, it has been on display in the Uffizi Tribuna since 1605.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1545-1546, this portrait of the Duchess Eleonora of Toledo, wife of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , with her son Giovanni is one of the artist's most famous works in this genre. It was probably intended to decorate the ducal apartments in Palazzo Vecchio, from where it was transferred to Villa della Petraia, and finally to the Uffizi Tribuna in 1798.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait of Giovanni de' Medici as a child, dressed in red and with a bird in his hand, was executed in 1545. For a long time the sitter was thought to be Giovanni's brother, Don Garcia. The extreme youth of the princeling, who would have been about two, inspired Bronzino to paint a lively, almost playful portrait that is a far cry from the cold officialdom of the other family portraits.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This little girl wearing a medallion with a likeness of her father round her neck was born in 1537 out of a relationship that \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 had before marrying Eleonora of Toledo. The portrait itself is usually dated around 1542, the year of the child's death.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1545, when \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo I de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was about 25 years old, this painting from the Tribuna is the prototype of numerous copies, some of them by Bronzino himself. With a tent as a backdrop Cosimo is portrayed wearing his richly decorated gleaming official armor, his hand resting on the helmet. By the time this portrait was painted Cosimo had shown ample proof of his ability as a soldier, having beaten Filippo Strozzi's rebels in the battle of Montemurlo.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Along with those of her brothers Francesco and Garcia, this portrait of Maria de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 belongs to the series that Bronzino reported just completed in a letter written in 1551, from Pisa, where he had gone in the Duke's retinue. Though still a girl, Maria is dressed in a woman's gown with a little crown and a precious pearl necklace and earrings.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 When it was transferred to the Uffizi during the nineteenth century, this painting of a boy holding a letter was recorded in the inventory as a Portrait of Ferdinando I de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by Bronzino. In actuality it is a portrait of Ferdinando's brother, Francesco, that was probably painted in 1551, when the future Grand Duke was about eleven years old.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small fresco portrait of Bianca Cappello, the lover and then second wife of Francesco de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , was painted around 1580 in a small church of the Mugello. From here, it was transferred to the villa at Poggio a Caiano and later to Palazzo Pitti. It became part of the Uffizi collections in 1948. A controversial figure who inspired many works of nineteenth century Romantic literature, the Venetian Bianca Cappello never managed to provide Francesco with an heir. She and her husband died in 1587 of malarial fever.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted toward the end of the artist's career, between 1528 and 1529, this picture was featured in the Uffizi Tribuna in 1589 as the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The beguiling young woman's identity is unknown, though she was once thought to be Andrea's step-daughter. She is pointing to a page of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Canzoniere\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Francesco Petrarca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=176; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted for the church of San Pietro at Volterra in 1557, this work became part of the Uffizi collections in 1782. Daniele da Volterra, who was specialized in biblical scenes, had already painted a similar subject in similar terms for the church of Trinit dei Monti in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The sitter's gently luminous complexion clearly speaks for the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the work of Ridolfo del Ghirlandaio. The painting was executed between 1517 and 1520 but was later subject to additions at the sides and top. It became part of the Uffizi collection in 1853.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In the course of time this small painting has been attributed to different artists, including \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass= Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Puligo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=85; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as well as Pontormo. Both the subject and the sweeping background landscape indicate a certain influence of Leonardo. The painting already featured in the Uffizi Tribuna in 1589.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Madonna, lovingly bent over her Child, was painted in the early 1530s and was moved numerous times before reaching the Uffizi in 1793. The influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who was his master, is especially evident in the face of the Madonna, which much resembles that of the famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fornarina{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=92; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Rome, National Gallery) on which Giulio Romano himself may well have collaborated.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Most art historians tend to attribute this work to Lorenzo Costa. It was executed in the early 1490s and was purchased by the Uffizi from the aristocratic Canonici family of Ferrara in 1906. The painting recalls a period in which the artist was influenced by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ercole de' Roberti{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=70; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The inscription on the letter held by the sitter in this portrait has made it possible to establish his identity. Painted in the very early 1500s, the portrait illustrates a fortunate moment in the career of an artist who has started out as a goldsmith and was soon considered a master. Although the main point of reference is clearly contemporary Tuscan painting, the work also reveals points of contact with \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=29; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the treatment of landscape and the gentleness of the flesh tones.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Genga painted this picture at the beginning of the 1500s, during the early period in which he was still considerably influenced by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Luca Signorelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=30; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , for whom he had worked on various projects in Tuscany, Umbria and the Marches. In fact, this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Martyrdom\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 appears to be inspired by a painting of a similar subject executed by his master and kept at Citt di Castello.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is generally thought to have been the top section of the altarpiece with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Mystical Marriage of Saint Catherine\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now at the National Gallery in London, painted around 1491 for the church of Sainta Lucia at Fabriano. In fact, the two share similar sizes and stylistic features. This painting also recalls contemporary painting in the Marches region, especially that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Carlo Crivelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=41; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Alunno{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=163; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is generally dated around the mid-1480s, when \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was working on the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 The Birth of Venus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=69; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Like this latter painting, the Venus may have been commissioned by the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medicis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , since it was found under the stairs at the family villa at Cafaggiolo. It originated in the artist's early period, when he was often at \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea Verrocchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=31; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's workshop.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is unquestionably one of Lorenzo di Credi's masterpieces. It was conceived between 1480 and 1485 and shows the persistent influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Sandro Botticelli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=11; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pietro Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=29; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The gentleness of the faces and the delicate transparency of the landscape are rendered with the customary glazed color, and the compositional framework is traditional. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 features The Creation of Eve, Original Sin and the Expulsion from Paradise.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is also known as the "Guelf side Tondo" because it was executed toward the end of the 1400s for the captains of the Florentine magistracy. Although the artist addressed this subject on various occasions, this version of it stands out for its strength of expression and artistic quality. The latent energy expressed by the three figures is enhanced by the way Signorelli seems to transcend the limits of the frame. Moreover, his interest in natural detail produces splendid effect with the bending head of Saint Joseph and the open book at the Virgin's feet.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Executed in the early 1490s, this painting belongs to a period of intense activity in which Luca Signorelli was profoundly influenced by the cultural environment of the de' Medicis. According to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the artist actually donated the work to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo the Magnificent{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=131; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , his friend and patron, which would indeed explain the number of cultural references dear to the Lords of Florence. For the naked figures of the young athletes in the background (allegorical representations of ascetic virtues, perhaps), Signorelli explicitly refers to the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stories of the Adamites\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Legend of the True Cross{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=338; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piero della Francesca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . There are also references to Flemish painting in the monochrome figures of John the Baptist and the Prophets in the upper part of the picture and to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's achievements in the use of chiaroscuro.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Due to an inscription on the back of this painting, we are able to identify the sitter: a carver of gem-stones holding a scroll bearing the moral precept of "Timete Deum." It is an interesting work for Perugino, who mainly painted religious subjects. The gentleman is portrayed against a background landscape that probably derives from Umbrian reality but certainly owes quite a lot to the influence of Flemish painting as well.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Art historians have not managed to identify the handsome young sitter of this portrait. Moreover, the fact that it once belonged to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Grand-ducal Wardrobe{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=110; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and reached the Uffizi in fairly poor condition has also created problems of attribution. Most experts believe it was painted by Perugino in the 1490s.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The two figures portrayed here are identified in the inscriptions in gold lettering. One is Biagio Milanesi, who was General of the Order of Vallombrosa; the other, the monk Baldassarre, who was the Auditor and Procurator of the Vallombrosa Convent, where the two portraits came from. They were part of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of an altarpiece featuring the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Assumption\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Florence, Accademia), signed and dated /1500/, on which \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 himself may have collaborated.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The painter has signed his name on the foot of the Cross in this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Crucifixion\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from the church of San Bartolomeo at Monteoliveto. Thought to have been painted between 1500 and 1510, it confirms the stylistic influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Bellini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=59; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and of Umbrian painting on the work of Palmezzano.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is all that remains at the Uffizi of a series of paintings with \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Stories of Prometheus\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , commissioned by Filippo Strozzi some time between 1513 and 1515 to decorate a room in his palace. Scholars now tend to interpret the work as a reference to the return to power of the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medicis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (1512) after the republican interlude, allegorically represented in the budding shoot that grows out of the sawn trunk in the center of the painting. Filippo Strozzi was related to the de' Medici family, which accounts for the numerous references to them in the various figures portrayed. There is a self-portrait of the painter in the older man who turns toward the spectator on the right. Clearly the mythological subject matter was highly congenial to this most individual of artists. With his taste for the fantastic and his narrative skill, he produced works that embodied both fifteenth century frameworks and idioms, and solutions and atmospheres that are almost \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in approach.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These nine frescoes were taken down from the loggia at Villa Carducci at Legnaia, near Florence, in 1847. Painted around 1450 by Andrea del Castagno, the cycle also comprised a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 flanked by the figures of Adam and Eve, fragments of which are still to be found in situ. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconographic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 source of the cycle would appear to be the medieval tradition of portraying famous men to create an example for good moral and civic conduct. Thus there are portrayals of three women of antiquity, originally set in a false niche: Esther, Queen of Persia; Tomiris, Queen of the Shiites; and the Cumaean Sibyl. There are also six men who left their mark on Florentine history and culture: the three condottieri Pippo Spano, Niccol Acciaiuoli and Farinata degli Uberti; and the three poets Dante, Petrarch and Boccaccio. The elegant poses and severe expressions of these characters recall the tangible solidity of the figures painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Masaccio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=15; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Piero della Francesca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Andrea del Castagno thus proves himself to be a master of Renaissance \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 rhetoric\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Lucas Cranach the Elder's painting of profane subjects often include naked bodies against a dark background. An example is the Uffizi \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 featuring Adam and Eve, signed and dated /1528/. Unlike \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 who had focused on the beauty and harmony of the human body in addressing this subject, Cranach's version of the same subject relies on sinuous line to create a more sensually allusive effect.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Cranach was a personal friend of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Luther{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=141; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's, sharing his religious convictions. He thus had the chance to paint various likenesses of him. Here, the great reformer is portrayed with his wife, Caterina Bora. Painted in 1529, this work reveals the artist's ability in capturing the sitter's psychology and is a splendid example of the northern figurative idiom that so inspired Florentine artistic circles in the early 1500s.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Cranach was the court painter at Wittenberg during the Electorate of these two princes, with both of whom he established a lasting friendship that was further consolidated by their common support for Lutheran doctrine. These two small portraits are dated 1533 and bear the mark used on all the products from the artist's prolific workshop.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Executed in 1543, these are two workshop replicas of earlier portraits by this master, one of which is now kept at the Gem ldegalerie in Dresden. Filippo Melantone was one of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Luther{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=141; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's close collaborators who helped spread his teachings. Both men established friendships with Cranach.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait was given to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Grand Duke Cosimo III by Augustus The Strong, Elector of Saxony. It is dated /1510/ and bears the characteristic winged serpent monogram of the workshop. However, certain stylistic features have led experts to attribute it to Cranach the Younger.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These are splendid copies of the two figures painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1507, now kept at t he Prado. They probably represented homage to the master on the part of his favorite pupil. As in the original version, the gentle harmony of the two life-size figures is enhanced by use of light to soften their contours and accentuate their sculptural reality. The introduction of animals of symbolic significance is a variant that was also pursued by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault ; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 himself in an engraving of the same subject.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Ferdinand of Castille was the Emperor \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Charles V{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=44; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's brother. Aged 21 at the time of the portrait, as revealed by the inscription at the top, when his brother abdicated, he succeeded him in office. The artist, who specialized in portraits of the imperial family, has provided us with a clear, life-like picture of his sitter without succumbing to formality.