Western Civilization: Volume B: 1300 to 1815, 8th Edition

by Spielvogel, Jackson J.

  How did Cereta explain her intellectual interests and accomplishments? Why were Renaissance women rarely taken seriously when they sought educational opportunities and recognition for their intellectual talents? Were any of those factors unique to the Renaissance era?

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  Humanism and History

  Humanism had a strong impact on the writing of history. Influenced by Roman and Greek historians, the humanists approached the writing of history differently from the chroniclers of the Middle Ages. The humanists’ belief that Classical civilization had been followed by an age of barbarism (the Middle Ages), which had in turn been succeeded by their own age, with its rebirth of the study of the classics, enabled them to think in terms of the passage of time, of the past as past. Their division of the past into ancient world, dark ages, and their own age provided a new sense of chronology or periodization in history.

  The humanists were also responsible for secularizing the writing of history. Humanist historians reduced or eliminated the role of miracles in historical interpretation, not because they were anti-Christian but because they took a new approach to sources. They wanted to use documents and exercised their newly developed critical skills in examining them. Greater attention was paid to the political events and forces that affected their city-states or larger territorial units. Thus, Leonardo Bruni wrote the History of the Florentine People. The new emphasis on secularization was also evident in the humanists’ conception of causation in history. Medieval historical literature often portrayed historical events as being caused by God’s active involvement in human affairs. Humanists de-emphasized divine intervention in favor of human motives, stressing political forces or the role of individuals in history.

  GUICCIARDINIThe high point of Renaissance historiography was achieved at the beginning of the sixteenth century in the works of Francesco Guicciardini (frahn-CHESS-koh gwee-char-DEE-nee) (1483–1540). He has been called by some Renaissance scholars the greatest historian between Tacitus in the first century (see Chapter 6) and Voltaire and Gibbon in the eighteenth century (see Chapter 17). His History of Italy and History of Florence represent the beginning of “modern analytical historiography.” To Guicciardini, the purpose of writing history was to teach lessons, but he was so impressed by the complexity of historical events that he felt those lessons were not always obvious. From his extensive background in government and diplomatic affairs, he developed the skills that enabled him to analyze political situations precisely and critically. Emphasizing political and military history, his works relied heavily on personal examples and documentary sources.

  The Impact of Printing

  The Renaissance witnessed the invention of printing, one of the most important technological innovations of Western civilization. The art of printing made an immediate impact on European intellectual life and thought. Printing from hand-carved wooden blocks had been done in the West since the twelfth century and in China even before that. What was new to Europe in the fifteenth century was multiple printing with movable metal type. The development of printing from movable type was a gradual process that culminated between 1445 and 1450; Johannes Gutenberg (yoh-HAH-nuss GOO-ten-bayrk) of Mainz played an important role in bringing the process to completion. Gutenberg’s Bible, completed in 1455 or 1456, was the first true book in the West produced from movable type.

  The new printing spread rapidly throughout Europe in the second half of the fifteenth century. Printing presses were established throughout the Holy Roman Empire in the 1460s and within ten years had spread to Italy, England, France, the Low Countries, Spain, and eastern Europe. Especially well known as a printing center was Venice, home by 1500 to almost one hundred printers who had produced almost 2 million volumes.

  By 1500, there were more than a thousand printers in Europe who had published almost 40,000 titles (between 8 million and 10 million copies). Probably 50 percent of these books were religious—Bibles and biblical commentaries, books of devotion, and sermons. Next in importance were the Latin and Greek classics, medieval grammars, legal handbooks, works on philosophy, and an ever-growing number of popular romances.

  Printing became one of the largest industries in Europe, and its effects were soon felt in many areas of European life. The printing of books encouraged the development of scholarly research and the desire to attain knowledge. Moreover, printing facilitated cooperation among scholars and helped produce standardized and definitive texts. Printing also stimulated the development of an ever-expanding lay reading public, a development that had an enormous impact on European society. Indeed, without the printing press, the new religious ideas of the Reformation would never have spread as rapidly as they did in the sixteenth century.

