1. RENNAISSANCE
The 5 W’s

2. What is the Renaissance?
THE ”REBIRTH” OF CIVILIZATION AFTER 1000 YEARS OF THE MIDDLE AGES ALSO REFERED TO AS THE DARK AGES.
Rebirth refers to both a rediscovery of ancient classical texts and learning (mostly ancient Greek and Roman) , and to the widespread revitalization of European culture resulting from the application of this classical knowledge in the arts and sciences. Thus Renaissance can refer to this rebirth of classical learning and knowledge or to the ensuing rebirth of European culture.

3. WHY Did It Happen? The Black Plague theory for the rise of the Renaissance
In the 14th Century, it is estimated that up to one-third or more of the population of Europe died of the plague.
The plague was indiscriminate; it affected kings and serfs, priests and peasants, the pious and the sinful.
Fervent Christian beliefs did provided protection from it.
This led people to think more about life rather than the afterlife. During the Middle (Dark) Ages the people of Europe believed their time on earth was to prove there worth for entering heaven. There emphasis was more on the hereafter than the here and now.
This, together with the invention of the printing press by Gutenberg (1450s) and the rediscovering of the humanistic philosophies from the Ancient Greek Roman era ( such as Aristotle, Plato and Socrates) created the intellectual climate for the emergence of Humanism- the interest in man and his relationship with the world around him.

4. More on the WHY and some of the WHERE-The Dawn of a New Age
About 1450, European scholars became more interested in studying the world around them. Their art became more true to life. They began to explore new lands -to seek life and new civilizations-to boldly go where no man has gone before . These are the stories of explorers like: Bartholomeu Dias, Vasco da Gama, Christopher Columbus-this was the beginning of the Age of Exploration. Handbooks, guides, and charts, along with the invention of more sophisticated and practical nautical instruments. Crucial to these innovations were Muslim and Jewish contributions in mapmaking and navigational instruments.
The Renaissance began in northern Italy and then spread through Europe. Italian cities such as Naples, Genoa, and Venice became centers of trade between Europe and the Middle East. Arab scholars preserved the writings of the ancient Greeks in their libraries. When the Italian cities traded with the Arabs, ideas were exchanged along with goods. These ideas, preserved from the ancient past, served as the basis of the Renaissance. When the Byzantine empire fell to Muslim Turks in 1453, many Christian scholars left Greece (and Constantinople) for Italy.

5. Humanism
Many Renaissance scholars looked to the past for inspiration. In the works of the classics they found a spirit similar to theirs that valued innovation in this world rather than looking forward to the next world after death.
A person who studied the classics was called a humanist. Humanists recreated classical styles in art, literature, and architecture. Humanists believed that by studying the classics, they could understand people and the world better. One humanist wrote, “To each species of creature has been allotted a peculiar and instinctive gift. To horses galloping, to birds flying, comes naturally. To man only is given the desire to learn.”
The humanists emphasized the importance of human values instead of religious beliefs. Renaissance humanists were often devout Christians, but their promotion of secular, or non-religious, values often put them at odds with the church.
Today we refer to the study of literature, philosophy and art as the humanities.

6. Islam and the Renaissance
We have underestimated the importance of 800 years of Islamic society and culture in Spain between the 8th and 15th centuries. The contribution of Muslim Spain to the preservation of classical learning during the Dark Ages, and to the first flowering of the Renaissance, has long been recognized. But Islamic Spain was much more than a mere larder where Hellenistic knowledge was kept for later consumption by the emerging modern world. Not only did Muslim Spain gather and preserve the intellectual content of ancient Greek and Roman civilization, it also interpreted and expanded upon that civilization, and made a vital contribution of its own in so many fields of human endeavour … Islam nurtured and preserved the quest for learning. In the words of (the Prophet's) tradition "the ink of the scholar is more sacred than the blood of the martyr." Cordoba in the 10th century was by far the most civilized city of Europe. We know of lending libraries in Spain at the time King Alfred was making terrible blunders with the culinary arts in this country. It is said that the 400,000 volumes of its ruler's library amounted to more books than all the of the rest of Europe put together. That was made possible because the Muslim world acquired from China the skill of making paper more than four hundred years before the rest of non-Muslim Europe. Many of the traits on which Europe prides itself came to it from Muslim Spain. Diplomacy, free trade, open borders, the techniques of academic research, of anthropology, etiquette, fashion, alternative medicine, hospitals, all came from this great city of cities. Mediaeval Islam was a religion of remarkable tolerance for its time, allowing Jews and Christians to practice their inherited beliefs, and setting an example which was not, unfortunately, copied for many centuries in the West.

