Fig 4.6: Filippo Brunelleschi, dome of Florence Cathedral, 1423–38

Fig 4.1: Donatello and Michelozzo, tomb of Pope John XXIII, completed 1431. Baptistery, Florence

Fig 4.2: Andrea da Firenze, tomb of King Ladislao of Naples, 1420s. San Giovanni in Carbonara, Naples

Fig 4.3: Gentile da Fabriano, The Adoration of the Magi (Strozzi altarpiece), 1423. Tempera on panel, 9'10½" x 9'3½" (3 x 2.8 m). Uffizi Gallery, Florence

Fig 4.4: Lorenzo Ghiberti, east doors of the Florence Baptistery (“Gates of Paradise”), 1425–52. Height 15' (4.6 m)

Fig 4.5: Filippo Brunelleschi, Crucifix, c. 1410–15. Polychromed wood, 5'7" x 5'7" (1.7 x 1.7 m). Santa Maria Novella, Florence

Fig 4.6: Filippo Brunelleschi, dome of Florence Cathedral, 1423–38

Fig 4.7: Cut-away view of the dome of Florence Cathedral, showing the double shell and the internal rib structure. Diagram after PieroSanpaolesi

Fig 4.8: Brunelleschi’s perspective panel

Fig 4.9: (1) To follow Leon Battista -- Alberti’sinstructions of c. 1435 for painting in perspective.

Fig 4.9: (2)

Fig 4.9: (3)

Fig 4.10: Plan of San Lorenzo, Florence, showing the church’s fifteenth-century form.

Fig 4.11: Filippo Brunelleschi, Old Sacristy, c. 1418–28. San Lorenzo, Florence

Fig 4.1: Donatello, St. Louis of Toulouse, c. 1423. Gilt bronze, 8'8¾" (2.66 m). Museo di Santa Croce, Florence. The niche in the photo is a replica of Donatello’s original on Orsanmichele, Florence.

Fig 4.13: Donatello, Feast of Herod, c. 1425–27. Gilt bronze, 23⅕ x 23⅕" (59.7 x 59.7 cm). Baptismal font, Siena Cathedral

Fig 4.1: Lorenzo Ghiberti, Jacob and Esau, panel from the Gates of Paradise, 1425–52. Gilt bronze, 31¼ x 31¼" (79 x 79 cm). Museodell’Opera del Duomo, Florence

Fig 4.15: Masaccio and Masolino, Brancacci Chapel, 1426–28. Santa Maria del Carmine, Florence.

Fig 4.16: Masaccio, The Tribute Money, c. 1426–28. Fresco. Brancacci Chapel, Santa Maria del Carmine, Florence

Fig 4.17: Masolino (with Masaccio), The Raising of Tabitha, c. 1426–28. Fresco. Brancacci Chapel, Santa Maria del Carmine, Florence

Fig 4.18: Masaccio, Trinity, 1425–28. Fresco. Santa Maria Novella, Florence

Fig 4.1: Lorenzo Ghiberti, King Solomon and the Queen of Sheba, panel from the Gates of Paradise, 1425–52. Gilt bronze, 31½ x 31½"(80 x 80 cm). Museodell’Opera del Duomo, Florence

Fig 4.20: Pisanello, Brenzoni Monument, 1425. Fresco. San Fermo Maggiore, Verona. The sculptures are by Nanni di Bartolo.

Fig 4.21: Sassetta, St. Thomas Aquinas in Prayer, panel from the Arte della Lana altarpiece, 1423–26. Tempera and gold on panel, 9¼ x 15⅜" (24 x 39 cm). Szépmüsvészeti Museum, Budapest

Fig 4.22: Sassetta, The Vision of St. Thomas Aquinas, panel from the Arte della Lana altarpiece, 1423–26. Tempera and gold on panel, 9⅞ x 11⅜" (25 x 28.8 cm). Pinacoteca, Vatican

Fig 4.23: Giovanni di Paolo, Entombment, from the Malavolti altarpiece, 1426. Tempera with gold leaf on panel. Walters Art Museum, Baltimore

Fig 4.1: Giovanni di Paolo, The Adoration of the Magi, 1440–45. Tempera and oil on panel, 10⅝ x 9⅛" (27 x 23.2 cm). Cleveland Museum of Art, Cleveland

Fig 4.6: Filippo Brunelleschi, dome of Florence Cathedral, 1423–38