Oua Italian Renaissance Art History Midterm Study Flash Cards

Front 1

Back 1

"Stefaneschi Triptych Altar Piece"
Artist: Giotto
Date: 1306-1307
Original Location: St. Peter’s Basilica, high altar
Current Location: the Vatican
Style: Gothic

Hint 1

Why is it important?
Commissioned by Cardinal Giacomo Stefaneschi
Depicts how the size of a figure determines its importance.
Isocephalic – having all the heads of the figures at the same level, typical of Medieval style.
Right side shows Peter being hung upside down. Center shows Christ the king (bigger than everyone else).
Left side shows Paul being beheaded. Center panels depict the perfect world. Side panels depict the natural world.
Leaning towards Renaissance, or the focus on the real world

Front 2

Back 2

"The Transfiguration of Christ"
Artist: Raphael
Date: 1517
Current Location: the Vatican
Style: High Renaissance

Hint 2

Why is it important?
Commissioned by Cardinal Giulio de Medici, later Pope Clement VII.
The painting is propagandistic, meant to depict that Christ was divine on earth no matter what Luther says.
Apostles below trying to perform a miracle.
Two men on the left show vintage Da Vinci qualities.
Small muscular boy in front show classic Michelangelo traits.
Raphael is inventive through combining messages to tell a story.
Raphael shows order by structuring his art for the eye.
Raphael depicts richness and beauty through the tactile and “perfect” quality.
All key characteristics of Raphael and high renaissance art.

Front 3

Back 3

The Apoxyomenos, or “The Scraper”
Artist: Lysippus
Date: 1st century A.D. recreation of 4th century B.C. statue
Current Location: the Vatican
Style: Renaissance, classical sculpture

Hint 3

Originally in bronze, this is the recreation.
Classic in nudity, monumental, size.
Looks similar to the David.
Artist is searching for perfection.
Canon of proportions.

Front 4

Back 4

"Laocoön and His Sons"
Artist: three Greek sculptors
Date: 1st century B.C.
Original Location: Ancient Greece
Current Location: the Vatican
Style:

Hint 4

Attributed by Pliny the Elder.
Message: no matter who you are, you can’t defeat the gods.
Michelangelo helped find the statue.

Front 5

Back 5

Stanza della Segnature
Artist: Raphael
Date: 1508 - 1511
Original Location: personal library of Julius II
Current Location: the Vatican
Style: Renaissance

Hint 5

Where all the papal edicts were signed.
Julius II was known as “Terribilità,” which means spirited, terrible, irascible, unwilling to bow to anyone’s genius but own.
Walls represent poetry, religion/theology, law, philosophy – the four bodies of knowledge.
Sense of grace and effortlessness in Raphael’s art.

Front 6

Back 6

"Pietá"
Artist: Michelangelo
Date: 1498
Original Location: Old. St. Peter’s Basilica
Current Location: St. Peter’s Basilica
Style: Renaissance

Hint 6

Commissioned by a French cardinal.
Altar piece dedicated to the Virgin Mary.
Became Michelangelo’s calling card.
His only signed piece.
Dead Christ on his mother’s lap.
Visual image of “transformation” – bread, blood, body of Christ.
Mary = church, Christ = salvation.

Front 7

1929

Back 7

Lateran Accord between Mussolini and Pius XI in Vatican City

Front 8

Reigned 1503-1520

Back 8

Pope Julius II

Hint 8

Heralded High Renaissance Style

Front 9

1305-1419

Back 9

Great Schism

Hint 9

1409-1417 With multiple popes

Front 10

2 Fronts for Vatican Reformation

Back 10

New Jerusalem (moral and spiritual center, Hebrew) and New Athens (cultural center, Greco-Roman)

Hint 10

Unified, centered power

Front 11

1473-1483

Back 11

Construction Period for Vatican City

Length - 2x Height and 3x Width

Hint 11

Emulates Temple of Solomon/Temple of Kings in Jerusalem

Front 12

Conclave

Back 12

Where Popes are elected in the Sistine Chapel

Front 13

Apostolic Succession

Back 13

Trace lineage of Peter to Present Pope

Hint 13

Spiritual Leader and Prince of the Church, Rock upon which we place our foundation

Front 14

Sistine Chapel - North Wall

Back 14

Scenes of the life and times of Jesus, the Christ (anointed). Such as "The Sermon on the Mount" by Rosselli and "The Baptism of Jesus" by Perugino.

