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49 only too easy when walking around a collection of paintings to forget the close-knit nature of all the visual arts -- of painting, sculpture, and architecture, particularly in the Renaissance. Michelangelo was not only a It is and sculptor, and even poet. His pre-eminence as a sculptor and fresco-painter is very much in evidence in The Entombment, a rare example of an easel-painting by him, which may have been destined for the free-standing tomb he was designing for Julius II. The tomb was never hnished.

1550, art of when may have been this picture painting in oil to which By about painted, painters had mastered the such a degree that they could now afford to be and non-naturalistic. Bronzino was in effect Court Painter to Duke Cosimo de' Medici, and this painting may have been sent by the Florentine ruler as a gift to the deliberately artificial pleasure-loving Francis 60 I of France. de. eyck. me FECIT. CCCC. 33. 2IOCTOBRIS. Jan van Eyck, the major Early Netherlandish painter of the 15th century, was credited by Vasari with having been the inventor of the technique of now recognised that he was not the inventor and most brilliant exponents of a developing technique.

It originally supported a large altarpiece dedicated to St. John the Baptist and painted in about 1454. Other panels from the same predella in the National Gallery also have scenes from the saint's life: The Birth of John the Baptist; The Baptism of Christ; The Head of St. John the Baptist brought to Herod. The narrative scenes derive closely from the bronze relief panels o{ The Baptism by Ghiberti and The Head of St. John brought to Herod by Donatello, which arrived in Siena in the autumn of 1427 to form part of the Font for the Baptistry.