Well, I must go back now.

Well, you're free to go home.

Well, I must go and get the dinner on.

Here is says go right.

Here is says go up.

Must we go through that room?

Beth

SPEAKER 2 There's a real tension here.

Well, what's funny about it?

I want to go home Where do you live?

SPEAKER 1

Clearly a sense of enourmous wealth and privilege here.

SPEAKER 2 And you can definitely see that beginning to happen here.

Here is says go right again and go south.

Because, I think that this is, first of all, in two ways.

It elevates them it somehow is an architecture that speaks of the achievements of the mind.

Here we have more a sense of the density, an opaqueness of the paint.

Well, I have to go to work so see you!

So what happened here?

Right, and not in an ideal sense.

Without a centralized composition.

Beth We have a lot of levels of reality

SPEAKER 2 They're much more intense colors.

There's no real distinction there and space.

This is such an untraditional version of this subject very mannerist.

There's a window over to the right. Just over the alter.

And they're real people having that Last Supper in the space just inside this loggia.

Beth We also see other attributes of both Juno and Jupiter.

I think the ways that the forms are exaggerated, the hands moving up and across, and all of the ways that we have a kind of exaggeration here are there to serve the emotional point of the image, of the horrors of war.

So over here it says go south.

I've got to hang up now, Gloria. It's my brother.

How far is it?

Beth One can imagine oneself as a collector.

Female We have that feeling of kind of

More of an interest in emotion.

We have a very vertical composition and Io, seen from behind, tilting her head back.

Right, so right here on the first floor of Orsanmichele there was a grain market and it was open.

Well, I'm afraid I must be leaving. I had a nice time.

And actually, I'm not even sure that it's a correct use of linear perspective.

There two to three or four layers of figures and forms.

She seems to be holding some sort of white cloth against her. But you used the word classical and I think that makes a lot of sense.

Ang begins to play fast and loose with the skeletal structure, but this is Ang on the other side of Braque and Picasso, as you were saying. There is a kind of shorthand here that Ang would never have taken.

So there were benefits here.

First of all, you can't see any brushwork.

Masaccio has created a deep illusion of space here.