1. Chapter Eleven The Fourteenth Century: A Time of Transition Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus

2. Image Analysis

3. Calamity, Decay, and Violence: The Great Schism Calamity, Decay, and Violence: The Great Schism 1299 CE –1309 CE The Ottoman Turk dynasty is founded Pope Boniface VIII proclaims the first Jubilee year (“Holy Year”) Philip the Fair of France imprisons and abuses Pope Boniface VIII Boniface VIII vs. Philip the Fair of France Avignon Papacy / “Babylonian Captivity” 1378, three rival claimants to the papacy Church reform Peasant Revolt of 1381 –Robin Hood myth

4. 1309 CE –1378 CE CAPTIVITY OF THE PAPACY The captivity of the papacy at Avignon begins Earliest known use of cannon Hundred Years’ War between France and England Reign of Charles IV, Holy Roman emperor Bubonic plague devastates Western Europe The English defeat the French at Poitiers The lower classes in France revolt Reign of Philip the Bold, Duke of Burgundy The papacy returns to Rome from Avignon

5. Calamity, Decay, and Violence: The Hundred Years’ War Conflict between France and England –Fought on French soil –Poitiers, Crécy, Agincourt Pillaging bands of mercenaries Introduction of the longbow

6. Calamity, Decay, and Violence: The Black Death 1348 Bubonic Plague Epidemic –Population decline Boccaccio’s Decameron –Eyewitness to the plague –Fabliaux, exempla, romances –“Human Comedy” vs. Divine Comedy

8. 1378 CE –1417 CE THE GREAT SCHISM Reign of Richard II in England The Great Schism in the Roman Catholic Church begins Peasants’ Revolt in England Reign of Henry IV in England The English defeat the French at Agincourt The Council of Constance ends the Great Schism with the election of Pope Martin V

9. Literature in the Fourteenth Century Dante’s Divine Comedy Influenced by intellectualism from Paris –Hierarchical, synthetic religious humanism Wide array of publications The Comedy of Dante Alighieri… –Inferno, Purgatorio, Paradiso –Organization –Terza Rima –Encyclopedic and complex

10. 11.1 Enrico Pazzi, Dante Alighieri, 1865, Piazza Santa Croce, Florence Italy

11. HELL The Anteroom of the Neutrals Circle 1The Virtuous Pagans (Limbo) Circle 2The Lascivious Circle 3The Gluttonous Circle 4The Greedy and the Wasteful Circle 5The Wrathful Circle 6The Heretical Circle 7The Violent against Others, Self, God, Nature, and Art Circle 8The Fraudulent (subdivided into 10 classes, each of which dwells in a separate ditch) Circle 9The Lake of the Treacherous against kindred, country, guests, lords, and benefactors. Satan is imprisoned at the center of this frozen lake. PURGATORY

12. Purgatory Ante-Purgatory: The Excommunicated, The Lazy,The Unabsolved, and Negligent Rulers The Terraces of the Mount of Purgatory –The Proud –The Envious –The Wrathful –The Slothful –The Avaricious –The Gluttonous –The Lascivious –The Earthly Paradise

13. Paradise –The Moon--The Faithful who were inconstant –Mercury– Service marred by ambition –Venus-Love marred by lust –The Sun-Wisdom; the theologians –Mars-Courage; the just warriors –Jupiter-Justice; the great rulers –Saturn-Temperance; the contemplatives and mystics –The Fixed Stars-The Church Triumphant –The Primum Mobile-The Order of Angels –The Empyrean Heavens-Angels, Saints, the Virgin, and the Holy Trinity

14. Symbolism in The Divine Comedy Journey –Virgil, Beatrice Numbers –Multiples of three, Trinity Punishments and Blessings Satan Light and Darkness –Intellectual estrangement from God

15. 11.3 Domenico di Michelino, Dante and His Poem, 1465. Fresco, Cathedral of Santa Maria del Fiore (Duomo), Florence, Italy

16. Literature in Italy, England, and France: Geoffrey Chaucer (1340-1400) Highly placed civil servant Poetry, translations, treatise of the astrolabe English language as literary vehicle Skill in the art of human observation Canterbury Tales –Narrative frame –Cross-section of medieval society –Social commentary

17. Geoffrey Chaucer, Canterbury Tales, General Prologue, manuscript page, ca. 1450–1460. British Library, London, United Kingdom.

