He had a perfect mastery of the olden-days renaissance as shown
in some of his artworks below. It is the present day and unique St. Mary by Paolo Uccello. Despite these paintings being
damaged today, the frescoes are still present and in place at the Chiostro Verde.
These artworks create a representation of the episodes from creation. The frescoes are
characteristically marked with a strong pervasive concern for its stylized, insistent
and elegant linear forms of the landscape features. These attributed designs are
consistent with the Gothic traditions which were predominant in the Florentine
studios, early 15th century.
The Scene Temple, Mary by Paolo Uccello is a strong representation of Christian arts
which are in use till to-date. It is a representation of the life of Christ on earth.
The painting in a way became the perfect renaissance art. Uccello's representation had
the Florence cathedral Baptistery bronze doors open, with 28 panels perfectly
illustrated various scenes in the life of Christ as recorded in the New Testament.
Some of these include the Scene of The Adoration of the Magi, Scene Adoration of the
Three Kings, Christ on cross, Baptism, Transfiguration and the like.
Battle of San Romano Series
It is one of the brilliantly colorful and structured paintings which typically shows
an image of San Romano’s battles which happened in 1432 at the region between Siena
and Florence. The significant figure is the charger possessing leader of triumphant
Florentine forces, well identifiable by the banner designed 'Knot of Solomon.' The
panel is among the set of the three paintings which shows some of the incidents in
that battle. The rest of the panels are in Uffizi, Florence and Louvre, Paris. The
uniqueness in use of geometry and classically placing every element in the creation of
battle symbolism was outstanding for these paintings. The artistically done paintings
may initially have had curved tops specifically designed to ensure they well fitted
under the Gothic vaults. They were rectangular shaped panels, clear evidence of
Uccello’s linear perspective preoccupation, a characteristic that helped in
foreshortening of the painting shape and organization of the broken lances. These
three panels commissioning was presided over by the Bartolini Salimbeni’s family
within Florence region.