This fresco by Fra Angelico ⓘ depicts the Transfiguration of Christ, one of the most radiant and spiritually charged scenes in the Gospel narrative. At the center, Christ stands upon a rocky elevation, enveloped in a great mandorla of divine light, his white garments gleaming with celestial brilliance.
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.
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.
This marble low relief depicting Saint Peter’s ⓘ Miraculous Escape from Prison, executed around 1439, was created by Luca della Robbia ⓘ. The panel is now preserved in the Bargello, Florence, but was originally part of the altar of Saint Peter in Florence Cathedral.
The work belongs to Luca’s early mature period and demonstrates the clarity, narrative restraint, and classical composure that define early Florentine Renaissance sculpture.
This crucifixtion fresco (1441-1442) is by Fra Angelico ⓘ in the Chapter House of the San Marco monastery in Florence.
Cell 39 on the second floor of the San Marco convent was reserved for Cosimo de Medici. The fresco on the wall is the Adoration of the Magi by Benozzo Gozzoli ⓘ.
Crucifixion fresco (1441-2) by Fra Angelico ⓘ in cell 38 on the second floor of the San Marco convent.
This four-light window depicts the Annunciation to the Virgin Mary ⓘ, a masterwork of mid-15th-century French stained glass and one of the earliest panels in the south ambulatory cycle at Bourges Cathedral. At the centre, the Archangel Gabriel, richly vested in a scarlet cope patterned with gold shells and miniature saintly figures, kneels before the Virgin Mary, who stands at the right holding a book of hours and clothed in green and white robes edged with gold
This stained glass window in the Lady Chapel of Evreux Cathedral was a given to the cathedral by King Louis XI of France between 1467 and 1469.
This window depicts the Adoration of the Magi, one of the most accomplished surviving examples of mid-15th-century glass painting in Bourges Cathedral. The composition unfolds across four lights beneath a framework of delicate Gothic canopies enriched with gilded tracery and pinnacles.
This glazed terracotta Madonna and Child, executed between 1470 and 1480, is attributed to Andrea della Robbia ⓘ. It reflects the mature style of the della Robbia workshop in the later fifteenth century and demonstrates the devotional clarity and technical refinement that made glazed terracotta one of Florence’s most distinctive artistic media.
The relief is located in the church of San Gaetano.
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.
Some of the 16th century and earlier stained glass that can be found in Beauvais France. In particular the works of the le Prince family in Beauvais Cathedral and the parish church of St Ettiene.
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.
Effigy of Donna Maria de Perea wearing a simple dress and with rosary in her hands.
These pages document medieval stained glass in the churches of Rouen.
Agnès Sorel (d1450) was the mistress of King Charles VII of France to whom she gave birth to three daughters to Charles VII.
The Tomb of the Children of France is a traditionally attributed to Michel Colombe ⓘ (c. 1430–1515), one of the foremost French sculptors of the late Gothic and early Renaissance periods, and is widely regarded as one of Michel Colombe’s most touching and refined works.
This Tree of Jesse in the church of St Godard Rouen, is the work of Arnoult de Nimégue (1506).
This window forms part of the late-medieval glazing cycle devoted to St Austremoine (St Austremonius), traditionally regarded as one of the missionary bishops sent from Rome to evangelise Gaul. The panels adopt the rich narrative style characteristic of Rouen workshops in the early sixteenth century, combining brightly modelled figures, deep architectural canopies, and landscape backdrops that open the narratives into broad, coherent sequences.