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The strangely placed inscription on the horse's tail proves that this small picture was painted in 1520. It is based on a wood-cut of the same subject by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Wolf Huber{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=225; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , one of the foremost exponents of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Danube School{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=206; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with which Lemberger was in contact. In fact the sensitive, fantastic portrayal of landscape and the freely decorative description of the human figure clearly owe much to this artistic circle.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was painted around 1511-1514, just before the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Episodes from the Lives of Saints Peter and Paul{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=148; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 also kept in this room. The arrangement of the figures around the Cross, their quiet grief, and the background landscape all reveal familiarity with Italian Renaissance art, particularly that of the Venetian area, through the mediation of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These panels were originally part of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 executed in Cracow, where the artist painted two important altarpieces in the church of Saint Mary. They are lively scenes humming with highly expressive characters and an aura of urgency that recalls the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht Altdorfer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Danube School{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=206; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The inscription on the stone in the lower left-hand corner reveals that this is a copy of a composition executed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1505. The copy was painted in 1604 and given to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mary Magdalene of Austria{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=148; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by her mother on the occasion of her marriage to Cosimo II de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1608. With his love of complex, sacred or allegorical compositions, the painter clearly found the subject matter to his liking, handling it with remarkable creativity and color.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is part of a series known as the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Green Passion\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 cycle, executed between 1503 and 1505 and now kept at the Albertina in Vienna. Signed and dated /1505/, the interesting monochrome painting demonstrates the remarkable draftsmanship that already elicited admiration among D rer's contemporaries.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is D rer's earliest painting on wood. It was executed in 1490, just before the nineteen year-old artist's departure on a study tour that lasted four years. Using a warm, dark palette, he portrays his father as a devout man intent on counting the rosary held between strong hands. The work reveals resolute and original artistic qualities and complete familiarity with Flemish art.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The two fine heads of the Apostles both bear the artist's monogram /AD/ and the date /1516/. They may have belonged to a series of Apostles' heads that was never actually completed. They reached Florence in 1620 as a gift from Emperor \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ferdinand II{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=77; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 to the Grand Duke of Tuscany. D rer painted them at the height of his maturity, focusing on detail and sculptural impact, managing to imbue his individual descriptions with a religious dimension.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted in 1504 for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Frederick the Wise{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=75; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work was kept in the church at Wittenberg Castle until 1795, when it was taken to Florence as part of an exchange with a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Presentation at the Temple\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Bartolomeo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The splendid colors and the coherent use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 indicate the influence of Italian painting, which D rer had studied during his first stay in Venice.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted toward the end of the artist's life, when literary interests had practically superseded artistic ones, this work is nevertheless a magnificent product of D rer's lasting interesting in the human side of his subject matter. The delicately painted female figure has been given the features of a girl whom the artist met in Antwerp.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The identity of the young man portrayed here is unknown, though it has been suggested, without further evidence, that it could be a self-portrait. The inscription /Johannes Bellinus/ on the parapet is spurious, but there is no doubt that he actually painted the portrait, possibly between the end of the 1400s and the beginning of the 1500s. Once again, he has opted for the three-quarters figure.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Previously kept at the Imperial Gallery in Vienna, Bellini's enigmatic work reached Florence at the end of the 1700s. Its complex \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 has been the object of protracted debate, as has its date of execution. Although some scholars have suggested it could be as early as the late 1470s, most agree that the very end of the century is more probable. This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Allegory\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is one of the Venetian master's most admired creations. \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Degas{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=58; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 found it so fascinating that he painted a copy of it in the mid-nineteenth century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted in the 1490s, this picture was given to the Grand Duke of Tuscany \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ferdinando III{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=78; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by Doge Alvise Mocenigo. Giovanni Bellini addressed this subject matter on several occasions, and to great acclaim, but in this case adopted an extremely unusual chiaroscuro technique. Moreover, in contrast to most of his works, he also opted for a crowded scene, one that would allow him to portray the choral grief of the devout bystanders. There is a preparatory study for the splendid head of a man wearing a turban on the left, kept in the Drawings and Prints Cabinet at the Uffizi.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a fragment of a much larger work that must have portrayed the Discovery of the True Cross. Although it is not mentioned in any of the early sources, stylistic analogies with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Martyrdom of Saint Ursula{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now kept at the Accademia Gallery in Venice, would suggest that it was painted in the early 1490s.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two paintings, of similar size and provenance, were recovered from Germany by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . They were originally intended to decorate the shutters of an organ. However, we do not know precisely what the two figures mean, although they are usually thought to be classical allegorical figures. Most scholars attribute the two panels to Carpaccio, though others have argued that they could be the work of artists from the Ferrara area.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1465, this work was almost certainly part of one of Bartolomeo Vivarini's more ambitious projects, perhaps one of the large \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptychs{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that his workshop painted for Venetian churches. The portrayal of the bishop saint shows the artist's modern interest in the sculptural reality of the human figure, though his insistence on decorative effects and the exquisite nature of the painting also reveal his fondness for the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 late-gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 idiom.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Typically Venetian in its composition, this painting was executed in the early 1500s and was purchased by the Uffizi during the last century. The green drape that covers the luminous landscape, the classical purity of the Virgin's face, and the clear colors are all devoted tributes to the painting of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Bellini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=59; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the part of Cima da Conegliano, one of the city's foremost painters of religious subjects.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work probably dates back to the first decade of the 1500s. Restoration carried out in 1990 has brought to light superb pictorial and compositional qualities as well as some admirable effects of light shining on armor. In view of the lack of documentary evidence, however, the painting can only be tentatively attributed to Giorgione.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two small paintings date back to the beginning of the 1500s. In the narration of the biblical episodes, the space assigned to landscape is totally separate from that of the figures, which are kept small in size, in keeping with the Venetian and Ferrarese tradition. Clearly the artist is interested in portraying nature, and the somewhat northern touches might suggest that he was inspired by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Yet the painting as a whole is enveloped in a warm, typically Italian light that unites the figures, the architecture and the landscape. The folds of the garments in the painting of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Judgment of Solomon \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the second of the two to be executed, reveal the hand of an unknown collaborator.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 to which this fine Saint Dominic by Cosm Tura belongs cannot be identified for certain. Executed around 1474, the painting reveals some superb draftsmanship and an effective combination of psychological insight and carefully observed physical reality, rendered by means of the artist's skillful use of glazed colors.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Trained within the Ferrara sphere and later drawn to the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Francia{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=47; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=29; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the artist executed this typically eclectic work in his maturity, at the very end of the Quattrocento. The sitter portrayed with such psychological intensity could be a member of the Bolognese \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bentivoglio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=25; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 family, for whom Lorenzo Costa worked with considerable success.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These scenes are part of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 polyptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted around 1520 for the church of Saint Florian in Linz (Austria). The original composition is now divided between Florence, Nuremberg, Prague and a private collection in Berlin. The overall idiom embodies the didactic simplicity of much folk art in the way the saint's life is illustrated. However, the descriptions of typically Austrian landscape are remarkably expressive in their portrayal of nature. The artist has used his characteristic palette of splendid bright colors.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted in 1536, this portrait demonstrates the skill that Holbein acquired in this genre while working at the court of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Henry VIII{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=68; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in England. The work reached Florence in 1621 as gift to Cosimo II de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the part of Lord Arundel. The artist was particularly fond of the subdued, almost metallic shades of color that he used so clearly to capture the sovereign's dignity and inner strength.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting and the portrait of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Sir Richard Southwell{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=167; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 show Holbein's success with this genre of painting, though in fact, it is probably the product of the artist's workshop, painted between 1530 and 1540. There are also doubts concerning the sitter, traditionally identified as \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Sir Thomas More{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=216; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the humanist scholar and statesman who introduced Holbein to English intellectual circles.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two portraits are both the work of a Flemish painter who was a follower of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hans Memling{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=70; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . They became part of the Uffizi collections separately and were only reunited in 1896. Later still, they were recognized as probably being the wings of a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 diptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with a monochrome \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Annunciation \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the back. The work may have been painted in 1489 for Pierantonio Baroncelli's marriage to Maria Bonciani. Baroncelli, whose family crest features on the window behind him, was the representative of the de' Medici bank in Bruges before the bankruptcy of Tommaso Portinari.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The authorship of this early sixteenth century painting has long been a subject of debate among scholars, who have attributed it to a wide range of German and Flemish artists. The most probable is the Master of Hoogstraeten, who painted a stylistically similar work now kept in Vienna. He was influenced by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hans Memling{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=70; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 G rard David{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=69; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and specialized in elegantly detailed compositions in which the figures have somewhat unreal faces. } {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although the unusual use of tempera on canvas has made classification more arduous, this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is generally thought to be an early work. The composition is evidently influenced by the Flemish masters, particularly \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hugo Van der Goes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Dirck Bouts{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=62; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Yet the painter reveals his own individual style in his warm, enveloping use of color, somewhat reminiscent of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and in the firm portrayal of human figures with their lively expressions and attitudes.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These were almost certainly once the wings of a small \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted for Portinari in 1487 which featured a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the center, now kept at the Gem ldegalerie in Berlin. The two panels came from the church of the hospital of Santa Maria Nuova, where there were once other works by the Flemish school, including the famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portinari Triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=77; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hugo Van der Goes{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=12; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In fact, Italian art patrons, especially the Florentines and the Venetians, were particularly interested in Memling's work .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 We do not know exactly when this portrait of a young man was painted. At the Uffizi, it was initially attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonello da Messina{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=10; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on the grounds that it seemed to be a variation of the genre for which he was renowned. In itself, the attribution is interesting, in that it speaks for the process of osmosis between Italian and Flemish painting that developed during the second half of the 1400s. The airy background landscape that brings Perugino to mind reveals a parallel between this painting and the other splendid \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of an Unknown Man{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=174; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , also kept in this room.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the other \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of an Unknown Man{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=173; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the same room, this painting was also once attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonello da Messina{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=10; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 due to the pictorial proximity between the Flemish and Italian schools during the Quattrocento. When it belonged to the Corsini Collection, it was confiscated by the Germans, and later brought back from Germany along with many other Uffizi masterpieces by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The identity of the sitter is unknown, though it may well have been a member of the substantial Florentine colony living at the time in Bruges. The luminous background landscape is a far cry from the somber tones that Memling favored in his early output, thus suggesting that this painting is among his later works.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Memling often received commissions from the Church, which accounts for the frequency with which he addressed the Madonna and Child theme. Painted around 1480, this composition is one of the artist's finest works. It combines a number of motifs that derived from two of the foremost masters of Flemish painting: \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rogier Van der Weyden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=33; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jan van Eyck{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=118; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, Memling manages to avoid both the deliberate pathos of the former and the excessive realism of the latter by creating a joyful, sacred scene, in which the refinement of the architectural element is counterbalanced by the splendidly colored robes worn by the figures.