Preface |
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10 | (2) |
Introduction: Art in Context |
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12 | (3) |
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Contemporary Scene: Art and Offerings |
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15 | (1) |
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16 | (1) |
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17 | (4) |
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17 | (1) |
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18 | (3) |
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21 | (1) |
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Contemporary Voice: An Artist's Life |
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21 | (1) |
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22 | (2) |
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23 | (1) |
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23 | (1) |
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Contemporary Voice: Terms of Employment |
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24 | (13) |
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26 | (1) |
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27 | (1) |
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28 | (3) |
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31 | (1) |
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32 | (1) |
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33 | (3) |
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36 | (1) |
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36 | (1) |
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Renovations and Restorations |
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37 | (5) |
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Historiography and Methodology |
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42 | (1) |
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42 | (1) |
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Contemporary Voice: Fashioning the Female Artist |
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43 | (4) |
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44 | (3) |
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I. The Late Thirteenth and the Fourteenth Century |
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47 | (156) |
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The Origins of the Renaissance |
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48 | (8) |
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St. Francis and the Beginnings of Renaissance Art |
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48 | (2) |
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49 | (1) |
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Contemporary Voice: Francis as Another Christ |
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50 | (5) |
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The San Damiano Crucifix: Christus triumphans |
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50 | (1) |
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50 | (2) |
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52 | (1) |
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53 | (1) |
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53 | (2) |
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55 | (1) |
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55 | (1) |
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Rome: Artists, Popes, and Cardinals |
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56 | (11) |
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Rome's Revival under Nicholas III |
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57 | (3) |
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59 | (1) |
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Contemporary Scene: Art and Miracles |
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60 | (1) |
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Nicholas IV at Santa Maria Maggiore |
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61 | (1) |
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Patrons from the Papal Curia |
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62 | (2) |
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Pope Boniface VIII and an Imperial Language of Power |
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64 | (1) |
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Creating Images for an Absent Papacy |
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65 | (2) |
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Assisi and Padua: Narrative Realism |
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67 | (10) |
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Frescoes in San Francesco |
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69 | (1) |
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69 | (1) |
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Contemporary Voice: St. Francis and the Christ Child |
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70 | (1) |
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Padua: The Scrovegni Chapel |
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71 | (6) |
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Florence: Traditions and Innovations |
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77 | (22) |
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St. John the Baptist and the Baptistry |
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79 | (1) |
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The Palazzo della Signoria and Urban Planning |
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80 | (2) |
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Contemporary Scene: Art and Violence |
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82 | (1) |
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82 | (12) |
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Santa Croce and Santa Maria Novella |
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82 | (2) |
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Altarpieces Dedicated to the Virgin |
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84 | (1) |
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Cimabue's Altarpiece for Santa Trinita |
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84 | (1) |
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Duccio's Altarpiece for the Confraternity of the Laudesi |
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85 | (1) |
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Giotto's Ognissanti Madonna |
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86 | (1) |
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86 | (1) |
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87 | (1) |
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88 | (2) |
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90 | (2) |
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Altarpieces for Santa Croce |
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92 | (1) |
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The Santa Croce Refectory Frescoes |
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93 | (1) |
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94 | (5) |
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Andrea Pisano's Baptistry Doors |
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96 | (3) |
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Siena: City of the Virgin |
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99 | (25) |
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100 | (4) |
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101 | (2) |
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103 | (1) |
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104 | (1) |
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Contemporary Voice: The Procession of the Maesta |
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104 | (8) |
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Altarpieces in the Transept Chapels |
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107 | (3) |
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Later Sienese Altar Painting |
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110 | (1) |
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110 | (2) |
