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AHTTE.RenErp.tpgs 9/14/04 12:13 PM Page 1 A R T S & H U M A N I T I E S T h r o u g h t h e E ra s AHTTE.RenErp.tpgs 9/14/04 12:13 PM Page 3 \ A R T S & H U M A N I T I E S T h r o u g h t h e E ra s Renaissance Europe 1300–1600 Philip M. Soergel, Editor http://avaxhome.ws/blogs/ChrisRedfield 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page iv Arts and Humanities Through The Eras: Renaissance Europe (1300–1600) Philip M. Soergel Project Editor Indexing Services Composition and Electronic Prepress Rebecca Parks Barbara Koch Evi Seoud Editorial Imaging and Multimedia Manufacturing Danielle Behr, Pamela A. Dear, Jason Everett, Randy Bassett, Mary K. Grimes, Lezlie Light, Wendy Blurton Rachel J. Kain, Timothy Sisler, Ralph G. Michael Logusz, Kelly A. 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Permissions Hotline: ment of the editors or publisher. Errors 248-699-8006 or 800-877-4253, ext. 8006 brought to the attention of the publisher and Fax: 248-699-8074 or 800-762-4058 verified to the satisfaction of the publisher will be corrected in future editions. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Arts and humanities through the eras. p. cm. Includes bibliographical references and index. ISBN 0-7876-5695-X (set hardcover : alk. paper) — ISBN 0-7876-5696-8 (Renaissance Europe : alk. paper) — ISBN 0-7876-5697-6 (Age of Baroque : alk. paper) — ISBN 0-7876-5698-4 (Ancient Egypt : alk. paper) — ISBN 0-7876-5699-2 (Ancient Greece : alk. paper) — ISBN 0-7876-5700-X (Medieval Europe : alk. paper) 1. Arts—History. 2. Civilization—History. NX440.A787 2004 700’.9—dc22 2004010243 This title is also available as an e-book. ISBN 0-7876-9384-7 (set) Contact your Thomson Gale sales representative for ordering information. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page v \ C O N T E N T S ABOUT THE BOOK . . . . . . . . . . . . . . . . . . ix High and Late Renaissance Courtly Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 CONTRIBUTORS . . . . . . . . . . . . . . . . . . . . xi Theatrical Dance . . . . . . . . . . . . . . . . . . . . . . 70 Folk Dancing in Europe . . . . . . . . . . . . . . . . . 75 ERA OVERVIEW . . . . . . . . . . . . . . . . . . . . xiii SIGNIFICANT PEOPLE CHRONOLOGY OF Thoinot Arbeau . . . . . . . . . . . . . . . . . . . . . . . 81 WORLD EVENTS . . . . . . . . . . . . . . . . xxi Fabrizio Caroso . . . . . . . . . . . . . . . . . . . . . . . 81 Catherine de’ Medici . . . . . . . . . . . . . . . . . . . 82 CHAPTER 1: ARCHITECTURE Cesare Negri . . . . . . . . . . . . . . . . . . . . . . . . . 83 AND DESIGN IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . . 2 DOCUMENTARY SOURCES . . . . . . . . . . . . . . . 84 OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 CHAPTER 3: FASHION TOPICS IN ARCHITECTURE AND DESIGN IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . 86 The Birth of the Renaissance Style. . . . . . . . . . . 6 The High Renaissance. . . . . . . . . . . . . . . . . . . 17 OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 The Later Renaissance In Italy. . . . . . . . . . . . . 25 TOPICS IN FASHION The Architectural Renaissance The Regulation of Clothing. . . . . . . . . . . . . . . 90 Throughout Europe. . . . . . . . . . . . . . . . . . . 37 Fashion as an Industry . . . . . . . . . . . . . . . . . . 98 SIGNIFICANT PEOPLE Early Renaissance Styles. . . . . . . . . . . . . . . . . 103 Leon Battista Alberti. . . . . . . . . . . . . . . . . . . . 50 High and Late Renaissance Fashion . . . . . . . . 107 Filippo Brunelleschi . . . . . . . . . . . . . . . . . . . . 51 SIGNIFICANT PEOPLE Francis I . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Bernard of Siena. . . . . . . . . . . . . . . . . . . . . . 111 Andrea Palladio . . . . . . . . . . . . . . . . . . . . . . . 54 Lucrezia Borgia. . . . . . . . . . . . . . . . . . . . . . . 112 DOCUMENTARY SOURCES . . . . . . . . . . . . . . . 55 Francesco Datini. . . . . . . . . . . . . . . . . . . . . . 113 Elizabeth I. . . . . . . . . . . . . . . . . . . . . . . . . . 114 CHAPTER 2: DANCE Marie de’ Medici . . . . . . . . . . . . . . . . . . . . . 115 IMPORTANT EVENTS . . . . . . . . . . . . . . . . . . . 58 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 116 OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 TOPICS IN DANCE CHAPTER 4: LITERATURE Courtly Dance in the Early Renaissance . . . . . . 61 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 118 v 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page vi Contents OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Michel de Montaigne . . . . . . . . . . . . . . . . . . 252 Francesco Petrarch . . . . . . . . . . . . . . . . . . . . 253 TOPICS IN LITERATURE Early Renaissance Literature. . . . . . . . . . . . . . 122 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 254 The Fifteenth Century in Italy. . . . . . . . . . . . 129 CHAPTER 7: RELIGION The High and Later Renaissance. . . . . . . . . . . 135 The Northern Renaissance. . . . . . . . . . . . . . . 