  The Artistic Renaissance

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  FOCUS QUESTION: What were the chief characteristics of Renaissance art, and how did it differ in Italy and northern Europe?

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  Leonardo da Vinci, one of the great Italian Renaissance artists, once explained: “Hence the painter will produce pictures of small merit if he takes for his standard the pictures of others, but if he will study from natural objects he will bear good fruit. … Those who take for their standard any one but nature … weary themselves in vain.”19 Renaissance artists considered the imitation of nature their primary goal. Their search for naturalism became an end in itself: to persuade onlookers of the reality of the object or event they were portraying. At the same time, the new artistic standards reflected a new attitude of mind as well, one in which human beings became the focus of attention, the “center and measure of all things,” as one artist proclaimed.

  Art in the Early Renaissance

  Leonardo and other Italians maintained that it was Giotto in the fourteenth century (see Chapter 11) who began the imitation of nature. But what Giotto had begun was not taken up again until the work of Masaccio (muh-ZAH-choh) (1401–1428) in Florence. Masaccio’s cycle of frescoes in the Brancacci Chapel has long been regarded as the first masterpiece of Early Renaissance art. With his use of monumental figures, a more realistic relationship between figures and landscape, and visual representation of the laws of perspective, a new realistic style of painting was born. Onlookers become aware of a world of reality that appears to be a continuation of their own world. Masaccio’s massive, three-dimensional human figures provided a model for later generations of Florentine artists.

  This new Renaissance style was absorbed and modified by other Florentine painters in the fifteenth century. Especially important was the development of an experimental trend that took two directions. One emphasized the mathematical side of painting, the working out of the laws of perspective and the organization of outdoor space and light by geometry and perspective. In the work of Paolo Uccello (POW-loh oo-CHELL-oh) (1397–1475), figures became mere stage props to show off his mastery of the laws of perspective. The other aspect of the experimental trend involved the investigation of movement and anatomical structure. The Martyrdom of Saint Sebastian by Antonio Pollaiuolo (pohl-ly-WOH-loh) (c. 1432–1498) revels in Classical motifs and attempts to portray the human body under stress. Indeed, the realistic portrayal of the human nude became one of the foremost preoccupations of Italian Renaissance art. The fifteenth century, then, was a period of experimentation and technical mastery.

  Masaccio, Tribute Money.With the frescoes of Masaccio, regarded by many as the first great works of Early Renaissance art, a new realistic style of painting was born. Tribute Money was one of a series of frescoes that Masaccio painted in the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence. In Tribute Money, Masaccio illustrated the biblical story of Jesus’s confrontation by a tax collector at the entrance to the town of Capernaum (seen at center). Jesus sent Peter to collect a coin from the mouth of a fish from Lake Galilee (seen at left); Peter then paid the tax collector (seen at right). In illustrating this story from the Bible, Masaccio used a rational system of perspective to create a realistic relationship between the figures and t
heir background; the figures themselves are realistic. As one Renaissance observer said, “The works made before Masaccio’s day can be said to be painted, while his are living, real, and natural.”

  S. Maria del Carmine, Florence//© Scala/Art Resource, NY

  During the last decades of the fifteenth century, a new sense of invention emerged in Florence, especially in the circle of artists and scholars who formed part of the court of the city’s leading citizen, Lorenzo the Magnificent. One of this group’s prominent members was Sandro Botticelli (SAHN-droh bot-i-CHELL-ee) (1445–1510), whose interest in Greek and Roman mythology was well reflected in one of his most famous works, Primavera (Spring). The painting is set in the garden of Venus, a garden of eternal spring. Though Botticelli’s figures are well defined, they also possess an otherworldly quality that is far removed from the realism that characterized the painting of the Early Renaissance.

