Chapter 17

Florence and the Early Renaissance

1. Florence

Duomo (cathedral), baptistery

1. FlorencePonte Vecchio over the Arno

Piazza della Signoria

Loggia dei LanziGalleria degli UfficiDavid by

Michelangelo

1. Florence

1. Florence

Piazza della Signoria in the 18th century:

-Palazzo Vecchio

-Galleria degli Uffici

-Loggia dei Lanzi

1. Florence in 1493

2. The Medici family (1418-1494)

Cosimo (1389-1464)Piero (1416-1469)Lorenzo (1449-1492)

Bankers of the Papacy with offices in Rome, Venice, Avignon, Lyon, Geneva, Cologne, Bruges, London…

Patrons of the arts.De facto rulers of

the Republic of Florence through their influence.

2. The Medici family (1418-1494)

Lorenzo the Magnificent

2. The Medici family (1418-1494)

Palazzo Medici-Riccardi by Michelozzo di Bartolomeo. 1444.

2. The Medici family (1418-1494)

Chapel and patio of the Medici Palace (1944)

Adoration of the Magi by Sandro Boticelli , 1470.

-Meaning for the donors?

2. The Medici family (1418-1494)

2. The Medici family (1418-1494)

The Medici embody the wisdom of the Magi and their kingship.

They belong to the Confraternity of the Magi and participate in the procession every January 6th.

2.The Medici family (1418-1494)Accomplishments:Cosimo: enlisted

Brunelleschi to:Enlisted Brunelleschi

to complete the dome of Florence cathedral.

Paid for the reconstruction of the church of San Lorenzo.

Lorenzo collected manuscripts creating the Laurentian Library.

2. The Medici family (1418-1494)

Classical models:Doors of Florence Baptistery (1401-1402)Brunelleschi’s dome of Florence Cathedral

(1420-1436)Scientific perspective

San Lorenzo (1421-1469)Doors of Paradise (1425-37)Masaccio’s Trinity with the virgin (1425)

Classical freestanding sculptureDonatello’s David (1440)Michelangelo’s David (1501-1504)

3. Artistic developments

Mythological themesSandro Boticelli, Primavera, Birth of Venus

(1480).Illusionism:

Studiolo of Federigo da Montefeltro, Urbino (1476)

Mantegna’s Camera Picta, Mantua, 1465-74Leonardo da Vinci

Sfumato, psychological portrayal

3. Artistic developments

4. Florence Baptistery (1401-1402)

4. Florence Baptistery (1401-1402)BrunelleschiSacrifice at the

centerGothic verticality:

three rising planes.Crowded, figures

spill outDramatic tension

GhibertiIntroduction of

classical models: torso, toga

Introduction of landscape: sense of real space.

Diagonal lines, cohesion

5. Dome of Florence cathedralFilippo Brunelleschi Technical challenge:

to cover and octagonal gap, 140 foot wide.

1420-1436Brunelleschi

travelled to Rome to study Roman domes.

Where can you study a dome in Rome?

5. Dome of Florence cathedralModel: Rome, Pantheon, 2nd cent. CE

5. Dome of Florence cathedralInternal structure of

vertical and horizontal ribs.

Elongated dome, rather than semicircular.

6. Scientific Perspective: Church of San LorenzoBrunelleschi: Church of

San Lorenzo, (1421-1469)

Sense of balance and proportion.

Use of scientific perspective and geometry.

Search for harmony as a reflection of the divinity.

Use of Classical models (Roman basilica)

7. Scientific Perspective: Gates of Paradise (1425-1437)Lorenzo GhibertiEast side of the

BaptisteryThemes: Old

testament

7. Scientific Perspective: Gates of Paradise (1425-1437)

7. Scientific Perspective: Gates of Paradise (1425-1437)Use of classical modelsScientific perspective:

convergence of lines at the vanishing point.

Landscape and architectural detail create a sense of real space and guide the viewer to the vanishing point.

Low and high relief.

7. Scientific Perspective: MasaccioMasaccioTrinity of Santa

Maria Novella (1425)Visual effects?Vanishing point?Donors?Origin of

architectural details?

7. Scientific Perspective: Masaccio

-Trompe l’oeil: vault and architectural details

Donors in the foreground.

Vanishing point: Christ

Perspective from viewer’s viewpoint.

Architecture: Roman triumphal arch.

The Tribute Money, 1420.

7. Scientific Perspective: Masaccio