Andrea Mantegna, San Zeno Altarpiece, 1459

Regarded as the first acceptable example of Renaissance Art in Italy, The San Zeno Altarpiece is located in the Basilica de San Zeno in Verona. Mantegna used this piece to further experiment with perspective. Since the commissioner of the piece, Abbot Gregorio Correr, assigned to Mantegna the saints that were to surround the enthroned Madonna, Mantegna used other aspects of the painting to create an altarpiece that resembled the art he had been studying.

Using a trompe-l'oeil technique, Mantegna created illusions forcing the eye to see his impressive perspective of the room. He accomplished this by painting the life-like fruit that hangs from the top of the canvas. This technique not only helps to frame the work properly, but also helps to draw the eye though the room and to the detail in the shadows that helps give the work depth. The frame work done by the hanging fruit accompanied with the diagonal lines drawn by the saints to Madonna all set the stage for the beautiful Madonna and Child. 

In between the garnish on the top, we notice a lit candle which symbolizes the presence of God, or the light of God if you will. This light flows down through the middle canvass and brightens the Madonna and Child as well as the playful angels that surround them. These angels are painted in a more humanistic light to display the growing humanistic traits in the 15th century. They are also chanting and singing to the baby Jesus and Madonna. helping to glorify the moment and the presence of God. 

The top three canvases remain at the Basilica de San Zeno, where you can see San Zeno painted on the far left with a gold cloak over him. But the bottom three canvasses that display Jesus' prayer at the Mount of Olives, the crucifixion, and the resurrection are now copies that hang in the altarpiece. The originals were purchased by the Louvre in 1797 and have remained in France since then. The frame of the altarpiece was also thought to be designed by him because of the fruit pieces and the classic detail. Aside from the missing pieces, this work remains a symbol of one of the first great Renaissance art pieces in Italy.