141 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 258 Renaissance Women Writers . . . . . . . . . . . . . 155 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 262 SIGNIFICANT PEOPLE TOPICS IN RELIGION Pietro Aretino. . . . . . . . . . . . . . . . . . . . . . . . 160 The Late-Medieval Church . . . . . . . . . . . . . . 264 Giovanni Boccaccio. . . . . . . . . . . . . . . . . . . . 161 Renaissance Piety . . . . . . . . . . . . . . . . . . . . . 269 Marguerite of Navarre. . . . . . . . . . . . . . . . . . 162 The Reformation’s Origins. . . . . . . . . . . . . . . 277 Thomas More . . . . . . . . . . . . . . . . . . . . . . . 163 The Spread of Protestantism in Northern Hans Sachs . . . . . . . . . . . . . . . . . . . . . . . . . 165 Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . 285 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 166 The Council of Trent . . . . . . . . . . . . . . . . . . 294 SIGNIFICANT PEOPLE CHAPTER 5: MUSIC John Calvin. . . . . . . . . . . . . . . . . . . . . . . . . 302 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 168 Catherine of Siena . . . . . . . . . . . . . . . . . . . . 303 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Ignatius Loyola. . . . . . . . . . . . . . . . . . . . . . . 305 Martin Luther . . . . . . . . . . . . . . . . . . . . . . . 306 TOPICS IN MUSIC St. Teresa of Avila. . . . . . . . . . . . . . . . . . . . . 308 Music and the Renaissance. . . . . . . . . . . . . . . 173 Renaissance Innovation . . . . . . . . . . . . . . . . . 176 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 309 Sixteenth Century Achievements in CHAPTER 8: THEATER Secular Music . . . . . . . . . . . . . . . . . . . . . . 182 Religious Music in the Later Renaissance. . . . . 193 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 312 Music Theory in the Renaissance . . . . . . . . . . 200 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 315 SIGNIFICANT PEOPLE TOPICS IN THEATER William Byrd. . . . . . . . . . . . . . . . . . . . . . . . 204 Theater in the Later Middle Ages. . . . . . . . . . 316 Guillaume Dufay . . . . . . . . . . . . . . . . . . . . . 204 The Renaissance Theater in Italy . . . . . . . . . . 323 Josquin des Prez. . . . . . . . . . . . . . . . . . . . . . 205 The Renaissance Theater in Northern Orlando di Lasso . . . . . . . . . . . . . . . . . . . . . 206 Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Claudio Monteverdi . . . . . . . . . . . . . . . . . . . 207 The Commercial Theater in England . . . . . . . 337 Giovanni Pierluigi da Palestrina . . . . . . . . . . . 207 Renaissance Theater in Spain. . . . . . . . . . . . . 345 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 208 SIGNIFICANT PEOPLE Ludovico Ariosto . . . . . . . . . . . . . . . . . . . . . 350 CHAPTER 6: PHILOSOPHY Alexandre Hardy. . . . . . . . . . . . . . . . . . . . . . 351 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 212 Christopher Marlowe . . . . . . . . . . . . . . . . . . 352 OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 214 William Shakespeare. . . . . . . . . . . . . . . . . . . 353 Torquato Tasso . . . . . . . . . . . . . . . . . . . . . . 355 TOPICS IN PHILOSOPHY Scholasticism in the Later Middle Ages . . . . . . 216 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 356 Humanism in the Early Renaissance . . . . . . . . 225 CHAPTER 9: VISUAL ARTS Renaissance Platonism. . . . . . . . . . . . . . . . . . 232 Humanism Outside Italy. . . . . . . . . . . . . . . . 238 IMPORTANT EVENTS. . . . . . . . . . . . . . . . . . . 358 New Trends in Sixteenth-Century OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Thought. . . . . . . . . . . . . . . . . . . . . . . . . . 242 TOPICS IN VISUAL ARTS SIGNIFICANT PEOPLE The Early Renaissance in Italy . . . . . . . . . . . . 363 Desiderius Erasmus. . . . . . . . . . . . . . . . . . . . 248 The Early Renaissance In Northern Marsilio Ficino. . . . . . . . . . . . . . . . . . . . . . . 249 Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Niccolò Machiavelli . . . . . . . . . . . . . . . . . . . 251 The High Renaissance in Italy . . . . . . . . . . . . 386 vi Arts and Humanities Through the Eras: Renaissance Europe (1300–1600) 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page vii Contents The High and Later Renaissance in Michelangelo . . . . . . . . . . . . . . . . . . . . . . . . 425 Venice . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 DOCUMENTARY SOURCES . . . . . . . . . . . . . . 426 Late Renaissance and Mannerist Painting in Italy. . . . . . . . . . . . . . . . . . . . . . . . . . . 405 GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . 427 The Arts in Sixteenth-Century Northern Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . 412 FURTHER REFERENCES. . . . . . . . . . . . 439 SIGNIFICANT PEOPLE MEDIA AND ONLINE SOURCES . . . . 445 Albrecht Dürer. . . . . . . . . . . . . . . . . . . . . . . 420 Giotto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 ACKNOWLEDGMENTS . . . . . . . . . . . . . 451 Hans Holbein . . . . . . . . . . . . . . . . . . . . . . . 422 Leonardo da Vinci . . . . . . . . . . . . . . . . . . . . 