(no entry for this year)

After having secured much of what today is central and northern Peru, the Inca have expanded their empire into Ecuador. With a new king, Tupac Inca, they begin to expand southward into Chile, Bolivia and Argentina.

Painting by Piero della Francesca: The Brera Madonna, (also known as the Pala di Brera, the Montefeltro Altarpiece or Brera Altarpiece), executed in 1472–1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon. The work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federico's son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma.

(no entry for this year)

Painting by Andrea del Verrocchio and Leonardo da Vinci: The Baptism of Christ, an oil-on-panel painting finished around 1475 in the studio of the Italian Renaissance painter Andrea del Verrocchio and generally ascribed to him and his pupil Leonardo da Vinci. Some art historians discern the hands of other members of Verrocchio's workshop in the painting as well. The picture depicts the Baptism of Jesus by John the Baptist as recorded in the Biblical Gospels of Matthew, Mark and Luke. The angel to the left is recorded as having been painted by the youthful Leonardo, a fact which has excited so much special comment and mythology, that the importance and value of the picture as a whole and within the oeuvre of Verrocchio is often overlooked. Modern critics also attribute much of the landscape in the background to Leonardo as well. The painting is housed in the Uffizi Gallery in Florence.

Painting by Leonardo da Vinci: The Annunciation, painted c. 1472–1476. This is Leonardo's earliest extant major work, completed in Florence while he was an apprentice in the studio of Andrea del Verrocchio. The painting was made using oil and tempera on a large poplar panel and depicts the Annunciation, a popular biblical subject in 15th-century Florence. Since 1867 it has been housed in the Uffizi in Florence, the city where it was created. Though the work has been criticized for inaccuracies in its composition, it is among the best-known portrayals of the Annunciation in Christian art.

Painting by Antonio and Piero del Pollaiuolo: Martyrdom of Saint Sebastian, a large altarpiece by the brothers Antonio and Piero del Pollaiuolo, commissioned by the Florentine Pucci family and now in the National Gallery, London. The painting is considered Antonio's masterpiece, with a more rigid geometric control on the composition than in his previous works, without giving up his usual naturalness of poses and movement — the four archers in the foreground form two symmetrical poses, with the two central ones reloading and the two on the edges firing, in perfect equilibrium either side of the central post to which Sebastian is tied.

Painting by Leonardo da Vinci: Ginevra de' Benci, a portrait painting of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas. Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.

Painting by Hugo van der Goes: Portinari Altarpiece, an oil-on-wood triptych painting, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 × 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied. The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder. Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas (with the spear), Saint Anthony (with the bell), Mary Magdalen (with the pot of ointment) and Saint Margaret (with the book and the dragon). When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. The Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.

(no entry for this year)

A conspiracy, that includes the Archbishop of Pisa and has the support of Pope Sixtus IV, leads to an attack on the Medici while they are in church. The Archbishop and several others are hanged. Pope Sixtus puts Florence under the interdict and excommunicates the Medici leader of Florence, Lorenzo de Medici. The pope forms a military alliance with the King of Naples, and Lorenzo's diplomacy prevents an attack.

Painting by Leonardo da Vinci: The Madonna of the Carnation, also known as the Madonna with Vase, Madonna with Child or Virgin with Flower, is an oil painting created around 1478–1480. It is permanently displayed at the Alte Pinakothek gallery in Munich, Germany. The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in sumptuous clothes and jewellery, with her left hand Mary holds a carnation (red, suggesting blood and the Passion). The faces are put into light while all other objects are darker, e.g. the flower is covered by a shadow. The child is looking up and the mother looking down, with no eye contact. The setting of the portrait is a room with two windows on each side of the figures. Originally this painting was thought to have been created by Andrea del Verrocchio, but subsequent art historians agree that it is Leonardo's work, probably made during his apprenticeship to Verrocchio. The Virgin's hair, left hand, the drapery, and flowers are similar to elements of Leonardo's Annunciation.

Painting by Leonardo da Vinci: The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting now in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich. It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.