  Botticelli, Primavera.This work reflects Botticelli’s strong interest in Classical antiquity. At the center of the painting is Venus, the goddess of love. At the right stands Flora, a Roman goddess of flowers and fertility, while the Three Graces dance playfully at the left. Cupid, the son of Venus, aims his arrow at the Three Graces. At the far left of the picture is Mercury, the messenger of the gods. Later in his life, Botticelli experienced a profound religious crisis, leading him to reject his earlier preoccupation with pagan gods and goddesses. He burned many of his early paintings and thereafter produced only religious works.

  Galleria degli Uffizi, Florence//© Scala/Art Resource, NY

  The revolutionary achievements of Florentine painters in the fifteenth century were matched by equally stunning advances in sculpture and architecture. Donato di Donatello (doh-NAH-toh dee doh-nuh-TELL-oh) (1386–1466) spent time in Rome studying and copying the statues of antiquity. His subsequent work in Florence reveals how well he had mastered the essence of what he saw. Among his numerous works was a statue of David, which is the first known life-size, freestanding bronze nude in European art since antiquity. With the severed head of the giant Goliath beneath David’s feet, Donatello’s statue may have celebrated Florentine heroism in the triumph of Florence over the Milanese in 1428. Like Donatello’s other statues, David also radiated a simplicity and strength that reflected the dignity of humanity.

  Donatello, David. Donatello’s David first stood in the courtyard of the Medici Palace. On its base was an inscription praising Florentine heroism and virtue, leading art historians to believe that the statue was meant to commemorate the victory of Florence over Milan in 1428. David’s pose and appearance are reminiscent of the nude statues of antiquity.

  Museo Nazionale del Bargello, Florence//© Scala/Art Resource, NY

  Filippo Brunelleschi (fee-LEE-poh BROO-nuh-LESS-kee) (1377–1446), a friend of Donatello’s, accompanied the latter to Rome. Brunelleschi drew much inspiration from the architectural monuments of Roman antiquity, and when he returned to Florence, he poured his new insights into the creation of a new architecture. His first project involved the challenge of building a dome for the unfinished cathedral of Florence (the Duomo). The cathedral had been started in 1296, but it was Brunelleschi who devised new building techniques and machinery to create a dome, built between 1420 and 1436, that spanned a 140-foot opening.

  Filippo Brunelleschi, Dome of the Duomo. Brunelleschi was first commissioned to design the dome for the unfinished cathedral of Florence in 1417, but work did not begin until 1420. Although Brunelleschi would have preferred the Roman hemispheric dome, for practical reasons he was forced to elevate the center of the dome and then lessen the weight of the structure by building a thin double shell around a structure of twenty-four ribs. The most important ribs were placed on the outside of the dome (four of them are visible in this illustration).

  © Scala/Art Resource, NY

  An even better example of Brunelleschi’s new Renaissance architectural style is evident in the Church of San Lorenzo. When the Medici commissioned him to design the church, Brunelleschi, inspired by Roman models, created a church interior very different from that of the great medieval cathedrals. San Lorenzo’s Classical columns, rounded arches, and coffered ceiling created an environment that did not overwhelm the worshiper materially and psychologically, as Gothic cathedrals did, but comforted as a space created to fit human, not divine, measurements. Like painters and sculptors, Renaissance architects sought to reflect a human-centered world.

  The new assertion of human individuality, evident in Early Renaissance art, was also reflected in the new emphasis on portraiture. Patrons appeared in the corners of sacred pictures, and monumental tombs and portrait statues honored many of Florence’s prominent citizens. By the mid-fifteenth century, artists were giving an accurate rendering of their subjects’ facial features while revealing the inner qualities of their personalities. The portraits of the duke and duchess of Urbino by Piero della Francesca (c. 1410–1492) provide accurate representations as well as a sense of both the power and the wealth of the rulers of Urbino.

  Brunelleschi, Interior of San Lorenzo. Cosimo de’ Medici contributed massive amounts of money to the rebuilding of the Church of San Lorenzo. As seen in this view of the nave and choir of the church, Brunelleschi’s architectural designs were based on the basilica plan borrowed by early Christians from pagan Rome. San Lorenzo’s simplicity, evident in its rows of slender Corinthian columns, created a human-centered space.

