La chaire de Prato fut commandée par les Operai del Duomo di Prato pour l'angle extérieur de la cathédrale, afin d'y exposer la Sacra Cintola (la Sainte Ceinture de la Vierge Marie ⓘ), la relique la plus précieuse de Prato.
In fifteenth-century Florence, the image of the Virgin and Child underwent a quiet revolution. From the solemn, hieratic figures of late Gothic piety, the Madonna became an image of tender humanity, no longer distant and majestic, but immediate, emotional, and profoundly relatable. This transformation mirrors a broader shift in Renaissance devotion: the movement of sacred experience from church to home, from the grandeur of the altar to the intimacy of domestic life.
Entre 1431 et 1438, le sculpteur florentin Luca della Robbia sculpta dans le marbre l'une des plus rayonnantes célébrations de la musique et de l'enfance du début de la Renaissance, a Cantoria, ou galeriede chant, initialement conçue pour la tribune nord de la cathédrale de Florence.
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.
L'histoire de Caïn et Abel est racontée sur le mur du bas-côté nord de la cathédrale de Montréal en Sicile. Les mosaïques sont basées sur le style byzantin et créées vers 1218 par des artistes maures.
The nativity scene in cell 5 is by Fra Angelico, and comprises the Holy Family with Saints Catherine of Alexandria, and Saint Peter ⓘ the Martyr.
This fresco (1438-1443) by Fra Angelico 1438-1443) depicting the Presentation in the Temple is in cell 10 of the San Marco monastery in Florence.
This fresco (1438-1443) in cell 8 of the San Marco monastery is by Fra Angelico.
San Marco is a Dominican church and convent in Florence famous for its well preserved frescos by Fra Angelico and other renaissance artists.
This fresco of the "Scourging of Christ" is by Fra Angelico in cell 4 of the San Marco monastery.