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Pencz was not only a skillful engraver in the tradition established by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 but also a good painter who made a name for himself within the German school as a portraitist. This portrait of a young man painted in 1544 reveals a certain Italian influence. } {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Dutch master specialized in religious subjects full of pathos such as the Mourning and the Crucifixion. Highly emphatic in its expression of grief, this painting was executed toward the end of the 1400s and in its composition recalls the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rogier Van der Weyden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=33; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The unattractive female faces are typical of this artist's work, in which muted colors are also a characteristic feature.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1520 and 1527, these two small paintings by Van Cl ve follow in the wake of the great Flemish portrait tradition. the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Portrait of an Unknown Man\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was long believed to be a self-portrait by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Quentin Metsys{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=191; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The sitters are both portrayed half-length in the manner favored by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hans Memling{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=70; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , through whom it also became popular in Italy. The artist has captured the ease and dignity that surrounded the wealthy bourgeoisie of the period.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This early work by Correggio was painted around 1510-1515. It was long attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on account of its somewhat Venetian quiet luminosity. The intensity of the Virgin's expression and the simplicity of her gesture herald the gentle Madonnas which were later to bring him such acclaim. It is interesting the way the angel making music on the left echoes the main figure, a sort of sculptural \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 rhyme\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 within the picture. The use of fluffy clouds to surround the composition was a device much favored by Correggio in his later works.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Saint Francis was added to the figures who are usually portrayed in this subject because the picture, painted around 1517, was done for the church of San Francesco at Correggio. The physical attitudes and the way the brush strokes of light stand out against the dark background are reminiscent of early Tuscan \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , particularly that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico Beccafumi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=63; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . There is great strength in the figure of saint Joseph offering dates to the Child.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1524 and 1526, this famous picture is the product of a period of great balance and creativity in the artist's development. In 1617 it was given to Cosimo II de' Medici by the Duke of Mantua, Ferdinando Gonzaga. The mother and child theme was a subject that the artist had addressed with excellent results on various occasions. The scene is simple in construction, comprising an abandoned farmhouse, ruined steps covered with weeds and, by way of a monumental contrast, an imposing classical column. The Virgin is in a world of her own as she gazes at the Christ Child gently wrapped in a portion of her mantle. The atmosphere of this perfect and deeply moving scene clearly owes much to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{ \b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whereas the purity of the composition derives from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait was painted in the 1520s. Alessandro Araldi, who was active in Parma at the turn of the fifteenth century, is often mentioned alongside \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Correggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in reference to the decoration of the Camera di San Paolo.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1516 and 1518, this is considered to be one of Boccaccino's foremost works. The use of bright glazed colors shows his familiarity with the paintings of Venetian masters such as \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bellini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=59; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whereas the slightly stiff composure of the figure emerging from the dark background recalls certain portraits by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The atmosphere of this painting clearly reveals that Boltraffio was a pupil of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's. It was painted in the very early 1500s and recalls the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Virgin of the Rocks{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F ; ObjectClass=Hot; rimando=121; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now at the Louvre, in its handling of landscape, its warm impasto of colors and the enigmatic face of the young man.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1527 and 1531, this picture bears witness to the vitality of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's influence in Lombardy. In particular the face of the biblical queen, her eyes lowered and a doleful smile on her lips, is bound to recall certain of Leonardo's figures with which Luini would also have been familiar (especially if he really did once own the Saint Anne cartoon, now kept in London). The potential drama of the work is deliberately curbed by its Raphaelesque sense of composure.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Manieri painted various versions of this subject, this product of his latter years being the last of them. The painting is full of the pathos typical of Lombard and Ferrarese art of the time. In fact it was through works of this sort that Manieri made a particular name for himself among the devotional artists working at the court of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ercole I d'Este{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando= 71; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These three paintings have been arbitrarily united in a nineteenth century frame. They may have been part of the decoration of a chapel in the Ducal Palace in Mantua, in which case they would have been especially executed in 1464 along with another small painting of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Death of the Virgin{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=220; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now at the Prado. However, this hypothesis is rejected by those who argue that the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 triptych{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185 ; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is a later work (1467) that was painted while Mantegna was in Tuscany and was absorbed into the Uffizi along with the rest of the Antonio de' Medici collection. Similar in their liveliness and focus on detail, the scenes all speak for the artist's skill as a draftsman and refinement as a colorist. In particular the right-hand painting with the scene of the Circumcision reveals Mantegna's great respect for the early figurative tradition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Scholars tend to disagree over the date of this work. Some suggest it was painted in the mid-1460s, whereas others accept \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's account that it was a product of Mantegna's stay in Rome some time in the 1480s. The problem is partly due to the pictorial idiom, which embraces both northern-style \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 gothic{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=108; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 elements and a typically Renaissance sense of calm and solemnity. Instead of the classical monuments and ruins that feature in many of Mantegna's landscapes, this painting favors scenes of everyday life. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is extremely symbolic; an allegorical meditation on Redemption. In the shady landscape on the right there are some stone-masons carving the symbols of the Passion, Christ's sepulcher and column; and on the left, bathed in light, there are shepherds leading their flocks through the peaceful flaxen fields that are visible beyond the city.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of Mantegna's finest portraits. It was painted around the mid-1460s, at the height of the artist's activity. The sitter was long held to be Carlo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The severity expressed by the determined features and clear, almost frosty glance are somewhat mitigated by the bright color of the cloak. Restoration carried out in 1991 has brought the splendor and subtlety of this painting back to life.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The date /1503/ appears on the candlesticks of the two pillars in this painting executed for the chapel of the Congregation of Saint Martin in Florence, dedicated in 1517 to Saint Elizabeth. The monumental nature of the work clearly speaks for the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Bartolomeo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=83; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whom many experts believe to have been the author of the preparatory drawing. The most interesting feature of the painting is the warm impasto of colors and the luminosity they manage to express.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two panels were painted by Francesco Granacci around 1515-1516 as part of the pictorial decorations for Francesco Borgherini and Margherita Acciaiuoli's wedding chamber. Three other important Florentine artists collaborated on the project: \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bacchiacca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=87; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Only these two elements of the work belong to the Gallery, the others having been split up among various Italian and foreign museums. The two Uffizi paintings reflect a sense of sweeping spaciousness and an awareness of certain stylistic aspects of the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Baccio d'Agnolo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=18; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , one of the foremost Florentine architects of the time.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Madonna and Child\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is attributed Berruguete's last Italian period. While its composition echoes that of certain early Renaissance paintings and the overall subject recalls a similar painting by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bachiacca{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=87; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , now kept at the Baltimore Museum, the derivation of both works can clearly be traced back to Michelangelo. {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work belongs to the period in which Berruguete spent time in Rome and Florence; indeed, it may well have been painted in Florence between 1512 and 1516. It heralds a manner that was later to characterize Spanish painting: the great Castilian \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 retablos{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=193; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with their inclusion of landscape and their elongated faces.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Bernardo del Bianco commissioned Fra Bartolomeo to paint this work as a decoration for his chapel at the Badia Fiorentina, whence it was later transferred to the Grand Duke's collections. The painting marks an important moment in the artist's life. Despite the negative effects of early restoration, it also bears eloquent witness to the evolution of Florentine painting at the dawn of the new century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 claims that Fra Bartolomeo was commissioned to paint these charming little monochrome works by Piero del Pugliese as a surrounding for a Madonna by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Donatello{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of which no trace remains. On the back there are polychrome paintings of the Nativity and the Circumcision. They belong to the artist's early output and clearly speak for the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is the only painting on wood with its ornate original frame that can certainly be attributed to Michelangelo. Although it has traditionally been referred to Agnolo Doni's marriage to Maddalena Strozzi in 1504, scholars have recently suggested that it was in fact painted to celebrate the birth of their first child. Thus the date of the painting has been brought forward to between 1506 and 1508. The composition revolves around the twist of the Virgin's body as she turns to take the Child from Saint Joseph. Both this spiraling movement in the center and the richly shimmering palette of colors represent substantial innovations. The \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Doni Tondo\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 thus played an important role in the future evolution of painting, preparing the way for the development of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1514 and 1518, this work is still the subject of debate as far as attribution is concerned. It has traditionally been considered the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and as such was long displayed by the Gallery. However, more recently experts have come to the conclusion that it was painted by Andrea del Sarto, who was Pontormo's master. The woman's hairstyle recalls the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whose influence on the Florentine painters of this generation was considerable. Mystery still surrounds the sitter, who was clearly wealthy. She could have been the wife of one of the rich merchants whose financial well-being derived from weaving or the cloth trade.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 so admired this artist that he described him as "without error." The Madonna of the Harpies, one of his most famous works, was painted in 1517 for the Florentine Monastery of San Francesco de' Macci and was added to the Grand Ducal collections by Grand Prince Ferdinando de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who so longed to own it that he not only had a copy made but also paid for the restoration of the church where it was to be kept. The strange name of the picture derives from the monstrous figures on the base supporting the Virgin Mary. In fact, rather than being harpies, they may well be the locusts mentioned by Saint John in Revelations, since the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the altarpiece is based on the Apocalypse.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These paintings were commissioned by Giovanni Maria Canigiani, general of the Vallombrosa Order, and were executed in 1528. They were originally linked to a medieval Madonna and Child by a large frame which has since been lost. More recently the panels have been set into a new frame which facilitates their overall interpretation. There are portrayals of Saint Michael, Saint Giovanni Gualberto, Saint John the Baptist and Saint Bernardo degli Uberti, and between each of these figures a pair of splendid putti that elicited great admiration from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , which is lacking the central section with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Adoration\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , would appear to be a product of the artist's workshop, with the exception of the scene with the archangel Michael.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed with the artist's monogram /FRAC/ and dated /1514/, this portrait combines elements from both the Florentine and the Venetian tradition in this genre. Franciabigio's finest work was in fact his portraiture because he managed to capture the slight melancholy of his sitters with great psychological insight. His portraits thus became a point of reference for all artists interested in simple, natural painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The young man in this portrait of 1527 would also seem to feature in two other works by Domenico Puligo, one of which is kept at the Galleria Palatina in Florence. For a long time this portrait was thought to be by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In fact Puligo had been an assistant in his workshop, which explains why he often borrowed themes and formulas, accentuating their colors and suavity.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although most scholars believe this to be a portrait of Francesco Maria della Rovere, who succeeded the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Montefeltros{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=158; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 to the Duchy of Urbino, it entered the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 collections without any attribution. However, there can be few doubts that it is the work of the young Raphael, who must have painted it during his second stay in Florence (1505). This is also confirmed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 infrared Xrays{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=112; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the painting which have revealed the existence of a very fine drawing beneath. The landscape is Umbrian in atmosphere, whereas the detailed perception of the figure recalls the work of the Flemish school. The portrayal of the red cloak with its sable trimmings is superbly skillful.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of an Unknown Man, said to be Francesco Maria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=202; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in this same room, this portrait was also part of the inheritance of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vittoria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=222; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and entered the de' Medici collections without an attribution. Unlike the other portrait, however, the date of execution and authorship are still debated. Some experts suggest the 1490s, whereas others opt for 1500-1502 or indeed 1503-1504. Some art historians have believed it to be the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Santi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=101; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the father of Raphael, not in the least because Duchess Elizabeth \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Gonzaga{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=107; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was particularly fond of his painting. In any event, the portrait reveals a focus on detail in the fine costume and jewelry that indicates Flemish influence, whereas the grave, immobile female figure is almost reminiscent of an icon.