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112 | (1) |
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112 | (2) |
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Simone Martini's Maesta for the Palazzo Pubblico |
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113 | (1) |
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Lippo Memmi's Maesta for San Gimignano |
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113 | (1) |
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Contemporary Scene: Art and Popular Piety |
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114 | (6) |
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Secular Imagery in the Scala del Consiglio |
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116 | (1) |
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The Sala della Pace: ``Good Government'' |
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116 | (4) |
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Siena's Political System and Civic Art |
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120 | (4) |
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Painting in the Palazzo Pubblico |
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120 | (2) |
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Enhancements to the Campo |
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122 | (2) |
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Naples: Art for a Royal Kingdom |
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124 | (11) |
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The Court and the Importation of Artists |
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124 | (4) |
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Architectural Commissions |
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127 | (1) |
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Consolidating Angevin Rule: A Queen's Commissions |
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128 | (3) |
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Cavallini and Giotto in Naples |
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129 | (2) |
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131 | (1) |
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The Altarpiece of St. Louis |
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131 | (1) |
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Sancia of Majorca and the Church of Santa Chiara |
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132 | (1) |
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Tomb Monuments and Robert the Wise |
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132 | (3) |
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The Tomb of Mary of Hungary |
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132 | (1) |
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The Tomb of Robert of Anjou |
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133 | (2) |
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Venice: The Most Serene Republic |
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135 | (17) |
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138 | (2) |
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140 | (1) |
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Images of the State and the Individual |
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140 | (1) |
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140 | (1) |
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Contemporary Voice: The Image as Document |
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141 | (1) |
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Enhancements to St. Mark's |
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141 | (4) |
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141 | (1) |
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141 | (2) |
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143 | (1) |
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144 | (1) |
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The Church of Santi Giovanni e Paolo |
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145 | (1) |
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The Tomb of Doge Michele Morosini |
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145 | (1) |
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146 | (6) |
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147 | (1) |
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Sculpture on the Doge's Palace |
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147 | (1) |
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Painting in the Doge's Palace |
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148 | (4) |
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Pisa and Florence: Morality and Judgment |
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152 | (22) |
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The Camposanto Frescoes in Pisa |
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152 | (3) |
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Santa Maria Novella in Florence |
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155 | (8) |
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155 | (1) |
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156 | (1) |
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156 | (2) |
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158 | (1) |
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The Apotheosis of St. Thomas Aquinas |
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159 | (2) |
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161 | (2) |
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Contemporary Voice: The Bridge of Salvation |
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163 | (1) |
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Social Upheaval and Civic Works in Florence |
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163 | (4) |
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167 | (1) |
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168 | (3) |
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168 | (1) |
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The Legend of the True Cross |
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169 | (1) |
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170 | (1) |
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171 | (2) |
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173 | (1) |
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Visconti Milan and Carrara Padua |
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174 | (29) |
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Milan: The Visconti Court |
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174 | (2) |
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Azzone Visconti and the Idea of Magnificence |
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176 | (1) |
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Contemporary Voice: In Praise of Magnificence |
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177 | (4) |
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178 | (1) |
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Embellishments of the City |
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178 | (3) |
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The Altarpiece of the Magi |
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181 | (1) |
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The Equestrian Monument of Bernabo Visconti |
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181 | (1) |
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The Cansignorio della Scala Monument in Verona |
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182 | (1) |
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182 | (2) |
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184 | (1) |
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Contemporary Scene: Art and Gastronomy |
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185 | (1) |
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185 | (1) |
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186 | (1) |
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Contemporary Voice: Illustrious Men |
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187 | (1) |
