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| Giotto Virgin and Child ca. 1310-15 tempera on panel National Gallery of Art, Washington DC |
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| Simone Martini St Judas Thaddeus ca. 1315-20 tempera on panel National Gallery of Art, Washington DC |
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| Simone Martini St Simon ca. 1315-20 tempera on panel National Gallery of Art, Washington DC |
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| Simone Martini St Matthew ca. 1315-20 tempera on panel National Gallery of Art, Washington DC |
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| Bernardo Daddi St Paul and Group of Worshippers 1333 tempera on panel National Gallery of Art, Washington DC |
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| Giovanni Baronzio The Birth, Naming and Circumcision of St John the Baptist ca. 1335 tempera on panel National Gallery of Art, Washington DC |
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| Giovanni Baronzio Baptism of Christ ca. 1335 tempera on panel National Gallery of Art, Washington DC |
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| Bartolomeo Bulgarini St Catherine of Alexandria ca. 1335-40 tempera on panel National Gallery of Art, Washington DC |
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| Nardo di Cione Virgin and Child ca. 1350 tempera on panel Milwaukee Art Museum |
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| Paolo di Giovanni Fei Assumption of the Virgin ca. 1400-1405 tempera on panel National Gallery of Art, Washington DC |
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| Lorenzo Monaco Virgin and Child 1413 tempera on panel National Gallery of Art, Washington DC |
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| Sassetta (Stefano di Giovanni) St Francis kneeling before the Crucified Christ ca. 1437-44 tempera on panel Cleveland Museum of Art, Ohio |
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| Francesco del Cossa St Florian ca. 1473-74 tempera on panel National Gallery of Art, Washington DC |
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| Carlo Crivelli Virgin and Child ca. 1480 tempera on panel Victoria & Albert Museum, London |
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| Master of the Starck Triptych The Raising of the Cross ca. 1480-90 oil on panel National Gallery of Art, Washington DC |
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| Giovanni Bastianini Virgin and Child ca. 1855 marble (forgery of early Renaissance relief) Victoria & Albert Museum, London |
"Far from diminishing, the reasons for friction and irreconcilability multiplied from year to year. The very forces that urged Roman humanists to glorify the providential nature of Catholicism led those who rejected it to be scandalized by the sumptuous manifestations, the commitment to ceremony, and the inclination to paganism that were on daily display. The antagonism ran so deep that it declared itself in two utterly opposing modes of graphic discourse: on the one side, the tradition of monumental Mediterranean painting at the height of its powers; and on the other, the direct, popular, and quickly produced art of Northern printmaking, which for the first time in history became a major force in cultural and religious life. Rome did not make use of the right weapons, the modern media; there could be no hope of victory."
– André Chastel, The Sack of Rome, 1527, translated by Beth Archer, 1983 (expanded from the A.W. Mellon Lectures in the Fine Arts, 1977, and published by Princeton University Press and the National Gallery of Art, Washington, D.C.)