This painting shows the Magi presenting their gifts to the infant Christ. It is by the Venetian painter Jacopo Palma il Giovane, who became Venice's leading painter after the death of Tintoretto in 1594 and produced many religious works for the city's churches and confraternities.
This painting, made about 1570, shows Christ on the cross with the Virgin Mary, Saint John the Evangelist, and Saint Catherine of Siena gathered at its foot. It is by Marco Pino, an Italian Mannerist painter trained in Siena who later worked in Rome and Naples.
This painting of the Virgin and Child, made between 1506 and 1512, is by the Venetian Renaissance painter Cima da Conegliano. He was known for painting quiet, contemplative religious scenes with detailed landscape backgrounds, and repeated the Madonna and Child theme in many variations throughout hi
This painting shows Herod being presented with the severed head of Saint John the Baptist, an episode from the Gospels. It is by the Venetian painter Pietro della Vecchia, who was one of the leading religious painters in Venice during the 17th century and was known for reviving the style of the grea
This painting shows the Virgin Mary and the infant Christ set before a landscape. It is by the Italian Renaissance painter Giovanni Antonio Sogliani, who was active mainly in Florence and trained in the workshop of Lorenzo di Credi.
This long panel, painted in tempera and gold on wood by the Florentine painter Marco del Buono Giamberti, depicts scenes from the biblical Book of Esther. It measures about 17 1/2 x 55 3/8 inches and was likely made to decorate a piece of furniture such as a cassone.
This print by the Italian Mannerist artist Battista Franco Veneziano, made around 1560, depicts an angel seated on a cloud. It is held in the collection of the Metropolitan Museum of Art.
This oil painting, made in the late 1520s by the Ferrarese painter L'Ortolano (Giovanni Battista Benvenuti), depicts the shepherds kneeling before the infant Christ at his birth. It is held in the collection of the Metropolitan Museum of Art.
This painting and another depicting an unidentified male saint, which also belongs to the Lehman Collection, formed part of a group of eighteen panels depicting saints (now in the Courtauld Institute Gallery, London; Worcester Art Museum, Massachusetts; Fogg Art Museum, Cambridge, Massachusetts; Hon
Sassetta worked for a wealthy clientele, executing a limited number of paintings that focus on material splendor and refined detail. The glittering effect created by his technique of scratching into the painted surface to reveal the gold layer beneath—seen in passages like the angels’ wings and garm
The moody, unfiltered emotions of Saints Matthew and Francis showcase Giovanni’s interest in depicting strongly expressive figures. The artist found inspiration for his implacable saints in the sculpture of his great compatriot Jacopo della Quercia. These two figures are from a major altarpiece. A s
Italian tempera and gold on wood painting of the Annunciation, attributed to Maestro Esiguo (possibly Alesso di Benozzo). The painted surface measures 40.6 x 36 cm.
The Assumption of the Virgin, celebrated on August 15, is an especially important holiday in Siena. Niccolò di ser Sozzo, one of the city's renowned fourteenth-century illuminators, painted it on numerous occasions. Tempera, ink, and gold on parchment, 57.5 x 40.4 cm.
An Italian illuminated choir-book leaf showing the Trinity within a decorated initial T. Tempera, ink, and gold on parchment, leaf 56.8 x 39.5 cm, with the initial letter about 14.3 x 14.2 cm.
A decorated letter R cut from a choir book (antiphonary) showing the Resurrection of Christ. Tempera and gold on parchment by an Italian artist, sheet 19.8 x 17.9 cm.
This spectacular example of goldsmith's work has been attributed to Giovannino de Grassi, an artist active in northern Italy.
Italian antiphonary leaf with Saint John the Evangelist and Saint John the Baptist in an historiated initial M, in tempera, ink and gold on parchment. The leaf measures about 56.7 x 39.6 cm.
Musical angels herald the heavenly coronation of the Virgin in this elegant and refined carving. Its original context is uncertain, but it was possibly made as an independent devotional image or as part of an altar decoration.
This scene of the Resurrection, along with 11 additional embroideries of the life of Christ, may have formed an altar frontal, a hanging decorating the front of an altar. Originally, expensive gold thread covered the background, but it was removed and probably melted down for its monetary value.
This leaf came from a book of hours, a devotional book popular in the Middle Ages. They contained prayers that a devoted individual would use throughout the day.
This sculpture reflects the influence of Bon and may have been carved by a follower of his in the third quarter of the century. It is a fine example of Italian Renaissance sculpture that would have held a commanding position in an architectural context.
In his left hand the Christ Child holds a swallow. Swallows were thought to hibernate during winter in nests of mud. Their re-emergence in spring symbolized the Resurrection of Christ.
This monumental tondo, among Filippino's most significant works, was commissioned by Neapolitan cardinal Oliviero Carafa, a leading political and ecclesiastical figure.
Pen and brown ink, with brush and brown wash, with black chalk, heightened with lead white (partly discolored), on tan laid paper, laid down on gray wove paper.
