Giotto in the context of Historic Centre of Florence

The Renaissance (UK: /rɪˈneɪsəns/ rin-AY-sənss, US: /ˈrɛnəsɑːns/ REN-ə-sahnss) is a period of history and a European cultural movement covering the 15th and 16th centuries. It marked the transition from the Middle Ages to modernity and was characterized by an effort to revive and surpass the ideas and achievements of classical antiquity. Associated with great social change in most fields and disciplines, including art, architecture, politics, literature, exploration and science, the Renaissance was first centered in the Republic of Florence, then spread to the rest of Italy and later throughout Europe. The term rinascita ("rebirth") first appeared in Lives of the Artists (c. 1550) by Giorgio Vasari, while the corresponding French word renaissance was adopted into English as the term for this period during the 1830s.

The Renaissance's intellectual basis was founded in its version of humanism, derived from the concept of Roman humanitas and the rediscovery of classical Greek philosophy, such as that of Protagoras, who said that "man is the measure of all things". Although the invention of metal movable type sped the dissemination of ideas from the later 15th century, the changes of the Renaissance were not uniform across Europe: the first traces appear in Italy as early as the late 13th century, in particular with the writings of Dante and the paintings of Giotto.

Mendicant orders are primarily certain Catholic religious orders that have vowed for their male members a lifestyle of poverty, traveling, and living in urban areas for purposes of preaching, evangelization, and ministry, especially to less wealthy individuals. At their foundation these orders rejected the previously established monastic model, which prescribed living in one stable, isolated community where members worked at a trade and owned property in common, including land, buildings and other wealth. By contrast, the mendicants avoided owning property, did not work at a trade, and embraced a poor, often itinerant lifestyle. They depended for their survival on the goodwill of the people to whom they preached. The members of these orders are not called monks but friars.

The term "mendicant" is also used with reference to some non-Christian religions to denote holy persons committed to an ascetic lifestyle, which may include members of religious orders and individual holy persons.

In Christian tradition, the True Cross is the original wooden cross on which Jesus of Nazareth was crucified.

It is related by numerous historical accounts and legends that Helen, the mother of Roman emperor Constantine the Great, recovered the True Cross at the Holy Sepulchre in Jerusalem, when she travelled to the Holy Land in the years 326–328. The late fourth-century historians Gelasius of Caesarea and Tyrannius Rufinus wrote that while Helen was there, she discovered the hiding place of three crosses that were believed to have been used at the crucifixion of Jesus and the two thieves, Dismas and Gestas, who were executed with him. To one cross was affixed the titulus bearing Jesus' name, but according to Rufinus, Helen was unsure of its legitimacy until a miracle revealed that it was the True Cross. This event is celebrated on the liturgical calendar as the Feast of the Exaltation of the Cross (Roodmas) by the Oriental Orthodox, Eastern Orthodox, Persian, Roman Catholic, Lutheran, and Anglican churches.

Andrea del Castagno (Italian: [anˈdrɛːa del kaˈstaɲɲo]) or Andrea di Bartolo di Bargilla (pronounced [anˈdrɛːa di ˈbartolo di barˈdʒilla]; c. 1419 – 19 August 1457) was an Italian Renaissance painter in Florence, influenced chiefly by Masaccio and Giotto di Bondone. His works include frescoes in Sant'Apollonia in Florence and the painted equestrian monument of Niccolò da Tolentino (1456) in Florence Cathedral. He in turn influenced the Ferrarese school of Cosmè Tura, Francesco del Cossa and Ercole de' Roberti.

Giotto's Campanile (/ˌkæmpəˈniːli, -leɪ/, also US: /ˌkɑːm-/, Italian: [kampaˈniːle]) is a free-standing campanile (bell tower) that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.

Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.

The historic centre of Florence is part of quartiere 1 of the Italian city of Florence. This quarter was named a World Heritage Site by UNESCO in 1982.

Built on the site of an Etruscan settlement, Florence, the symbol of the Renaissance, rose to economic and cultural pre-eminence under the Medici in the 15th and 16th centuries. Its 600 years of extraordinary artistic activity can be seen above all in the 13th-century cathedral (Santa Maria del Fiore), the Church of Santa Croce, the Uffizi and the Pitti Palace, the work of great masters such as Giotto, Filippo Brunelleschi, Sandro Botticelli and Michelangelo.