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The poor condition of this portrait makes it difficult to establish whom it was painted. However, recent studies have revealed the existence of a careful drawing beneath the paint that would seem to corroborate the hypothesis that it was painted by Raphael in 1506, the same year as the famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of the Doni Couple{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=99; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The gentle way light has been used to give form to the faces suggests a distant Leonardesque influence.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait is thought to have been painted by Raphael between 1506 and 1508, the year of the Duke's death. The \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Elisabetta Gonzaga{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=O; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , Guidobaldo's wife, is also kept in this room. The poor condition of the painting makes due appreciation practically impossible. Nevertheless, it evidently shares with its companion portrait a certain fondness for descriptive detail and a characteristic stiffness of figure.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like many other Uffizi paintings, this portrait also came from Urbino as part of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vittoria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=222; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's inheritance. It was initially attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giulio Romano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A ; ObjectClass=Hot; rimando=43; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and later to Raphael. Today it is generally thought to be a copy painted by his workshop around 1512. There are various other copies, including the famous one by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept at the Galleria Palatina. The original is at the National Gallery in London. } {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait is a product of the last years (1517-1518) of the artist's life and is considered one of his later masterpieces. The powerful de' Medici Pope \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leo X{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=125; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is flanked by Cardinals Giulio de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the future Pope Clement VII (on the left) and Luigi de' Rossi (on the right). The artist's skillful use of different shades of red accentuates the regality and power of the figures. Intelligent and determined looking, the Pope is wrapped in a damask robe with a precious fur-lined cape that catches the light. He is seated at a table bearing an illuminated codex and a wrought silver bell that show his refined taste as a patron. The painting of the burnished gold ball on the Pope's throne is, according to Vasari, apiece of consummate artistry as it reflects the objects surrounding it. It has recently been suggested that the two figures behind the Pope might have been added later, or indeed completed by Raphael's pupil \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giulio Romano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass= Hot; rimando=43; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Commissioned by Lorenzo Nasi, a wealthy member of the Florentine bourgeoisie, to celebrate his marriage to Sandra Canigiani, this charming picture was painted around 1505 but was later badly damaged when the family palace collapsed. As \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 recalls and recent X-rays have confirmed, it was initially restored during the 1500s by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Michele di Ridolfo del Ghirlandaio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G ; ObjectClass=Hot; rimando=155; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Raphael painted various versions of this subject with his characteristic gifts of composure and harmony.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This version of the Deposition clearly echoes paintings of the same subject by the artist's master \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Perugino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot ; rimando=29; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It dates back to around 1517-1518 and shows his characteristic fondness for scenes with plenty of human activity and wide stretches of landscape. Such features clearly reveal his skill as the court tapestry designer. } {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Bronzino did not paint many religious works, so this Lamentation stands out for its touching portrayal of grief. It dates back to around 1530 and is mentioned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vassari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as belonging to the Florentine church of Santa Trinita.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was confiscated from the Barberini Gallery in Rome during the second world war and was later tracked down and brought back by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (1954). The subject matter is taken from Ovid's \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Metamorphoses\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the picture was probably intended as a wing for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Portrait of Francesco Guardi\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In fact, it was long believed that \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 might have painted this too. The reason for its stylistic similarities with his work is simply that Bronzino was still very young at the time and therefore susceptible to his master's influence.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the two \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portraits of Bartolomeo and Lucrezia Panciatichi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=109; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the Tribuna, this work was painted around 1540 for the aristocratic family whose coat of arms features on the tower in the background. The religious subject matter is addressed here with such composure and refinement that emotional participation is prevented, and even the Virgin Mary resembles a lady of the wealthy Florentine bourgeoisie.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 No one has yet managed to identify this young man with his books of music. It was painted around 1515-1520 and was long attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Andrea del Sarto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=36; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, more recently scholars have suggested it could be the work of Pontormo, or even one of his pupils.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The striking stylistic analogies between this work and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Saint John the Evangelist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=278; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept in the church of San Michele at Pontorme (Empoli) have suggested that it was executed in 1519. However, the severity of the face of the old man firmly holding a stick is bound to bring to mind the famous figures of prophets painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Michelangelo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the Sistine Chapel. The predominance of dark shades in the skillful manipulation of color is fairly unusual for Pontormo.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Gallery's numerous portraits of de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 family members also include this one of Maria Salviati, the mother of Grand Duke \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo I{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55 ; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , painted around 1537-1543. There is some lingering doubt about whether or not is it really by Pontormo, who painted another fine portrait of the same person which is now kept at the Baltimore Museum.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The attribution of this small painting is controversial: \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and Mirabello Cavalori have all been cited as possibilities, which means that the date of execution oscillates between the 1520s and the second half of the century. The existence of a preparatory drawing by Pontormo relative to the figure of Saint Jerome would seem to suggest that the artist at least collaborated on the painting. However, as many specialists have pointed out, the structure of the composition is similar to that of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Madonna and Child with Saints{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=223; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rosso Fiorentino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=38; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 that is also kept in this room.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Plate of Nativity{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=60; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was most probably painted in 1526 to celebrate the birth of Aldighieri, the first-born of Girolamo della Casa and Lisabetta di Giovanni Tornaquinci, whose coats of arms feature on the back. The painting reflects the artist's experience in decorating the Borgherini Chamber with its wealth of skillfully painted small figures. However, the elongated bodies also bear witness to the influence of northern painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The date /1525/ features in the scroll in the bottom right hand corner of this painting, executed for the Carthusian monks along with the famous \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Stories of the Passion{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=47; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 fresco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 cycle at the Certosa del Galluzzo. The eye of God in the upper central part of the painting was probably a later addition by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Empoli{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=126; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who also painted a copy of the picture that is now kept at the Certosa. Inspiration for the composition derives from an engraving by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and more generally from the northern figurative tradition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Executed around 1523-1524, this painting is interesting for a number of reasons including its unusual subject matter. This derives from an episode in the life of Moses, when he defended the daughters of Jethro, priest of the land of Madian, who were bothered by a group of shepherds as they drew water from a well. The scene is remarkably inventive in the way it revolves around the tangle of bodies in the foreground. The abstract effect of the geometrical constructions favored by the artist is further enhanced by the use of an extremely free palette and the juxtaposition of complementary colors.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting by Palma il Vecchio was assumed by the Uffizi in 1793 as part of an exchange with the Imperial Gallery in Vienna. Although it has been reduced in size, as a seventeenth century print clearly reveals, it remains a fine example of great Venetian painting. The Holy Family is portrayed against a serene background landscape with figures that stand out in a manner that recalls certain of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's early compositions.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was traditionally thought to be one of the artist's early works. However, since then its affinities with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 fresco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=5; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Assumption of the Virgin\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted for a cloister in the Florentine church of the Santissima Annunziata have suggested that it probably dates back to the mid-1520s. The fine gilded halo is slightly misleading: this is a sophisticated portrait of a woman dressed with quiet elegance and wearing a transparent veil, which the artist has rendered with consummate mastery.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Palma il Vecchio won great acclaim in Venice for his half-length portraits of wealthy women. This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Judith\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , sumptuously dressed in the fashions of the time, is an example. It was painted during the artist's later years and reveals echoes of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , but without their vitality and inventiveness.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Madonna and Child was painted for a chapel in the Florentine church of Ognissanti at the bequest of a Spanish widow for whom Leonardo Buonafede, apothecary at Santa Maria Nuova, acted as testamentary agent. The painting was completed in 1518 and proved to be so unprecedented in its figurative content that even Buonafede was upset. The figure of the skeletal Saint Jerome "with a cruel, desperate look" (\b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 ) is particularly unusual. In actuality, it reveals an interest in corpses that was typical of many Tuscan artists from the 1400s onward. The two charming little angels in the foreground appear to be so absorbed by what they are reading that they are oblivious of the anxiety that haunts the figures above.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Long believed to be by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Sebastiano del Piombo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=123; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the high quality of this painting ultimately persuaded art historians that it is the work of Titian. The inscription at the top of the picture reveals the unknown subject's age and the fact that it was painted in /1514/. The man would certainly have been well to do, to judge by the refinement of his gloves and the fur coat that emphasizes his sickly countenance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting entered the Uffizi collections at the end of the 1700s as part of an exchange with the Imperial Gallery in Vienna. It was long believed to be a portrait of a courtesan, or possibly of Violante, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Palma il Vecchio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=89; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's daughter whom Titian loved. However it is actually more likely that this Flora is an allegory of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Flora meretrix\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of the pagan festivals of Ancient Rome. She has her lively and joyful sensuality, here accentuated by the use of warm, luminous colors. In this sense, the painting heralds a whole gallery of famous female figures.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait of a man who was once thought to be Stefano Colonna could be a product of Titian's early years (1510). The sitter's age features just above the last bead of the rosary. However, the poor condition of the picture, much varnished and restored, calls for a degree of caution.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The pair of portraits of Francesco Maria della Rovere and his wife Eleonora \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Gonzaga{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=107; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was conceived in 1536-1538 and became part of the Medici collections with the inheritance of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vittoria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=222; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Recent cleaning (1900) has restored the technical and chromatic qualities of the two paintings and has particularly improved the remarkable stretch of landscape in the portrait of Eleonora. The Duke is portrayed as a condottiere, his favorite attire; even the batons leaning against the wall would seem to allude to this role (the gold one symbolizes the military power awarded him by the Church, the silver one the power with which he was invested by the city of Florence). As for the oak branch, it alludes to his family coat of arms. Eleonora is proudly wearing the yellow and black of the Montefeltro family, whose realms came under the power of her husband.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The identity of the man portrayed here is declared on the scroll in the foreground, where the painter signs himself /Titianus Vecellius faciebat/ with the date /1552/. The artist has captured the intelligence and humanity of his sitter. A man of considerable culture, he was close to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pietro Bembo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=182; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's circle and was a friend of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Monsignor Della Casa{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=157; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Grand Duke \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 summoned him to Florence to act as tutor to his son Ferdinando, who was destined to pursue a career in the Church. The painting immediately drew the attention of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pietro Aretino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=181; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and during the 18th and 19th centuries was the focus of widespread admiration among art historians and the ordinary public.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of Titian's later works, dating back to around 1565-1570. It would appear to be inspired by two different sources: the traditional tale of the martyrdom of Saint Margaret of Antioch, who managed to escape the jaws of the dragon by making the sign of the cross, and the tale of Saint Martha, who freed the woods of the Rodano valley of a dragon by waving a cross. The painting belonged to Leopoldo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's collection and for a long time was believed to be by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Palma il Giovane{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=169; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This beautiful Venus with the little Cupid was given to Grand Duke Cosimo II de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by the nobleman Paolo Giordano Orsini and entered the Uffizi in 1635. It bears witness to the painter's artistic maturity, when the pagan sensuality and freedom of expression of his earlier works is superseded by a more searching, meditative mood.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This picture is variously mentioned as a portrayal of Saint Catherine of Alexandria on account of the gear-wheel (her traditional symbol) or of Caterina Cornaro, Queen of Cyprus. In fact, it is most likely to be a picture of an Asian queen to which the wheel was later added for devotional reasons. Splendidly attired in red with a green surcoat embroidered in gold and pearls, the woman's full beauty is once more visible thanks to restoration carried out in 1990. Today, she is not thought to be entirely the work of Titian, who may well have painted only the head and hands.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Commissioned by Guidobaldo, son of the Duke of Urbino Francesco Maria della Rovere (there also is a portrait of him by Titian in this room), this Venus certainly finished by 1538. It is, not surprisingly, one of the artist's most famous and widely copied works. Purity of line and magnificent use of color have been used to conjure up a seductive female figure that speaks for a form of art that is both free and joyful.