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20 -- Part 8: Renaissance Art in Fifteenth-Century Italy
The Florentine great houses were similar to the Venetian structures.
There is a place of business and a dwelling.
The relic of the True courtyard was carried from front Mark to a small inner gelist by theConfraternity of St. John the Evan.
Goods could be delivered to the church directly from the square in front of the canal, thanks to the entrance on the Cross.
The warehouse depicted in the painting was the ground floor.
There was a miracle recovery of a sick stair that led to the main floor on the second level, which had a child whose father prayed for help as the relic passed.
The cityscape has been rendered with great attention to detail because it was filled with light from large windows.
The upper stories of the Cathedral of St. Mark were filled with family rooms.
The word Contarini was specified.
The doge's palace and the base of the bell tower can be seen in the background, and the facade was to be painted in white.
The gold reliquary is carried under a canopy and should be oiled.
The details are surrounded by marchers with giant candles and followed by the doge and other officials, with coats of arms and balls on the crest at the far right.
Gentile's procession serves as a reminder that in the 15th and 16th century the piazzas and buildings were sites of ceremony and it was truly spectacular.
He attracted patrons with his artistic virtuosity for almost 60 years.
Mantegna's experiments in radical foreshortening and the use of a low vanishing point may have been known to Giovanni.
Giovanni places the vanishing point for the architecture at the bottom center above the floor.
Byzantine art and the long tradition of Byzantine-inspired painting and mosaics in Venice are reflected in the gold mosaic.
The saint has outspread hands and is bathed in early morning sunlight.
In the world Giovanni creates for him, the fields blossom and flocks of animals are abundant.
The atmosphere of sylvan delight is enhanced by the grape arbor over his desk.
Commissioned for the chapel of the hospital in Venice.
No "conversation" or spoken interaction takes place in a real sense despite the name.
The individuals portrayed are joined in a mystical and eternal communion that occurs outside human time and space.
There is a relationship between two people.
The tree is a representation of the burning bush and the stream is a miracle.
The golden light suffusing the painting is unmistakably Venetian, even though the detailed description, Luminous palette, and symbolic surroundings suggest Flemish art.
The oil is on a wood panel.
In forming your answer, make models that are central to the Italian reference to specific works.
There are two examples of Renaissance art, one from Flanders and the other from Florence.
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