18. Art in Italy: The Italo-Byzantine Background Northern artists inspired by classical art –France, England, Germany Italian artists rooted in Byzantine style –Conservative, traditional Italian sculptors broke from tradition –Nicola Pisano: emphasis on classical models –Giovanni Pisano: N. European influence

19. 11.6 Nicola Pisano, Annunciation and Nativity, 1259–1260, Pulpit detail, Baptistery, Pisa, Italy,

20. Art in Italy Cimabue (1240-1302) –Realism, anatomical understanding –Emotional appeal: corporeal weight and strain –Sense of space Duccio di Buoninsegna (1255-1319) –Emotional states of subjects through their physical appearances –Greater sense of space

21. 11.8 Cimabue, Madonna Enthroned with Angels and Prophets, 1280-1290, from Santa Trinita, Florence, Italy

22. 11.12 Duccio, Madonna Enthroned with Saints, 1308-1311, Principal panel of the Maesta altapiece from Siena Cathedral, Siena, Italy.

23. Art in Italy: Giotto’s Break with the Past Giotto da Bondone (1267-1337) –Revolutionary figure (Vasari) Realism –Depth, volume through use of light and dark –Three-dimensional modeling of figures –“imitate nature” Naturalistic style –Emotion and drama

24. 11.11 Giotto, The Lamentation over the Dead Christ, 1305, Fresco, Cappella Scrovegni (Arena Chapel), Padua, Italy

25. Art in Italy: Painting in Siena International Style –Simone Martini (c. 1285-1344) –vs. Giotto’s solid realism –Grace, sophistication, splendor, elegance Application of Giotto’s Realsim –Pietro and Ambrogio Lorenzetti –Palazzo Pubblico fresco

26. 11.18 Simone Martini, The Annuncia- tion with Saints Ansano and Margaret, 1333. From Siena Cathedral, Siena, Italy

27. 11.19 Ambrogio Lorenzetti, Peaceful City, detail of Effects of Good Government on the City and the Country, 1338-1339, Sala della Pace, Palazzo Pubblico, Siena, Italy

28. Late Medieval Architecture Florence Cathedral –Brunelleschi’s dome Duomo in Milan –Blend of Gothic and Classical elements Secular public buildings –Palazzo Vecchio, Palazzo Pubblico –Doge’s Palace in Venice England’s Perpendicular style

29. 11.24 Cathedral of Santa Maria del Fiore (the Duomo), Florence, Italy, 1296–1436

30. 11.23 Gloucester Cathedral, 1089-1420, Gloucester, England

31. Music: Ars Nova Independent, secular musicians –Ballads, love songs, current events Ars Nova –Philippe de Vitry (1291-1361) –Richness and complexity of sound –Harmonies, isorhythm

32. 11.25 A knight playing and singing to a lady, Flemish school, manuscript illumination from The Romance of the Rose, British Library, London, England

33. Music: Guillaume de Machaut (1304-1377) Messe de Notre Dame –Kyrie Eleison –Gloria –Credo –Sanctus and Benedictus –Agnus Dei Secular music –Ballades, troubadour songs

34. Music: Francesco Landini (1325-1397) Blind virtuoso performer –Organ, lute, flute Madrigals Ballate Musica ficta, notational problems

35. Literature in Italy, England, and France: Petrarch (1304-1374) From Tuscany, South Florence Restless and curious –Collected and copied ancient texts Renaissance sensibility –Keen interest in self –Desire for personal glory and fame –Secretum “I will be true to myself as far as it is possible. I will pull myself together and collect my scattered wits, and make great endeavor to possess my soul in patience.”

36. Literature in Italy, England, and France: Petrarch (1304-1374) Letter to Posterity –Augustine’s Confessions Latin writings, Latin masters Vernacular Poetry –Canzoniere [sonnets, canzoni] –Inspired by Laura Petrarchism

37. Literature in Italy, England, and France: Christine de Pisan (1365-1428?) First female professional writer Literary debate: Romance of the Rose –Attacked Jean de Meung’s misogyny –The Letter to the God of Love –The Book of the City of Ladies The Treasure of the City of Ladies The Book of Peace

38. Chapter Eleven: Discussion Questions In what ways do Petrarch’s life and work illustrate the conflict between medieval and Renaissance ideals? Explain. According to the text, Chaucer is “still very much a medieval man.” Explain Chaucer’s ties to medieval culture; do you agree that his ideology is completely medieval or are there signs of the emerging Renaissance within his Canterbury Tales? What characteristics are typical of the Italo-Byzantine style? What did early Renaissance artists do to break from this tradition? Explain, citing specific artistic examples. Compare the Madonna Enthroned as painted by Cimabue, Duccio, and Giotto. What stylistic influences, growth, and changes can be traced through the treatment of this theme by each artist? Although the term Ars Nova was originally applied to music of the period, is it possible to apply the term to the visual arts that emerged during the early Renaissance? Explain.

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