Hint 14

Age of Grace

Front 15

Sistine Chapel - North Wall

Back 15

Frescoes in between windows: Pre-Constantinian sainted popes

Front 16

Sistine Chapel - South Wall

Back 16

The stories behind Moses, such as "The Ten Commandments" by Rosselli and "Moses’ Journey through Egypt" by Perugino.

Hint 16

Age of Law

Front 17

Sistine Chapel Ceiling

Back 17

9 Scenes from Genesis (R to L):
1-3: Creation of Matter by God
4-6: Creation of Man
7-9: Story of Noah

Front 18

Sistine Chapel - Ceiling

Back 18

Spandrels and Lunettes: Ancestors of Christ

Hint 18

List of names that begins with the Gospel of Matthew, the generations linking Christ with the tribe of David.

Front 19

Sistine Chapel - Ceiling

Back 19

Quattrocento frescoes: Hebrew Prophets and pagan Sibyls who foresaw the coming of the Messiah

Front 20

Sistine Chapel - Ceiling

Back 20

Double Corner Spandrels (Pendentives): Scenes of Old Testament Salvation -
Entrance (Tyrannicides):
1. David killing Goliath
2. Judith and Holofernes
Other end:
3. The Death of Haman
4. Moses and the Serpent of Brass

Front 21

Sistine Chapel - Ceiling

Back 21

Entrance: Prophet Zachariah - prophesied Christ as branch/tree and symbolic entry into Jerusalem

Other end: Prophet Jonah - belly of the fish - symbolizing Christ's burial and resurrection

Front 22

Back 22

Creation of Adam
Sistine Chapel

Hint 22

Much more painterly, than sculpturally. Physical to spiritual movement. Heavy emphasis on figural form. Perfection. Man is living, breathing image of God.

Adam, first Christ. Eve, First Mary.

Front 23

Animas

Back 23

Soul, life, animation - God

Creation of Adam in Sistine Chapel

Hint 23

Difference in life and animation between Adam and God in The Sistine Chapel, "Creation of Adam"

Front 24

Sistine Chapel - East Wall

Back 24

"The Last Judgement"
c. 1535-1541
After the Sack of Rome. Depicts the second coming of Christ and the Apocalypse.

Front 25

Buon (True) Fresco

Back 25

Watercolor painted onto newly applied, damp plaster.

Hint 25

Michelangelo transferred his designs for the Sistine Chapel to the wet plaster by holding it up and following the lines with a stylus, making grooves that can still be seen.

Front 26

A Secco Fresco

Back 26

Watercolor painted onto dry plaster

Hint 26

Michelangelo used this technique to retouch the Sistine Chapel ceiling after it's completion.

Front 27

Ignudi

Back 27

The nudes, in Italian. Ideal restorations of the famous "Belvedere Torso". The physical ideal used as a vehicle for artistic expression that gave way in his old age to a spiritual one.

Hint 27

Characteristic of Michelangelo's art; his most personal and revealing contribution to the ceiling

Front 28

Sistine Chapel

Back 28

Artist: Michelangelo
Date: 1508-1512
Location: Vatican City

Hint 28

THEME: Redemption

Completed in Thirds: payments, scaffolding, painting.

Front 29

Michelangelo's assistants for Sistine Chapel

Back 29

Perugino
Signorelli
Botticello

Front 30

Back 30

"The Entombment of Christ"
Artist: Caravaggio
Date: 1602-1603
Current Location: the Vatican
Style: Late Renaissance (borderline Baroque)

Hint 30

Why is it important?
Most important artist to embody shift from Renaissance to Baroque.
Connects with the viewer formally and emotionally.
The ambiguity of the narrative creates multiple narratives.

Front 31

Back 31

Church of San Domenico
Location: Arezzo
Date: early 1200s
Style: Pre-Renaissance

Hint 31

One of the most important Pre-Renaissance churches in Arezzo.

New ideas for Christian Reform:
1. Public Preaching
2. Direct/complete devotion to Christ
3. Rise of Secularism - stories now accessible

Education - teaching in a scholastic way, the role of the Dominican Order

Front 32

Greccio

Back 32

Manger Scene
Created by St. Francis

Front 33

Horror Vacui

Back 33

The filling of the entire surface of a space or an artwork with detail.