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In an act of great generosity, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bernard Berenson{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 donated this small painting to the Uffizi in 1914. It is a fine example of the work of an unusual Emilian artist who emphasized facial features and favored unorthodox pictorial solutions that speak for his familiarity with the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Filippino Lippi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=21; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the northern schools.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although she is best known for her many portraits, Lavinia Fontana also painted a number of religious works. An example is this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Apparition\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 signed and dated /1581/. The balance of the composition and the quiet tone of the painting underline the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 on her artistic education and her interest in the work of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Carraccis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=46; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 There is a restlessness to this picture that is common to much of the great art of the Ferrarese school. Moreover, it also reveals a fondness for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 D rer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=56; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the northern painters as filtered through the works of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo de' Barbari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=115; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorenzo Lotto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=122; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The artist found this small format particularly congenial, filling it with figures and action, painting several other versions of the same subject, the most famous of which is at the Doria Pamphilj Gallery in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although the attribution of this work is certain, we are not quite sure exactly when it was painted. Hypotheses based on stylistic features oscillate between 1518 and 1527. In any event it would seem to be an early work in view of the way the figures slowly emerge from the dark background. In this respect, it is reminiscent of the religious composition of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fra Bartolomeo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=83; }} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 mentions this painting as belonging to the house of Count Giorgio Manzuoli in Bologna. Painted around 1530, the foreground features a large half-length figure of Saint Zacharias with the holy group and Mary Magdalene behind. The elegant landscape at the back with its many classical ruins is related to the rest of the painting by a magical, almost infinite light that envelops the whole scene. Instead of tangible references to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Correggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , here we have an extremely elegant form of abstract art.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1530, this is traditionally believed to be a self-portrait, though a number of experts disagree. There are two other versions of the painting, one at the Capodimonte Museum in Naples and the other at the National Gallery in Parma. The expressive impact of the face with its somewhat hypnotic stare is enhanced by the skillful handling of light and shade. The allegorical scene that can be glimpsed on the right is not easy to decipher.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This work was begun in 1534 and was left unfinished when the artist died. It was commissioned by Eleana Baiardi, a member of one of the foremost Parma families, who wished to embellish her husband's chapel in the city church of Santa Maria dei Servi. Although it is now recognized as a masterpiece, it was once little appreciated, to the extent that it was nearly exchanged for a Madonna by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cima da Conegliano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=63; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This detached fresco, along with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Justice of Seleucus\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 now also at the Uffizi, was part of the decorations of Palazzo Baldassini in Rome and was painted by 1525. It shows the originality and elegance of an artist whose training first revolved around \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ridolfo del Ghirlandaio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=42; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and later around \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . His complex interior decorations won him considerable acclaim.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Nativity has been variously attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lelio Orsi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=123; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Girolamo da Carpi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=102; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Bassano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=140; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Moreover its date of execution is still controversial. However, the painting does in fact reveal a number of Salviati's distinctive features, widely appreciated by his contemporaries, such as the easy grace of the figures and the originality of the composition. The glimpse of landscape, completely bathed in light, is a particularly effective contrivance.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 We do not know exactly when this work was painted, though scholars are inclined to opt for one of two periods: 1510-1512 or 1519-1525. The construction of the scene with the sacred group in the foreground and the scrubland behind illustrates the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , with whom Dosso was certainly familiar. In fact, the artist must have been familiar with great Venetian painting as a whole, even though he used it in a way that was entirely original.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Executed in the 1530s, this work may actually have been painted for the church of San Martino at Codigoro, where it certainly remained for a long time before being bought by the Uffizi in 1913. The two monumental figures of the Saints occupy the foreground, their eyes raised toward the Virgin, while a cityscape bathed in light lends spatial depth, warmth and a sense of reality to the background, thereby relating the figures to the landscape.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Though this painting has belonged to the Uffizi since the end of the eighteenth century, many doubts still surround its provenance and date. According to the most widely accepted hypothesis, it could be one of Dosso Dossi's later works, even though the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is still very evident.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The fact that this painting has a double title speaks for the uncertainty that still surrounds the interpretation of the subject matter: Hercules under the influence of Queen Omphale, or a more likely portrayal of magical practices aimed at making the young man in the center fall in love with the woman sitting beside him. It is one of Dosso's later works (ca. 1535), and shows that he was more comfortable with profane and mythological subjects. In fact, this work is often related to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Melissa{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=8; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the Borghese Gallery in Rome. The colors are characteristically vivid, whereas the atmosphere of restlessness that permeates the scene and certain emphatic facial expressions seem to relate more directly to his Ferrarese artistic origins.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Bordone painted a great many portraits at the outset of his career, and this is probably one of them (ca. 1523). The artist was a pupil of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's, which explains the evident links with the older artist's output.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1550, this scene portrays the Hittite Queen Bathsheba caught in a moment of domestic intimacy by King David. Brusasorci's point of reference was clearly \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Paolo Veronese{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=135; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for both the typically Venetian arrangement of the figures framed by architectural elements and the rich use of color.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Purchased by the Uffizi in 1975, this painting once belonged to the Contini Bonacossi Collection. Clearly the artist, who often traveled through the Italian provinces, drew inspiration from a number of different sources, including the northern, Lombard and Venetian schools. He has managed to counterbalance the bright colors that underline the drama of what is happening in the foreground with the serenity of the background landscape. Reference to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giorgione{ \b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is inevitable. The date /1517/ and the artist's signature appear on the side of the bath at the bottom of the picture.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The artist's signature and the date /1534/ feature on the cushion supporting the Virgin and Saint Anne. The sacred group is particularly striking because it seems to pulsate with emotion. In this respect, it indicates Lorenzo Lotto's original interpretation of the northern school. He also achieves some interesting and complex results by using a bright palette and playing with the effects of light filtering through cold colors.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In the past, this portrait was known as \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 La Fornarina\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the name given to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's lover. In fact, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was long thought to have painted the work, which does indeed embody a number of typically Roman features, including the somewhat rhetorical grandeur. However, all this is attributable to Sebastiano del Piombo's stay in the city in 1512 when he actually painted it. We do not known the identity of the woman, who has much in common with a number of female figures painted by Sebastiano. The fact that she wears a laurel wreath might suggest that she was a poetess.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This splendid painting, one of Sebastiano's finest early works, dates back to the artist's stay in Rome (1511-1512), as does the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of a Woman{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=251; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , also in this room. The picture embodies and reconciles the two main components of his art: Venetian culture of Giorgionesque derivation and the Roman tradition as expressed by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Michelangelo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=84; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , to whom the powerful bodies in the foreground would seem to be direct homage.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Uffizi has two magnificent examples of Moroni's interesting work as a portraitist. This picture of Count Suardo, signed and dated /1563/ on the base to the left, shows the artist's skill in capturing the aspirations of a high ranking class that used portraits as a way of affirming its prestige.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Moroni's ability as a portraitist is also evident in this work, painted around 1571-1572. As the book he is holding suggests, the sitter is Giovanni Antonio Pantera, whose poem \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 La monarchia di Cristo\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 made a definite impact on t he late 1500s. The portrait, which presents us with an austere and psychologically intense picture of the poet, is considered to be one of Moroni's masterpieces. In fact, it embodies the realism of the Lombard school as interpreted by the artist's master, Alessandro Bonvicino, known as \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 il Moretto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=159; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is the only work in the Uffizi of the Brescian artist Savoldo. Recent studies suggest that it was painted around 1533, when he was moving away from the emphatic coloring of his earlier works in favor of more muted tones and a more articulate use of light. The way the figures of Christ and the prophets are kept separate from those of his disciples would seem to echo \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Transfiguration{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass= Hot; rimando=196; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Pinacoteca Vaticana). In fact the discomposure of the disciples is effectively used to express in pictorial terms their surprise at the divine event.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Giulio Campi's family workshop supplemented its well known production of religious paintings with a fairly constant flow of portraits. Originally attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 il Moretto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=159; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work reveals Campi's widespread cultural background and the way he was influenced by Emilian \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It was painted in the 1540s. The instrument played by the unknown musician is clearly a reference to local reality, since Cremona was famous for its production of stringed instruments.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This picture was purchased in 1654 by Cardinal Leopoldo de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 from Del Sera's Venetian collection. Because of the figures, it is often compared with the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Padua Annunciation\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Museo Civico) and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Crowned Madonna\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted on the ceiling of the church of San Sebastiano in Venice. An outstanding characteristic of the painting is the way architecture is used not as a merely decorative element but as an integral part of the overall composition: in fact the row of columns leads the eye toward the background landscape with such ease that the figures themselves become almost secondary features.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 On the back of this picture there is an early inscription stating that it is by Paolo Veronese and was painted around 1550. Scholars now accept this attribution but move the date closer to the master's later output, around 1573. The emphatic coloring of the costumes is particularly captivating, as indeed it is in all Veronese's works. Architecture is once again used as a background element that is subordinated to the group of figures in the foreground.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This was one of the works removed to Germany during the Occupation and later recovered thanks to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 untiring efforts. It may have been part of a larger commission for paintings on mythological subjects and would seem to date back to the years 1560-1561, given the stylistic similarities with the decorations at \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Villa Maser{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=293; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The picture illustrates the moment before the throne of Jupiter in which Venus and Mercury present their son Anteros.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This Sacred Conversation was restored in 1988 so that it is now possible to appreciate the use of color and light that characterized a particularly fortunate moment in the Venetian artist's output. The opulence of the forms, the skillful handling of a warm, intense palette, the meditative atmosphere and the surrounding feeling of serenity would suggest that this is a fairly late work.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This half-length male portrait was painted when Tintoretto was a young man, as the somewhat damaged inscription with the date /1546/ goes to prove. As was his wont, the artist provides us with a picture of the man and his surrounding reality, and in so doing captures a whole range of expressive subtleties.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This portrait clearly owes much to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Francesco Maria della Rovere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , which Barocci had seen in his home town of Urbino. The prince, who was one of the artist's great admirers, is portrayed just after his return from the Battle of Lepanto, which implies that the picture was painted around 1572. It is a masterly work in which soft colors are used to capture the sitter's personality and temper the forms.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of Barocci's most important works. It was painted in 1579 for the parish church of Arezzo, but, it was removed at the Grand Duke's behest. The picture embodies a number of the features that were to assure Barocci lasting influence throughout Europe. In fact his art was to affect both the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Caracc{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=i46; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Although Barocci always favored religious subjects, he was able to interpret them in everyday domestic terms, using light and color in a manner that heralds the painters of the eighteenth century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is a smaller replica executed in the artist's later years, of a work now kept at the Alte Pinakothek in Munich. It is signed and dated /1590/, and in its composition clearly owes much to the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Noli me tangere{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=221; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Correggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whom Barocci much admired. The lyrical atmosphere of the scene with the golden landscape behind and the simple beauty of the Madonna wrapped in an elegant mantle combine to create a thoroughly charming picture.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Jacopo Bassano, whose naturalistic vein often led him to focus on animals and rural themes, painted this picture of two dogs between 1568 and 1572. The skillful play of light and shade recalls the two hounds licking Lazarus's wounds in the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Banquet of the Rich Epulone\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in Cleveland. Here it is the animals themselves that dominate the scene and relate to the surrounding landscape, which was extremely unusual for the times.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Executed in the 1590s, this painting was long attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Bassano{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=140; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , Leandro's father, and therefore was sometimes interpreted as a Bassano family reunion, with the family head Francesco and his grandchildren. However, an analysis of the dates has induced more recent scholars to reject this hypothesis and to focus on the picture's setting and use of color.