Jules Michelet (French: [ʒyl miʃlɛ]; 21 August 1798 – 9 February 1874) was a French historian and writer, best known for his multi-volume work Histoire de France (History of France), which chronicles the history of France from its earliest origins to the French Revolution. Michelet was influenced by Giambattista Vico, particularly by his emphasis on the role of ordinary people and their customs in shaping historical narratives, which contrasted with the traditional focus on political and military elites. Michelet also drew inspiration from Vico's concept of the corsi e ricorsi—the cyclical nature of history—in which societies rise and fall in a recurring pattern.

In Histoire de France, Michelet coined the term ''Renaissance'' (French for "rebirth") to describe a cultural movement in Europe that marked a clear departure from the Middle Ages. Although the term was initially used by the Italian art historian Giorgio Vasari in 1550 to describe the revival of classical art beginning with Giotto, Michelet was the first historian to apply the French equivalent systematically to a broader historical era. His use of the term "Renaissance'' established the modern interpretation of this period as a time of renewed humanism, artistic flourishing, and intellectual transformation in "post-medieval" Europe.

The Scrovegni Chapel (Italian: Cappella degli Scrovegni [kapˈpɛlla deʎʎi skroˈveɲɲi]), also known as the Arena Chapel, is a small church, adjacent to the Augustinian monastery, the Monastero degli Eremitani in Padua, region of Veneto, Italy. The chapel and monastery are now part of the complex of the Musei Civici di Padova.

The chapel contains a fresco cycle by Giotto, completed around 1305 and an important masterpiece of Western art. In 2021, the chapel was declared part of the UNESCO World Heritage Site of 14th-century fresco cycles composed of 8 historical buildings in Padua city centre. The Scrovegni Chapel contains the most important frescoes that marked the beginning of a revolution in mural painting and influenced fresco technique, style, and content for a whole century.

The Life of the Virgin, showing narrative scenes from the life of Mary, the mother of Jesus, is a common subject for pictorial cycles in Christian art, often complementing, or forming part of, a cycle on the Life of Christ. In both cases the number of scenes shown varies greatly with the space available. Works may be in any medium: frescoed church walls and series of old master prints have many of the fullest cycles, but panel painting, stained glass, illuminated manuscripts, tapestries, stone sculptures and ivory carvings have many examples.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force" leading him to add a shamanistic aspect to his project.

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez's confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.

The Maestà, or Maestà of Duccio, is an altarpiece composed of many separate paintings commissioned from Duccio di Buoninsegna by the city of Siena in Tuscany in 1308 and is his major work. Duccio's Maestà was the first altarpiece to have both a front and back side. The front panels make up a large enthroned Madonna and Child with saints and angels, and a predella of the Childhood of Christ with prophets.

The reverse showed, in forty-three small panels, scenes from the Life of the Virgin and the Life of Christ, and were topped by and additional six panels showing angels. Several panels are now dispersed or lost. The base of the panel has an inscription that reads (in translation): "Holy Mother of God, be thou the cause of peace for Siena and life to Duccio because he painted thee thus." Though it took a generation for its effect to be truly felt, Duccio's Maestà set Italian painting on a course leading away from the hieratic representations of the Italo-Byzantine style and towards more direct presentations of reality, as developed by leading figures such as Giotto—believed to have been Duccio's pupil—during the Trecento.

The kiss of Judas, also known as the Betrayal of Christ, is the act with which Judas identified Jesus to the multitude with swords and clubs who had come from the chief priests and elders of the people to arrest him, according to the Synoptic Gospels. The kiss is given by Judas in the Garden of Gethsemane after the Last Supper and leads directly to the arrest of Jesus by the police force of the Sanhedrin.

Within the life of Jesus in the New Testament, the events of his identification to hostile forces and subsequent execution are directly foreshadowed both when Jesus predicts his betrayal and Jesus predicts his death.

A Nativity play or Christmas pageant is a play which recounts the story of the Nativity of Jesus. It is usually performed at Christmas, the feast of the Nativity. For the Christian celebration of Christmas, the viewing of the Nativity play is one of the oldest Christmastime traditions, with the first reenactment of the Nativity of Jesus taking place in A.D. 1223 in the Italian town of Greccio.