This glazed earthenware altarpiece relief of the Madonna and Child among Saints, created around 1480 by Andrea della Robbia ⓘ, forms part of an altar in the Basilica of Santa Croce, Florence.
The work belongs to the mature phase of Andrea’s career and exemplifies the devotional clarity and technical refinement that define the della Robbia workshop in the later fifteenth century.
This second sequence of sculpture on the choir screen, starting at the western end of the south ambulatory, is the work of Jehan Soulas from 1520-1535. Sculpted from the hard limestone from the Tonnerre quarry they consist of scenes from the Gospel of James, depicting the marriage of the Virgin Mary ⓘ to Joseph, the annunciation, and the visitation.
This tomb dedicated to Michelangelo was created by Vasari in 1570 and contains elements of Sculpture, Architecture and Painting.
In cell 7 of San Marco monastery a fresco, by Fra Angelico ⓘ assisted by Benozzo Gozzoli ⓘ, depicts a blindfolded Christ who is enthroned holding a cane and a globe.
In the Nativity scene from Cell 5, Fra Angelico ⓘ presents a serene and deeply devotional vision of the birth of Christ. The composition centers on the Holy Family, Mary, Joseph, and the infant Jesus, surrounded by an atmosphere of quiet reverence.
This third sequence of sculpture on the choir screen, starting at the western end of the south ambulatory, is the work of Jehan Soulas from 1521-1535. Sculpted from the hard limestone from the Tonnerre quarry, this consist of scenes depicting the Nativity, Circumcision, and Epiphany.
Frescos depicting the annunciation.
Renaissance-era stained glass window depicting the Pieta, created by the master glass painter Bertin Duval ⓘ in 1530 and installed in the choir of Notre-Dame Church in Alençon
The following pages catalogue examples of stained from different historic periods prior to the Nineteenth century. This will include Medieval (pre 1500), Tudor (1485-1603), and then from James I through to the beginning of the Nineteenth century.