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187 | (2) |
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The St. James (San Felice) Chapel |
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187 | (1) |
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188 | (1) |
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The Oratory of St. George |
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188 | (1) |
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Milan: Giangaleazzo Visconti |
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189 | (5) |
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190 | (1) |
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191 | (2) |
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193 | (1) |
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The International Gothic Style |
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194 | (5) |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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The Last Visconti and the Durability of the International Style |
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197 | (2) |
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North Italian Influences in Naples |
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199 | (4) |
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199 | (2) |
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Queen Giovanna II and the Monument to King Ladislas |
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201 | (1) |
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201 | (2) |
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II. The Fifteenth Century |
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203 | (174) |
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Florence: Commune and Guild |
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204 | (47) |
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Sculpture for the Cathedral Complex |
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204 | (3) |
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The Competition for the Second Baptistry Doors |
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205 | (2) |
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Contemporary Voice: Ghiberti versus Brunelleschi |
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207 | (5) |
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209 | (2) |
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211 | (1) |
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212 | (5) |
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217 | (1) |
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218 | (1) |
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Contemporary Scene: Art and Childbirth |
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219 | (1) |
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Contemporary Voice: In Praise of Artists |
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220 | (1) |
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221 | (10) |
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The Bartolini-Salimbeni Chapel |
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221 | (3) |
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The Strozzi Chapel at Santa Trinita |
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224 | (1) |
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225 | (1) |
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Masaccio and the Brancacci Chapel |
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226 | (5) |
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The Trinity and Single-Point Perspective |
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231 | (2) |
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Altarpieces at Mid-Century |
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233 | (2) |
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235 | (1) |
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236 | (3) |
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Castagno at Sant' Apollonia |
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236 | (1) |
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Piero della Francesca in Arezzo |
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237 | (2) |
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Sculptural Commissions Outside Florence |
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239 | (4) |
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Siena: The Baptismal Font |
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239 | (2) |
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241 | (1) |
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Donatello and Michelozzo in Naples |
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242 | (1) |
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242 | (1) |
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The Florence Cathedral Interior |
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243 | (3) |
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246 | (4) |
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The Tomb of Leonardo Bruni |
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250 | (1) |
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Florence: The Medici and Political Propaganda |
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251 | (38) |
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The Medici's Civic and Domestic Commissions |
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252 | (5) |
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252 | (1) |
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253 | (3) |
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256 | (1) |
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Contemporary Voice: A Job Application |
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257 | (7) |
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259 | (1) |
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260 | (1) |
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261 | (1) |
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262 | (2) |
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264 | (3) |
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264 | (1) |
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265 | (2) |
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The Medici and Donatello's Late Work |
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267 | (4) |
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Donatello's Bronze David and Judith and Holofernes |
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267 | (2) |
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269 | (2) |
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The Golden Age and Lorenzo the Magnificent |
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271 | (7) |
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The Tomb of Piero and Giovanni de' Medici |
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271 | (1) |
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The Mercanzia Niche at Or San Michele |
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272 | (1) |
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272 | (3) |
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275 | (1) |
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275 | (2) |
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277 | (1) |
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278 | (1) |
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The Architecture of Magnificence |
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279 | (2) |
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The Facade of Santa Maria Novella |
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279 | (2) |
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281 | (1) |
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Classical Antiquity and the Golden Age |
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281 | (4) |
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Contemporary Scene: Art and the Collector |
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285 | (2) |
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286 | (1) |
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287 | (2) |