424 INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 Arts and Humanities Through the Eras: Renaissance Europe (1300–1600) vii 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page ix \ A B O U T T H E B O O K SEEING HISTORY FROM A DIFFERENT ANGLE. An Although treated in separate chapters, the connections education in history involves more than facts concern- between these topics are highlighted both in the text and ing the rise and fall of kings, the conquest of lands, and through the use of “See Also” references to give the reader the major battles fought between nations. While these a broad perspective on the culture of the time period. events are pivotal to the study of any time period, the Readers can learn about the impact of religion on liter- cultural aspects are of equal value in understanding the ature; explore the close relationships between dance, development of societies. Various forms of literature, music, and theater; and see parallel movements in ar- the philosophical ideas developed, and even the type of chitecture and visual arts. The development of each of clothes worn in a particular era provide important clues these fields is discussed within the context of important about the values of a society, and when these arts and historical events so that the reader can see history from humanities are studied in conjunction with political and a different angle. This angle is unique to this reference historical events a more complete picture of that society work. Most history books about a particular time period is revealed. This inter-disciplinary approach to studying only give a passing glance to the arts and humanities in history is at the heart of the Arts and Humanities Through an effort to give the broadest historical treatment possi- the Eras project. Patterned in its organization after the ble. Those reference books that do cover the arts and successful American Decades, American Eras, and World humanities tend to cover only one of them, generally Eras products, this reference work aims to expose the across multiple time periods, making it difficult to draw reader to an in-depth perspective on a particular era in connections between disciplines and limiting the per- history through the study of nine different arts and spective of the discipline’s impact on a specific era. In humanities topics: Arts and Humanities Through the Eras each of the nine • Architecture and Design disciplines is given substantial treatment in individual chapters, and the focus on one era ensures that the analy- • Dance sis will be thorough. • Fashion AUDIENCEANDORGANIZATION.Arts and Human- • Literature ities Through the Eras is designed to meet the needs of • Music both the beginning and the advanced history student. • Philosophy The material is written by subject experts and covers a vast array of concepts and masterworks, yet these con- • Religion cepts are built “from the ground up” so that a reader • Theater with little or no background in history can follow them. • Visual Arts Technical terms and other definitions appear both in the ix 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page x About the Book text and in the glossary, and the background of historical sites are subject to change and may become obsolete in events is also provided. The organization of the volume the future. facilitates learning at all levels by presenting information PRIMARY DOCUMENTS AND ILLUSTRATIONS. In in a variety of ways. Each chapter is organized accord- an effort to provide the most in-depth perspective pos- ing to the following structure: sible, Arts and Humanities Through the Erasalso includes • Chronology covering the important events in that numerous primary documents from the time period, discipline during that era offering a first-hand account of the culture from the people who lived in it. Letters, poems, essays, epitaphs, • Brief overview of the development of that disci- and songs are just some of the multitude of document pline at the time types included in this volume, all of which illuminate • Topics that highlight the movements, schools of some aspect of the discipline being discussed. The text thought, and masterworks that characterize the is further enhanced by 150 illustrations, maps, and line discipline during that era drawings that bring a visual dimension to the learning experience. • Biographies of significant people in that discipline • Documentary sources contemporary to the time CONTACT INFORMATION. The editors welcome your comments and suggestions for enhancing and im- period proving Arts and Humanities Through the Eras. Please This structure facilitates comparative analysis, both be- mail comments or suggestions to: tween disciplines and also between volumes of Arts and The Editor Humanities Through the Eras, each of which covers a different era. In addition, readers can access additional Arts and Humanities Through the Eras research opportunities by looking at the “Further Refer- Thomson Gale ences” and “Media and Online Sources” that appear at 27500 Drake