7. Sounds lovely this must have been a peaceful time…. NOT
Sounds lovely this must have been a peaceful time….NOT ! City-states in Italy-Where the Renaissance started.
Northern Italy was divided into a number of warring city-states, the most powerful being Milan, Florence, Pisa, Siena, Genoa, Ferrara, and Venice.
Northern Italy was further divided by the long running battle for supremacy between the forces of the Papacy and of the Holy Roman Empire. Each city aligned itself with one faction or the other, yet there was internal divisions within the cities. They used mercenaries.
There were also wars with France (supporter of the Emperor) 1494
The Sack of Rome by Holy Roman Emperor, Charles V 1527.(Spanish German troops)
It was a time of the bloody Inquisition of the marranos and Jews of Spain

8. The Italian City-States
At the time of Renaissance, Italy was made up of numerous city-states that were geographically situated to benefit from the revival of trade that had developed as a result of the Crusades.
The northern city-states of Florence, Venice, and Genoa acted as middlemen in the lucrative
trade with the East. These Northern independent city-states marketed goods such as wool, silk, and other products to countries in Europe and Asia. They became prosperous centers of banking, trade, and manufacturing.
The cities of Northern Italy also benefited from being able to absorb stimulating new ideas from their advanced Byzantine and Muslim neighbours on the Mediterranean Sea. By 1350, the city-states of Florence, Venice, and Genoa were urban regions with a population of about 100,000, a large figure by medieval standards. The conditions were right for these cities to undergo a cultural explosion.

9. Venice Venice was founded in the fifth century by people fleeing from
Attila the Hun. They settled on a
group of islands on the north-eastern
edge of the Italian peninsula.
Shipbuilding was the primary industry
in Venice. During the Crusades,
Venetian ships provided transportation
to the Holy Land. By the 13th century,
Venice was the most prosperous city
in Europe. The city became rich by collecting taxes on all merchandise
brought into its harbour. Venice built huge warships that protected the
valuable cargo of its merchant ships from pirate raids. With the vast
wealth from trade, many of the leading families of Venice vied with one
another to build the finest palaces or support the work of the greatest
artists.
…ever heard of Marco Polo?

10. Florence
Florence, the “city of flowers,” was located in the hill country of north-central Italy. It prospered because of the wool industry. Sheep were raised in the rock hill country of central Italy, and Florence was a center of wool processing. During most of the Renaissance, wealthy merchants dominated Florence.
The merchants competed with one another by building grand palaces for themselves. The merchants were patrons of the arts. Patron comes from the Latin word for father. They hired artists to fill their homes with beautiful paintings and sculptures. Patrons bought rare books and paid scholars to teach their children. The money and encouragement of patrons together with that of the church, made the masterpieces of Renaissance art possible.

11. WHAT was the influence of the Renaissance on the ARTS?
The Renaissance was much more than simply studying the work of ancient scholars. It influenced painting, sculpture, and architecture. Paintings became more realistic and focused less often on religious topics. Rich families became patrons and commissioned great art. Artists advanced the Renaissance style of showing nature and depicting the feelings of people.
Learning and the Arts began to flourish during the Renaissance
Crusaders returned to Europe with a newfound understanding of the world.
The invention of the printing press encouraged literacy and helped to spread new ideas.
Wealthy families (usually merchants/successful businessmen and bankers) and the church had amassed enough wealth to become patrons.
The development of financial techniques such as bookkeeping and credit allowed merchants to prosper.