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Rome: Re-establishing Papal Power |
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289 | (24) |
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Martin V, Eugenius IV, and Nicholas V |
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289 | (4) |
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290 | (1) |
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290 | (1) |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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Contemporary Voice: Ruins and Dreams |
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293 | (1) |
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294 | (5) |
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297 | (1) |
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298 | (1) |
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299 | (3) |
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300 | (1) |
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A Roman School of Painting |
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300 | (2) |
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Sixtus IV: Roma Caput Mundi |
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302 | (7) |
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302 | (1) |
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The Hospital of Santo Spirito |
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303 | (1) |
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303 | (1) |
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303 | (1) |
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304 | (1) |
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305 | (1) |
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305 | (1) |
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306 | (3) |
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Innocent VIII and Alexander VI: Power and Pleasure |
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309 | (4) |
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310 | (1) |
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310 | (1) |
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311 | (2) |
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Venice: Affirming the Past and Present |
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313 | (23) |
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Sculpture on the Doge's Palace |
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313 | (2) |
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315 | (1) |
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315 | (1) |
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Contemporary Voice: Finishing Touches |
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316 | (1) |
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316 | (2) |
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318 | (1) |
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319 | (2) |
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The Cappella Nova in the late 1440s |
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321 | (1) |
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322 | (2) |
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323 | (1) |
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Venice: Heir of East and West |
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324 | (1) |
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324 | (1) |
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325 | (2) |
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327 | (3) |
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The Scuole and Lay Commissions |
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330 | (3) |
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Commemorative State Commissions |
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333 | (3) |
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Courtly Art: The Gothic and Classic |
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336 | (26) |
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336 | (2) |
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Medals for Leonello d'Este |
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336 | (1) |
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337 | (1) |
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Contemporary Voice: Praise for Pisanello |
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338 | (1) |
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Contemporary Scene: Art and Punishment |
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339 | (4) |
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340 | (1) |
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340 | (1) |
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341 | (2) |
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343 | (1) |
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Naples: Alfonso the Magnanimous |
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343 | (4) |
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343 | (1) |
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An Arch for a Humanist Ruler |
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344 | (3) |
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Rimini: Sigismondo Malatesta |
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347 | (2) |
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349 | (4) |
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350 | (1) |
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350 | (1) |
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351 | (2) |
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Mantua: The Gonzaga Family |
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353 | (8) |
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353 | (2) |
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355 | (1) |
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355 | (1) |
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356 | (3) |
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359 | (2) |
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Contemporary Voice: Fighting for Chastity |
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361 | (1) |
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362 | (15) |
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362 | (5) |
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Completing Visconti Ecclesiastical Foundations |
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363 | (1) |
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363 | (1) |
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364 | (1) |
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364 | (3) |
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Ludovico il Moro and a Grand Classical Style |
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367 | (4) |
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Santa Maria presso San Satiro |
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367 | (1) |
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367 | (4) |
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371 | (1) |
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371 | (1) |
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Contemporary Voice: A Man of Many Talents |
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371 | (6) |
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373 | (1) |
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Leonardo at Ludovico's Court |
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374 | (3) |
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III. The First Half of the Sixteenth Century |
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377 | (122) |
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Lombardy: Instability and Religious Fervor |
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378 | (9) |
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379 | (1) |
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Commemorative Commissions |
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380 | (2) |
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382 | (5) |
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Florence: The Renewed Republic |
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387 | (10) |
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387 | (6) |