Also Cenophobia - fear of open spaces

Front 34

Back 34

Colors of stripes on arches representative of Dominican habits.
White - purity
Green - hope
Red - faith
B&W - Islamic Aesthetic

Hint 34

Dominican habits

Front 35

Back 35

"The Crucifixion"
Artist: Cimabue
Date: 1265-1270
Original Location: Santa Croce
Current Location: San Domenico, Arezzo
Style: Late Gothic, early Renaissance

Hint 35

Early renaissance artist, a generation before Giotto.
One of the first paintings of the dead Christ.
Gothic style – emphasis on gold surface pattern. Typical form, stylized crucifix, nodules at end of cross. Geometric qualities of musculature as opposed to naturalistic. Doesn’t look like a body, but evokes a body.
Nimbus, or halo
Sense of patient suffering - John and Mary suffer in the same way.
Emphasis on depicting the figures outside of our world.
Emphasizes the new style to come.
Tilt of the hips evokes agony - looks like he is in pain even though his eyes are closed.

Front 36

Back 36

La Pieve di Santa Maria Assunta (Santa Maria della Pieve)
Date: 11th Century
Location: Arezzo
Style: Gothic with Romanesque bell tower

Hint 36

Dedicated to the assumed virgin Mary. Baptismal church. Part of a Cathedral complex. Lombard architecture, style from the North. Huge columns, but each column is different - emphasis on variety. Organic approach, almost has a painted quality.
Classically inspired:
1. Capitals: Corinthian
2. Columns: monolithic - Probably original Roman arches
3. Tympanum – the semi-circular or triangular decorative wall surface over an entrance, bounded by a lintel and arch; assumed virgin Mary ascending to heaven with angels’ help.
Secular scenes on each side that represent the seasons: Winter - pig, Fall: grape, Summer: wheat.
Romanesque in inside: formal, columns, arches, Basilica format, small windows.
Entire church restructured in 1890s.
Patron saint and bishop of Arezzo, San Danato, a martyr, head is found in Pieve crypts. Primary, Secondary, Tertiary relics as physical evidence of the presence of God.

Front 37

Back 37

"Crucifixion"
Artist: Margaritone d’Arezzo
Date: 1230s
Location: Pieve, Arezzo
Style: Gothic

Hint 37

Poised posture, delicate, not naturalistic. Pain is not a factor, eyes open.Very stylized, standard folds of fabric, almost cartoonish
Iconic image of god, victorious over death. God, not man.

Front 38

Back 38

"Madonna and Child with Saints"
Artist: Pietro Lorenzetti
Date: 1320
Location: Pieve, Arezzo
Style: Gothic

Hint 38

Paid for by Guido Tarlotti, the future arch bishop, and by
donation, people on their deathbeds donated for forgiveness
of their sins.
Isocephalic - heads on same level.
Saints depicted (left to right): San Donato, St. John the
Evangelist, St. John the Baptist, and St. Matthew.
Painted on wood with gold leafing.
Gothic style through use of modeling, tactile quality.
Move towards Renaissance through sense of connectivity between Madonna and child.
It’s removed from reality, no narrative.

Front 39

Back 39

"The Finding and Proving of the True Cross"
Artist: Piero della Francesco
Date: 1462
Location: Bacci Chapel, Basilica of San Francesco, Arezzo
Style:

Hint 39

Continuous narrative based on “The Golden Legend” by Jacopo da Voragine, Archbishop of Genoa, 1266

Front 40

"The Finding and Proving of the True Cross"

Back 40

1. Death of Adam, Seth meeting the Archangel Michael

Hint 40

1. Adam tells story of forbidden fruit and sends his son, Seth, back to the garden to ask for the oil of mercy.
2. Archangel tells Seth to plant the branch from the tree on his father’s grave.
3. Lamenting the death of Adam.

Front 41

"The Finding and Proving of the True Cross"

Back 41

2. The Adoration of the Holy Wood; the Queen of Sheba kneels in front of the wood from which the cross will be made and meets King Solomon

Hint 41

1. Sheba spoken to by log, “upon this log a true king greater than Solomon shall perish”.
2. Sheba describes the voice to Solomon and he instructs his servants to throw the log out.

Front 42

"The Finding and Proving of the True Cross"

Back 42

3. The burial of the Sacred Wood

Front 43

"The Finding and Proving of the True Cross"

Back 43

4. The Annunciation to Mary
Time jump to year 0

Hint 43

Time Jump

Front 44

"The Finding and Proving of the True Cross"

Back 44

5. The Vision of Constantine
Time jump to year 315

Hint 44

First successful attempt at a night scene.
Constantine hears the angel speak to him, so he wakes and paints crosses on shields – ends up winning the battle.
Organization of scene important – fervent angel pierces the otherwise flat, serene picture, narrative comes to life, calm night juxtaposed by angel.

