Sandro Botticelli (1445-1510), Annunciation, 1489-90, tempera on panel	Piero della Francesca (c. 1420- 1492), Annunciation, probably 1453-54, fresco
Masaccio, Trinity, c. 1428, Sta. Maria Novella.	Piero della Francesca, Madonna and Child with Saints and Frederigo da Montefeltro (Duke of Urbino), Brera Altarpiece, after 1472, oil.
Jan Van Eyck, Madonna and Child with the Canon George van der Paele, 1436.	Details from the Brera Altarpiece and th Van der Paele Madonna.
Piero della Francesca, Portrait of Battista Sforza, 1465.	Left: Piero della Francesca, Portrait of Frederigo da Montefeltro, 1465, oil. Right: Portrait of Frederigo da Montefeltro and his son Guidobaldo, c. 1476-77.
Botticelli, Birth of Venus, after 1482.	Medici Venus (Aphrodite) (Venus Pudica pose), Roman copy of Greek-Hellenistic original of 3rd- 2nd c. B.C.
	Botticelli, Lamentation, late 1490's.

Botticelli, Pallas and Centaur, after 1482.	Botticelli, Venus and Mars, c. 1483.

Piero della Francesca, Annunciation, probably 1453-54.	Botticelli, Annunciation, 1489-90.

Art historians frequently divide the development of fifteenth century Italian painting into distinct currents: scientific and poetic. Through an analysis of these two works relate them to their appropriate current.

Jan van Eyck, Madonna and Child with the Canon van der Paele, 1436, oil on panel.	Piero della Francesca, Madonna and Child with Saints and Frederigo da Montefeltro, after 1472.

Demonstrate how each of these works reflects fifteenth century concerns with the observation of theworld. Also point to significant differences in these artists' attitudes and approached towards the representation of the world.