Floor plan

Style galleriesThe Italian Renaissance

The Italian Renaissance

The Annunciation, by Botticelli (Alessandro di Mariano Filipepi), ca. 1490
Saint Anthony the Abbot in the Wilderness, by Sano di Pietro (Ansano di Pietro di Mencio), ca. 1440
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), by Leonardo da Vinci, 1480–85
A nude woman, pudgy child, and two satyrs, which have men’s heads and torsos with goat’s legs and horns, are in a landscape in this octagonal painting. The scene is divided in half by a tree stump which only reaches to the center of the composition. To the left of the stump, the pale-skinned, nude child stands and hunches over to draw on the ground with a V-shaped compass. Two pieces of paper and a violin lie nearby. The landscape behind him has a body of water leading back to a town with buildings streaked with peach, perhaps flames. A band of peach sky separates the blue silhouettes of mountains lining the horizon from the vivid blue sky above. At the bottom center of the painting, a shield with an oval horizontally striped with red and white leans on the boy’s side of the tree, which has one leafy branch growing on the left side. One satyr holds a jug and kneels close to the tree with his back to it as he looks back over one shoulder. He and the other satyr both have dark, peach-toned skin and full beards. The second satyr hovers to the right of the nude, sleeping woman, both hands reaching for her or the rose-pink cloth surrounding her. The woman has blond curls, a round face, and she sleeps with one hand resting across her belly and her head tipped to our left. The trio are on a grassy area enclosed by dense, dark-green bushes and trees.
A woman sits and supports a baby standing on her lap, both against a gold background in this arched, vertical painting. The woman and baby’s light skin is shaded with faint green, and they have pale pink cheeks. The woman’s body faces us. She tips her head toward the baby who stands on her knee, to our right. The woman looks at us with light brown eyes under curving brows. She has a long, straight nose, and her small pink lips are closed. Her blond hair is mostly covered by a midnight-blue robe that drapes over her shoulders, across her lap, and pools on the floor. The robe is lined with goldenrod yellow, edged with bright gold, and has gold starburst-like designs on the shoulder we can see and top of the head. The dress she wears underneath has more gold stars creating a pattern across the pearl-white fabric. A sky-blue scarf wraps over her head and loops across her shoulders. The baby holds one end of the scarf, and his other elbow rests on the woman’s shoulder. She props him up with both hands. He has a cap of blond curls and chubby cheeks with delicate features. His geranium-red garment falls over a pale blue skirt that reaches his bare feet. In the hand near the woman’s shoulder, he holds a scroll with the letters “EGO S.” The floor beneath them is mint green and has gold writing across the front, reading, “AVE.G ANN O.D M.CCCC.XIII.” The woman and baby’s disc-like gold halos blend into the gold background, which is visibly cracked in some areas. The panel comes to a pointed arch at the top.
Madonna and Child, by Giovanni Bellini, late 1480s
Madonna and Child Enthroned with Saints, by Raphael, ca. 1504

The works in this room are listed below.

Works in this room

Florence, Venice and Rome from 1400 to 1600: perspective, anatomy and the classical past.

First room, north wall

  1. The Annunciation, by Botticelli (Alessandro di Mariano Filipepi), ca. 1490
    The AnnunciationBotticelli (Alessandro di Mariano Filipepi), ca. 1490Courtesy of The Metropolitan Museum of Art
  2. Saint Anthony the Abbot in the Wilderness, by Sano di Pietro (Ansano di Pietro di Mencio), ca. 1440
    Saint Anthony the Abbot in the WildernessSano di Pietro (Ansano di Pietro di Mencio), ca. 1440Courtesy of The Metropolitan Museum of Art
  3. Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), by Leonardo da Vinci, 1480–85
    Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)Leonardo da Vinci, 1480–85Courtesy of The Metropolitan Museum of Art
  4. A nude woman, pudgy child, and two satyrs, which have men’s heads and torsos with goat’s legs and horns, are in a landscape in this octagonal painting. The scene is divided in half by a tree stump which only reaches to the center of the composition. To the left of the stump, the pale-skinned, nude child stands and hunches over to draw on the ground with a V-shaped compass. Two pieces of paper and a violin lie nearby. The landscape behind him has a body of water leading back to a town with buildings streaked with peach, perhaps flames. A band of peach sky separates the blue silhouettes of mountains lining the horizon from the vivid blue sky above. At the bottom center of the painting, a shield with an oval horizontally striped with red and white leans on the boy’s side of the tree, which has one leafy branch growing on the left side. One satyr holds a jug and kneels close to the tree with his back to it as he looks back over one shoulder. He and the other satyr both have dark, peach-toned skin and full beards. The second satyr hovers to the right of the nude, sleeping woman, both hands reaching for her or the rose-pink cloth surrounding her. The woman has blond curls, a round face, and she sleeps with one hand resting across her belly and her head tipped to our left. The trio are on a grassy area enclosed by dense, dark-green bushes and trees.
    AllegoryPietro degli Ingannati, c. 1515-1525Courtesy National Gallery of Art, Washington