Front 45

"The Finding and Proving of the True Cross"

Back 45

6. The Victory of Constantine (Constantine's victory over Maxentius at the battle of Milvian Bridge)

Hint 45

Battle won by miracle, without bloodshed, simply by Constantine holding out cross.

Front 46

"The Finding and Proving of the True Cross"

Back 46

7. The Torture of Judas the Jew

Hint 46

St. Helena tortures Judas for location.

Front 47

"The Finding and Proving of the True Cross"

Back 47

8. The Discovery and Proof of the True Cross

Hint 47

Holding the three crosses over the dead man to test which is the true cross; the third cross raises him from dead

Front 48

"The Finding and Proving of the True Cross"

Back 48

9. The Battle of Heraclius and Chosroes
528 A.D.

Hint 48

Fight over the true cross; Croseros has stolen it and profaned it by setting himself up as God the Father which upsets Heraclitus who goes to Persia to reclaim it – this battle is won through vigor of man.

Front 49

"The Finding and Proving of the True Cross"

Back 49

10. The Exaltation of the Cross

Hint 49

Heraclitus presents the cross to Jerusalem through two narratives:
1. Not allowed in at first because of his prideful entry.
2. He is allowed in second time through humility.

Front 50

"The Finding and Proving of the True Cross"

Back 50

11. The Prophet Jeremiah

Front 51

"The Finding and Proving of the True Cross"

Back 51

12. The Prophet Ezekiel

Front 52

"The Finding and Proving of the True Cross"

Back 52

13. An Angel

Hint 52

Cupid

Front 53

1453

Back 53

Constantinople Falls

Hint 53

Battle scenes depict the world of the militant Franciscan.
Eastern influence of the time – ideas, texts, fashion.
War is in the air through the 1450s.
“Saving the Holy Land”: Franciscan priest jumps in a suit of armor and joins the fight in 1456; Shows the militant nature of Franciscans.

Front 54

Etruscans

Back 54

An early Roman civilization. Invented the grid system. Learned how to “found” and inhabit land.
Built the actual town on the hill.

Front 55

4th century B.C.

Back 55

Romans take over Firenze and 11 other city-states.

Front 56

Castrum

Back 56

Fortified village

Front 57

Cardo

Back 57

North-South Axis/streets

Hint 57

Firenze, grid-system

Front 58

Decumanus

Back 58

East-West Axis/streets

Hint 58

Firenze, grid-system

Front 59

The Forum (def'n)

Back 59

Intersection of the Decumanus and Cardo.

Hint 59

Central point of commerce and philosophy in town.

Front 60

Fall of Rome

Back 60

5th century.
Begins to expand in the 11th century, booming by the 12th century, mercantile empire by the 13th century.

Front 61

Renaissance (Def'n)

Back 61

"Rebirth"
Of Ancient Rome

Front 62

Qualities of the Renaissance

Back 62

1. Importance of Classical Rome
2. Importance of the Individual
3. Importance of a Common Language/Vernacular - Italian

Front 63

Uffizi

Back 63

"Offices"
Built by Giorgio Vasari from 1565-1570, who was considered the first art historian. Used to be connected to the town hall.

Hint 63

Wrote "The Lives of the Various Illustrious Artists," which is responsible for how we understand the progression of the Tuscan Renaissance. Viewpoint = anything after the 3 Greats are just wannabes.

Front 64

The 3 Greats

Back 64

Michelangelo
Rafael
Leonardo

Hint 64

Donatello was later, the 4th, but runner up for title "Great"

Front 65

Back 65

"Christus Triumphans"
Location: Galleria degli Uffizi
Date: 12th Century
Christ is shown alive on the cross to denote that he has triumphed over death.

Hint 65

Transition from Middle Ages to Renaissance:
Phase 1: Christus Triumphans, triumphant Christ on Cross
Phase 2: Emphasis on Christ as man, but still extra worldly
(^Greek style)
Phase 3: Heirarchy of size, lots of gold, emphasis on invisible
(^Gothic style)
TRANSITION
Phase 4: Giotto goes from “Greek style” to “Latin style”

Front 66

Back 66

"Maestá"
Artist: Giotto
Date: 1311
Location: Uffizi
Style: late Gothic

Hint 66

Translates to majesty. Heavy use of modeling to create figure; you can see the body. Creates volume. Christ as the baby is still depicted as manly; he is old before his time. Strong; weight of the world on his shoulders.

