Studied by 9 people
48. Catacomb of Priscilla
Date: 200-400 CE. (3rd-5th Century)
Period: Late Antique Europe
Location: Rome, Italy
Culture: Early Christians
Materials: Excavated Tufa, Fresco
Function: Was designed by its original founders to provide a burial place for members of the early Christian community.
49. Santa Sabina
Date: 422-432 CE. (5th Century)
Period: Late Antique Europe
Location: Rome, Italy
Culture: Roman
Materials: Brick and stone, wooden roof
Function: Used as a church.
50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis
Date: Early 6th Century CE.
Period: Early Byzantine Europe
Location: Vienna, Austria
Culture: Ancient Byzantine
Materials: Illuminated manuscript (tempera, gold, and silver on purple vellum)
Function: Painted manuscript that contains biblical scenes.
51. San Vitale
Date: 526-547 CE. (6th Century)
Period: Early Byzantine Europe
Location: Ravenna, Italy
Culture: Eastern Roman Byzantine Empire
Materials: The building was made of brick, marble, and stone veneer. The mosaic found inside was made of colored tesserae (pieces of stone or glass or other materials used to make mosaic), gold sandwiched between glass, silver, and mother of pearl.
Function: It was a Christian church dedicated to the martyr Vitalis, the patron saint of Ravenna.
52. Hagia Sophia
Date: 532-537 CE. (6th Century)
Period: Early Byzantine
Location: Constantinople (Istanbul)
Culture: Byzantine Empire
Patron: Emperor Justinian
Designer: Athemius of Tralles and Isidorus of Miletus
Materials: Brick and ceramic elements with stone and mosaic veneer.
Function: A Holy Church of the Orthodox Christian Faith, a Mosque after the 1453 Ottoman conquest, currently a museum.
53. Merovingian looped fibulae
Date: Mid 6th Century CE.
Period: Early Medieval Europe
Location: France
Culture: Merovingian Dynasty
Artist: Barbarian Artisans
Materials: Silver gilt worked in filigree, with inlays of garnets and other stones.
Function: Used as a pin or a brooch to fasten garments; it showed the prestige of the wearer.
54. Virgin (Theotokos) and Child between Saints Theodore and George
Date: Sixth or early seventh century CE.
Period: Early Byzantine Europe
Location: St. Catherine’s Monastery, Mount Sinai, Egypt
Culture: Early Christ
Materials: Encaustic on wood
Function: Directing the viewer’s meditation and prayer to the incarnation of God in Christ through Mary.
55. Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page
Date: 700 CE. (8th Century)
Period: Early Medieval
Location: Lindisfarne Isles, England
Culture: Hiberno Saxon
Materials: Illuminated Manuscript (Ink, Pigments, and Gold, on Vellum)
Function: It’s a handmade illuminated manuscript, a copy of the “Gospels”(referring to the book in the New Testament) with the accounts of Jesus' life and teaching written by his disciples and followers, Matthew, Mark, Luke, and John. The manuscript was used for ceremonial purposes to promote and celebrate the Christian religion and the word of God. These pages were dividers intended to mark the transition between different sections of the book.
56. Great Mosque of Cordova
Date: 785-786 CE. (8th Century)
Period: Medieval Islamic
Location: Cordoba, Spain
Culture: Spanish Umayyad Dynasty
Patron: Abl-al-Rahman I
Materials: Stone masonry
Function: Muslim Mosque
57. Pyxis of al-Mughira
Date: 968 CE. (10th Century)
Period: Islamic Spain
Location: Madinat al-Zahra, Al-Andalus (Muslim Spain)
Culture: Umayyad Dynasty
Artist: Possibly from Madinat-Al-Zahra workshop
Materials: Ivory
Function: An 18th birthday present to the son of the Calip, al-Mughira. (Inside are small silver containers of perfume left open so the aromas can be smelled through the room)
58. Church of Sainte-Foy
Date: 1050-1130 CE. (11th-12th Century)
Period: Romanesque Europe
Location: Conques, France
Culture: Romanesque
Materials: Stone (architecture); stone and paint (tympanum); gold, silver, gemstones, and enamel over wood (reliquary).
