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before the text \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Page: https://3d.wlu.edu/v21/pages/SMN/SMN.html Location of Annotation: 16.752, 14.292, 7.671 Camera Location: -2.431, 13.480, 7.485 Camera Looks Towards: 80.922, 13.580, 10.470 Annotation block name: Live Example Annotation Details: Although construction of the façade began between 1295 to 1300 with the building of ten avelli out of green and white marble, the portion above the bottom rose window remained incomplete throughout the Trecento and part of the Quattrocento. The original lower part showcased both a Tuscan proto-Renaissance style with marble revetments, serpentine, and larger arcades overlapping other panels and a Gothic style with niches, tombs, side doors under pointed arches, and a circular window. The façade would remain incomplete until Giovanni di Paolo Rucellai, a wealth banker and property owner, commissioned Leon Battista Alberti to complete the façade. However, the building’s partial completion served as a unique opportunity for Alberti to reconcile the completed lower portion with his own style. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Page: https://3d.wlu.edu/v21/pages/SMN/SMN.html Location of Annotation: 42.36, 41.40, 10.22 Camera Location: 48.845, 41.749, 10.821 Camera Looks Towards: 43.992, 41.887, 9.732 Annotation block name: Paradise Annotation Details: Directly opposite Nardo di Cione’s fresco of Inferno stands the painter’s representation of Paradise. These two frescoes, which flank either side of The Last Judgement , present the alternative outcomes awaiting devotees in the Christian afterlife. Just as Nardo’s Inferno portrays a depiction of Hell that draws its source of inspiration from Dante’s poem Commedia, the image of Paradise similarly depends on the poem’s description of Heaven in an antonymic way. The fresco propagates the rewards of piety on Earth and provides viewers with a hopeful prospect of eternal life after mortal death. The work portrays an enthroned Christ and Mary, above two winged angels, surrounded by a massive crowd of biblical characters. The halos around each of their heads emphasize their sanctity and explain to viewers the piety of those in Heaven. A litany of apostles, saints, and prophets can be identified and include some of the best-known figures in the Judeo-Christian tradition. Noah, David, Moses, and Abraham appear, reminding viewers of the holiness of Old Testament Jewish leaders and their exalted position in the celestial court. Saint Peter, the gatekeeper of Heaven, grasps the keys that open its gates to all those devout enough to enter Paradise after death. Viewers were here encouraged to practice similar pious devotions in their own lives to find a place among these ideal worshippers who have already ascended into the kingdom of heaven. This approach to idealistic religious devotion, articulated with an expression of bright color schemes, presents Heaven as a paradisiacal kingdom ruled over by a benevolent deity whose power is denoted by his ornate throne and elevated placement in the composition. The use of gold leaf in the halos of the heavenly entourage predicates the holiness of this Paradise and, particularly when juxtaposed with its compliment of the Inferno, reflets Nardo di Cione’s impulse to promote pious habits among his viewers in the Strozzi Chapel. Bibliography: Arthur Kathleen Giles. The Strozzi Chapel in Santa Maria Novella. UMI Dissertation Services: Ann Arbor, Michagan. 1977. Schuman, Jack C. "'Reversed' Portatives and Positives in Early Art."  The Galpin Society Journal  24 (1971): 16-21. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Page: https://3d.wlu.edu/v21/pages/SMN/SMN.html Location of Annotation: 49.08, 41.70, 11.49 Camera Location: 42.411, 40.980, 10.312 Camera Looks Towards: 55.422, 41.297, 7.574 Annotation block name: Inferno Annotation Details: Dante Alighieri’s wrote his Divine Comedy in the early 14th century, and it contains three parts: Inferno, Purgatorio, and Paradiso. The first section of the story, Inferno, demonstrates the true fate of Christian sinners. Through his eloquent poetic voice, Dante realizes the origins and outcomes of sin in the Christian world and, via literature, vividly describes the pains of hell that derive from a life of sin. This work served as a manifesto for avoiding sin in life and urged Florentine citizens who read its pages to live a pious, penitent life, adhering to the laws prescribed by Christianity. Nardo di Cione sought to capture this same ideal in his depiction of Inferno in Strozzi Chapel. Painted in the mid-14th century, the painting contains iconographic elements that clearly propagate the same idea that one needs to avoid hell at all costs. A large rift appears at the top of a painting opening the bowels of hell unto earth. Below depicts naturalistic humans being damned by a plethora of dark entities, perhaps demons, who possess wings, talons, and malicious fangs. A burning walled city lies below