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The 15th century

Works made in the 15th century, anywhere in the world.

110 works · hang 4028 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. The Crucifixion, by Sodoma, 1500s
    The CrucifixionSodoma, 1500sCourtesy of the Cleveland Museum of Art
  2. Virgin and Child with Angels, by Master of the Holden Tondo, early 1500s
    Virgin and Child with AngelsMaster of the Holden Tondo, early 1500sCourtesy of the Cleveland Museum of Art
  3. This painting shows a person standing, their head slightly tilted to the left. They have a pale complexion, and short, wavy blonde hair adorned with a thin red crown. They have rosy, pink cheeks, arched eyebrows, a straight nose, and small lips set in a neutral expression. The individual is wearing a long red robe over a black tunic or dress and is holding a long black quill-like object in one hand, and what looks like a thin staff with a red loop at the end in the other. A detailed golden halo surrounds their head, and the background features an ornate gold pattern which is slightly worn and peeling in some places. The painting is bordered by a golden frame.
    Saint ApolloniaSassetta, c. 1435Courtesy National Gallery of Art, Washington
  4. Portrait of a Woman with a Man at a Casement, by Fra Filippo Lippi, ca. 1440
    Portrait of a Woman with a Man at a CasementFra Filippo Lippi, ca. 1440Courtesy of The Metropolitan Museum of Art

First room, south wall

  1. A work made of brush and opaque watercolor, on linen prepared with a gray ground, mounted to cream laid paper.
    Drapery Study of a Standing Figure Facing Right, in ProfileAndrea del Verrocchio, late 1460s–early 1470sCourtesy of the Art Institute of Chicago
  2. Two women and a baby, all with pale skin, sit together on a gray, stone throne with patterned fabric hanging behind them and a patterned rug below in this narrow, vertical painting. The woman sitting on the throne, Saint Anne, is the largest. A second woman, Mary, is smaller in scale, and she sits on Saint Anne’s lap. Mary, in turn, holds a nude baby boy on her lap. Both women have light brown eyes under faint, arched brows, smooth skin, long straight noses, and their shell-pink lips are closed. Saint Anne sits with her body facing us and she looks down with her head slightly tilted to our left. Her white head covering drapes over her shoulders and hangs down from her chin to cover her neck. She wears a marine-blue dress cinched at her waist with a black and gold belt, and a crimson-red robe that falls to and puddles around her feet. Her right arm, on our left, wraps around and holds Mary’s hip, and she supports a book with gold-edged pages with her other hand. Mary sits on Saint Anne’s right thigh, to our left, and leans toward the baby, who sits on her left knee, to our right. Her long, wavy, brown hair falls over her shoulders, and she wears a cobalt-blue robe over a lilac-purple dress. The baby has short, curly blond hair and reaches to turn the pages of the book. He has rounded cheeks and a pudgy torso. The stone throne is ornamented on the arms and at the top corners with ivory-white, nude children that are presumably also carved out of stone. The cloth hanging behind Saint Anne is decorated with glimmering gold, ornamental leaf designs against a pine-green background. The rug beneath her feet is a geometric pattern of red, tan, black, and white.
    The Saint Anne Altarpiece: Saint Anne with the Virgin and Child [middle panel]Gerard David, c. 1500/1520Courtesy National Gallery of Art, Washington
  3. An old man and a young woman holding an infant are seated together in the center of this almost square painting. All three people have pale, peachy skin. To our left, the man sits on a low, tan brick wall with his head bowed to look at the baby on the woman’s lap. A periwinkle-blue cloak is wrapped around the kelly-green robe that covers his shoulders, back, and legs. One hand grips a short staff planted on the ground. His receding white hair and beard are thin and scraggly with tufts sticking out over his ears. The woman sits next to and slightly in front of him, to our right, on a low rock, her body angled toward the man. A long, cobalt-blue cloak is draped around her shoulders and covers her knees over her rose-pink gown. Her honey-brown hair is parted in the middle and gathered at the back of her head. Her brown eyes look down at the infant, who is blond with brown eyes. A long white shawl is tucked into the neckline of her dress, drapes over her shoulders, and wraps under the baby as she cradles his body with one hand under his backside and the other behind his head. The baby lies on his back with his head turned toward the woman, and he points to her with one outstretched arm. The dirt ground is scattered with pebbles that make a loose ring around the trio, with moss-green growth to either side. A brown brick wall fills the upper half of the composition behind the people and extends off the top edge. A rounded arch pierces the back wall to our right of the woman. On the other side of the opening, trees with copper-brown leaves grow up along the left and the landscape beyond opens onto rocky hills with a white, square tower. In the deep distance, the silhouette of a town is painted in robin’s egg-blue against a pale peach horizon line. Thin, white clouds skim across the blue sky above.
    The Holy FamilyGiorgione, probably c. 1500Courtesy National Gallery of Art, Washington
  4. Portrait of a Young Man, by Antonello da Messina (Antonello di Giovanni d'Antonio), ca. 1470
    Portrait of a Young ManAntonello da Messina (Antonello di Giovanni d'Antonio), ca. 1470Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. Adoration of the Shepherds, c. 1500
    Adoration of the ShepherdsUnrecorded Italian maker, c. 1500Courtesy of the Cleveland Museum of Art
  2. The Holy Family with Saint Elizabeth, by Jacopo de' Barbari, c. 1503
    The Holy Family with Saint ElizabethJacopo de' Barbari, c. 1503Courtesy of the Cleveland Museum of Art
  3. Royal Reception in a Landscape, left folio from the double frontispiece of a Shahnama (Book of Kings) of Firdausi (Persian, about 940–1019 or 1025), 1444
    Royal Reception in a Landscape, left folio from the double frontispiece of a Shahnama (Book of Kings) of Firdausi (Persian, about 940–1019 or 1025)Unrecorded Persian maker, 1444Courtesy of the Cleveland Museum of Art
  4. A work made of tempera on panel, transferred to canvas.
    The Baptism of ChristPerugino, 1500–05Courtesy of the Art Institute of Chicago

Second room, north wall

  1. Christ Carrying the Cross, by Martin Schongauer, ca. 1475–80
    Christ Carrying the CrossMartin Schongauer, ca. 1475–80Courtesy of The Metropolitan Museum of Art
  2. This painting shows an upper-body portrait of a man in a three-quarter view, turned to the left. He has a prominent double chin, a slightly furrowed brow, thin lips, and a serious expression. He has pale yellow skin and short, dark hair, and he wears a large, red hat. He is clad in silver armor with red straps on his shoulder and chest. The background is a simple, dark green color.
    Francesco SforzaUnrecorded Italian maker, probably c. 1480/1500Courtesy National Gallery of Art, Washington

Third room, north wall

  1. Horse Stable, early 1500s
    Horse StableUnrecorded Japanese maker, early 1500sCourtesy of the Cleveland Museum of Art
  2. "The Feast of Sada", Folio 22v from the Shahnama (Book of Kings) of Shah Tahmasp, by Abu'l Qasim Firdausi, ca. 1525
    "The Feast of Sada", Folio 22v from the Shahnama (Book of Kings) of Shah TahmaspAbu'l Qasim Firdausi, ca. 1525Courtesy of The Metropolitan Museum of Art