12. Points to Remember
flourishing of artistic and scientific activities beginning in Italy in the mid 1300s
The rise of the individual (The great invention of the Italian Renaissance was the creation of the "individual," the notion that human experiences and abilities should not be trivialized but in fact celebrated—that man was, in fact, "the measure of all things.)"
a reconnection of the west with classical antiquity
the absorption of knowledge: mathematics, science- (Copernicus and the Heliocentric Universe-1514 ) and Inventions (Gutenberg’s printing press-1448)
The awakening of a desire for beauty
Start of the age of exploration
a focus on the importance of living well in the present

14. Renaissance- WHEN and WHERE was it again?
The Renaissance has no set starting point or place; it happened gradually in different places at different times. Generally it can be divided into three periods:
Early Renaissance-
High Renaissance-
Northern Renaissance-

15. Early Renaissance
The start of the Renaissance is almost universally ascribed to Central Italy, however, especially the city of Florence- (remember the wool capital-Medici controlled).
This 'Florentine Enlightenment' was a major achievement. It was a classical, classicizing culture which sought to live up to the republican ideals of Athens and Rome. Sculptors used Roman models and classical themes. This society had a new relationship with its classical past — it felt it owned it and revived it. Florentines felt akin to 1st century BC republican Rome.

16. Italian Social Classes
The people of Renaissance Florence, like most city–states of the era, were composed of four social classes. The nobles owned much of the land, and lived on large estates outside the city walls. They behaved according to the rules of chivalry and distained the merchants.
The merchants were the newly rich, who gained wealth in industries like wool processing, boat making and banking. The merchants sought to protect their wealth by controlling the government and marrying into noble families. They became patrons of great artists in order to gain public favour. The middle class of Florence was composed of shopkeepers and professionals
At the lowest level were the workers, who did not have job protection and were very dependent on their employers. Workers who violated rules could have their wages withheld or could be discharged from their jobs. As difficult as their lives were, however, these urban workers were better off than the peasants who lived in rural areas.

17. The Medicis-(Rise of the Merchants)
In the 15th century, the leading families of Florence decided they needed a strong person in charge to lead them against the growing threat of rival cities. They chose Cosimo de Medici, a wealthy banker, to take control of the government (the original business of the Medicis was pharmaceuticals which are reflected in their coat fo arms). Cosimo maintained the appearance of republican government, but he appointed his relatives and people he could control to important positions. When Cosimo died in 1464, his son and grandson continued his policies. The Medici maintained control by exiling people who disagreed with them and encouraging other Italian cities to form alliances with Florence.
The best known of the Medicis was Cosimo’s grandson, Lorenzo, who was known as “Lorenzo the Magnificent.” Lorenzo was not only a shrewd banker and clever politician; he was also a scholar and a poet. Under Lorenzo’s leadership, Florence became one of the most beautiful and prosperous cities in Italy, as well as a center of the Renaissance.

18. Who- the Artists
The Renaissance patrons wanted art that showed joy in human beauty and life’s pleasures. Renaissance art is more lifelike than in the art of the Middle Ages. Renaissance artists studied perspective, or the differences in the way things look when they are close to something or far away. The artists painted in a way that showed these differences. As a result, their paintings seem to have depth.

19. Remember the beauty of the Greek and Roman sculpture

20. I remember, I saw them close this summer.

21. The world went from the expression of idealized beauty of Greek sculpture and the realism of Roman sculpture to the symbolic and decorative (?) art of the Middle Ages.
No sculpture in the round- bas relief

22. Retro Greek/Roman art with a modern humanistic twist
Art is going to evolve bringing back the beauty, proportions and realism of the classics.
Retro Greek/Roman art with a modern humanistic twist
The following slides illustrate the evolution from Gothic art to Early Renaissance.

23. GIOTTO Cimabue Gothic-Madonna of Sana Trinita
1280 Byzantine-
gold background (symbol of heavenly light)
Flat chair
All the angels have the same faces and the prophets have the same faces -they play the same role
Modonna face not natural (looks like an alien)
Background was not important the world was not important just the heavenly gold
Giotto-granfdather of the Renaissance
More overlap
Reason’s the baby Jesus looks older- they were drawn from older models- most children stayed at home until they were older.
Giotto was an apprentice to Cimbue
Madonna-1310
An artist from Florence named Giotto was one of the first to paint in this new style. Giotto lived more than a century before the beginning of the Renaissance, but his paintings show real emotion. The faces are more individual and realistic. The bodies look solid( more shading as well), and the background of his paintings shows perspective. The art produced during the Renaissance would build upon Giotto’s style.

