jrom the j\^naissance omanticism trends in Style in art, literature, and music, 1300-1830 A FrederickB. rtz \ P186 $2.25 (16s net) S^k FROM THE RENAISSANCE TO ROMANTICISM FrOM FREDERICK ARTZ the B. / RENAISSANCE to ROMANTICISM TRENDS IN STYLE IN ART, LITERATURE, AND MUSIC, 1300-1830 Phoenix Books THE UNIVERSITY OF CHICAGO PRESS jCOfc -*XS CHICAGO & LONDON This boof{ is also available in a clothbound edition from THE UNIVERSITY OF CHICAGO PRESS To my students, past and present, in History 13and14atOberlin College TheUniversityofChicagoPress,Chicago&London TheUniversityofTorontoPress,Toronto5, Canada ©1962byFrederickB.Artz.Allrightsreserved Published1962.FirstPhoenixEdition1965. ThirdImpression1967 PrintedintheUnitedStatesofAmerica PREFACE Thesechaptersonthehistoryofideasare,insomedegree,acontinuation of my Mind of the Middle Ages, A.D. 200-1500 (3d ed.; New York, 1958). Their purpose is to trace basic changes in style in art, literature, and musicfrom about 1300 to 1830,from Niccolo Pisano, Petrarch, and Landino toDelacroix, Goethe, and Beethoven. Beyond this, in proceed- ing from a description ofthe styles of the Early and then of the High Renaissance through those of Mannerism and of the Baroque to con- clude with the styles of Neo-Classicism and of Romanticism, there are indicated some cross-relationships in the various arts. The approach is that of a historian of ideas,not that of a specialist in the history of art, literature, or music. The examples are chosen from some of the leading figures of each period, but no rounded history of art, letters, and music has been es- sayed. Throughout, some knowledge of each of these is assumed. The interest is focused on the countries where basic changes in style oc- curred, but no extended attempt is made to show the ramifications of a style as it later spread from the place of its origin to influence one nation after another. For example, the art of the High Renaissance first showed its fundamental forms in early sixteenth-century Italy,and attention is centered there. On the other hand, the literature of the Ageof Mannerism did not have a clearly marked focus, and attention vi Preface must be spread across much of western Europe if one wishes to find the varied forms that Mannerism in letters assumed. So sometimes the attention is fixed on one country, and sometimes it is dispersed widely, depending on the nature of what actually happened. Few attempts have been made to chart such a history of the basic changes in style in the arts. There are both correspondences and diver- gencies in the history of art, literature, and music; an effort is made heretoindicateboth. Thisis apioneeringenterprise, and thediscussion is inevitably oversimplified. The results of such an inquiry can only be incomplete and provisional. I am certain to raise as many questions as I answer, but, at this stage of the study of intellectual history, these are some of the questions that need raising. Someofthetitlesin thebibliographyand anumberofthequotations have been shortened. I have used the commonly employed English terms for works of art, literature, and music; thus it is "Mona Lisa" and"TheLastSupper"fortwoworksofLeonardo.Thisisinconsistent, but it makes for a surer understanding. The Bibliography, largely of English and French works, makes no attempt fully to cover the subjects treated herein. I hope, however, it may prove useful. Many of the works included contain bibliographies. A few titles appear under several chapter headings. Some entries, such as encyclopedias and periodicals, are intended to set the reader on the track of pertinent material. I am greatly indebted to friends and colleagues whohave read all or partsofthemanuscript Wolfgang Stechow, HenryA. Grubbs,Donald : M.Love,RichardM.Murphy,PaulR. Evans,Mrs. OscarJaszi,Richard Goldthwaite,andWylieSypher.Beyondthis,Iowemuchtotheauthors whohave written on these subjects, a debt I have tried to acknowledge in the bibliographies. I wish, also, to thank the staff of the Harvard Library and that of the Oberlin College Library for endless assistance. Finally, Iwishtothankmycolleague and friend BarryMcGillforhelp on theproofs. FrederickB.Artz Oberlin,Ohio CONTENTS I INTRODUCTION II THE EARLY RENAISSANCE, I3OO-I5OO II III THE HIGH RENAISSANCE, I5OO-I53O AND LATER 58 IV MANNERISM, I53O-160O AND LATER III V THE BAROQUE, 160O-I75O 158 VI NEO-CLASSICISM AND ROMANTICISM, I75C-183O 219 BIBLIOGRAPHY 283 3<>5