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The paper highlights the main features of Ernst Gombrich’s approach to the explication and to the interpretation of Renaissance works. These features are oriented to Karl Popper’s critical rationalism: a strong simplicity that distinguishes him from the more codified and constrained procedure of Erwin Panofsky. Moreover, this examines how the simplicity of Gombrich’s approach well reflects the rationale for the choice of many artistic subjects in the early-modern period, especially for decorative cycles. Some appraisals performed by the author have appeared in several reviews and miscellaneous volumes, which reinforces the hypothesis of a reading based on clarity, as well as adequacy to the Renaissance imagery requirements.