24. Student beats the Master

26. Giotto-The student beats the master (just a little story)
Giotto was born in poverty in the countryside near Florence, the son of Bondone, a peasant, and was himself a shepherd.
The legend (as reported by Giorgio Vasari in his Lives of the Artists) holds that at the age of 12, whilst his father was tending the sheep, Giotto was drawing on rocks with chalk. The artist Cimabue happened along and saw young Giotto drawing a sheep, so natural and so perfect that Cimabue immediately asked Giotto's father if the boy could come with him as an apprentice to study art. His father agreed, and thus Giotto's career would have started in Cimabue's bottega. Another story in Vasari's Lives depicts Giotto as a playful apprentice, painting a fly on the nose of a figure with such skill that his teacher Cimabue made numerous attempts to brush the fly away. This legend foreshadows the life-like painted figures that would come to characterize Giotto's work.
He stands as the key link between the Byzantine art of the late middle ages, and the more realistic and humanistic art which flowered in the Renaissance.
The flat, symbolic figures grouped in decorative space gave way to the modelled, individualized figures interacting in perspectival space. He managed to adopt the visual language of the sculptors — by lending his figures volume and weight. Comparing his Madonna to that of his teacher Cimabue shows why his contemporaries considered Giotto's paintings miracles of naturalism.

27. Gentile Da Fabriario- Adoration of the Maji
1423 3mx 2.8m-Tempra on wood
Painted for the Strozzi family, another merchant family in Florence (textiles) and rivals of Medici. Strozzi was exiled from Florence by Cosimo Meici.
Fabriario lived three years in of the Strozzi’s houses while painting this commission (remember the artists worked for commission, they had little say in the subject manner).
The painting is very vibrant with real gold and silver in a relief form ( this image does not do it justice). Carved plaster would first be placed on the painting, then gold leaved. The painting would happen after.
We now have a background

28. Landscape is painted
Realistic- real animals
Depth- spatial perspective and some lineal perspective
Mary is in blue- shows importance, blue was made from ground Lapis Luzure from Afghanistan-extremely expensive
Commissioned by Strozzi so the Magi are wearing the rich clothes from their company (a very expensive ad- you want to be important enough to meet the Virgin Mary wear Strozzi fabrics)
The artist is looking forward, and the patron is beside him holding a bird

30. Masaccio- Tribute Money (1427)-Fresco
The episode depicts the arrival in Capernaum of Jesus and the Apostles, has included the three different moments of the story in the same scene: the tax collector's request, with Jesus's immediate response indicating to Peter how to find the money necessary, is illustrated in the centre; Peter catching the fish and extracting the coin is shown to the left; and, to the right, Peter hands the tribute money to the tax collector in front of his house.
The freso has realistic details, which are noticeable despite the bad restorations: Peter's fishing rod, the large open mouth of the fish he has caught, described down to the smallest details, the transparent water of the lake and the circular ripples spreading outwards, toward the banks.
use of linear perspective in the buildings
The figures are arranged according to horizontal lines, but the overall disposition is circular
The characters are entirely classical: dressed in the Greek fashion, with tunics tied at the waist and cloaks wrapped over their left shoulder, around the back, and clasped at the front, below their left forearm. And even Peter's stance, as he extracts the coin from the fish's mouth, with his right leg bent and his left one outstretched, is reminiscent of postures of many statues by Greek artists
use of linear perspective in the buildings
The figures are arranged according to horizontal lines, but the overall disposition is circular( three separate scenes of the story)
The characters are entirely classical: dressed in the Greek fashion