Function: Pilgrimage Church
59. Bayeux Tapestry
Date: 1066-1080 CE. (11th Century)
Period: Romanesque Europe
Location: Bayeux, France
Culture: English or Norman
Materials: Embroidery on linen
Function: The tapestry tells the story of the events surrounding the conquest of England by the Duke of Normandy.
60. Chartres Cathedral
Date: 1145-1155 CE. (11th Century); Reconstructed 1194-1220 CE. (11th Century)
Period: Gothic Europe
Location: Chartres France
Culture: -
Materials: Limestone and stained glass
Function: Worship with an emphasis on the Virgin Mary
61. Bible Moralizée (Moralized Bible)
Date: 1225-1245 CE. (13th Century)
Period: Gothic Europe
Location: Paris, France
Patron: Queen Blanche of Castille (royal family)
Materials: Illuminated Manuscript
Function: Depicted the Old and New Testament episodes with explanations of their moral significance through illustrations and writing.
62. Röttgen Pietà
Date: 1300-1325 CE.
Period: Late Medieval Europe
Location: Rhineland, Germany
Style: Gothic Art
Materials: Painted Wood
Function: Create an emotional response in the viewer
63. Arena (Scrovegni) Chapel, including Lamentation
Date: Chapel- 1303 CE. (14th Century); Fresco- 1305 CE (14th Century)
Period: Late Medieval Europe
Location: Padua, Italy
Artist: Giotto di Bondone
Patron: Enrico Scrovegni
Materials: Brick (architecture) and Fresco
Function: A chapel, place of worship
64. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover)
Date: 1320 CE. (14th Century)
Period: Late Medieval Spain
Location: Spain
Materials: Illuminated Manuscript
Function: A book containing the Jewish narrative of Passover and the ritual of the Seder as stated in the book of Exodus.
65. Alhambra
Date: 1354-1391 CE. (14th Century)
Period: Islamic Spain
Location: Granada, Spain
Culture: Nasrid Dynasty
Materials: Whitewashed adobe stucco, wood tile, paint, and gilding
Function: Fortified palatial complex of the Nasrid sultans and their families, who occupied south Spain (modern-day Granada)
Alcazaba: Barracks for soldiers guarding the complex
Medina: residence and place of work for court officials
66. Annunciation Triptych (Merode Altarpiece)
Date of Creation: c. 1427 - 1432 ce.
Original Location: Tournai, South Netherlands
Culture of Origin: Early Northern Renaissance
Artist: Workshop of Robert Campin
Material: Oil on wood
Function: Triptych, or three-paneled altarpiece, designed for private devotion (one of the first portable art)
67. Pazzi Chapel
te of Creation: c. 1429 - 1461 ce.
Original Location: Florence, Italy. (Basilica di Santa Croce )
Culture of Origin: Early Italian Renaissance
Architect: Filippo Brunelleschi
Patron: Commissioned by Andrea Pazzi
Material: Masonry (construction of individual units like bricks, stone, or concrete blocks) (use of pietra serena, a grayish stone used to contrast with the white washed walls to accentuate the basic design of the structure)
Function: Created to be a “chapter house”, a meeting place for monks (this is why there is a bench on the wall), also a burial site for the Pazzi family members; a physical representation of the Pazzi family’s power, wealth, generosity, and status.
68. The Arnolfini Portrait
Date of Creation: c. 1434 ce.
Original Location: Bruges, Belgium
Culture of Origin: Early Northern Renaissance
Artist: Jan van Eyck (Flemish painter)
Material: Oil on wood (one of the first oiled paintings)
Patron: Merchant Giovanni di Nicolao Arnolfini
Function: Theories:
Traditionally assumed to be a wedding portrait of Giovanni Arnolfini and his wife.