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed at the bottom with the initials /L/ and /C/ woven around the date /1596/, this painting is a typical example of the religious works executed within the context of the Counter Reformation in Florence. Cigoli, who was one of the movement's foremost artistic exponents, has avoided the contrivances of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 school and adopted a straight-forward idiom that makes the religious experience portrayed easily accessible to the viewer. The style is essentially eclectic, with elements that derive from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Correggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Barocci{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=137; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the Venetian colorists.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The art of the Counter Reformation was essentially religious. However, the prolific output of Gregorio Pagani also includes a small number of profane works, such as this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Pyramus and Thisbe\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , taken from Ovid's \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Metamorphoses\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The scene illustrates the climax of the story of the two unfortunate lovers, when Thisbe realizes that Pyramus is dead and kills herself with the sword. With its attention to dramatic detail (such as the dry blood on the veil and the splendor of the costumes), the picture exemplifies to the Florentine \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Early Baroque{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 tendency.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1580 and 1585, this is possibly the artist's first known work. It is signed on the chest in the foreground, at the height of the cupbearer's leg. The painting contains all the artist's characteristic inventiveness, fondness for clean, bright colors and skillful draftsmanship. There is no doubt that he was influenced by the Tuscan \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerists{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot ; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rosso Fiorentino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=38; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pontormo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=37; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Beccafumi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=94; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Yet his work also embodies overtones of Venetian painting.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting originally belonged to the Duke of Orl ans, but changed hands a number of times before reaching the Uffizi. Scholars have tended to look down on this work, considering it to be a mere workshop variation of the original that used to be at Palazzo Vecchio and was recently purchased by the Uffizi. However, recent renovation (1994) has not only restoredy the painting's splendid original colors, but has also definitively shown that the work is indeed by Tintoretto, even if it does derive from the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leda{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=188; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 painted twenty years earlier. The half-light that engulfs the figures lends the scene a dramatic yet sensual atmosphere, while the anatomical foreshortening and the elongated limbs reveal the artist's style of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerism{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Some persuasive comparisons between this \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Samaritan Woman\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and several of the artist's later works suggest that it is also a product of his maturity, possibly dating back to the same period as the major paintings in the Sala Grande of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Scuola di San Rocco{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=289; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in Venice (ca. 1575-1585). In fact, these latter works and the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Samaritan Woman\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 share the same muted palette and the dramatic use of light in contrast to the dark backgrounds. This \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Samaritan Woman \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was originally the shutter on the front of the organ at the church of San Benedetto in Venice.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 For a long time, scholars disagreed over the attribution of this painting, some of them opting for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Tintoretto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=136; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 while others argued that it was more likely to be by his son \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Domenico{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=64; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, more recently it has been shown to be a product of the workshop, a faithful copy of a painting by Jacopo now kept at the Museo Civico in Vicenza. The work has remarkable visionary impact that is accentuated by the use of muted colors shot through with light.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Since the Uffizi collections included no works by El Greco , the gallery decided to purchase this signed painting in 1973. There are two other versions of the same subject, one at the Prado in Madrid and the other at the Museum of Catalan Art in Barcelona. The artist has set the two figures against one of his characteristic stormy skies. Their bodies are dramatically elongated in the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 style of Tintoretto, thus creating an ascetic vision in an idiom whose roots can be traced back to the Byzantine culture of the artist's native Crete.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Giovanni Martinelli's fame is largely due to this painting, which was much admired by eighteenth and nineteenth century visitors to the Uffizi. Scholars currently believe it to be a product of his later years (1653), when his rendering of drapers grew simpler and his handling of color came to resemble that of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Dandini{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=51; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The portrayal of the Banquet is extremely impressive, with the light that beams in on the figures and signals the divine apparition, as related by the Old Testament.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted in 1634, when the young Orazio Fidani's output still followed in the wake of his master \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giovanni Bilivert{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=97; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this picture belongs to the tradition of profane works based on contemporary poems that was extremely popular in Florence during the 1630s. The artist has handled the subject matter with a pleasantly humorous touch.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This picture is named after the Cappella delle Nevi in the church of Santa Maria di Corte Orlandini in Lucca, where it once belonged along with its partner, the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Crucifixion with Saints\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 now at the Museo Nazionale di Villa Guinigi in Lucca. Scholars long harbored certain doubts about the true attribution of the work, and this prevented it from being fully appreciated. The painting reveals the artist's predilection for thick colors, soft forms and a classical ideal of beauty strengthened by familiarity with the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Raphael{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; } \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted around 1660, this portrait was purchased by the Gallery in 1902, when it was considered a \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Portrait of the Mother of Jordaens\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . To this day, however, art historians do not all agree in attributing it to Jordaens, despite his renown for the sort of vigorous realism that the portrait certainly embodies.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted between 1618 and 1628 (the latter date seem better suited to the sitter's age), this is one of the artist's rare self-portraits. It was given to Cosimo III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1713 by the Elector Palatine. Careful analysis of the picture has revealed two later additions to the right and at the bottom, which fortunately do not detract from the beauty of the work. The artist's sensitive, intelligent face is bathed in light that softens the features in a manner that clearly owes much to the Italian pictorial tradition. It is interesting to compare this portrait of the artist with the one that appears in the fine painting at Palazzo Pitti known as \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 The Four Philosophers{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=97; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the artist's finest portraits, an affectionate homage to his wife who died young in 1526. The painting was given to Grand Prince Ferdinand de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by his brother-in-law, the Elector Palatine, and was so greatly admired that it was described as "a prodigy of that famous brush." In fact, it was painted with particular care, especially in the rendering of the sumptuous costume and jewelry which are so splendidly reconciled with the marked sensuality of color and forms. The great number of copies made of this painting is proof of its enormous success.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting, which originally belonged to Queen \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Christine of Sweden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=57; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , entered the Uffizi collections as part of an exchange with the Imperial Gallery of Vienna. Doubts still surround the authenticity of the picture, which most experts now tend to consider a version of the original, kept at the Hermitage, painted by followers of the artist around 1640. It nevertheless bears witness to Rubens's breadth of subject matter and his ability to address a wide range of different genres with great vitality.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 When this large painting joined the collection of Grand Prince Ferdinando de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the end of the 1600s, it was assumed to be by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Velazquez{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In fact, it is a copy, made around 1645 by the Spanish school, of a painting executed by Rubens in 1628 during his stay in Madrid that unfortunately perished in a fire. The portrait thus stands as an important visual record of the lost original.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of a large number of paintings that were sold to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Goering{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=106; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1942, were taken off to Germany, and later tracked down and returned by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The authenticity of this painting is certain; Rubens painted it around 1625, choosing a subject that he was particularly fond of and returned to on various occasions.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Both of these paintings were bought by Grand Duke Cosimo III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1686 and arrived by boat from Flanders the following year. For a long time, they hung in the Pitti Palace before joining the Uffizi collections in 1773. It was the Queen of France, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Maria de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=147; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , wife of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Henry IV{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=67; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who commissioned the series of scenes from her husband's life, to which these two belong as a celebration of his victory over the Catholic army at Ivry.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This famous portrait of Galileo Galilei was painted in 1636 by the official de' Medici court portraitist. It features in various accounts of the Tribuna, where the most important items in the collection were proudly displayed, and was immortalized in the view of the Tribuna painted by Johann Zoffany, now kept at Windsor Castle. The painting bears witness to the artist's sympathy for \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the great Venetian portrait tradition.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 With its evident references to the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , the artist's master, this would appear to be an early painting, possibly executed around 1620. Its overall structure may well derive from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Charles V at the Battle of M hlberg{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=217; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 (Prado). Restoration carried out in 1987 has brought the splendid use of color back to light.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In this portrait, Van Dyck has captured the grandeur and pride of his sitter, whose elevated social position was due to fame as a medal engraver and his role as Master of the Mint to the court in Brussels. Of considerable impact, this painting is an enlarged replica executed around 1628 of a similar portrait now at the Kunsthistorisches Museum in Vienna.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Van Dyck's rich gallery of aristocratic sitters also includes members of the French nobility. A splendid example is this picture of Margaret of Lorraine, painted around 1634, during the artist's last stay in Flanders. He has portrayed her with the elegance and detachment befitting a person of her rank, and in doing so has moved well away from the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 baroque{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=20; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 swirls of his master \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando= 146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , while nevertheless maintaining his rich palette of colors.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This large painting was purchased at the end of the 1700s as a work by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It was designed as part of the festivities organized by the Antwerp city authorities in 1635 to celebrate the arrival of Ferdinando, the younger son of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Philip IV{ \b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=81; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of Spain, who was to govern the Low Countries. The picture is based on a sketch by Rubens but was painted in great haste, as the uneven quality of execution goes to show.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is so Rubenesque that it was long thought to be by him. In actuality, it is by Van Den Hoecke, who may well have borrowed from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonie Van Dyck{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=149; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for the figure of the page busy holding Hercules's horse and for the cupid in the foreground.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Allori, who was a pupil of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , was commissioned to paint this picture by the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Grand Duke Francesco I{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The artist shows Hercules in the Parnassus being crowned by the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Muses{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=160; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 for his victories over the enemies, whose bodies are scattered on the ground. Hercules often featured in de' Medici \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as a symbol of strength and justice. The artist has borrowed freely from Michelangelo, especially for the arrangement and twist of the figures that are directly inspired by those of the Last Judgement in the Sistine Chapel. However, even the temple in the background recalls the dome of Saint Peter's.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting not only bears the date /1601/ but also a curious inscription: /Alessandro Bronzino Allori whose greatest love is learning/. Executed just a few years before his death, it is the last version of a subject that the painter had already addressed on various occasions. The attention to detail in the landscape and the fragmented narration are typical of Allori's later works and testify more to the influence of Flemish painting than to that of his master \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Once thought to be a portrait of the poet \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Torquato Tasso{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=217; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work was painted around 1585-1590. Far removed from the icily perfect court portraits painted by his master \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , it captures the painful melancholy of the sitter by focusing on his thin face, his particular expression and the warm flesh tones.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed and dated /1544/, this painting seems to have little in common with the stiffness of German portraiture. In fact, the bold brushwork and warm colors that the artist has used to portray a face of great intensity against a dark background is more reminiscent of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Paris Bordone{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=98; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who had been Amberger's master in Venice.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Using a quick, effective technique in which color and form appear to be so well amalgamated that no trace of the original drawing is visible, Boscoli had conjured up a Saint Sebastian whose atrocious suffering is expressed in a gesture of sacred composure. Although the provenance of the painting is not known, it would seem to be a product of the artist's later years, when the pathos of his paintings grew more marked.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting on copper, along with its pair illustrating the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Sacrifice of Isaac\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , is thought to be a sketch or perhaps a copy of a larger work. Generally considered a product of the 1620s, the pose of the figures and the meticulous portrayal of the tree in the background depict Empoli's tendency toward highly refined naturalism.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The sitter's composure and severity persuaded earlier art historians that his portrait was by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lukas Cranach{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot ; rimando=51; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . More recently, however, it has become clear that it is the work of the French artist who was able to make full use of his skills as a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 miniaturist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=230; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in his portrayal of the fine countenance and the exquisite embroidery of the sleeves, collar and bonnet.