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These things I cherish: the moment between glances; stillness beneath sound; the voice of the unuttered; the darkness behind the light.

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Raphael (Raffaello Sanzio) (or copy after), 1483-1520, Italian, Charity, 1519-20. Black chalk heightened with white on off-white paper, 31.3 x 15.2 cm. Ashmolean Museum, Oxford. High Renaissance.

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Raphael (Raffaello Sanzio), 1483-1520, Italian, The Phrygian [?] Sibyl for the Chapel of Agostino Chigi (Santa Maria della Pace), c.1511-12. Red chalk with some black chalk on buff paper, 36.3 x 18 cm. Ashmolean Museum at the University of Oxford, UK. High Renaissance.

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Color Enhanced File of 1469 Sandro Botticelli - The Birth of Venus 12x18

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Raphael's Marriage of the Virgin, 1504. Geometric perspective, serene faces (except for the rejected suitor breaking his staff), passionate (if a little monotone) colors. A celebration of the Church, the Renaissance and (he signed his name!) the artist himself.

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Titian–Tiziano Vecelli or Tiziano Vecellio (Italian c. 1488/1490–1576) [High Renaissance] Young Man with Cap and Gloves. 1512-1515. Collection of the Earl of Halifax, Garrowby Hall, Yorkshire; on loan to National Gallery, London.

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Leonardo da Vinci - Mona Lisa [c.1503-06] I find this piece so simple but complicated at the same time. Its much more beautiful up front.

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BRAMANTE: Tempietto, San Pietro in Montorio, Rome, 1502. Despite its small scale, the construction has all the rigorous proportions and symmetry of Classical structures, surrounded by slender Doric columns, surmounted by a dome.

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Castelfranco Veneto

Giorgione da Castelfranco c.1477/8-1510 was an Italian painter of the High Renaissance in Venice.He is known for the elusive poetic quality of his work. The resulting uncertainty about the meaning of his art has made him one of the most mysterious figures in European painting. With Titian, he is the founder of the Venetian school of Italian Renaissance painting, which achieves much of its effect through color, and is contrasted with the linear disegno of Florentine painting.

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