Duccio di Buoninsegna , 1282 “Madonna and Child with Angles

GOTHIC
Duccio di Buoninsegna , 1282
“Madonna and Child with Angles”
RENAISSANCE
Fra Filippo Lippi, c. 1460
“Madonna and Child with Angels”
Francesco Petrarch (1304 – 1374): Letters to Boccaccio, 1366
I certainly will not reject the praise you bestow upon me for having stimulated . . . .
the pursuit of studies, which have suffered neglect for so many centuries.
To be sure, the Latin, in both prose and poetry, is undoubtedly the nobler language,
but for that very reason it has been so thoroughly developed by earlier writers that
neither we nor anyone else may expect to add very much to it. The vernacular, on
the other hand, has but recently been discovered, and, though it has been ravaged
by many, it still remains uncultivated, in spite of a few earnest labourers, and still
shows itself capable of much improvement and enrichment. Stimulated by this
thought, and by the enterprise of youth, I began an extensive work in that language.
I laid the foundations of the structure, and got together my lime and stones and
wood.
And yet why should I find fault with the un-enlightenment of the common people,
when those who call themselves learned afford so much more just and serious a
ground for complaint? Besides many other ridiculous peculiarities, these people add
to their gross ignorance and exaggerated and most disgusting pride.
Such are the times, my friend, upon which we have fallen; such is the period in
which we live and are growing old. Such are the critics of today, as I so often have
occasion to lament and complain-men who are innocent of knowledge or virtue, and
yet harbour the most exalted opinion of themselves. Not content with losing the
words of the ancients, they must attack their genius and their ashes. They rejoice in
their ignorance, as if what they did not know were not worth knowing.
GOTHIC
Antonio Veneziano, c. 1380
“The Virgin and Child”
RENAISSANCE
Leonardo de Vinci, c. 1508
“Virgin and Child with St. Anne”
Petrus Paulus Vergerius: The New Education, c. 1400
We are told that the Greeks devised for their sons a course of training in three
subjects: letters, music and drawing.
The Art of Letters is a study adapted to all times and to all circumstances, to the
investigation of fresh knowledge or to the re-casting and application of old.
As to Music, the Greeks refused the title of "Educated" to anyone who could not sing
or play.
Drawing has no place amongst our liberal studies; except in so far as it is identical with
writing. It belongs to the Painter's profession: the Greeks, as an art-loving people,
attached to it an exceptional value.
Arithmetic, which treats of the properties of numbers, Geometry, which treats of the
properties of dimensions, lines, surfaces, and solid bodies, are weighty studies
because they possess a peculiar element of certainty. The science of the Stars, their
motions, magnitudes and distances, lifts us into the clear calm of the upper air.
I may here glance for a moment at the three great professional Disciplines: Medicine,
Law, Theology. Medicine, which is applied science, has undoubtedly much that makes
it attractive to a student. But it cannot be described as a Liberal study. Law, which is
based upon moral philosophy, is undoubtedly held in high respect. Regarding Law as a
subject of study, such respect is entirely deserved: but Law as practiced becomes a
mere trade. Theology, on the other hand, treats of themes removed from our senses,
and attainable only by pure intelligence.
GOTHIC
Agnolo Gaddi, 1380
“Coronation of the Virgin”
RENAISSANCE
Raphael Sanzio, 1502-1503
“Coronation of the Virgin”
Giovanni Pico della Mirandola (1463-1494):
Oration on the Dignity of Man, 1486
Oh unsurpassed generosity of God the Father, Oh wondrous and unsurpassable the
felicity of man, to whom it is granted to have what he chooses, to be what he wills to be!
The highest spiritual beings were, from the very moment of creation, or soon thereafter,
fixed in the mode of being which would be theirs through measureless eternities. But
upon man, at the moment of his creation, God bestowed seeds pregnant with all
possibilities, the germs of every form of life. Whichever of these a man shall cultivate,
the same will mature and bear fruit in him. If vegetative, he will become a plant; if
sensual, he will become brutish; if rational, he will reveal himself a heavenly being; if
intellectual, he will be an angel and the son of God.
For If you see a philosopher, judging and distinguishing all things according to the rule of
reason, him shall you hold in veneration, for he is a creature of heaven and not of earth;
if, finally, a pure contemplator, unmindful of the body, wholly withdrawn into the inner
chambers of the mind, here indeed is neither a creature of earth nor a heavenly
creature, but some higher divinity, clothed in human flesh.
GOTHIC
Vitale da Bologna, c. 1343
“Saint George and the Dragon”
RENAISSANCE
Raphael Sanzio, 1503
“Saint George and the Dragon”
Girolamo Savonarola (1452-1498): Advent Sermon, c. 1492
Go thou to Rome and throughout Christendom; in the mansions of the great
prelates and great lords there is no concern save for poetry and the oratorical arts.
Go thither and see; thou shalt find them all with books of the humanities in their
hands, and telling one another that they can guide men’s souls by means of Virgil,
Horace, and Cicero . . . . .
And there is no prelate nor great lord of the church that hath not intimate dealing
with some astrologer, who fixeth the hour and the moment in which he is to
undertake some piece of business. . . .
Thou seest the great prelates with splendid miters of gold and precious stones on
their heads, and silver crosiers in hand; there they stand at the alter, decked with
fine robes and stoles of brocade, chanting those beautiful vespers and masses,
and with so many grand ceremonies, so many organs and choristers, that thou art
struck with amazement . . . . .
