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Origins of the Renaissance

Origins of the Renaissance. Origins of the Renaissance. I. Renaissance: What Is It? A. Definition B. Time Span (April 6, 1327 – February 18, 1564). Origins of the Renaissance. II. Preconditions and Impetuses for the Renaissance A. Economic B. Social C. Political

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Origins of the Renaissance

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  1. Origins of the Renaissance

  2. Origins of the Renaissance I. Renaissance: What Is It? • A. Definition • B. Time Span (April 6, 1327 – February 18, 1564)

  3. Origins of the Renaissance • II. Preconditions and Impetuses for the Renaissance • A. Economic • B. Social • C. Political • D. Cultural

  4. II. Preconditions and Impetuses for the Renaissance • A. Economic • 1. Developing Commerce (Venice and Genoa) • 2. Accumulation of Capital in Northern Italy • 3. Black Death Results in Lower Demand, Falling Prices

  5. Renaissance Italy (late 15ht century)

  6. Spread of the Black Death 1347−1350

  7. Estimated Population of Europe 1200-1550

  8. II. Preconditions and Impetuses for the Renaissance • B. Social • 1. Growth of Cities • 2. Rise of Universities • 3. Patrons of Learning • a. Medici Family (Florence) • b. Sforza Family (Milan) • c. Este Lords (Ferrara) • d. Alfonso the Magnanimous (Naples) • e. Popes: Nicholas V, Pius II, Julius II, Leo X

  9. II. Preconditions and Impetuses for the Renaissance • C. Political • 1. Independent City-States (Milan and Florence) • a. Jakob Burckhardt, The Civilization of the Renaissance in Italy (1867) • b. Hans Baron, The Crisis of the Early Italian Renaissance (1955, 1966) • c. Robert Lopez, “Hard Times and Investment in Capital” (1957) • 2. Fall of Constantinople (1453)

  10. Siege of Florence (1529−1530), painting done in 1558 by Giorgio Vasari (1511−1574)

  11. II. Preconditions and Impetuses for the Renaissance • D. Cultural • 1. Influence of Muslim and Byzantine Civilizations • 2. Revival of Interest in Classical Culture and Themes • 3. Growth of Critical and Skeptical Attitude, “Scientific” Inquiry • 4. Perspective in Painting, Architecture, and Town Planning

  12. D. Cultural • 1. Influence of Muslim and Byzantine Civilizations • a. Gianfrancesco Pico della Mirandola (1469–1494) • b. Manual Chrysoloras (1350–1415) • c. Paolo dal Pozzo Toscanelli (1397–1482) • d. Filippo Brunelleschi (1377–1446)

  13. D. Cultural • 2. Revival of Interest in Classical Culture and Themes • a. Study of Roman Law • b. Sandro Botticelli (1445–1510)

  14. “Three Graces” from Pompei

  15. Middle Ages “Three Graces”

  16. “Three Graces” by Botticelli

  17. Primavera (1482), tempera on wood by Sandro Botticelli (1445−1510)

  18. The Birth of Venus (1483−85), tempera on panel by Sandro Botticelli (1445−1510)

  19. D. Cultural • 3. Growth of Critical and Skeptical Attitude, “Scientific” Inquiry • a. Dante (1265–1321) • b. Roger Bacon (1220–1292) • c. Lorenzo Valla (1407–1457) • d. Leonardo da Vinci (1452–1519)

  20. D. Cultural • Perspective in Painting, Architecture, and Town Planning • a. Brunelleschi’s paintings of Baptistry and Palazzo Vecchio • – Church of S. Lorenzo, Florence • – cloisters of Pazzi Chapel, Florence • b. Masaccio (1401–c.1428), Trinity (1425) • c. Leon Batttista Alberti (1404–1472) — Della pittura

