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THE PRINCELY COURTS Besides in Florence, the princely courts of Naples, Urbino, Milan, Ferrara, and Mantua, rulers nurt

THE PRINCELY COURTS Besides in Florence, the princely courts of Naples, Urbino, Milan, Ferrara, and Mantua, rulers nurtured the arts. . Mantua Marquis Ludovico Gonzaga was determined to transform Mantua into a spectacular city. An Expansive Mantuan Church: The architect Leon

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THE PRINCELY COURTS Besides in Florence, the princely courts of Naples, Urbino, Milan, Ferrara, and Mantua, rulers nurt

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  1. THE PRINCELY COURTSBesides in Florence, the princely courts of Naples, Urbino, Milan, Ferrara, and Mantua, rulers nurtured the arts.

  2. MantuaMarquis Ludovico Gonzaga was determined to transform Mantua into a spectacular city. An Expansive Mantuan Church: The architect Leon Battista Alberti designed a façade for the church of Sant'Andrea that linked together a Roman temple front and a triumphal arch. The façade's vertical and horizontal dimensions are proportionally related. The vaults in the interior may have been inspired by the Basilica Nova of Constantine in Rome.

  3. Facade. Leon Battista Alberti(1404-72) turned his attention to the traditional Latin cross plan and applied a combination of a temple front and a triumphal arch to the facade. Alberti not only produced a new facad design but abandoned the nave-and-aisles type of basilica church which Brunelleschi had used, turning instead to a Latin cross form with a barrel-vaulted nave and a series of alternating

  4. 21-44 Plan of Sant'Andrea, Mantua, Italy, designed ca. 1470.

  5. A Palatial Room of Painted Splendor: In the Camera degli Sposi in the Ducal Palace in Mantua, Andrea Mantegna produced the first consistent illusionistic decoration applied to an entire room. In the illusionistic oculus in the centre of the ceiling, Mantegna employed perspective and foreshortening to produce images seen di sotto in sù (from below upwards).

  6. 21-47 ANDREA MANTEGNA, interior of the Camera degli Sposi, Palazzo Ducale, Mantua, Italy, 1474. Fresco.

  7. 21-48 ANDREA MANTEGNA, ceiling of the Camera degli Sposi, Palazzo Ducale, Mantua, Italy, 1474. Fresco, 8' 9" in diameter.

  8. Examining Christ's Wounds: Mantegna's harrowing image of the Dead Christ is a strikingly realistic study in foreshortening but one which has been also modified artistically. 21-50 ANDREA MANTEGNA, Dead Christ, ca. 1501. Tempera on canvas, 26 3/4" x 31 7/8". Pinacoteca di Brera, Milan.

  9. UrbinoThe princely court of Urbino under the patronage of Federico da Montefeltro was a center of Renaissance art and culture. The painter and geometrician Piero della Francesca produced lucid images of almost geometrical clarity and purity.

  10. A Legendary Fresco Style: Piero's fresco cycle in the apse of the church of San Francesco in Arezzo includes the Finding of the True Cross and Proving of the True Cross, in which the carefully delineated forms and shapes of the architecture in the background organize and control the grouping of the solemn figures in the foreground.

  11. 21-51 PIERO DELLA FRANCESCA, Finding of the True Cross and Proving of the True Cross, San Francesco, Arezzo, Italy, ca. 1455. Fresco, 11' 8 3/8" x 6' 4".

  12. Resurrecting Masaccio's Composition: In his fresco of the Resurrection in the chapel of the town hall of Borgo San Sepolcro, Piero used a triangle of figures to organize and stabilize the composition. 21-52 PIERO DELLA FRANCESCA, Resurrection, Palazzo Comunale, Borgo San Sepolcro, Italy, ca. 1463. Fresco, 7' 5" x 6' 6 1/2".

  13. TURMOIL AT THE END OF THE CENTURYThe puritanical Dominican preacher Girolamo Savonarola assumed absolute control of Florence after the Medici fled the city following the death of Lorenzo de' Medici in 1492. Savonarola denounced humanism and encouraged "bonfires of the vanities," in which citizens were exhorted to burn classical texts, scientific treatises, and philosophical writings.

  14. A Horrifying Vision of the Damned: Luca Signorelli's frescoes in the San Brizio Chapel in Orvieto Cathedral includes the Damned Cast into Hell, where a dense writhing mass of humans are tortured by ferocious demons. Skillfully foreshortened nude, muscular bodies twist and turn in anguish and pain. 21-54 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Cathedral, Orvieto, Italy, 1499–1504. Fresco, approx. 23' wide.

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