GOTHIC
Barnaba da Modena, 1367
“Madonna and Child”
RENAISSANCE
Raphael Sanzio, 1503
“Madonna and Child”
Desiderius Erasmus (1466 – 1536): The Praise of Folly, 1509
ORATION: IF ALL MEN WERE WISE
A man dead to all sense of nature and common affections, and no more moved with love
or pity than if he were a flint or rock; whose censure nothing escapes; that commits no
errors himself, but has a lynx's eyes upon others; measures everything by an exact line,
and forgives nothing; pleases himself with himself only; the only rich, the only wise, the
only free man, and only king; in brief, the only man that is everything, but in his own
single judgment only; that cares not for the friendship of any man, being himself a friend
to no man; makes no doubt to make the gods stoop to him, and condemns and laughs
at the whole actions of our life? And yet such a beast is this, their perfect wise man.
ORATION: WHOEVER INTENDS TO HAVE CHILDREN
But tell me, I beseech you, what man is that would submit his neck to the noose of
wedlock, if, as wise men should, he did but first truly weigh the convenience of the
thing? Or what woman is there would ever go to it did she seriously consider either the
peril of child-bearing or the trouble of bringing them up? So then, if you owe your
beings to wedlock, you owe that wedlock to this my follower, Madness; and what you
owe to me I have already told you.
GOTHIC
RENAISSANCE
Nardo di Cione, 1350
“The Crucifixion”
Raphael Sanzio, 1502
“The Crucifixion”
Nicolo Machiavelli (1469-1527): The Prince, 1513
A prince, therefore, being compelled knowingly to adopt the beast, ought to choose
the fox and the lion; because the lion cannot defend himself against snares and the
fox cannot defend himself against wolves. Therefore, it is necessary to be a fox to
discover the snares and a lion to terrify the wolves.
Therefore it is unnecessary for a prince to have all the good qualities I have
enumerated, but it is very necessary to appear to have them. And I shall dare to
say this also, that to have them and always to observe them is injurious, and that to
appear to have them is useful; to appear merciful, faithful, humane, religious,
upright, and to be so, but with a mind so framed that should you require not to be
so, you may be able and know how to change to the opposite.
It makes him contemptible to be considered fickle, frivolous, effeminate, meanspirited, irresolute, from all of which a prince should guard himself as from a rock;
and he should endeavour to show in his actions greatness, courage, gravity, and
fortitude; and in his private dealings with his subjects let him show that his
judgments are irrevocable, and maintain himself in such reputation that no one can
hope either to deceive him or to get round him.
RENAISSANCE
Raphael Sanzio, 1503 – “The School of Athens”
Baldassare Castiglione (1478 – 1529):
Book of the Courtier, 1528
A Courtier should be . . . . .
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Well borne and of a good stock
Not to praise himself unshamefully and out of reason.
Not to crake and boast of his acts and good qualities
Not to care about tales and trifling news.
No lyer.
No fonde flatterer
To be seen in tounges, and specially in Italian, French, and Spanish.
To be handsome and cleanly in his apparal
Not to be ill tounged, especially against his betters
To be no envious or malicious person.
To have the feat of drawing and penciling.
To dance well without over nimble footings. . . . . .
To sing well upon the book.
To be skillful in all kind of martial feats both on horseback and a foot . . .
To play well at defense upon all kind of weapons . . .
His conversation with women to be always gentle, sober, meeke, lowlie, modest . .
His love toward women, not to be sensual or fleshy, but honest and godly. . . .
RENAISSANCE
Leonardo de Vinci, c. 1498
“The Last Supper”
Giorgio Vasari (1511 – 1574) : Life of Leonardo da Vinci 1550
The greatest gifts are often seen, in the course of nature, rained by
celestial influences on human creatures; and sometimes, in
supernatural fashion, beauty, grace, and talent are united beyond
measure in one single person, in a manner that to whatever such an
one turns his attention, his every action is so divine, that, surpassing all
other men, it makes itself clearly known as a thing bestowed by God
(as it is), and not acquired by human art. This was seen by all mankind
in Leonardo da Vinci, in whom, besides a beauty of body never
sufficiently extolled, there was an infinite grace in all his actions; and so
great was his genius, and such its growth, that to whatever difficulties
he turned his mind, he solved them with ease. In him was great bodily
strength, joined to dexterity, with a spirit and courage ever royal and
magnanimous; and the fame of his name so increased, that not only in
his lifetime was he held in esteem, but his reputation became even
greater among posterity after his death.
RENAISSANCE
Jan Van Eck, c. 1435
“Madonna of Chancellor Rolin”
Raphael Sanzio, 1503-1504
“Wedding of the Virgin”
Giovanni della Casa (1503 – 1556):
A Treaties on Manners, 1556
Your conduct should not be governed by your own fancy, but in consideration of
the feelings of those whose company you keep.
For this reason it is a repulsive habit to touch certain parts of the body in public,
as some people do.
When you have blown your nose, you should not open your handkerchief and
inspect it, as if pearls or rubies had dropped out of your skull.
It is not polite to scratch yourself when you are seated at the table. You should
also take care not to spit at mealtimes.
It is bad manners to clean your teeth with your napkin, and still worse to do so
with your fingers.
It is wrong to rinse your mouth and spit out wine in public, for it is not a polite
habit.
Nor is it proper to carry a toothpick either in your mouth, like a bird making its
nest, or behind your ear.
Anyone who makes a nasty noise with his lips as a sign of astonishment or
disapproval is obviously imitating something indecent, and imitations are not too
far from the truth.