Front 67

Back 67

"Coronation of the Virgin"
Artist: Lorenzo di Monaco
Date: 1414
Original Location: Santo Trinita
Current Location: Uffizi
Style: Pre-Renaissance

Hint 67

Commissioned by the Strocci family for a traditional style. Coronation: the end of events. Dormition: sacred slumber. Mary is not dead; she is indeed
immaculate.
Saints depicted became martyrs; stood for humanity and
bloodshed for Christ. Martyrdom based on “the Golden Legend” by Jakopov Voragine in 1266.
The lives of the saints:
1. St. Stephen with stones on his head
2. St. Peter holds a key
3. St. John the Baptist wears a hair shirt and holds a staff
4. St. Lawrence holding the grill iron (and palm frond sometimes)
5. Angels - Wings aren’t supposed to look real; they are unreal, surreal.

Front 68

Back 68

"Adoration of the Magi"
Artist: Gentile da Fabriano
Date: 1423
Location: Uffizi
Style: Renaissance

Hint 68

Commissioned by Strocci family (bankers).
Depicts a CONTINUOUS NARRATIVE, or the same figures repeated in a single scene.
1. Top: sees star, travels to Jerusalem, travels to Bethlehem.
2. Foreground: main painting – visits baby Jesus.
Combination of the religious and the secular; staple in Renaissance art.
3. Emphasis on physical detail/material possession in foreground right.
4. Transitions to spiritual depiction in foreground left.
5. Foreshortening: seeing something 2D in a 3D way with servant bent over towards viewer.
Emphasis on the individual and physical detail.
CAUSE AND EFFECT: kings bowing and baby Jesus pats their head, Madonna catching baby while covering herself, foot reflex as king kisses baby Jesus’ feet – all very natural responses.

Front 69

Back 69

"Battle of San Romano"
Artist: Paolo Ucello
Date: 1440
Original Location: Bedroom of
Lorenzo de Melacino
Current Location: Uffizi
Style: Renaissance

Hint 69

Was hung 10 feet up, so the viewing is skewed because it is based on perspective.
Part of 3 battle scenes.
*Called the first scientific style of the renaissance.
First to really explore the visible world.

Front 70

One-Point Linear Perspective

Back 70

The use of a single vanishing point
with the combination of horizontal and vertical lines (orthogonal and transversals) which recede into background at vanishing point.

Front 71

Alberti

Back 71

Leon Baptista Alberti, published the “Treatise of Terms” in 1435 in Latin, in 1436 in Italian. Combined math and art in the study of optics.

Front 72

Back 72

"Madonna with Child and Two Angels"
Artist: Fillipo Lippi
Date:1465
Location: Uffizi
Style: Renaissance

Hint 72

Mary looks naturalistic; Christ looks more childlike. Softer light with no visible light source. The landscape is Tuscan. Real time rather than eternity. Importance of engagement between audience and viewer; no longer about the scholastic approach; more emotional.

Front 73

Back 73

"Duke and Duchess of Urbino"
Artist: Piero della Francesca
Date: 1472-1475
Original Location: Duke of Urbino’s studio
Current Location: Uffizi
Style: Renaissance

Hint 73

Duke creates the town and earns all of his money by being
a “condottieri,” or mercenary.
He is the most important mercenary of the 15th century.
His profile depicts ancient Roman coinage.
Emphasis on man and his essence.
Captures him as an individual, rather than a “perfect” beauty.
Duchess is not that identifiable, looks like a typical woman with no definable features.

Front 74

Back 74

"Birth of Venus"
Artist: Botticelli
Date: 1484
Original Location: temporary canvas, for wedding
Current Location: Uffizi
Style: Renaissance

Hint 74

Introduces a new aspect of Renaissance; emphasis
on education, importance of intellect. Neo-platonic tradition; a new emphasis on Plato and Aristotle.
Duality of two worlds – the perfect world and the imperfect world.
1. Right side: world of man represented by “time,”
2. Left side: world of the gods represented by the god of wind,
3. Middle: Venus, the embodiment of beauty.