31. Paolo Uccello : Battle of San Romano, c. 1455, tempera on wood, 3
Paolo Uccello : Battle of San Romano, c. 1455, tempera on wood, 3.2 x 1.8 m, National Gallery, London.
This work is one of three scenes depicting the battle of San Romano (1432) in which the Florentines drove off a Sienese army.
In the "Battle" we see Uccello's overriding concern in solving the problem of linear perspective, or how to successfully show the illusion of recession in depth. This pioneering effort is depicted by the prone figure (use of foreshortening), weapons and armour on the ground.
Ucello's stylization of contours and modeling in the horses and armour is realistically portrayed but seems frozen, there is little feel of movement
Where the Florentines beat the Duke of Milan (fighting between city-states)
Use of Perspective and Foreshortening

32. Paolo Uccello : Battle of San Romanoc. 1438, tempera on wood, 2. 2 x 1
Paolo Uccello : Battle of San Romanoc. 1438, tempera on wood, 2.2 x 1.8 m, Uffizi Gallery, Florence.
In Valdelsa the Florentines beat the Duke of Milan,ally of the Siennese and the Emporer in1432
Commisioned by Cosimo Medici

34. Flippo Lippi (what a character)
Parents died when he was young and he was brought up by his aunt from the ages of 2- 8 years old
She couldn’t handle him so she sent him off to the monastery to become a monk
It is also said that-Early on he was captured by Moors whilst out boating and sold into slavery in Africa, then later freed and returned to Italy
He was not a very good monk- he had many, many, girlfriends
But he was an excellent artist, but he could not stick to it (ADD?). Cosimo (the elder) Medici commissioned a painting by Flippo it took hem 7 years
Once Cosimo locked him in his room for days but he climbed out of the window using sheets to visit his love- Lucrezia Buti (who was also a nun)
It’s said they had two children together
Cosimo- the guy who kicked out strozzi and grandfather to Lorenzo
Sistine chapel took 4

35. Coronation of the Virgin – 1439-47 Filippo Lippi and Assistance
John the Baptist-patron saint of Florence and chosen personal saint of the patron (always wears fur)
The bored Monk is Flippo,
bored of the painting,
what else?
This was the patron- he died before Flippo finished so he looks dead-it reads in latin- “He finished the work”
We’re suppose to be looking att he Virgin Mary above, but we are drawn to the woman looking at us on the bottom right (also many angels are looking at her- that’s Lucrezia Buti , his lover (also wearing the same colours as Mary)

36. Filippo Lippi- Madonna with Child and Two Angels-1465
Belief that the young woman is Lucrezia , the num scandalously loved by the friar/painter, who gave him a daughter and a son (it has been suggested the little boy angel is Filipino who grew up to be a famous painter himself)
Notice how they are stepping out from the frame
Very delicate composition
The background (painting within a painting) seems to anticipate the future expressive landscapes of Leonardo da Vinci

37. Fashionable look in the Renaissance Duke and Duchess of Urbino 1472 (realism of Rome-Humanism)
Painted on both sides- hinges to be like a book
Very realistic, his nose was broken during a tounament- this was his good side- he also lost the other eye
She died in childbirth
Piero della Francesca
High forehead (plucked or shaved hairline
Blonde hair (dyed hair using________)
Pale skin (the high class did nto work in the field) used white makeup with______
She was unusually pale because she was already dead and he was using her death mask

38. Andrea Mantega- Dead Christ (c
Andrea Mantega- Dead Christ (c. 1490Tempera on canvas, 68 x 81 cm, Milan
He used extreme foreshortening. (Parts get smaller as the recede in space)
Looking in we see an almost monstrous spectacle: a heavy corpse, seemingly swollen by the exaggerated foreshortening. At the front are two enormous feet with holes in them; as well as the nail holes in the hands; on the left, some tear-stained, staring masks.
Strong realism-the wrinkled face of Christ
He used extreme foreshortening (a method of drawing or painting an object or person that is not parallel to the picture plane so that it seems to recede in space, giving the illusion of three dimensions. Parts get smaller as the recede in space) Strong realism-the wrinkled face of Christ which harmonize with the waterysatin of the pinkish pillow, the pale granulations of the marble slab and the veined onyx of the ointment jar. The damp folds of the shroud emphasize the folds in the tight skin, which is like torn parchment around the dry wounds. All these lines are echoed in the wild waves of the hair.