A commissioned painting by Giovanni Arnolfini in memory of his wife who died giving birth to their child in 1433.
Arnolfini may be conferring legal and business privileges on his wife during an absence.
An alliance between two wealthy mercantile families, a ceremonial betrothal (contract) reflecting social and legal conventions of the time with the artist as one of its witnesses with his reflection and signature in the convex mirror on the wall.
* Arnolfini was an italian merchant who worked in Bruges
69. David
Date of Creation: c. 1440 - 1460 ce.
Original Location: Florence, Italy
Culture of Origin: Early Italian Renaissance
Artist: Donatello
Material: Bronze
Patron: Cosimo de Medici
Function: Commissioned by Cosimo de Medici for the Palazzo Medici courtyard
70. Palazzo Rucellai
Date of Creation: c. 1450 ce.
Original Location: Florence, Italy
Culture of Origin: Early Italian Renaissance
Architec: Leon Battista Alberti
Patrons: Rucellai family
Material: Stone, masonry
Function: City residence of the Rucellai family, created as a
Physical representation of the family’s wealth, status, power, and importance
(The bottom floor was used for business; the family received guests on the second floor,
the family’s private quarters were on the third floor, and the hidden fourth floor was for the servants)
71. Madonna and Child with Two Angels
Date of Creation: c. 1465 ce.
Original Location: Florence, Italy
Culture of Origin: Early Italian Renaissance
Artist: Fra Filippo Lippi
Material: Tempera on wood
Patron: Medici family
Function: Commission by Medici family as a decorative piece,
to show wealth and piety.
72. Birth of Venus
Date of Creation: c. 1484 - 1486 ce.
Original Location: Florence, Italy
Culture of Origin: Early Italian Renaissance
Artist: Sandro Botticelli
Art Movement: The painting reflects the ideas of Neoplatonism
Material: Tempera on canvas
Patron: Medici family
Function: It is unknown exactly what purpose this image was made for, but perhaps it was used on a wedding celebration, or perhaps it was for educational and mythological purposes
73. Last Supper
Date of Creation: c. 1494 - 1498 CE.
Original Location: Monastic Refectory in Santa Maria delle Grazie, Milan, Italy
Culture of Origin: High Renaissance
Material: Oil and tempera
Artist: Leonardo da Vinci
Patron: Ludovico Sforza, Duke of Milan
Function: Painted for the refectory, or dining hall, wall of an abbey of friars (a relationship is drawn between the friars eating and the biblical meal). Monks would watch silently at the painting while eating
74. Adam and Eve
Date of Creation: 1504 CE.
Location: Germany
Artist: Albrecht Dürer
Material: Engraving (an intaglio printmaking process in which lines are cut into a metal plate in order to hold the ink)
Period: Northern Renaissance
75. Sistine Chapel ceiling and altar wall frescoes
Date of Creation:
Ceiling frescoes: c. 1508 - 1512 CE.
Altar frescoes: c. 1536 - 1541
Original Location: Vatican City, Italy
Culture of Origin: High Renaissance
Material: Fresco
Artist: Michelangelo
Patron: Michelangelo began to work on the ceiling frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars from when the Sistine Chapel was erected from 1473 through 1481.
Later Pope Paul III commissioned the altar frescoes.
Function: The chapel was the place where popes were elected and where the papal services took place. The name derives from Pope Sixtus IV, who was the patron of the building. The chapel was erected between 1473-81 by architect Giovannino de Dolci for Pope Sixtus IV della Rovere. It was built to renew the face of Rome
76. School of Athens
Date of Creation: 1509 - 1511 CE.
