- Construction begun in 1296 by Arnolfo di Cambio, scultptors and painters rather than masons were used for the design. More concerned by design than with engineering.
- Long square-bayed nave ends in an octagonal domed crossing, as wide as the nave and side aisles. Three polygonal apses, each with five radiating chapels, surround the central space.
- Goldsmith studied Roman sculpture, constructed a tall octagonal drum, as a base. The dome is a double shell of masonry 138 feet across. The Octagonal outer shell is supported on eight large and sixteen lighter ribs.
- An oculus, round opening in the center of the dome was surmounted by a lantern, final touch was a gilt bronze ball.
- Style like the "arch of titus" divided arch, diminishing height, "rusticated" Large over hanging protection from the sun, dress masonry.
- The palazzo symbolized the family place in society, commissioned by the Cosimo de'Medici family. Cartouche-family name/crest, Medici-balls, round circles.
Palazzo Medici Riccardi Courtyard, Bartolomeo, Florence
- Square in plan with rooms, round arches on slender cloumns form a continuous arcade (repetition of arches) and supported an enclosed second story.
- Decorated with sgraffito ( tinted and engraved plaster) Loggia- open courtyard.
- Gonzaga comissioned Alberti to enlarge the church of sant andrea which housed a sacred relic believed to be the actual blood of christ.
- Masonary-support chapel spaces covered with barrel valut. Follows the latin cross plan, which the transept intersects the nave high above the midpoint of the church.
- Allows light to enter, follows two classical forms- a temple front and a triumphal arch with two sets of colossal Corinthian pilasters.
- Facade now has a clear volume of its own, which sets it off visually from the building behind. Barrel-vaulted triumphal-arch entrance.
- Immense barrel vaulted nave, extended on each side by tall chapels, inspired by the Basilica of Maxentius and Constantine. Vault width 60'
- The arch has lateral barrel vaulted spaces opening through two story arches on the left and right. Alberti created such colossal scale, spatial unity.
Studiolo of Montelfeltro in Ducal Palace Urbino, Italy
- Intarsia- small pieces of wood to get color like a puzzle gluing down wood to create illusionist painting.
- Tromp l'oeil effects more convincing with development of liearn perspective, studiolo-study or a room for private conversation.
- Commissioned by both the stone mason and wood workers guild, these martyrs were executed for refusing to make an image of pagan roman gods.
- Figures- solid bodies, heavy form revealing togas, stylized hair and beards, very naturalistic features. Drapery falls naturally, gesture with weight shifted contrapposto, how the body looks in reality: knee pressing the fabric.
- Bronze relief panels for a new set of doors for the east and most important side of the Baptistry of San Giovanni. Commissioned by the Wool Manufacturer Guild, he produced a set of ten old testament scenes from the creation to the reign of Solomon.
- Organized space in linear perspective, guilded with gold.
- One point perspective in the setting, Rebecca stands listening to god who warns of her unborn sons future conflict. Adult Esau sells his rights as oldest son to Jacob.
- Jacob receives Isac's blessing while Esau faces his father, Esau symbolized the Jews and Jacob the Christians. Explains the conflict of religion.
- Bronze sculpture, life size male nude David, heroic nudity, sensuous adolescent boy, taking Goliath's severed head under his feet. The sculpture is placed in the Medici palace, extolling Florentine heroism and virtue.
- Nudity-beauty, close to god. Circe perdu, bronze casting method. Free standing nude, creates a scene, young/woman-like figure, sleek and shiny surface.
- Equestrian statu commemorating the Paduan general of the Ventian army, Gattamelata, honeyed Cat. Example of condottieri-brilliant generals who organized the armies and fought for any city state willing to pay.
- Horse had a symbol for brute strength, mind over matter.
- The trinity was meant to give the illusion of a stone funerary, set below a deep aedicula (framed niche) in the wall.
- Momente mori: reminder of death, dove, holy spirit. Taken view point to look up to look at 3-D space, placed outside chapel to think/reminder of death.
- Coffers sunken panels of the ceiling, skeleton represents Adam on whose tomb the cross was though to have been set.
- Fresco decoration of the Brancacci chapel in the church of Santa Maria del Carmine in Florence. The chapel was dedicated to Saint Peter.
- Patron Felice Brancacci was exiled, never finished.
- Aerial/atmospheric perspective, modeling hightlights, spacing, shifting weight of the contraposto, individuality expression, contineous narration, telling a story about the first tax levy in florence for war called "catasto"
- Natural light bathed with light for realism, jewlish tax collector asking for money. angled halos, natural florence landscape, trees/nature less distinctive.
- Linear perspective, center of the space: jesus overlapping, creating depth shadows.
- Ludovico Gonzaga, patron a tower chamber in his palace which Mantegna decorated. The family receives its returning cardinal in scenes set in landscapes and loggias.
- Organized wall to one single point completely unified illusionist ceiling art, feet hanging form ledge. Foreshorten babies/putti illusion of space, short, proportions, tromple l'oeil to to fool the eye, stimulated oculus with a big opening.
- Contraposto hip/knee bended, elongated anatomy for visual effect, personification of spring, her hair is highlighted with gold.
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