39. Sandro Botticelli-
Florentine painter neglected for centuries but now probably the best-loved painter of the Early Renaissance.
Sandro trained with Filippo Lippi, who was the most important influence on his style. By temperament he belonged to the current of late 15th-century art whose art sometimes bordering on sentimentality, a feminine grace, and an emphasis on the ornamental and evocative capabilities of line.

40. Adoration of the Maji- 1475 1.11m x 1.34 m

41. Who’s who- If you’re a Medici your’re good enough to meet the Holy Family (remember the Strozzi’s commissioned artwork on the same theme)
1.  Lorenzo the Magnificent
2.  Poliziano
3.  Pico della Mirandola
4.  Gaspare Lami
(a broker who footed the bill)
5.  Cosimo the Elder
6.  Piero the Gouty
(Lorenzo's Dad)
7.  Guiliano de' Medici 
(Lorenzo's younger
brother, later murdered
in the Pazzi Conspiracy)
8.  Giovanni de' Medici
(younger brother of
Piero the Gouty)
9.  Filippo Strozzi
10.  Joannis Argiropulos
11.  Sandro Botticelli
12.  Lorenzo Tornabuoni

42. Botticelli-Primevera Uffizi Gallery Florence(1481-82)- Tempra on wood 2.0 m x 3.1 m
Most famous painting in the Uffizi- owned by Lorenzo Medici the cousin of the main Lorenzo (the Magnificent) Medici
Pure Greek Mythology,no chrisitan religion
-Venus as a symbol of spring, being adorned with the flowers of the three graces

43. Cupid- blidfolded god of Love
Mercury- herald of Jove- symbol of knowledge-wisking away the clouds of winter
Cupid- blidfolded god of Love
Winged Zephyrus who chased and possessed the nymph Chloris and them married her giving her the gift of germinating flowers
Smiling figure – transformation of Chloris into Flora, the Roman goddess of Spring
Painting believed to be celebrating the marriage of Lorenzo the Magnificants cousin, also Lorenzo, who was a friend of Botticelli
Venus as a symbol of spring, being adorned with the flowers of the three Graces
Three Graces- may be a symbol of Liberality
Example of the Roman/Greek culture on the Renaissance- not a Christian related theme
It’s seen as the return to a golden age in Florence

45. Botticelli- Birth of Venus (1482)- Tempra on canvas 1.8 m x 2.8 m
Scene based on traditional mythology. The god of the winds, Zephyr, and the breeze Aura are in a tight embrace, and are gently driving Venus towards the shore with their breath. She is standing naked on a golden shining shell, which reaches the shore floating on rippling waves. There, a Hora of Spring is approaching on the tips of her toes, in a graceful dancing motion, spreading out a magnificent cloak for her.
The high modelling of the white shimmering flesh colour gives Venus the appearance of a statue. Botticelli has gone over the contours with a black line, causing them to stand out sharply from the surface of the picture and lending them a curious coldness and clarity.
Her hair, which is playfully fluttering around her face in the wind, is given a particularly fine sheen by the use of fine golden strokes. The unapproachable gaze under the heavy lids gives the goddess an air of cool distance. The rose is supposed to have flowered for the first time when Venus was born. For that reason, gentle rose-coloured flowers are blowing around Zephyr and Aura in the wind.
Very unreal the figures seem to float, pale colours stylized water
One of the first works on canvas instead of wood
Scene based on traditional mythology. The god of the winds, Zephyr, and the breeze Aura are in a tight embrace, and are gently driving Venus towards the shore with their breath. She is standing naked on a golden shining shell, which reaches the shore floating on rippling waves. There, a Hora of Spring is approaching on the tips of her toes, in a graceful dancing motion, spreading out a magnificent cloak for her. More creative than realistic, she looks more like a statue.
Pastel colours (added white alabaster to paint) SERENE and GRACEFUl