Original Location: Apostolic Palace, Vatican City, Italy
Culture of Origin: High Renaissance
Material: Fresco
Artist: Raphael
Patron: Pope Julius II
Function: Commissioned by Pope Julius II to decorate his library, as a complex program of works (4 paintings in total) to illustrate the vastness and variety of the Papal library:
Painting originally called Philosophy because the pope’s philosophy books were meant to be house on shelving below
77. Isenheim altarpiece
Date of Creation: c. 1512 - 1516 CE.
Original Location: Tournai, South Netherlands
Culture of Origin: Early Northern Renaissance
Artist: Matthias Grünewald
Material: Oil on wood
Function: Sculpted wooden altar, created as an object of devotion for the monastery of St. Anthony.
- Commissioned for the monastery of St. Anthony, this
hospital treated patients with severe skin diseases (Leprosy). The altar related and gave hope to the patients with its glory imagery.
78. Entombment of Christ
Date of Creation: 1525-1528 CE.
Style: Mannerism
Original Location: Capponi Chapel, Santa Felicita, Florence, Italy
Artist: Jacopo da Pontormo
Material: Oil on wood
Function: Altarpiece for the Capponi family chapel
79. Allegory of Law and Grace
Date of Creation: c. 1530 CE.
Original Location: Germany
Culture of Origin: Northern Renaissance
Material: Woodcut and letterpress
Artist: Lucas Cranach the Elder
Patron: Ludovico Sforza, Duke of Milan
Function: Cranach, who was a personal friend and follower of the Christian reformer Martin Luther, created this print in 1530 C.E. to help spread the key teachings of Luther on the question of how Christians can attain salvation and eternal life after death.
80. Venus of Urbino
Date of creation: c. 1538 CE
Original Location: Urbino, Italy
Artist: Titian
Culture of Origin: High Venetian Renaissance
Material: Oil on canvas. Artists opted for canvas, a more secure and lightweight surface that could maintain the integrity of a work for an indefinite period.
Patron: Guidobaldo II della Rovere, Duke of Urbino
Function: It was intended for private viewing, no specific function is known. May have been commissioned by the Duke as a wedding painting for Giulia da Varano.
81. Frontispiece of the Codex Mendoza
Date of Creation: c. 1541-1542 CE.
Original Location: Viceroyalty of New Spain (This was the name given to the territories of the Spanish Empire in North America. It comprehended the area that today is Central and Southern Mexico, the capital city of the Viceroyalty, was in Mexico City)
Culture of Origin: Colonial Americas
Material: Ink and color on paper
Artists: Aztec artists (Spanish annotations were made by priests)
Patron: Charles V of the Holy Roman Empire
Function: The book was intended as a history of the Aztecs for Charles V, although he never received it. This page is an illustration facing the title page of the book. The book was used to record information and history of the Aztec empire; the information from the organization and foundation of the capital (Tenochtitlán), the lords, etc. and paid tribute to the Aztecs
82. Il Gesù, including Triumph of the Name of Jesus ceiling fresco
Date of Creation: Church: 16th century CE; Facade 1568-1584 CE; Fresco and stucco figures: 1676-1679 CE
Original Location: Rome, Italy
Artist/Architect: Giacomo da Vignola, plan (architect); Giacomo della Porta, facade (architect); Giovanni Battista Gaulli, ceiling fresco (artist)
Style: Early Baroque
Material: Brick, marble, fresco, & stucco
Patron: Cardinal Farnese, he had his name placed directly over the cartouche (carved scroll with rolled-up ends) with Jesus’s name
Function: Another result of the reform movement within the Catholic Church was the establishment of new religious orders. One of the most ambitious and energetic was the Society of Jesus, or Jesuits, founded by Ignatius of Loyola and promoted by Pope Paul III. He approved the order in 1540; by 1550, the Jesuits were planning their own church, Il Gesù in Rome.
83. Hunters in the snow
Date of Creation: 1565 CE.