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A New Civic Hero: Michelangelo's David |
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388 | (1) |
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Sculpture at the Cathedral |
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389 | (1) |
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390 | (1) |
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390 | (2) |
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392 | (1) |
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393 | (4) |
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|
393 | (2) |
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395 | (2) |
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Rome: Julius II, Leo X, and Clement VII |
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397 | (28) |
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The Imperial Style under Julius II |
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397 | (6) |
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398 | (1) |
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399 | (3) |
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402 | (1) |
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Contemporary Voice: Michelangelo the Poet |
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403 | (5) |
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Contemporary Scene: Art and Dissent |
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408 | (2) |
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The Stanza della Segnatura |
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409 | (1) |
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410 | (2) |
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412 | (2) |
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414 | (1) |
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Contemporary Voice: The Courtier as Artist |
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415 | (1) |
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416 | (2) |
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416 | (1) |
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416 | (2) |
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The Suburban Villa and Sybaritic Pleasure |
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418 | (4) |
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422 | (1) |
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Clement VII: The Dissolution of Papal Power |
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423 | (2) |
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Mantua, Parma, and Genoa: The Arts at Court |
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425 | (12) |
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Mantua: The Pleasure Palace |
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425 | (4) |
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428 | (1) |
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Parma: Elegance and Illusionism |
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429 | (4) |
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Correggio at San Paolo and the Cathedral |
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429 | (1) |
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Parmigianino and Self-Conscious Artifice |
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429 | (4) |
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Genoa: A Princely Republic |
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433 | (4) |
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433 | (1) |
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434 | (1) |
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Genoa in the Second Half of the Sixteenth Century |
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435 | (2) |
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Florence: Mannerism and the Medici |
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437 | (27) |
|
Emerging Transformations of the Classical Style |
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438 | (1) |
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439 | (2) |
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Domestic and Villa Decoration |
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441 | (3) |
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444 | (3) |
|
Michelangelo and the Medici |
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447 | (5) |
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447 | (3) |
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450 | (2) |
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|
452 | (7) |
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|
452 | (2) |
|
The Chapel of Eleonora of Toledo |
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454 | (3) |
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Art as a Symbol of the Advanced State |
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|
457 | (1) |
|
A Dynasty Supported by History and Myth |
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|
457 | (2) |
|
Contemporary Voice: Casting the Perseus |
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459 | (5) |
|
Restructuring Civic Space: The Uffizi |
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|
460 | (1) |
|
The Sala del Gran Consiglio |
|
|
461 | (1) |
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|
462 | (2) |
|
Venice: Vision and Monumentality |
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|
464 | (35) |
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|
465 | (1) |
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|
466 | (3) |
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|
469 | (1) |
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|
470 | (3) |
|
Tullio Lombardo: Classicism for Ecclesiastical Patrons |
|
|
473 | (1) |
|
Venetian Artists Working for Alfonso d'Este |
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|
474 | (3) |
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|
474 | (1) |
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|
475 | (2) |
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|
477 | (2) |
|
Refashioning the City Triumphant |
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|
479 | (2) |
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|
479 | (1) |
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|
479 | (1) |
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|
480 | (1) |
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|
480 | (1) |
|
Titian: Images for the International Elite |
|
|
481 | (1) |
|
|
481 | (1) |
|
|
482 | (1) |
|
|
482 | (2) |
|
|
484 | (1) |
|
Titian: The Artist as his Own Patron |
|
|
484 | (2) |
|
Narrative Imagery in the Scuole |
|
|
486 | (2) |
|
Celebrating the City in the Doge's Palace |
|
|
488 | (2) |
|
Patronage of Commercial and Ecclesiastical Projects |
|
|
490 | (2) |
|
|
490 | (1) |
|
|
491 | (1) |
|
|
492 | (1) |
|
|
492 | (1) |
|
Contemporary Voice: Plague in Venice |
|
|
493 | (6) |
|
|
493 | (1) |
|
|
494 | (2) |
|
|
496 | (1) |
|
|
496 | (3) |
|
IV. The Later Sixteenth Century |
|
|
499 | (49) |
|
|
500 | (13) |
|
Michelangelo's Last Judgment |
|
|
501 | (3) |
|
|
504 | (1) |
|
Contemporary Voice: A Word of Advice |
|
|
505 | (1) |
|
|
505 | (2) |
|
|
507 | (4) |
|
|
508 | (2) |
|
|
510 | (1) |
|
|
511 | (2) |
|
|
511 | (1) |
|
|
512 | (1) |
|
The Demands of the Council of Trent |
|
|
513 | (14) |
|
|
514 | (1) |
|
|
515 | (1) |
|
Contemporary Voice: Veronese Before the Inquisition |
|
|
516 | (1) |
|
Reform and New Religious Orders |
|
|
517 | (6) |
|
|
517 | (3) |
|
|
520 | (1) |
|
|
521 | (2) |
|
|
523 | (1) |
|
Church Reform and Local Politics |
|
|
524 | (3) |
|
Northern Italy: Reform and Innovation |
|
|
527 | (11) |
|
|
527 | (2) |
|
|
529 | (2) |
|
|
531 | (4) |
|
|
535 | (3) |
|
Rome: A European Capital City |
|
|
538 | (10) |
|
Sixtus V and the Replanning of Rome |
|
|
538 | (5) |
|
|
539 | (1) |
|
|
539 | (2) |
|
|
541 | (1) |
|
|
541 | (1) |
|
|
542 | (1) |
|
|
542 | (1) |
|
Contemporary Scene: Art, Pilgrimage, and Processions |
|
|
543 | (3) |
|
|
546 | (1) |
|
|
546 | (2) |
Genealogies |
|
548 | (5) |
List of Popes |
|
553 | (1) |
List of Venetian Doges |
|
553 | (1) |
Time Chart |
|
554 | (2) |
Glossary |
|
556 | (2) |
Bibliography |
|
558 | (8) |
Literary Credits, Picture Credits |
|
566 | (1) |
Index |
|
567 | |