46. Sculpture- Donatello (the first of our Ninja Turtles)
Donatello’s bronze "David" is believed to be the first free-standing nude statue since Greco-Roman times.
Almost Life size (1.6 m)
"David's" stance suggests a new self-awareness of his physical form a combination of classic style and renaissance expression (pride, dignity)
Symbolizes the victory of the small and self sufficient against the brute force of the larger opponents
Sculpted in the Greek’s contraposta style (the weight of the on one leg, the shoulders and the hips counterbalanced each other in a natural way so the figure does not fall over).
David ( )- Bronze

47. Architecture- (or Mrs. Amor’s trip to Florence)
Its basic architectural project was designed by Arnolfo di Cambio at the end of the 13th century; the cupola that has made it a symbol for the whole of Tuscany was created by that genius of the Renaissance, Filippo Brunelleschi, while the facade that completed it was carried out as late as the late 19th century
The Cathedral or Duomo of Florence as we see it today is the end result of years of work that covered over six centuries of history..

48. Its basic architectural project was designed and constructed at the end of the 13th century; the cupola that has made it a symbol for the whole of Florence was created by that genius of the Renaissance, Filippo Brunelleschi, while the facade that completed it was carried out as late as the late 19th century

49. The building of the Dome
They had designed the cathedral so large that it was beyond their knowledge how to construct a large dome over the top, and the area was already built up so there was no room for Flying Buttresses.
Bruneschelli had lost the commission for the Gates of Paradise (next slide) he was so upset he went to Rome to study architecture (he knew they would have to build the dome eventually. He studied the Pantheon in Rome and with his new knowledge he came upon a solution- a Double Dome. An inner dome of lightweight material, and an outer shell of heavier wind- resistant material.
To support the dome Brunelleschi devised an ingenius ring and rib support from oak timbers. Although this type of support structure is common in modern engineering, his idea and understanding about the forces needed to sustain the dome was revolutionary. The rings hug both shells of the dome, and the supports run through them.

50. Another fear that a lot of people observing the construction had was how to actually get the bricks on the dome to stay up in the dome, and not fall to the ground during the construction. Once again, Brunelleschi had an ingenious idea that is common practice today, but revolutionary in its time. He created a herringbone pattern with the bricks that redirected the weight of the bricks outwards towards the dome's supports, instead of downwards to the floor. By observing carefully the curve of the dome as it took shape, Brunelleschi was able to place this bricks in key areas.
It took 16 years to build the dome with 50 workers working 16 hour days. Working on scaffolding that had washroom and food stations on top.

55. The Bell Tower The Baptistery
The origins of the temple dedicated to St. John the Baptist, later patron saint of the city, are still uncertain. According to tradition, it was founded in Roman times and dedicated to the god Mars.

56. Gates of Paradise (on the Baptistery door)
Lorenzo Ghiberti- ( )
All panels depict stories of the Christian Old testament or Jewish Bible (Torah) (some are in the Koran as well)
gilded cast bronze, each panel of the doors is about 79.4 cm square
This sculpture employs linear perspective, differences in figure size, overlapping, and varying depths of relief, to create the illusion of great space.
The panels show clearly the brilliant modeling technique and perfect perspective, so that the figures stand out against the architectural background and the work seems almost a painting in bronze.

57. Genesis

58. Cain and Abel

59. Noah

60. Abraham and Issac

61. Issac

62. Joseph

64. Moses

65. David

66. Solomon

67. YOUR PROJECT Bas Relief Sculpture of a unified moral topic
You are to pick on of
“the seven virtues” or the “ seven sins”
pride, greed, lust, envy, gluttony, wrath, sloth.
humility, generosity, chastity, kindness, abstinence , patience (peace), diligence