Original Location: Antwerp, Belgium
Culture of Origin: Northern Renaissance (Flemish Renaissance)
Artist: Pieter Bruegel
Material: Oil on wood
Patron: Niclaes Jongelinck, a wealthy banker from Antwerp
Function: Commissioned to be placed in wealthy Antwerp merchant’s home. One of a series of six paintings representing the labors of the month - this winter scene is November/December. Bruegel’s paintings offered them a view of the world of the peasants
84. Mosque of Selim II
Date: 1568-1575 CE. (16th Century)
Period: Ottoman Empire
Location: Edirne, Turkey
Culture: Islamic
Architect: Sinan, one of the greatest Ottoman architects
Patron: Sultan Selim II
Materials: Brick and stone and polychrome Iznik tiles
Function: For religious and communal services. Its architecture and location were used to impress visitors of the Ottoman Empire’s greatness. It was also an opportunity for self-promotion.
85. Calling of Saint Matthew
Date of Creation: c. 1597–1601 CE
Original Location: Contarelli chapel, San Luigi dei Francesci, Rome
Culture of Origin: Italian Baroque
Artist: Caravaggio
Material: Oil on canvas
Patron: Contarelli family
Function: painting to portray the story of The Calling of Saint Matthew, Spiritual awakening *From the New Testament (one of three paintings illustrating the life of Saint Matthew in a chapel dedicated to him by the Contarelli family)
86. Henri IV Receives the Portrait of Marie de’ Medici, from the Marie de’ Medici Cycle
Date of Creation: 1621-1625 CE
Original Location: Paris, France
Culture of Origin: Flemish Baroque
Material: Oil on canvas
Artist: Peter Paul Rubens
Function: Part of a set of 24 monumental canvases of Marie de Medici’s life and reign, commissioned by herself to retell the story of her life after her husband king Henry IV died, to be placed in her home, the Luxembourg Palace, in Paris France
Patron: Marie de’ Medici
87. Self-Portrait with Saskia
Date of Creation: 1636 CE
Original Location: Holland
Culture of Origin: Dutch Baroque
Artist: Rembrandt van Rijn
Materials/Technique: Etching
Function: Self portrait, marriage portrait. For private purposes( not for general sell)
88. San Carlo alle Quattro Fontane
Date of Creation: 1638-1646 CE.
Original Location: Rome, Italy
Culture of Origin: Italian Baroque
Architect: Francesco Borromini
Material: Stone and stucco
Patron: Spanish trinitarians
Function: This structure is a church that was made for the Spanish Trinitarians. The founding intention of the Trinitarians was so they could free Christians that were held captive by people that didnt believe in God. (Trinity→Refers to the central mystery of the Christian faith; the mystery is that God exists as a communion of three distinct and interrelated Divine Persons: FATHER, SON AND THE HOLY SPIRIT.)
89. Ecstasy of Saint Teresa
Date of Creation: c.1647-1652 CE
Culture of Origin: Italian Baroque
Location: Rome Italy (Cornaro Chapel, Church of Santa Maria della Vittoria)
Artist: Gian Lorenzo Bernini (Architect & Sculptor)
Material/Media: (sculpture) marble, (chapel) stucco and gilt bronze
Function: Serve as a visual representation of the moment St. Teresa was awakened and brought to god. The mystical experience of Saint Teresa
*The work promoted ideas associated with the Counter Reformation
Patrons: Cornaro family
90. Angel with Arquebus, Asiel Timor Dei
ate of Creation: 17th century CE.
Original Location: La Paz, Bolivia
Culture of Origin: Colonial Americas
Material: Oil on canvas.
Artist: Master of Calamarca (La Paz School)
Inscription: Asiel Timor Dei means “Fear God”
Function:
One in a series of angel drummers, buglers, standard bearers, and holders of sword. In this one the angels with guns will represent the power of the spaniards over the indigenous people and the protection offered to faithful christians.
Form:
An androgynous angel with a stylish sense of fashion carrying a type of gun called arquebus.
The elongated hat with feathers is a feature of dress of Incan nobility.