  © Scala/Art Resource, NY

  The Artistic High Renaissance

  By the end of the fifteenth century, Italian painters, sculptors, and architects had created a new artistic environment. Many artists had mastered the new techniques for a scientific observation of the world around them and were now ready to move into individualistic forms of creative expression. This final stage of Renaissance art, which flourished between 1480 and 1520, is called the High Renaissance. The shift to the High Renaissance was marked by the increasing importance of Rome as a new cultural center of the Italian Renaissance.

  The High Renaissance was dominated by the work of three artistic giants: Leonardo da Vinci (1452–1519), Raphael (1483–1520), and Michelangelo (1475–1564). Leonardo represents a transitional figure in the shift to High Renaissance principles. He carried on the fifteenth-century experimental tradition by studying everything and even dissecting human bodies to see more clearly how nature worked. But Leonardo stressed the need to advance beyond such realism and initiated the High Renaissance’s preoccupation with the idealization of nature, or the attempt to generalize from realistic portrayal to an ideal form. Leonardo’s Last Supper, painted in Milan, is a brilliant summary of fifteenth-century trends in its organization of space and use of perspective to depict subjects three-dimensionally in a two-dimensional medium. But it is also more. The figure of Philip is idealized, and the work embodies profound psychological dimensions. The words of Jesus that “one of you shall betray me” are experienced directly as each of the apostles reveals his personality and his relationship to Jesus. Through gestures and movement, Leonardo hoped to reveal a person’s inner life.

  Leonardo da Vinci, The Last Supper. Leonardo da Vinci was the impetus behind the High Renaissance concern for the idealization of nature, moving from a realistic portrayal of the human figure to an idealized form. Evident in Leonardo’s Last Supper is his effort to depict a person’s character and inner nature by the use of gesture and movement. Unfortunately, Leonardo used an experimental technique in this fresco, which soon led to its physical deterioration.

  S. Maria delle Grazie, Milan//© Scala/Art Resource, NY

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  Giorgio Vasari, Leonardo da Vinci (1550)

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  Raphael (RAFF-ee-ul) blossomed as a painter at an early age; at twenty-five, he was already regarded as one of Italy’s best painters. Raphael was acclaimed for his numerous madonnas, in which he attempted to achieve an ideal of beauty far surpassing human standards. He is well known for his frescoes in the Vatican Palace; his School of Athens r
eveals a world of balance, harmony, and order— the underlying principles of the art of the Classical world of Greece and Rome.

  Michelangelo (my-kuh-LAN-juh-loh), an accomplished painter, sculptor, and architect, was another giant of the High Renaissance. Fiercely driven by his desire to create, he worked with great passion and energy on a remarkable number of projects. Michelangelo was influenced by Neoplatonism, especially evident in his figures on the ceiling of the Sistine Chapel in Rome. In 1508, Pope Julius II had called Michelangelo to Rome and commissioned him to decorate the chapel ceiling. This colossal project was not completed until 1512. Michelangelo attempted to tell the story of the Fall of Man by depicting nine scenes from the biblical book of Genesis. In his Creation of Adam (reproduced at the start of this chapter), the well-proportioned figure of Adam awaits the divine spark. Adam, like the other muscular figures on the ceiling, reveals an ideal type of human being with perfect proportions. In good Neoplatonic fashion, the beauty of these figures is meant to be a reflection of divine beauty; the more beautiful the body, the more God-like the figure.

  Raphael, School of Athens. Raphael arrived in Rome in 1508 and began to paint a series of frescoes commissioned by Pope Julius II for the papal apartments at the Vatican. In School of Athens, painted in 1510 or 1511, Raphael created an imaginary gathering of ancient philosophers. In the center stand Plato and Aristotle. At the left is Pythagoras, showing his system of proportions on a slate. At the right is Ptolemy, holding a celestial globe.