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Mythology, art and ancient history are the main sources of inspiration in Salviati's painting, albeit filtered through the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rapahel{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle= BookDefault; tipoHot=A; ObjectClass=Hot; rimando=86; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . In this touching portrayal of Artemis, Queen of Caria, grieving over the death of her brother and spouse Mausolo, the pose of the goddess and the folds of her garments recall those of the enchanting female figures of the paintings at Pompeii.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 For a long time this painting was erroneously attributed to both \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Bronzino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=35; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Alessandro Allori{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=34; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Later it was seen to correspond to the style of the Emilian painter's later works, where the overall \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Mannerist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 approach that he absorbed through his contacts with Rome and Florence was enriched by new perceptions of space and form that derived from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Correggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Parmigianino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=95; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Seventeenth century \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconography{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 was attracted by the poetics of contrast and the horrid, which is why the snake-headed Medusa and Judith with the head of Holofernes feature so often in paintings of the period. In fact \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Caravaggio{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=150; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rubens{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=146; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 both painted their vision of the Medusa. This mysterious painting is by an unidentified Flemish artist, though certain eighteenth century scholars actually believed it to be by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Leonardo{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=28; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It entered the collections of Ferdinando II de ' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 as part of a bequest.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Christine of Lorraine is portrayed here in official attire on the eve (1588) of her marriage to the Grand Duke of Tuscany \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ferdinando{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 de' Medici. An entirely political match, it was warmly promoted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Caterina de' Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=48; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , Maria Cristina's favorite grandmother. Comparisons with other paintings and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 miniatures{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=230; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of Christine reveal that the painter's brush had a rejuvenating effect on the future spouse.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting is smaller than the better known \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Allegory\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the National Gallery and is thought to be a product of the artist's later output. The figure in the center with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 cornucopias{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=54; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 caduceus{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass= Hot; rimando=38; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 is Felicity; to the right, there is Justice with the sword and scales; and to the left, there is Prudence with two faces and the terrestrial globe. Time with the celestial sphere and Fortune with the wheel are portrayed below.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This small painting on copper is a late copy of a subject that Bronzino addressed on various occasions (for instance, the version at the Besan on Museum and the one at Palazzo Vecchio, as well as the large painting at the Accademia in Florence). Like the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Allegory of Felicity{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=301; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , it was commissioned by Francesco de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and entered the Uffizi collections in 1796 from Villa La Petraia.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Neither the artist nor the two women portrayed have been identified with complete certainty. It has been suggested that the painting could be the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fran ois Clouet{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=130; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , while the two women might be Gabrielle d'Estr es and her sister. The work is certainly a product of the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fontainebleau School{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=129; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , given its likeness to the better known \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Gabrielle d'Estr es and One of Her Sisters{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=122; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 kept at the Louvre. The painting was plundered by the Germans in 1941 and was brought back in 1948 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Erroneously attributed to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Ligozzi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=116; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this painting had been at Villa della Petraia since 1649 before being moved to the Uffizi in 1925. It is an enchanting allegory of Fortuna, who is portrayed trying to keep her balance on a globe as she collects coins in the fragile crystal vase. Roses, an hourglass, and other objects that symbolize the frailty of life feature on the plate and in the dark background.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Only a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 miniaturist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=230; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of Fran ois Clouet's skill could have addressed a subject of such monumental importance in so small a picture. In fact, the French court painter has used glazed colors to give full luster to his image of the sovereign mounted on a splendid gray horse in magnificent processional harness. The background features both architectural elements and landscape. The painting embodies certain northern touches which encouraged a number of earlier scholars to believe it could have been by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Hans Holbein the Younger{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=66; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a picture of Vulcan in his forge offering arms to Minerva. Vasari served the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medicis{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando= 152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 faithfully for many years, and this fairly late painting was executed when he moved from \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Cosimo I{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=55; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's service to that of his son Francesco, who was notoriously fond of alchemy and metallurgy.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This series of paintings belonged to a cabinet that Cardinal \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ferdinando{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 de' Medici commissioned and took with him when he became Grand Duke of Tuscany. It was probably built on designs by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with pictures by Vincenzo Borghini, the de' Medici court \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 iconographer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=228; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The artist has illustrated the three mythical Ages of the world: that of iron, dominated by Jupiter; that of silver, with Justice flanked by the figures of Eloquence and Counsel; and the Golden Age, set in a garden of delights of great scenic effect.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Painted when Caravaggio was only just into his twenties (1595-1596), this is a magnificent example of the artist's fondness for examining the myths of antiquity with the eye of the realist. In fact, the god of wine looks like a young country lad of Caravaggio's times, whose pose almost seems to make a mockery of the whole scene. The still life in the foreground, a reminder of the transience of human life, recalls the artist's magnificent \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Basket of Fruit {\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=F; ObjectClass=Hot; rimando=200; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 at the Pinacoteca Ambrosiana in Milan.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Scholars disagree over the date of this painting, though it is clearly a work of the artist's maturity (around 1603). It was given to the Uffizi by John Fairfax Murray in 1917. The scene illustrated is the climax of the biblical story in which the angel appears to stop the hand of the faithful Abraham from killing his son Isaac to appease the Lord. With its diagonal construction and foreground focus, the picture is an example of the brutal realism of Lombard origins that was one of Caravaggio's hallmarks. The artist's prevalent interest in the human figure almost undermines the fine Venetian-style landscape.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was given to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Ferdinando I{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=76; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 de' Medici by Cardinal Francesco Maria del Monte, who was Caravaggio's first patron. It is an unusual tournament shield painted with the Medusa's face, a propitiatory symbol for battle in view of the monstrous creature's ability to turn her enemies to stone. For this reason, the painting was long confined to the de' Medici Armory.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This early painting (ca. 1588) by one of the foremost Bolognese artists of the Seicento has always been much admired for the immediacy with which its sensuality envelops the viewer. The composition reveals a direct influence of the great Venetian tradition, especially the work of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Titian{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=90; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Jacopo Tintoretto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=136; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with their rich use of color and their steady narrative structure. However, the picture also embodies a natural, spontaneous vitality and a classicism devoid of intellectual overtones that are particularly effective.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Although many have claimed that this work is by Carracci, there also exist distinctly Venetian features and certain stylistic weaknesses that are evident despite the cuts and repainting that the picture has suffered in time. In any event, it is a delightful scene with a nice touch of humor, unlike most learned art works with their respect for the rules of decorum.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Renowned above all as an architect and sculptor, Bernini was also a painter of some importance, as this fragment with a head of a young man (or an angel) indicates. Executed around 1625-1630, it reveals how Bernini was able to conjure up a graceful young figure through just a few brush strokes loaded with a warm impasto. The picture embodies elements of the Emilian tradition with something of the idiom that was currently being developed in Rome.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Guercino favored a natural, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 unmannered{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=145; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 style of painting that was particularly appropriate for pastoral subjects such as this. The landscape is typical of his early output (ca. 1617), when he combined references to the Ferrarese school of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Dosso Dossi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=97; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with what he had learnt from Ludovico \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Carracci{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=46; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting and other works of the French school were purchased in Paris in 1793 at the behest of the Grand Duke of Tuscany Ferdinando III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . However, as far as the attribution of the Annunciation is concerned, Vouet has recently been superseded by Michel Dorigny, who was Vouet's son-in-law and pupil. This could explain the brilliant palette and the slightly unyielding line.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Lorrain , who was one of the greatest French landscape painters of his time, created this important work for Cardinal Carlo de' Medici. The two had met in Rome in the circle of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Christine of Sweden{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=57; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , where the artist was working. Signed and dated /1637/, the painting successfully combines real elements such as the Roman residence of the de' Medicis at Trinit dei Monti with a marine view that is entirely imaginary.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 With a strict use of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and skillful contrasts of light and shade the artist has captured the main square of Haarlem with the imposing church of Saint Bavone. Bathed in sharp, dry light, the buildings stand out against the bright blue sky and surround the scene of daily life with its playing children, its strolling couples and its chatting groups of citizens. The painting is signed and dated /1693/.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Signed and dated /1607/, this small painting on copper is typical of the artist's work and of the innovations he brought to Flemish landscape painting. Jan Breughel the Elder had traveled widely, which provided him with plenty of fresh inspiration. Though extremely inventive and detailed, his rich scenes are always highly natural and populated with animals and figures.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In 1603 this picture was displayed in the Tribuna of the Uffizi, which shows how highly esteemed this painter was in Italy, where he spent most of his life. In fact, the Alpine landscape is a fascinating work, combining the dramatic impact of overhanging rocks reminiscent of the scenes painted by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Albrecht Altdorfer{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=65; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 with a typically Dutch narrative vein, used to great effect in the busy mining scene below.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This delightful scene, showing a gallant gentleman offering the fresh prey of the hunt to a lady, was painted around 1660-1665, and by the 1700s is recorded as belonging to the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 collections at the Poggio a Caiano Villa. It is a work that bears full witness to Metsu's skill as a colorist and draftsman. Not surprisingly, he was one of the most acclaimed and popular artists of this genre in Amsterdam and Europe.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the many interiors painted by an artist with a predilection for brownish tones and warm atmospheres. The boisterous scene is set in a tavern where the happy company is gathered together around a violin player. The light that illuminates the group in the center gradually grows dimmer toward the end of the table, where drink and sleep have consumed certain customers.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a splendid example of a still life in which the different subjects are analyzed in such detail that we have the impression that we are looking at a large scale \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 miniature{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=230; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It was probably commissioned by Cosimi III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 along with another painting of \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Flowers and Insects\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and was sent to him around 1711 by his son-in-law, the Elector Palatine of the Rhine.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 With its wide stretches of yellow and its skillful handling of light, this is one of Seghers's finest landscapes. The picture actually belonged to \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rembrandt{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=151; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and was indeed attributed to this latter artist when it reached the Uffizi in the nineteenth century. Today, it is thought that Rembrandt may have added or changed certain details, such as the figure on the left, but without altering the original composition, with its juxtaposition of bare rocks on the right and the quiet valley in the center.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Steen's father was a brewer, and the artist himself not only patronized taverns but also opened one of his own in Delft. He thus gathered plenty of raw material for his highly popular scenes of ordinary life. The grotesque faces of the people sitting around a barrel to eat their lunch testify to his eye for everyday detail and his outstanding satirical vein.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This picture belongs to a series of paintings on copper that were executed during the artist's stay in Florence at the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 court (ca. 1620) and that remained in the Florentine collections. It is a perfect example of the contemporary taste for landscapes inspired by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Arcadia{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=16; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and characterized by classical ruins. The Flemish painters, then active in Italy, were refined exponents of this genre.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Despite its small size, this painting is fully representative of Ruysdael's landscape paintings in the way it embodies dramatic overtones of color and composition that transcend the realism usually found in this genre. In fact, the artist favored stormy, overcast skies shot through with sudden beams of light, and trees animated by sudden blasts of wind. Many of the northern landscape painters, especially the Romantics, were influenced by the work of Ruysdael.