Front 75

Back 75

"Primavera"
Artist: Botticelli
Date: 1480s
Original Location: outside nuptial chamber, for wedding
Current Location: Uffizi
Style: Renaissance

Hint 75

Oil painting on panel, not meant to be seen.
Otherworldly; depicts the seasons:
March: Zephyr, god of wind
April: Clora, Zephyr’s concubine
May: Flora
Mercury on left
Venus in center: bride to be

Front 76

Back 76

"Annunciation"
Artist: Leonardo da Vinci
Date: 1473
Current Location: Uffizi
Style: Renaissance

Hint 76

Early Da Vinci. Imperfections.
Emphasis on the natural world.
ATMOSPHERIC PERSPECTIVE – sky lightens as it distances from foreground.
1. Foreground: very depicted colors and true lines
2. Midground: turns green with less defined lines
3. Background: emphasis on blue and has a misty quality

One-point perspective ends in the center of the painting. Da Vinci’s only attempt at one-point-linear perspective.

Front 77

Back 77

"Doni Tondo"
Artist: Michelangelo
Date: 1507
Original Location: gift for new mother
Current Location: Uffizi
Style: Renaissance

Hint 77

Only panel painting by Michelangelo.
The date is a “mystery” however, as well as the story of the pigment
Foreground: Mary, Joseph, and Jesus; holy family.
Mid ground: John the Baptist and nudes.
Background: landscape and atmospheric perspective.

Front 78

Back 78

"Madonna and Child and John the Baptist"
Artist: Jacopo Bassano
Date: 1570
Current Location: Uffizi
Style: Renaissance

Front 79

Back 79

Leo X
Artist: Rafael
Date: 1518
Current Location: Uffizi
Style: Renaissance

Hint 79

Show’s Raphael’s true artistry.
First Medici pope. Seems dislocated with reality; three figures who don’t seem to
be communicating.
Symbolizes Roman disconnect.
Raphael seems to know things are awkward and will eventually
change.
Beauty of Raphael is in his portraiture.

Front 80

Back 80

"Venus of Urbino"
Artist: Titian
Date: 1538
Original Location: Studio, covered up
Current Location: Uffizi
Style: Renaissance

Hint 80

Commissioned by the great-grandson of the Duke of Urbino, Guidobaldo II della Rovere.
Used to be known as "The Courtesan"
Epitome of a man’s perspective of beauty in the 16th century.
Sfumato: smoky, Da Vinci-esque;
o Dainty feet
o Smaller breasts
o Reddened knees
o Thighs larger
o Womb in center of painting
− Depiction of wealth:
o Country view means a second home
o Wedding chests - "cassone"
o Maids
o Dog - fidelity
o Tapestries

Front 81

Characteristics of Medieval Quarter in Firenze

Back 81

1. No Grid System
2. Tight nooks and crannies
3. No street signs
4. Citizens did not venture out farther than 50km from city walls, except merchants

Hint 81

"Monty Python and the Quest for the Holy Grail"

Front 82

Factions of Firenze

Back 82

Guelfs vs. Ghibellines
1266 - Guelfs win.
Battle destroyed city. Town hall bell tower only remaining original tower.

Hint 82

Merchant class/Pope vs. Aristocracy/Holy Roman Emperor

In Battle, "Oh, Geez!"

Front 83

Firenze Real Estate

Back 83

High-end.
Streets used to be covered with scaffolding, networking buildings together, easier than walking down, crossing the street and hiking back up.
Anything still with bridges today is abandoned to avoid property taxes. Sewers not installed until 1950s.

Hint 83

Tax Evasion.

Front 84

Back 84

Piazza del Limbo/Santi Apostoli in Firenze.
Symbolizes the light in the dark, "everlasting life." Death prevalent with high mortality rates.
Inspires transformation: infant cemetery; unbaptized infants in limbo and unrecorded in town hall records. Only Bishops could baptize. Women came to pray 3 times a day.

Hint 84

Average Age: 45
50% infant mortality
40% men dead by 25
25% women dead in childbirth

Front 85

Back 85

Santi Apostoli in Firenze.
Built by Brunelleschi in 11th century (similar to Pieve in Arezzo)
Romanesque style:
1. Less natural light
2. Fewer windows
3. Basilica shape
4. Roman Columns and Arches reinvented, like the Coliseum.
5. Odd number of openings: Poor Man's Bible, visualization tool for the illiterate, pop-up book, reminding people to pray.

Hint 85

Believed to built by Charlemagne even though it dates to the 11th century.
Classical Revival

Front 86

800 A.D.

Back 86

Crowning of Charlemagne in St. Peter's Basilica on Christmas Day, First Holy Roman Emperor.