The Crucifixion window in the Church of Saint John the Baptist ⓘ at Montrésor, in the Indre-et-Loire region of France, is one of the finest surviving examples of early sixteenth-century stained glass in the Loire Valley. Filling a tall Gothic lancet divided into several vertical lights, it unfolds as a vivid narrative of the Passion of Christ, rendered in rich Renaissance color and form.
This crucifixtion fresco (1441-1442) is by Fra Angelico ⓘ in the Chapter House of the San Marco monastery in Florence.
Crucifixion frescoes by Fra Angelico ⓘ in the monk cells at San Marco monastery in Florence. These images are mainly in the cells for novices and were painted between 1438 and 1443 by Fra Angelico and his apprentices.
Crucifixion fresco (1441-2) by Fra Angelico ⓘ in cell 38 on the second floor of the San Marco convent.
The church at Saint Romain sur Cher was rebult in the C16 and restored in the C19. The north and south walls of the apse are painted with scenes of the Decapitation of John the Baptist ⓘ and the Baptism of Christ on the north wall, and on the south wall is the Resurrection. Both of these paintings were restored in 1859.
This funerary monument depicts Don García Osorio, a knight of the Order of Santiago, shown in repose with hands crossed upon his sword, a symbol of both chivalric honor and Christian faith. Carved in Toledo (1499-1505), probably by a sculptor influenced by Egas Cueman or Sebastián de Almonacid.
Donatello ⓘ (c. 1386–1466): A pioneering Italian sculptor of the Early Renaissance, Donatello revolutionized Western art with his lifelike figures and innovative techniques
Effigy of Donna Maria de Perea wearing a simple dress and with rosary in her hands.
This mid-14th-century fresco by Dalmasio degli Scannabecchi depicts the reluctant election of Gregory the Great ⓘ as pope.
According to tradition, Gregory attempted to avoid the office out of humility. A divine sign revealed his location and confirmed the will of God. The episode presents sanctity expressed through reluctance rather than ambition.
Gregory stands at the left, separated from the assembled group. A vertical shaft of light descends toward him and marks divine approval.
Fresco painting by Masaccio ⓘ in the Brancacci Chapel in the church of Santa Maria del Carmine, Florence. This panel was painted at the same time as the panel depicting the "The Temptation of Adam and Eve" by Masolino on the opposite wall. Masolino and Masaccio, were both prominent 15th-century Italian painters, and worked together on the Brancacci Chapel frescoes, offering a clear basis for comparison.
