VI. Giotto
VII. The Decameron
VIII. Siena
IX. Milan
X. Venice and Genoa
XI. Twilight of the Trecento
XII. Perspective
Chapter II: THE POPES IN AVIGNON: 1309–77
I. The Babylonian Captivity
II. The Road to Rome
III. The Christian Life
BOOK II: THE FLORENTINE RENAISSANCE: 1378–1534
Chapter III: THE RISE OF THE MEDICI: 1378–1464
I. The Setting
II. The Material Basis
III. Cosimo Pater Patriae
IV. The Humanists
V. Architecture: the Age of Brunellesco
VI. Sculpture
1. Ghiberti
2. Donatello
3. Luca della Robbia
VII. Painting
1. Masaccio
2. Fra Angelico
3. Fra Filippo Lippi
VIII. A Miscellany
Chapter IV: THE GOLDEN AGE: 1464–92
I. Piero il Gottoso
II. The Development of Lorenzo
III. Lorenzo the Magnificent
IV. Literature: the Age of Politian
V. Architecture and Sculpture: The Age of Verrocchio
VI. Painting
1. Ghirlandaio
2. Botticelli
VII. Lorenzo Passes
Chapter V: SAVONAROLA AND THE REPUBLIC: 1492–1534
I. The Prophet
II. The Statesman
III. The Martyr
IV. The Republic and the Medici
V. Art under the Revolution
BOOK III: ITALIAN PAGEANT: 1378–1534
Chapter VI: MILAN
I. Background
II. Piedmont and Liguria
III. Pavia
IV. The Visconti: 1378–1447
V. The Sforzas: 1450–1500
VI. Letters
VII. Arts
Chapter VII: LEONARDO DA VINCI
I. Development: 1452–83
II. In Milan: 1482–99
III. In Florence: 1500–01, 1503–06
IV. In Milan and Rome: 1506–16
V. The Man
VI. The Inventor
VII. The Scientist
VIII. In France: 1516–19
IX. The School of Leonardo
Chapter VIII: TUSCANY AND UMBRIA
I. Piero della Francesca
II. Signorelli
III. Siena and Sodoma
IV. Umbria and the Baglioni
V. Perugino
Chapter IX: MANTUA
I. Vittorino da Feltre
II. Andrea Mantegna
III. The First Lady of the World
Chapter X: FERRARA
I. The House of Este
II. The Arts in Ferrara
III. Letters
IV. Ariosto
V. Aftermath
Chapter XI: VENICE AND HER REALM
I. Padua
II. Venetian Economy
III. Venetian Government
IV. Venetian Life
V. Venetian Art
1. Architecture and Sculpture
2. The Bellini
3. From the Bellini to Giorgione
4. Giorgione
5. Titian: the Formative Years
6. Minor Artists and Arts
VI. Venetian Letters
1. Aldus Manutius
2. Bembo
VII. Verona
Chapter XII: EMILIA AND THE MARCHES
I. Correggio
II. Bologna
III. Along the Emilian Way
IV. Urbino and Castiglione
Chapter XIII: THE KINGDOM OF NAPLES
I. Alfonso the Magnanimous
II. Ferrante
BOOK IV: THE ROMAN RENAISSANCE: 1378–1521
Chapter XIV: THE CRISIS IN THE CHURCH: 1378–1447
I. The Papal Schism: 1378–1417
II. The Councils and the Popes
III. The Triumph of the Papacy
Chapter XV: THE RENAISSANCE CAPTURES ROME: 1447–92
I. The Capital of the World
II. Nicholas V: 1447–55
III. Calixtus III: 1455–58
IV. Pius II: 1458–64
V. Paul II: 1464–71
VI. Sixtus IV: 1471–84
VII. Innocent VIII: 1484–92
Chapter XVI: THE BORGIAS
I. Cardinal borgia
II. Alexander VI: 1492–1503
III. The Sinner
IV. Caesar Borgia
V. Lucrezia Borgia
VI. The Collapse of the Borgia Power
Chapter XVII: JULIUS II: 1503–13
I. The Warrior
II. Roman Architecture: 1492–1513