  21. St. Giovanii Baptistry in Florence

  22. Christ Pantocrator in the Baptistry, Florence

  23. Theotokos of Vladimir (12th Century

  24. Ognissanti Madonna (ca. 1310) Tempura on wood, by Giotto (1266/7−1337)

  25. The Annunciation(1344) Painting by Ambrogio Lorenzetti (1285−1348)

  26. The Annunciation (1489−90) Sandro Botticelli (1445−1510)

  27. The Annunciation (1472−75), painting by Leonardo da Vinci (1452−1519)

  28. Lamentation over the Dead Christ (ca. 1490 Tempera on canvas by Andrea Mantegna (1431−1506)

  29. D. Cultural • 5. Petrarch (1304–1374) • a. Mt. Ventoux (April 26, 1336 – “birthday of Alpinisn”) • b. Laura de Noves (d. 1348) • c. Canzoniere (Song Book)

  30. Mt. Ventoux

  31. Petrarch, Sonnet 246 (English) • The breeze that with its gentle sighing movesthe green laurel and the curling gold,makes the spirit wander from the bodyat seeing her fresh and pretty looks.This white rose born among sharp thorns,when shall we see its equal in this world,this glory of our age? O living Jove,command that I die before her, I pray:so I may not see that great earthly harm,the world left here without its sun,and my eyes, that have no other light:and my soul without thought of any other,and my ears that cannot hear any other,lacking her sweet virtuous words.

  32. Petrarch, Sonnet 246 • L’aura che’l verde lauro et l’aureo crinesoavemente sospirando move,fa con sue viste leggiadrette et novel’anime da’ lor corpi pellegrine.Candida rosa nata in dure spine,quando fia chi sua pari al mondo trove,gloria di nostra etate? O vivo Giove,manda, prego, il mio in prima che’l suo fine:sí ch’io non veggia il gran publico danno,e ‘l mondo remaner senz’il suo sole,né gl’occhi miei, che luce altra non ànno;né l’alma, che pensar d’altro non vòle,né l’orecchie, ch’udir d’altro non sanno,senza l’oneste sue dolci parole.

  33. Petrach, Sonnet 1 (English) You who hear the sound, in scattered rhymes, of those sighs on which I fed my heart,in my first vagrant youthfulness,when I was partly other than I am,I hope to find pity, and forgiveness,for all the modes in which I talk and weep,between vain hope and vain sadness,in those who understand love through its trials. Yet I see clearly now I have becomean old tale amongst all these people, so thatit often makes me ashamed of myself;and shame is the fruit of my vanities,and remorse, and the clearest knowledgeof how the world's delight is a brief dream.

  34. Petrarch, Sonnet 1 • Voi ch'ascoltate in rime sparse il suonodi quei sospiri ond'io nudriva'l corein sul mio primo giovenile errorequand'era in parte altr'uom da quel ch'i' sono,del vario stile in ch'io piango et ragionofra le vane speranze e'l van dolore,ove sia chi per prova intenda amore,spero trovar pietà, nonché perdono.Ma ben veggio or sí come al popol tuttofavola fui gran tempo, onde soventedi me mesdesmo meco mi vergogno;et del mio vaneggiar vergogna è 'l frutto,e'l pentersi, e'l conoscer chiaramenteche quanto piace al mondo è breve sogno.

  35. III. Renaissance Ideals • A. Concept of Whole Man • B. Humanism • C. virtù

  36. III. Renaissance Ideals • A. Concept of Whole Man • 1. Leonardi Bruni (1370–1444) • 2. Coluccio Salutati (1331–1406) • 3. Federigo da Montefeltro, Duke of Urbino (1422–1482) • B. Humanism

  37. Federico da Montefeltro and His Son Guidobaldo (ca. 1475) Painting by Pedro Berruguete (ca. 1450−1504)

  38. III. Renaissance Ideals • C. virtù • 1. Donatello’s David compared with Michelangelo’s David • 2. Alberti: “a man can do all things if he will” • 3. Della Mirandola: • “God said to man: ‘We have made you a creature.... you may, as the free and proud shaper of your own being, fashion yourself in the form you may prefer.’”

  39. Donatello’s David (1430) / Michaelangelo’s David (1501−4)

  40. Spread of the Black Death

  41. The Monastic Orders

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