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The authorship of this painting and its identification as a self-portrait are now generally, if not unanimously, accepted. The brushwork is strong and thick, as it was in other works of the same period by this thirty-five year old artist, and the facial features would also seem to match his. The picture was purchased by Ferdinando III of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Lorraine{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=128 ; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in 1818 and by the Uffizi in 1922. A 20 centimeter addition has been attached to the bottom.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This was the first work by Rembrandt to belong to the Uffizi, since it is recorded as already belonging to the collection in 1704. It was probably bought in 1667, when Grand Duke Cosimo III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , accompanied by Marquis Corsini, was traveling in Europe and visited Rembrandt's workshop in Amsterdam, where the artist was busy on a number of self-portraits. However, it could also be that the picture was commissioned by Cardinal Leopoldo de' Medici, who was an avid collector of portraits. Both hypotheses confirm that Rembrandt's fame had spread well beyond his own country. The painting is no longer in its pristine state, having suffered additions in height and width and been dulled by a thick layer of varnish. Despite this, the expressive power of this self-portrait is still astounding. The cunning and somewhat mocking expression reveals the artist's pride, undaunted by the wretched events of the last years that culminated in being forced to sell his property and in the death of his wife, Hendricke Stoffels.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Doubts surround the identity of the old man in this portrait, though many scholars believe it may relate to a series of Apostles that the artist painted around 1661. And indeed the thick beard, the severe look and the sitter's pose with his hands joined in his lap would seem to confirm this hypothesis, though we have no certain evidence to this effect. At the turn of the eighteenth century the painting was already part of the de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 collections, and like the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Self-Portrait in Old Age{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=328; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , it has also been related to Cosimo III de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's visit to Rembrandt's studio in Amsterdam in 1667.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This lively scene set in a picturesque courtyard is a splendid example of the humorous popular vein that animated much Flemish and Dutch painting of the seventeenth century. The young man smiling on the left is a self-portrait of the artist, which suggests that the painting dates back to around 1650-1655, which corresponded to Van Mieris's earliest output.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This view is repeated with slight variations in a number of paintings. In fact, it is a precise rendering of a prospect that Canaletto knew and enjoyed. Such was his skill in drawing out the scenic qualities of his subject matter and using \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 perspective{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=227; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in the construction of his pictures that he soon became one of the foremost exponents of this genre, as the Uffizi View demonstrates. It is generally dated around 1755.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting belongs to one of the finest periods of Canaletto's artistic output, when he was still focusing the greatest possible attention on every work produced in his studio. Although this was certainly well before the time when he started indulging in near mass production, the exact date of this veduta is unknown. Some experts opt for the years 1726-1728, whereas others have dated it a bit later, around 1730.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Rosalba Carriera's portrait of a young woman, conventionally known as \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Flora\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , is a work of essentially feminine grace and sensitivity. The fact that the artist had started her career as a \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 miniaturist{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G ; ObjectClass=Hot; rimando=230; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 probably accounts for the small size of the painting, which nevertheless embodies all the delicacy of color and the feminine charm that were to make the artist so successful in a number of European courts.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Purchased by the Uffizi in 1951, this painting is a signed (bottom center) replica of a work kept at the National Gallery in Washington. Like its pendant with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Girl with a Shuttlecock{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=335; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , it was painted around 1740. Despite its slightly imperfect state of conservation, it clearly reveals how the heritage of the great Dutch tradition could be reworked in highly original terms to create pictures of great poetic intimacy.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Chardin had an expert understanding of the world of childhood, as this splendid picture demonstrates. It was purchased by the Uffizi in 1951, along with the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Boy with a Card House{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=334; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 displayed in the same room. Using a refined palette (note for instance the softness of the white garment beneath the sewing kit), the artist builds up a simple picture of great emotional intensity.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two small paintings were both bought from a private collection at the beginning of the 1900s to give the Venetian school better coverage. Their date of execution is still a matter of debate. Some experts believe them to be stylistically youthful works dating back to around 1750, while others consider them to be products of the 1780s. Moreover, more recently, certain scholars have argued that they could be the work of Guardi's son Giacomo, who was employed in his father's workshop. Whatever the case, these small \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 capricci{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 milling with little figures and imbued with a touch of melancholy are eloquent examples of a genre that revolved around rarefied lagoon scenes bathed in a dream-like atmosphere, far removed from the deliberate clarity of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Canaletto{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=166; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's output.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Pietro Longhi's scrupulous observation of the small events of everyday reality provided him with inspiration for a large number of paintings which tell us a great deal about society during his lifetime. This small painting is part of the series of the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Seven Sacraments\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 executed in the years 1755-1760 and based on a similar series by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giuseppe Maria Crespi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=169; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . It shows the bare interior of a church with a humble congregation in prayer and an elegant lady waiting for confession.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Alessandro Longhi opted for a different genre than that of his father, \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Pietro Longhi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=174; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , and instead devoted himself almost entirely to portraiture. This is a good example of his work which shows his feeling for color and his fondness for a fairly restricted chromatic range. It also bears witness to his skill in capturing the psychological reality of his well-to-do Venetian sitters.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This artist was highly esteemed at the court of Versailles, to the extent that he ultimately became the painter by appointment to the royal family. In his many portraits of the French aristocracy, especially its female members, his skillful use of color underlined the elegance and slight melancholy of his sitters. This is evident in these two paintings, where he has portrayed the two daughters of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Louis XV{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=140; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 in mythological guise. The portraits were brought to Parma by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Philip of Bourbon{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=79; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and from there were transferred to Florence in the 1800s. They are, in fact, replicas, painted by the artist himself, of two originals now kept at Versailles; they may even have been executed the same years as the originals of 1742 and 1745.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting and the other two by Nattier exhibited at the Uffizi all came from Parma. Moreover, all three are portraits of female members of the French royal family. Maria Zeffirina was the daughter of Marie Josephine of Saxony and the Dauphin, and therefore granddaughter of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Louis XV{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=140; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . The painting is rightly considered one of the most charming pictures of childhood in the history of art. The little girl is clearly already aware of her important social position, and yet at the same time expresses the freshness and innocence that are typical of her age.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is a fine painting that depicts a period in which the attractions of travel and its exotic discoveries were beginning to permeate not only the artist's direct experience but also official culture in general. Liotard uses his gift for color and his fondness for pale tones and diffused light to portray a simple bourgeois interior in such concrete terms that he was rightfully known as the "painter of truth." The work probably dates back to around 1753 and is usually referred to as the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Portrait of Marie Adelaide of France\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 due to the inscription (by a different hand) on the back. This identification is no longer held to be completely verifiable. What is certain is that the painting and the other two versions of it are based on a drawing by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Fran ois Boucher{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=89; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 These two portraits, painted by Fabre in 1793, were left to the Uffizi in 1824 by the Countess of Albany herself, who had been Alfieri's companion. Both works have a sonnet written by the famous poet on the back. They are excellent examples of the art of a painter who specialized in historical subjects and portraiture. It is interesting to see the way Fabre has painted the poet in heroic terms.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is unanimously held to be an early work by Piazzetta, painted in the 1720s and purchased by the Uffizi in 1920. The subject has always been popular among artists, and Piazzetta chose to portray it in dramatic terms, adopting strong chiaroscuro and emphatic poses that were to become a hallmark of his work. The evident taste for the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 tenebrous{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=215 ; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 shows that the influence of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Antonio Zanchi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando= 14; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 's painting was still strong even though the picture also bears witness to the artist's debt to the Emilian school of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Guercino{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=154; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 and \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Giuseppe Maria Crespi{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=169; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 .} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 In 1783 Goya stayed at Boadilla del Monte with Don Luis of Bourbon, the son of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Philip V{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=82; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 of Spain, for whom he painted a number of portraits, including one of his wife, Maria Teresa de Vallabriga. The painting was ultimately inherited by the Ruspoli family and then purchased by the Uffizi in 1974. The solemnly-attired noblewoman is mounted on an elegant gray steed with a mountainous landscape stretching out behind her. This is one of Goya's earliest portraits, if indeed it is by him, which some experts continue to doubt. What is certain is the quality of the painting, which recalls the finest works of \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Velazquez{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=61; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , whom Goya was studying at the time.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Like the \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Portrait of Maria Teresa de Vallabriga on Horseback{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=O; ObjectClass=Hot; rimando=344; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , this work was bought from the Ruspoli collection in 1974. It dates back to Goya's golden age as a portraitist, around the years 1799-1801, when he was the first painter of the Spanish court. The melancholy woman, daughter of Don Luis of Bourbon and wife of the minister Manuel Godoy, is dressed in a simple, somewhat transparent gown, her fair skin set off by the dark background.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 The Uffizi bought this painting from the Archbishop's Seminary in Udine in 1900, when its poor condition somewhat justified the doubts raised by some scholars regarding its attribution. However, restoration performed in 1987 has dispelled such uncertainties by bringing back to light the transparent, luminous quality of the paint and the way the work resembles the frescoes in the church of Sant'Ambrogio in Milan. It is important to recall that the painting was a ceiling panel, and thus designed to be viewed from below. Documentary evidence would suggest that the work was executed around 1735-1736, about ten years after the famous cycle of biblical stories also painted in Udine.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This is one of the paintings that \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Rodolfo Siviero{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=197; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 recovered from Germany (1954), where it had been taken by Hitler who planned to include it in a new museum named after himself that was to be built in the Austrian city of Linz. Like its pendant also kept at the Uffizi, the painting is based on the story of Rinaldo and Armida from the \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Gerusalemme Liberata\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 by \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Torquato Tasso{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=217; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . With his customary theatrical genius and skillful use of color, Tiepolo has captured the moment of Rinaldo's departure with his two companions, leaving Armida swooning on the beach. The brushwork is quick and lively, and this together with the mythological subject matter would suggest that the painting dates back to around 1750-1755.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 This painting was finished in 1708 and dispatched to Grand Prince Ferdinando de' \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Medici{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , who was delighted with it. It is a portrait of the entire Crespi family, and embodies a number of unconventional features. The artist himself is caught as he is about to leave the scene, whereas the attitudes of the rest of the family are so natural that they almost seem to have been captured by a modern-day camera. Appreciation of Crespi's realism has grown in recent years, and he is now recognized as one of the most interesting artists of the eighteenth century.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Accanto ad una cospicua ed aggiornata produzione di grande formato a carattere mitologico, religioso e paesaggistico, Giuseppe Maria Crespi affida parte della sua fama alle piccole scene di genere, sollecitate dall'incontro con la pittura fiamminga ed olandese di cui erano ricche le collezioni \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 medicee{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=152; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . \par Tra i quadretti di grande livello posseduti dagli Uffizi, si fa notare questa \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 Donna che si alza dal letto\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , pi nota come \b0 \i \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 La pulce\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 , di cui esistono numerose redazioni divise tra i musei italiani ed esteri.} {\rtf1 \ansi \deff0 {\fonttbl {\f0 \froman Times New Roman;}{\f1 \fswiss MS Sans Serif;}}{\colortbl \red255 \green255 \blue255 ;\red0 \green0 \blue0 ;}\ql \fi226 \li0 \ri0 \sl0 \tx708 \b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 La tavola firmata e datata /1340/ sulla pedana del trono; non si hanno invece notizie della \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 predella{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=G; ObjectClass=Hot; rimando=185; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 menzionata dal \b0 \i0 \strike0 \f1 \fs16 \uldb \up0 \dn0 \cf1 Vasari{\b0 \i0 \strike0 \f0 \fs20 \ulnone \up0 \dn0 \v HotwordStyle=BookDefault; tipoHot=A; ObjectClass=Hot; rimando=40; }\b0 \i0 \strike0 \f1 \fs16 \ulnone \up0 \dn0 \cf1 . Da segnalare il tema del colloquio tra Madre e Figlio che Pietro Lorenzetti affronta in ogni occasione con originali soluzioni espressive. Grande solidit conferita alle figure attraverso il colore, steso a campiture larghe; interessante risulta l'uso della luce che illumina con forza il lato destro del trono.} prova +%,!K + +.0> +",H4 2, #> passo nextstep TimerNow min:sec counterms fieldLista spia2 seconds counter vtime k,notifyendseq notifyendseq \TimerNow passo fieldLista 4logical rec $ = 0 spia2 0,0,0 counter counterms -- 0,0,0 120,50,100 vtime = y1000 IvTime j:sec" nextstep &"> "& 0,50,100 0,0,0 notifyendseq GuidedTour nomelista nomefile startseq buttonclick buttonclick GuidedTour startseq nomelista,"", nomefile, passo buttonclick buttonclick 4logical rec passo 2=0 -- se no siamo play => StartSeq nomelista passo recordstep buttonclick buttonclick 4logical rec passo <> 0 recordstep nextstep 32> 85000,0, send vaistep ("314 o314"))")) nomelista field tour3 of page datir spia2 counter counterms nomelista salva buttonclick buttonclick nomelista salva SALVA nomelista salva buttonclick buttonclick nomelista salva Vstopseq buttonclick buttonclick stopseq nomefile c:\uffizi\audio\cmix.wavvoeng\uncomp\bmix.wavv