Scene Temple, Mary

Despite the much transformation in the word of arts, Paolo Uccello's painting looks appealing even today. This iconic Italian painter is known artistically combining his love of the decorative effects, linear perspective interests, and the international gothic feature styles.

He had a perfect mastery of the olden-days renaissance as shown in some of his artworks below. It is the present day and unique St. Mary by Paolo Uccello. Despite these paintings being damaged today, the frescoes are still present and in place at the Chiostro Verde. These artworks create a representation of the episodes from creation. The frescoes are characteristically marked with a strong pervasive concern for its stylized, insistent and elegant linear forms of the landscape features. These attributed designs are consistent with the Gothic traditions which were predominant in the Florentine studios, early 15th century.

The Scene Temple, Mary by Paolo Uccello is a strong representation of Christian arts which are in use till to-date. It is a representation of the life of Christ on earth. The painting in a way became the perfect renaissance art. Uccello's representation had the Florence cathedral Baptistery bronze doors open, with 28 panels perfectly illustrated various scenes in the life of Christ as recorded in the New Testament. Some of these include the Scene of The Adoration of the Magi, Scene Adoration of the Three Kings, Christ on cross, Baptism, Transfiguration and the like.

Battle of San Romano Series

It is one of the brilliantly colorful and structured paintings which typically shows an image of San Romano’s battles which happened in 1432 at the region between Siena and Florence. The significant figure is the charger possessing leader of triumphant Florentine forces, well identifiable by the banner designed 'Knot of Solomon.' The panel is among the set of the three paintings which shows some of the incidents in that battle. The rest of the panels are in Uffizi, Florence and Louvre, Paris. The uniqueness in use of geometry and classically placing every element in the creation of battle symbolism was outstanding for these paintings. The artistically done paintings may initially have had curved tops specifically designed to ensure they well fitted under the Gothic vaults. They were rectangular shaped panels, clear evidence of Uccello’s linear perspective preoccupation, a characteristic that helped in foreshortening of the painting shape and organization of the broken lances. These three panels commissioning was presided over by the Bartolini Salimbeni’s family within Florence region.