Rd. the back of the volume. While every effort was made to Farmington Hills, MI 48331-3535 include only those online sources that are connected to institutions such as museums and universities, the web- Phone: (800) 347-4253 x Arts and Humanities Through the Eras: Renaissance Europe (1300–1600) 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page xi \ C O N T R I B U TO R S Philip M. Soergelreceived the Ph.D. in history from the the Humanities. He has twice served as a visiting pro- University of Michigan in 1988, and has been a mem- fessor at the University of Bielefeld in Germany. Profes- ber of the Department of History at Arizona State Uni- sor Soergel’s research interests lie in the history of the versity since 1989. There he is responsible for teaching Protestant and Catholic Reformations, particularly in courses on the Renaissance, the Reformation, and early- their use of miracles as propaganda. His books include modern Europe. From 1993–1995, he was a member Wondrous in His Saints: Counter-Reformation Propaganda of the Institute for Advanced Study in Princeton, and in Bavaria(California, 1993); the forthcoming, Miracles he has also held fellowships from the Friedrich Ebert and the Protestant Imagination; and the Baroque volume and Woodrow Wilson foundations, the American in Thomson Gale’s Arts and Humanities Through the Philosophical Society, and the National Endowment for Erasseries. xi 69742_AHTE_REfm_iv-xxxii.qxd 9/21/04 1:40 PM Page xiii \ E R A O V E RV I E W DATING THE RENAISSANCE. The concept of the of medieval life. Instead it is best conceived as a broad, Renaissance as a broad cultural renewal in European but sometimes diffuse, cultural renewal that affected the history that occurred at the end of the Middle Ages has ideas, perceptions, and mentalities particularly of the long been used to structure the larger narrative of West- upper classes and learned elite over a long stretch of ern history. This book focuses on developments in the European history. The choice of the dates 1300–1600 arts, literature, religion, and philosophy between 1300 used in this volume has been largely one of convenience and 1600—three centuries that saw the rise of distinc- and tradition. Some historians have argued that the tive attitudes toward human creativity and its artistic and Renaissance’s beginnings should be dated later, often philosophical expression which shaped our modern no- around 1450; more recently, others have pushed back tion of the humanities and the arts. The act of dating the rise of Renaissance values into the thirteenth century. an historical period is significant in that it often reveals The traditional periodization used here has been adopted the underlying assumptions of those who establish the for several reasons. The date 1300 corresponds roughly dates. Choosing a beginning or ending date for a period to the birth of Francesco Petrarch (1304–1374), a fig- often highlights a particular development or event as ure long noted as vital to the formation of Renaissance decisive in producing key changes in the years that fol- philosophy and literature. The fourteenth century also low it. So, for instance, modern historians have often witnessed the first glimmer of a new naturalism in sculp- chosen the date 1789, the beginning of the French Rev- ture and painting, and it saw key changes in fashion and olution, as a decisive turning point leading to the rise style as well. Although much of the tenor of fourteenth- of the modern period. In this way dating or naming a century life seems traditional and medieval in nature, period also functions as a kind of intellectual shorthand great economic and social changes were underway in that allows us to identify key changes that occurred from Europe at this time that brought forth a new kind of so- one period to the next. But in reality all schemes of his- ciety and intellectual life. These changes often appear in torical periodization are artificial constructs. Scholars stark contrast to the relative peace and stability that had might speak of “nineteenth-century Victorian values,” prevailed in Europe during the twelfth and thirteenth “Cold War mentalities,” or “medieval economic reali- centuries. Increased famine, economic recession, the ties,” but human history itself is a web of events and enormous catastrophe of the Black Death (1347–1351), movements in which what comes before continues to as well as a series of great peasant and urban revolts were shape what follows. Societies are too varied and complex just a few of the trials that gripped the fourteenth cen- to be understood completely according to simplistic ter- tury. From these trials a new set of economic and social minologies, and a time’s values or beliefs do not change realities was born that led to the even greater flowering suddenly with the rise of a new king or political party. of art and intellectual culture that occurred in Europe So, too, the Renaissance did not sweep away elements during the fifteenth and sixteenth centuries. xiii
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