First room, south wall

  1. A woman sits and supports a baby standing on her lap, both against a gold background in this arched, vertical painting. The woman and baby’s light skin is shaded with faint green, and they have pale pink cheeks. The woman’s body faces us. She tips her head toward the baby who stands on her knee, to our right. The woman looks at us with light brown eyes under curving brows. She has a long, straight nose, and her small pink lips are closed. Her blond hair is mostly covered by a midnight-blue robe that drapes over her shoulders, across her lap, and pools on the floor. The robe is lined with goldenrod yellow, edged with bright gold, and has gold starburst-like designs on the shoulder we can see and top of the head. The dress she wears underneath has more gold stars creating a pattern across the pearl-white fabric. A sky-blue scarf wraps over her head and loops across her shoulders. The baby holds one end of the scarf, and his other elbow rests on the woman’s shoulder. She props him up with both hands. He has a cap of blond curls and chubby cheeks with delicate features. His geranium-red garment falls over a pale blue skirt that reaches his bare feet. In the hand near the woman’s shoulder, he holds a scroll with the letters “EGO S.” The floor beneath them is mint green and has gold writing across the front, reading, “AVE.G ANN O.D M.CCCC.XIII.” The woman and baby’s disc-like gold halos blend into the gold background, which is visibly cracked in some areas. The panel comes to a pointed arch at the top.
    Madonna and ChildLorenzo Monaco, 1413Courtesy National Gallery of Art, Washington
  2. Madonna and Child, by Giovanni Bellini, late 1480s
    Madonna and ChildGiovanni Bellini, late 1480sCourtesy of The Metropolitan Museum of Art
  3. Madonna and Child Enthroned with Saints, by Raphael, ca. 1504
    Madonna and Child Enthroned with SaintsRaphael, ca. 1504Courtesy of The Metropolitan Museum of Art

Second room, south wall

  1. This painting shows a person standing, their body turned to us, with their head looking downward to the left. The person has pale skin, round, rosy cheeks, and wavy yellow hair surrounded by a golden halo with intricate patterns. They are wearing a dark robe over a dark red dress or tunic and holding a long, thin red cross in one hand, while the other hand holds a closed red book. At their feet lies a black dog-like animal with wide yellow eyes. The scene is set against a golden textured background within a gilded border.
    Saint MargaretSassetta, c. 1435Courtesy National Gallery of Art, Washington
  2. Venus and Cupid, by Lorenzo Lotto, 1520s
    Venus and CupidLorenzo Lotto, 1520sCourtesy of The Metropolitan Museum of Art
  3. 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
  4. A young woman with a pale, peachy skin is shown from waist up, wearing a shimmering, royal-blue dress in this vertical painting. Her body is angled to our right as she holds a metal object, perhaps a vessel or incense burner, in her hands by her chest. She turns and tilts her head to our left, but then looks back across her body, off to our right with flint-gray eyes. She has a full, oval-shaped face with a straight nose, smooth cheeks, and her pale pink lips are closed. A gray pearl earring hangs from the ear we can see. Her auburn-brown hair is parted down the middle, and loosely pulled back into a braid that brushes her left shoulder, to our right. The blue dress has a square neckline and a fitted bodice. Light glints off the fabric, shading it from royal to sapphire blue. A voluminous white sleeve is rolled back to her right elbow, to our left. That arm and hand nearly span the width of the painting as she holds the vessel, which has a conical top, near the lower right corner of the composition. The background is solid black.
    Portrait of a Young Woman as a Wise VirginSebastiano del Piombo, c. 1510Courtesy National Gallery of Art, Washington

Second room, north wall

  1. Latona Giving Birth to Apollo and Diana on the Island of Delos, by Diana Scultori, 1561-1565
    Latona Giving Birth to Apollo and Diana on the Island of DelosDiana Scultori, 1561-1565Courtesy National Gallery of Art, Washington
  2. The image shows a human figure with wings positioned as though in flight. The figure is captured from a slightly frontal perspective, with the head turned downwards and the right arm outstretched. The facial features are undefined, focusing more on the body's muscular structure. The figure wears a cloth or drapery around the waist and has well-defined muscles on the chest, arms, and legs. Large wings extend out behind the figure, adding to the sense of flight. The background is plain with a light texture.
    A Flying AngelJacopo Palma il Giovane, 1580/1590Courtesy National Gallery of Art, Washington
  3. This shield-shaped painting shows a young man with pale, peachy skin and curling brown hair standing astride the severed head of a man with dark hair and tanned skin. The painting is wider at the top and tapers like a pint glass to a narrower base. The young man, David, holds the end of long red slingshot with his right hand. The slingshot is weighted by a rock and swings behind his body. His sleeveless rust-red garment is cinched at his waist over a long white shirt. Both garments skim David’s thighs and his legs and feet are bare. Long, curling brown hair frames the ashen and bloodied upturned face of the head at David’s feet. A palm-sized stone is embedded in that forehead. The landscape background is made up of gray boulders, a meandering river, and low palm-like trees. Frothy white clouds sweep across an azure-blue sky.
    David with the Head of GoliathAndrea del Castagno, c. 1450/1455Courtesy National Gallery of Art, Washington

Third room, north wall

  1. The image shows a sketch of a seated bearded figure holding an orb. The figure appears muscular, with a beard merging into long hair. The face is not detailed, and draped fabric covers part of the body. There is no jewelry, and the background is plain.
    Saint JeromeAlessandro Vittoria, 1565/1570Courtesy National Gallery of Art, Washington
  2. POPE RECEIVING VISITOR
    Pope Receiving VisitorBelisario Corenzio, 1590–1646Courtesy of Cooper Hewitt, Smithsonian Design Museum