III. The Young Raphael
1. Development: 1483–1508
2. Raphael and Julius II: 1508–13
IV. Michelangelo
1. Youth: 1475–1505
2. Michelangelo and Julius II: 1505–13
Chapter XVIII: LEO X: 1513–21
I. The Boy Cardinal
II. The Happy Pope
III. Scholars
IV. Poets
V. The Recovery of Classic Art
VI. Michelangelo and Leo X: 1513–20
VII. Raphael and Leo X: 1513–20
VIII. Agostino Chigi
IX. Raphaeclass="underline" the Last Phase
X. Leo Politicus
BOOK V: DEBACLE
Chapter XIX: THE INTELLECTUAL REVOLT
I. The Occult
II. Science
III. Medicine
IV. Philosophy
V. Guicciardini
VI. Machiavelli
1. The Diplomat
2. The Author and the Man
3. The Philosopher
4. Considerations
Chapter XX: THE MORAL RELEASE
I. The Founts and Forms of Immorality
II. The Morals of the Clergy
III. Sexual Morality
IV. Renaissance Man
V. Renaissance Woman
VI. The Home
VII. Public Morality
VIII. Manners and Amusements
IX. Drama
X. Music
XI. Perspective
Chapter XXI: THE POLITICAL COLLAPSE: 1494–1534
I. France Discovers Italy: 1494–95
II. The Attack Renewed: 1496–1505
III. The League of Cambrai: 1508–16
IV. Leo and Europe: 1513–21
V. Adrian VI: 1522–23
VI. Clement VII: the First Phase
VII. The Sack of Rome: 1527
VIII. Charles Triumphant: 1527–30
IX. Clement VII and the Arts
X. Michelangelo and Clement VII: 1520–34
XI. The End of an Age: 1528–34
BOOK VI: FINALE: 1534–76
Chapter XXII: SUNSET IN VENICE
I. Venice Reborn
II. Aretino
III. Titian and the Kings
IV. Tintoretto
V. Veronese
VI. Perspective
Chapter XXIII: THE WANING OF THE RENAISSANCE
I. The Decline of Italy
II. Science and Philosophy
III. Literature
IV. Twilight in Florence
V. Benvenuto Cellini
VI. Lesser Lights
VII. Michelangelo: the Last Phase
ENVOI
BIBLIOGRAPHY
NOTES
INDEX
List of Illustrations
The page number referred to in the captions is for a discussion of the particular painting or the artist, and sometimes both.
Part I. This section follows page 64
FIG. 1—GIOTTO: The Flight into Egypt
FIG. 2—SIMONE MARTINI: The Annunciation
FIG. 3—LORENZO GHIBERTI: Doors of the Baptistery
FIG. 4—DONATELLO: Crucifixion
FIG. 5—DONATELLO: David
FIG. 6—DONATELLO: Annunciation
FIG. 7—LUCA DELLA ROBBIA: Madonna and Child
FIG. 8—DONATELLO: Gattamelata
FIG. 9—MASACCIO: The Tribute Money
FIG. 10—FRA ANGELICO: The Annunciation
FIG. 11—FRA FILIPPO LIPPI: Virgin Adoring the Child
FIG. 12—ANDREA DEL VERROCHIO: The Baptism of Christ
FIG. 13—DOMENICO GHIRLANDAIO: Portrait of Count Sassetti (?) and Grandson
FIG. 14—SANDRO BOTTICELLI: The Birth of Venus
Part II. This section follows page 224
FIG. 15—ANDREA DEL SARTO: Madonna delle Arpie
FIG. 16—CRISTOFORO SOLARI: Tomb Effigies of Lodovico il Moro and Beatrice d’Este
FIG. 17—AMBROGIA DA PREDIS or LEONARDO DA VINCI: Portrait of Bianca Sforza
FIG. 18—LEONARDO DA VINCI: Virgin of the Rocks
FIG. 19—LEONARDO DA VINCI: Self-portrait
FIG. 20—LEONARDO DA VINCI: Mona Lisa
FIG. 21—PIERO DELLA FRANCESCA: Portrait of Duke Federigo da Montefeltro
FIG. 22—LUCA SIGNORELLI: The End of the World