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San Miniato. Mural tomb of Cardinal Jacopo Above: Prato. Cathedral. Outer pulpit decorated with symbolic child-figures. ) (Antonio Rossellino, 1466). 13 Folo Mantua. Die Kirche Andrea. 1472 von Alberti begonnen. nimml Hochrenaissance und Barock vorweg. Verbindung eines einschiffigen, tonneniiberwolbten Langhauses mit einem mit ihren durchgehenden Pilastern ist wie ein romischer Triumphbogen gebildet. S. Sie bringt nach romischen Vorbildern die Die Facade frechts) Marburg Mantua. S. Andrea, begun in 1472 by Alberti, an inspiration ation to t h Ren aissance and Baroque.
Als Sdiauwand ausgebildet. sich die der die noch mittelalterlich ersdieinenden Oben: Certosa di Pavia. Die Marmorfassade der Aufnahme Grogformen were to be found mostly in the field of ornamentation, Left: Venice. Scuola di San Rocco (1524-60)appearance. and architectural forms still preserved a medieval conventual church, a remarkable frontispiece. Carthusian the of facade The marble Certosa di Pavia. In Above: North Italy, classical influences I Der harmonischen Geschlossenheit und „Richtungslosigkeit" der Renaissanceformen in Italien entsprechen ahnliche Tendenzen in der Spatgotik des Nordens.
Albert! in den „Tempio Malatestiano" verwandeln lie8. A supreme combination of classical motifs Half-columns and garlanded circular windows at the church of S. Francesco transformed post 14 45 by L. B. Alberti into the "Tempio Malatestiano" Rimini, central Italy. c. 1470. w^m * ->\ ~J>J Castelli Alinari Tlorenz. Der Der hi. Museo Nazionale. Georg des Donatello, urn scharf beobachtende, nicht spiegelt den Renaissance-Menschen. Florence. Museo Nazionale. Donatello's St. George 19 1420. mehr (c. 1420).