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CHAPTER 13: The High Renaissance and Mannerism in Italy Essential Understanding: What is “Renaissance Humanism”? NOTE: You are responsible for knowing the terms in red throughout this slideshow. This World or The Next World? Perhaps the major contribution of the ancient Greeks was a “speculative leap” from belief in the dominance of the spiritual or divine to a belief in human rationality and perfectibility. To the Greek philosoper Protagoras, man became “the measure of all things.” No longer was there an absolute truth or ancient superstitution which dominated man’s destiny; now each man determined the ideal, using his or her rational powers of reasoning and observation. The perception of the ideal could be achieved through an understanding of this world and the perfectibility of man. Thus, we see this optimism in the ideal MAN in the pose of Zeus or the Republic of Plato or the Lyceum of Aristotle. harmony of balance and power vision of the just state and just man a focus on empirical research and study Take a close look at Raphael’s “The School of Athens,” 1509-1511, currently housed in Vatican City, Rome. Although this is a Renaissance masterpiece, not a Greek painting, it does incorporate the two central Greek philosophers, Plato (pointing upward to the realm of ideas) and Aristotle (pointing downward toward matters of the earth), perhaps symbolizing the notion that MAN is capable of determining the truth – either through an understanding the ideals of philosophy or the empirical evidence of the natural world around him. Or, through intellectual curiosity, not spiritual devotion. Either way, it is man, not the gods, determining truth. Note the other examples of human “genius” within the painting. Renaissance HUMANISM The Greek belief in man’s abilities and perfectibility was the focus of Renaissance thinking: a “rebirth” of the Classical world’s belief in man, rather than superstition or dogma. This outlook is the basis of Renaissance humanism. Furthermore, this Renaissance perspective seemed to follow naturally after the failure of the medieval Catholic Church to keep all eyes and efforts pointed upwards to the heavens and the rise of the middle class who found a better life through education (literacy) and economics (the end of feudalism and advance of mercantilism). The world was changing, and MAN, not the Church, was in the driver’s seat. Opportunity, creativity, and nationality lifted man’s view of himself and his/her destiny in this life. The secular (this world) has risen to level of or surpassed the sacred (the next world). What evidence is there of Renaissance Humanism? Or, where do we see a focus on man in THIS world, rather than the Middle Age’s focus on the NEXT world? #1. Pope Julius II took the name Julius in emulation of Julius Caesar (not a saint), and he used his wealth and power to enhance his legacy (not his destiny). by Horace Vernet, 1827. Pope Julius II discussing the plans for the new St. Peter’s Basicalla with the Bramante, Michelangelo, and Raphael around 1505. #2. Important Renaissance characterizations, such as “terribilita” (passion) and “sprezzatura” (effortless mastery), were focus on life and success in THIS world. Michelangelo’s “Moses” , 1513-15 “terribilita” - an effect or expression of powerful will and immense angry force (as in the work of Michelangelo) from Merriam-Webster Dictionary The Book of the Courtier by Castaglione, 1528 “sprezzatura” - studied nonchalance; perfect conduct or performance of something (as an artistic endeavor) without apparent effort fromMerriam-Webster Dictionary #3. Patronage of the arts used to glorify one’s self or family or city (versus an attempt to glorify God or other holy icons). The Medici Chapels Located at the Basilica of San Lorenzo in Florence, Italy. These chapels were to serve as mausoleums for the family. There are numerous other examples of Medici patronage. Sistine Chapel Restored by Pope Sixtus IV between 1477-80 and named in his honor. The family of Piero de’ Medici portrayed by Sandro Botticelli in the “Madonna del Magnificat,” 1481. #4. Focus on Nature and science (versus Scholasticism’s focus on defending religious dogma). Heliocentricism The Copernican model departed from the Ptolemaic or geocentric system that prevailed in Western culture for centuries, placing Earth at the center of the Universe. Copernicus’s model is often regarded as the launching point to modern astronomy and the Scientific Revolution, as well as contributing to conflicts with Scholastic teaching. Leonardo da Vinci Often considered a prime example of the “Renaissance Man,” da Vinci’s view of the world was logical rather than mysterious or dogmatic, and that the empirical methods he employed were unorthodox for his time. #5. Emphasis on the “humanity” (not divinity) of subjects in painting and sculpture. The Last Supper by Leonardo da Vinci, 1495-98 The focus is on the reaction or emotion of the apostles when Jesus tells them he will be betrayed by one them. Madonna of the Meadow by Raphael, 1505 Unlike da Vinci’s Madonna, Rapheal emphasizes the human qualities (not divine) of the characters and provides a natural or earthly landscape. David by Michelangelo, 1501-04 Unlike earlier depictions, David is shown during the moment of decision, strategizing his attack, demonstrating his rational confidence. #6. Harmony and balance of proportion in Renaissance revival of Classical architecture (versus Gothic cathedrals with exaggerated vaulting and spires). St. Peter’s Basicalla, Rome, Italy - demonstrating balance, proportion, classical columns, domes, etc. This proportion, classicism, and balance were also characteristics of the conservative music of the Renaissance. Milan Cathedral, Milan, Italy - demonstrating the Gothic spires, vaulting, buttresses, and exaggerated height and windows. #7. In literature, the Renaissance courtier, described in Castiglione's Book of the Courtier, was accomplished in earthly matters, UNLIKE the devotion expected of the medieval knight in the Code of Chivalry. Note the spiritual focus of the medieval knight: Castiglione’s courtier was expected to have a warrior spirit, to be athletic, and have good knowledge of the humanities. He was supposed to demonstrate “sprezzatura” (effortless mastery) and represent the “uomo universale” (well-rounded man) – the “Renaissance Man.” Gautier's Ten Commandments of chivalry are: 1.Thou shalt believe all that the Church teaches and thou shalt observe all its directions (Believe the Church's teachings and observe all the Church's directions). 2.Thou shalt defend the Church. 3.Thou shalt respect all weaknesses, and shalt constitute thyself the defender of them. 4.Thou shalt love the country in which thou wast born. 5.Thou shalt not recoil before thine enemy. 6.Thou shalt make war against the infidel without cessation and without mercy. 7.Thou shalt perform scrupulously thy feudal duties, if they be not contrary to the laws of God. 8.Thou shalt never lie, and shalt remain faithful to thy pledged word. 9.Thou shalt be generous, and give largesse to everyone. 10.Thou shalt be everywhere and always the champion of the Right and the Good against Injustice and Evil The following QUIZ slides are optional unless assigned. QUIZ : Answer either #1 or #2 #1. Can you put these images of David below in the correct chronological sequence, NOT by identifying the artist and date of origin ONLY, but by listing the characteristics that EXPLAIN their actual historical or intellectual sequence (What is the artist emphasizing?)? Artist: Date of Production: __________________ _____________________ _________ _________ Emphasis: ____________________ ____________________ ____________________ ____________________ ____________________ ____________________ ____________________ See next slide for #2 _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _____________________ _________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ #2. Select any three versions of “The Last Supper” painting and complete the comparison chart below. Be sure to put these images in the correct chronological sequence, NOT by identifying the artist and date of origin ONLY, but by listing the characteristics that EXPLAIN their actual historical or intellectual sequence (What is the artist emphasizing?)? Artist: Date of Production: __________________ _____________________ _________ _________ Emphasis: ____________________ ____________________ ____________________ ____________________ ____________________ ____________________ ____________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _______________________ _____________________ _________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________ ________________________