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| 1418 |
| | | A competition is launched for an architect to construct a dome above Florence's cathedral, and is won by Brunelleschi | |
|  | Florence, the cathedral dome
Fotofile CG
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| 1423 |
| | | Masaccio paints some of the frescoes in the chapel of a Florentine silk merchant, Felice Brancacci, in Santa Maria del Carmine | |
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| 1430 |
| | | Work begins in Florence on Brunelleschi's Pazzi chapel, which encapsulates in miniature the new ideals of Renaissance architecture | |
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| c. 1430 |
| | | Robert Campin, also known as the Master of Flémalle, brings to Flemish painting a natural and everyday quality which is entirely new | |
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| 1432 |
| | | A new altarpiece is installed in the cathedral in Ghent, introducing the powerful realism of Jan van Eyck | |
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| 1433 |
| | | Cosimo de' Medici, arrested by a rival faction, escapes with his life thanks to bribes and well-placed friends | |
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| 1434 |
| | | Giovanni Arnolfini, a merchant from Lucca trading in Bruges, commissions from van Eyck a portrait of himself and his wife | |
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| 1435 |
| | | Chancellor Nicolas Rolin, of Burgundy, commissions an altarpiece from Jan van Eyck | |
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| 1435 |
| | | Rogier van der Weyden, the third in the extraordinary trio of Flemish artists of the 1430s, is appointed painter to the city of Brussels | |
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| 1436 |
| | | Perspective fascinates Italian Renaissance painters after the publication of Alberti's treatise on the subject, De Pictura | |
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