this hellish crack; the city reflects similar characteristics to the Florentine city walls. Also engulfed in flames, a similar wall runs through the median of the piece. At the bottom center of the image, a deity clothed in darkness consumes the souls of poor humans. His fiendish yellow eyes violently pop from the picture plane to ominously stare at onlookers, almost as if welcoming their imminent fate. Large diagonal crags, representing Dante’s tiers of hell, exude a sensational feeling of chaos and disorder that works to support the danger of unconformity to Christian ideals in everyday life, and provides a physical allegory to the pain and chaos of hell. The demon filled work propagates viewer’s fear of hell, developing a sense of dread in all who believed that the depths of this painting would become their fate. Appropriate for a burial chapel in Florence, this image allows viewers to understand the endless doom that follows a life of sin. Nardo di Cione’s Inferno propagates Christian ideals and incites an inherent bias against lifestyle’s filled with sin and corruption. Bibliography: Arthur Kathleen Giles. The Strozzi Chapel in Santa Maria Novella. UMI Dissertation Services: Ann Arbor, Michagan. 1977. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Page: https://3d.wlu.edu/v21/pages/SMN/SMN.html Location of Annotation: 45.68, 44.39, 6.30 Camera Location: 45.983, 40.213, 5.261 Camera Looks Towards: 45.786, 80.020, 2.562 Annotation block name: The Last Judgement Altarpiece Annotation Details: Andrea di Cione, better known as Orcagna, painted the altarpiece that rests squarely in the center of Strozzi Chapel, just below the fresco of the Last Judgement that his brother, Nardo, completed in the 1350s. Created between 1352 and 1357, Orcagna’s altarpiece depicts two holy figures kneeling at the feet of Christ. To the left appears St. Thomas Aquinas and, to his right, St. Peter kneels penitently. The Virgin Mary grasps Thomas’ shoulder in an act of advocacy, while John the Baptist watches over St. Peter. The inclusion of these characters, specifically the Virgin and St. John, reminds us of the hierarchy of saints in fourteenth-century Europe: the Deesis of Christ, Mary, and the Baptist presided over apostles, gospel writers, and contemporary theologians in both artistic representations and in popular conceptions of the ranking of saints in the celestial court. Bibliography: Arthur Kathleen Giles. The Strozzi Chapel in Santa Maria Novella. Ann Arbor, Michigan: UMI Dissertation Services. 1977. Slepian, Marcie Freedman. "Merchant Ideology in the Renaissance: Guild Hall Decoration in Florence, Siena, and Perugia. Volume 1. Yale University, 1987. https://search.proquest.com/docview/303620783?accountid=14882 \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Page: https://3d.wlu.edu/v21/pages/SMN/SMN.html Location of Annotation: 45.77, 35.86, 14.25 Camera Location: 46.914, 22.569, 10.806 Camera Looks Towards: 46.808, 79.837, 2.755 Annotation block name: The Strozzi Chapel Annotation Details: Located in the west transept of S. Maria Novella, the Strozzi Chapel is undoubtedly an artistic masterpiece. Best known for its large frescoes depicting Paradise, The Last Judgement, and Inferno, the space is a prime example of Florentine religious art. Built between 1340 and 1348, this large, raised chapel is indicative of traditional architectural and ritualistic styles. Located just to the left of the crossing, the chapel’s decorations can be seen by those standing before the high altar. This prominent location foreshadows the importance and richness of the chapel. The artist responsible for the chapel’s design and construction was Fra Jacopo Talenti, the “capomaestro” (master mason/builder) of the Dominican friary from 1333 to 1362. It is impossible to define precisely Talenti’s style, for the building evolved over time with many different artists applying their own visions to the space. However, it is almost certain that Talenti was responsible for most of the Strozzi Chapel; various details and motifs can be used to identify his work, such as columns with octagonal capitals and acanthus leaf ornaments. Talenti’s relief sculpture style is also present. He often crafted reliefs depicting the Virgin Mary and angels with minute, almost abstract features, and these pieces were often used on capitals and portals that can be found in both the Chapel and the nave. The Chapel was commissioned by the wealthy Strozzi family for funerary uses. At the chapel’s base lies a large tomb for the remains of deceased members. The Strozzi family could obviously afford one of the most prestigious venues in the church, and their means stretched beyond simply buying the space. Decorative commissions were issued by later family members that finally ended with the chapel’s official completion in 1370. Bibliography: Arthur, Kathleen Giles. "The Strozzi Chapel: Notes on the Building History of Sta. Maria Novella."  The Art Bulletin  65, no. 3 (1983): 367-86. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\