This same imagery of the people of God as wheat mixed with chaff is carried over into the New Testament.  For example, Luke records that John the Baptist describes Christ thus: ‘His winnowing fork is in his hand, to clear his threshing floor and to gather the wheat into his barn, but the chaff he will burn with unquenchable fire’ (3:17).

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–full name: Filippo di Ser Brunellesco Brunelleschi

–1377-1446; ‘Florentine architect and sculptor credited with initiating the revival of the architectural principles of ancient Rome’

–competed for commission of bronze doors of Florentine Baptistery in 1401, but lost to Ghiberti; his relief of the Sacrifice of Isaac is in the Bargello; then probably visited Rome w/ Donatello to investigate ‘the construction and proportions of ancient buildings’

–afterwards ‘he adapted classical architectural elements to Tuscan Romanesque forms’

–’With his design for the Scolari oratory, S. Maria degli Angeli (begun 1434), he initiated the centrally planned Renaissance building, based on the circle—according to humanists the perfect geometric form’

–around 1413 B. formulated ‘the kind of system of linear perspective used by Masaccio’

–responsible for construction of dome of Florence Cathedral

–1386-1466

–’Italian sculptor who is sometimes considered the most original and comprehensive genius of that remarkable group of sculptors, architects, and painters who created a veritable artistic revolution in Florence during the first quarter of the 15th c.’

–Vasari claimed that Donatello ‘had equalled the sculptors of antiquity’

–’His revolutionary conception of sculpture is exemplified in the great series of standing figures in niches which he made for Or San Michele and Florence Cathedral’; the series included the St. George (1425-20) now in the Bargello

–’The most specifically classical of Donatello’s works, for example the bronze David, which is now in the Bargello but stood originally in the court of the Medici Palace, belong to the decade following a visit to Rome in 1430-2′

–in Padua from 1443-53, where ‘he began to react against classical principles’, excepting the Gattamelata (cf. the equestrian statue of Marcus Aurelius)

–from St. George and the Dragon (1415-20) onward, ‘Donatello’s reliefs were always the most advanced of their time, not perhaps in technical virtuosity but in dramatic effect and spatial complexity’; the St. George is the first surviving example of Brunelleschi’s perspective system in practice

–’exploitation of the expressive possibilities of distortion for dramatic emphasis’ can be seen in the full-length statues of St. John the Baptist, Judith and Holofernes, and St. Mary Magdalene

–’Donatello was the most influential individual artist of the 15th c.’

–Florence was the site of the first academy of art, founded by Vasari

–’The Florentines always retained a special affection for their Baptistery, which dates perhaps from the 5th c., was consecrated in 1059, became a great centre of mosaic work in the 13th c., and in the 15th a centre of sculpture, led by Ghiberti’

–’During the 13th c. the growth of the Arti, or Guilds, assured to the city, now a republic, a fervid political life. The Florentines took part in the quarrels b/w Empire and Church’

–in the 13C artists were reacting to French Gothic style which Franciscans and Dominicans had adopted, and to the revival of painting in Rome and Assisi towards end of 13C; ‘The Franciscan church, Sta Croce, and the Dominican, Sta Maria Novella, prepared the way for a grand conception, the new cathedral of Sta Maria del Fiore’, which was planned by Arnolfo di Cambio from 1296 on; the dome was not built until 1420-6 by Brunelleschi

–city’s ecclesiastical center was formed by the cathedral, its Campanile (by Giotto, 1331, completed 1355), and the Baptistery

–the other great complex of buildings, which employed the permanent group of workshops that had emerged for construction of ecclesiastical center, was the municipal center: Palazzo Vecchio, Loggia dei Lanzi, Bargello, Or San Michele

–mosaics of Baptistery were perhaps first place of training for Cimabue and Giotto

–’In all the arts a meticulous style prevailed, laborious and often dry, as in Orcagna’s painting and Arnoldi’s sculpture’

–expansion of Florence in 15C was guided by Medici leaders, its culture by energetic humanists, its art by men of strong personality

–Brunelleschi invented perspective, which was then used by Masaccio in the frescoes of the Brancacci Chapel (c. 1425); ‘Brunelleschi…was the first to re-employ classical forms; his churches (S. Lorenzo, S. Spirito), which belonged to the basilica-type, became models’

–’The sculptor Donatello alternated b/w unspairing naturalism and a classical concern w/ elegance’

–’It was Verrocchio, the master of Leonardo, who reconciled the two strains of realism and delicacy’

–’the taste for colour and clear light…dominated the art of Fra Angelico and Fra Filippo Lippi’

–one of the most important architects of the 15C was Giuliano da Sangallo, ‘who designed the Palazzo Gondi, the church of Sta Maria delle Carceri at Prato, and the Villa at Poggio a Cajano’

–’The death of Lorenzo (1492), the French invasion (1494), the fall of the Medici, and the experiment of a ‘Christian republic’ led by the Dominican preacher Savonarola (1494-8) were followed by the return of the Medici (1512), whose rule was supported, and after a few upheavals imposed, by Spanish overlords. Siena was absorbed and Florence became the capital of the Grand Duchy of Tuscany in 1569′

–’Just after 1500 it seemed for a short while that Florence might once again, as at the beginning of the 15th c., become the focus of Italian art….But the leadership was usurped by Rome’

–’The new Sacristy of S. Lorenzo, built by Michelangelo when he carved the Medici tombs, confirmed the direction which Florentine art was taking. It led to the artifices and inventions, often charming’ of later architects, sculptors, and painters

–’Florentine art gave little to the Baroque except the church of S. Firenze by F. Ruggini and some decorative work by Pietro da Cortona and Luca Giordano’

–late form of Gothic art; first coined by Louis Courajod in 1892 to refer to style of painting common throughout w. Europe form c. 1370 to c. 1425

–characteristics ‘have been variously described as a stylized elegance of form, refinement, prettiness, restrained vitality, decorative fantasy, and sumptuous colour.  Others have identified an interest in nature in the form of plants and landscape, and a penchant for secular themes from aristocratic life’

–often claimed that the style represented fusion b/w Italian naturalism, Flemish realism, and French courtly art

–certain ‘international’ traits can be attributed to the influence of Italian artists on French art in the 14th century; this happened b/c of the papal schisms, which brought Italian artists from Rome to Avignon to decorate the Palais des Papes in the 2nd half of the century; Simone Martini, e.g., was brought to Avignon in 1339/40 to lead a painters’ workshop, thus linking Avignon with Sienese painting, which had used Byzantine models–>influence of Italian/Byzantine styles

–’fusion of greater corporeal naturalism w/ traditional iconography on ornate decorative backgrounds’

–the illuminated book Tres Riches Heures, by the Limburg brothers, ‘is frequently cited as the greatest work of the International Gothic style’

–’If the disparate group of artists associated w/ International Gothic have anything in common it is the patronage of a small, inteimately connected group of aristocratic patrons’; ‘liberal patronage of the arts…, rather than any single style’ is responsible for ‘any unity in the arts’ from c. 1375-c. 1425