68. Patience-Peace

69. WRATH

70. ENVY

71. LUST

72. Grade 11 SCULPTURE –BAS RELIEF Name:_________________________
Criteria
Incomplete
(0-50%)
Level 1
Level 2
Level 3
Level 4
Technical Use of Material
It blew up
0-6
-clay work looks sloppy, not properly attached, looks unfinished, cracks where items have been attached
Clay is adequately used. All items appear to be attached well- evidence of scoring and slipping
Evidence of proper technique-attached items appear as part of the sculpture
Good craftsmanship
Evidence of texture
Sophisticated use of clay in a complete manner (variety of texture, finished-look, detail work)
/12
Composition-Evidence of Depth
No depth, flat
0-5
Two levels of depth
Three levels of depth
Three levels of depth, easily distinguished
Deep visual depth done in a sophisticated manner ( use of perspective, many levels etc)
/10
Visual Composition
A mish mash of objects.
No consideration has been given to the arrangement of components of the sculpture. The images are very simple and under developed.
0-4
The composition is dull. Little consideration has been given to the arrangement of components of the sculpture. The images are somewhat developed but appear unfinished and still a bit two dimensional
Some consideration has been given to the arrangement of the image.
Images are clear and somewhat developed but appear unfinished and still a bit two-dimensional.
The composition is well planned and interesting. Consideration has been given to the arrangement of the components of the artwork. Images are well executed and three-dimensional.
The composition is sophisticated and innovative. Sophisticated thought has been given to the arrangement of the components of the image. Images are extremely well executed and detailed. /8
Theme-Artwork related to the seven virtues and vices
No relation to seven vices and virtues
Some relation to the seven vices and virtues (with explanation)
With explanation the theme is evident in this artwork
Theme is easily recognized and content relates directly to the theme.
Treatment of the theme is appropriate
Theme is directly conveyed in a sophisticated and complete manner. Detailed web map included.
Glazing technique
Glaze did not enhance the artwork at all, sloppily done…or...
Glazing was not done
Glazing was adequately done.
Glazing did not enhance the artwork.
Glazing emphasized the texture.
Glazing was well done and emphasizes the texture and added to the artwork.
Glazing enhanced the original artwork
Excellent glazing technique
/ /100

73. Renaissance tidbits
Did you know that the last non-Italian pope until John Paul II served during the Renaissance? Unfortunately, Adrian VI was so unpopular that, after he died, happy Romans carried his doctor through the streets because they thought he had helped to kill the pontiff.
Did you know that, in wars between Italian city-states, hardly anyone was hurt, let alone killed? Renaissance cities hired mercenary armies to do their fighting for them, and mercenary captains fought not to lose soldiers, whom they considered to be investments

74. Ironically, in Humanist republics like Florence and Venice, where political freedom was greatest, social and personal freedom for women was most restricted. Most Humanist authors advised that women not be taught classical languages, rhetoric, and other Humanist skills. But in principalities, noble fathers often found it beneficial to educate their daughters in order to attract a suitor. In addition, duchesses or princesses often ruled when husbands were away at war, a role unimaginable in Florence or Venice.
In Renaissance cities, women had four options: marriage, domestic service as a maid, the convent, or prostitution. Florence ran state-approved brothels so that "honest" women would not be assaulted. Many women chose the convent because of a fear of childbirth
In Venice, trials were held secretly, and most of the sentences were carried out at night. If you were accused of a capital offense, of which there were many, you would often just disappear. You'd be sewn in a sack and, at midnight, dropped over the side of a boat.

75. In the Italian Renaissance, you will also study a period in which popes tended to be truly extraordinary, both in their accomplishments and in their personal behavior. They include:
Sixtus IV, who probably did more than anyone to rebuild Rome, and for whom the Sistine Chapel is named. But he was also a conspirator to murder, plotting with the Pazzi family to kill the Florentine leader Lorenzo de'Medici and his brother Giuliano at Mass during Holy Week.
Innocent VIII, who presided over the marriages of his children in front of the high altar at St. Peter's.
Alexander VI Borgia, who had four children with his primary mistress, known as the Queen of Rome. His teenage mistress convinced him to make her brother a cardinal, who eventually became one of the great popes of the 16th century, Paul III. (It’s also rumoured he slept with his daughter).
Julius II, who built the current St. Peter's Basilica, commissioned Michelangelo to paint the vault of the Sistine Chapel, and was probably the 16th century's greatest art patron. He took his name to honor Julius Caesar, and was known as "the warrior pope." In his sixties, he would walk with common soldiers through waist-deep snow, and said he preferred the smell of gunpowder to the smell of incense.