
Primavera
Venus stands in an orange grove while the Graces dance and spring arrives at her right. The meadow holds hundreds of identifiable plants.

Venus stands in an orange grove while the Graces dance and spring arrives at her right. The meadow holds hundreds of identifiable plants.

Venus arrives on a scallop shell in a fall of roses, painted on canvas at a time when almost everyone still worked on panel.

Judith and her maid hold Holofernes down together and work the blade through his throat. Artemisia painted it a decade after her rape trial.

Titian woke Giorgione's sleeping Venus, brought her indoors, and had her look straight at us, probably to mark a wedding in Urbino.

Three weathered shepherds crowd in to look at the newborn, and when the triptych reached Florence from Bruges the local painters took note.

Gabriel's greeting runs toward Mary in raised gold letters and she twists away from it, her thumb still caught in her book.

The kings arrive with a retinue of horses, hounds and a leopard, every surface tooled in gold for one of Florence's richest families.

Every proportion is wrong on purpose, and a single outsized column rises behind for no reason. Parmigianino died before finishing it.

Where Cimabue and Duccio floated their Madonnas on gold, Giotto gave his weight, a real throne, and a body that presses through the cloth.

A real Roman boy dressed up as the wine god, heavy-lidded and slightly flushed, holding out a glass while the fruit beside him bruises.

Painted on a convex parade shield, so the head bulges toward you at the exact instant of the scream. A showpiece gift for the Medici.

Four and a half meters tall, the largest panel painted in its century, with six angels kneeling to steady a throne that seems to float.

An early work, and Mary's right arm reaches further than an arm can. Gabriel's wings were studied from a real bird.

The central panel of three, with the Florentine commander charging in a gold-and-scarlet hat on a horse turned like a carousel figure.

The little demons carved on the pedestal were taken for harpies and gave the picture its name. Del Sarto was called the faultless painter.

The three kings are Medici, and the young man in the saffron cloak at the right, looking straight out at us, is Botticelli.

Four prophets peer from arches under the throne holding scrolls that foretell the Virgin Birth, and the throne is angled to suggest depth.

Moses wades into a heap of falling nudes to drive off the shepherds, the limbs knotted almost into abstraction under a harsh light.

Isaac is shouting under his father's hand and the ram has already arrived at the right. Caravaggio gives the scene no ceremony whatsoever.

The sea-monster is part fish and part beast and thoroughly invented, and some of the onlookers on the shore have started playing music.

A gilded low sun hangs over the road and the orange trees are heavy with fruit, an early attempt at real morning light across a landscape.

The Child lies on the ground giving off his own light across the straw and his mother's face. One of the first paintings lit from inside.

Joseph reaches up to pull down dates from a palm while Saint Francis kneels at the side, added for the chapel that ordered it.