Indigenous people favored gold embroidered on fabric.
It is standing in a military pose- derived from European engravings of military exercises.
The figure is graceful and almost looks like a dancer. The extended lines of the angel’s body recall the Mannerist style still preferred in the Americas in the seventeenth century
91. Las Meninas
Date of Creation: c 1656 CE
Original Location: Madrid, Spain
Culture of Origin: Spanish Baroque
Material: Oil on Canvas
Artist: Diego Velazquez, the first painter to the king
Function: meant to be hung in King Philip IV’s study
Patronage: King Philip IV
92. Woman Holding a Balance
Date of Creation: c 1664 CE
Original Location: Holland
Culture of Origin: Dutch Baroque
Artist: Johannes Vermeer
Material: Oil on canvas
93. The Palace at Versailles
Date of Creation: Begun 1669
Culture of Origin: Southern Baroque
Original Location: Versailles, France
Architect: Louis Le Vau and Jules Hardouin-Mansart
Material: masonry, stone, wood, iron, and gold leaf (architecture), marble and bronze (sculpture); gardens
Function: Demonstrates King Louis XIV power. Used to court King Louis family, friends, servants, and soldiers
Patron: King Louis XIV
94. Screen with the Siege of Belgrade and hunting scene
ate of Creation: late 17th-early 18th century
Culture of Origin: Colonial America
Original Location: Mexico
Artist: Unknown, but it was made locally
Material: tempera and resin on wood, shell inlay
Patron: Viceroy of New Spain, Jose Sarmiento de Valladares.
Function: Most likely to be placed on display inside of the viceroy of New Spain’s new palace in Mexico City. Each side of the biombo was intended for different audiences. The side with the battle would have been intended for the viceroy, and important individuals coming to visit him. Essentially, people he’d bring into his reception room. This would have had a political use as an expression of his power. This particular viceroy had come from Spain to rule over this colony so this would assert the dominance of the Habsburg in Mexico.
95. The Virgin of Guadalupe (Virgen de Guadalupe)
Date Of Creation: c. 1698 CE. (based on original from the 16th century)
Original Location: Basilica of Guadalupe, Mexico City (the original from 16th century)
Culture of Origin: Colonial Americas
Material: Oil on canvas on wood, inlaid with mother-of-pearls (enconchado).
Artist: Miguel González
Based on the Original Virgin of Guadalupe from the 16th Century
Function: used to portray and worship the Virgin of Guadalupe in Mexico
* The image was in demand, many were made to export around New Spain.
Devotion to the Virgin of Guadalupe increased dramatically during the 17th century with the publication of a book printed in her honor
96. Fruit and Insects
Date of creation: 1711 CE
Original Location: Amsterdam, Holland
Culture of Origin: Dutch Baroque
Artist: Rachel Ruysch; she usually specialized in flowers
Material: Oil on wood
Style: Vanitas- collections of objects symbolic of the inevitability of death and the transience and vanity of earthly achievements and pleasures; it exhorts the viewer to consider mortality and to repent.
97. Spaniard and Indian Produce a Mestizo
Date of Creation: 1715 CE.
Original location: Mexico
Material: Oil on canvas
Culture of Origin: Colonial Americas
Artist: Attributed to Juan Rodríguez Juárez.
Function: Spanish colonists commissioned these works to be sent abroad to show the caste system of the New World. These weren’t considered as art pieces, but as illustrations of ethnic groups. Part of set of 16 paintings, consider informative or historical art, made with the purpose of explaining a historical period, most of colonial art had this purpose
Mestizo- a person of mixed race, especially one having Spanish and indigenous descent.
98. The Tête à Tête, from Marriage à la Mode
Date of Creation: 1743 C.E.
Original location: England, London
Material: oil on canvas
Movement: Rococo
Artist: William Hogarth
Function: Was used as a model for prints that Hogarth was planning to produce and sell to the middle class and upward.
Note 
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