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True

Although the art of the High Renaissance in Italy in the 15th and 16th centuries is world famous today, most of its contemporary citizens were unaffected by this cultural revolution.

Andrea del Verocchio

As an apprentice under what artist in Florence, Leonardo developed his skills not only as an artist but also as a scientist and engineer?

devotion to his patrons

As if a living embodiment of the Baroque itself, Caravaggio lived an adventurous life. Which of the following is something he was not notorious for?

sculpture stained glass arhitecture

Bernini combines what types of media to create the Baldacchino in St. Peter's?

Augustine

Both Petrarch and Christine de Pisan modeled their own works on this author.

Brunelleschi worked on a design for the dome between 1417 and 1420, trying both to solve the complicated engineering puzzle of its construction and to convince skeptical cathedral overseers that it could be done. He won the day eventually—ironically beating out Ghiberti for the commission—but work on the dome was not completed until 1436. His solution was to combine the buttressing methods of the Gothic cathedral with Classical Vaulting techniques that he had mastered from his careful study of the Roman Pantheon and other buildings from antiquity."

Baldassare Castiglione

"'It appears to me that you have advanced a very feeble argument for the imperfection of women. And, although this is not perhaps the right time to go into subtleties, my answer, based both on a reliable authority and on the simple truth, is that the substance of anything whatsoever cannot receive of itself either more or less; thus just as one stone cannot, as far as its essence is concerned, be more perfectly stone than another stone, nor one piece of wood more perfectly wood than another piece, so one man cannot be more perfectly man than another; and so, as far as their formal substance is concerned, the male cannot be more perfect than the female, since both the one and the other are included under the species man, and they differ in their accidents and not their essence.'"

Dante Alighieri

"...'Mad sensuality corrupted her so that to hide the guilt of her debauchery she licensed all debauchery alike, and lust and law were one in her decree. She is Semiramis of whom the tale is told how she married Ninus and succeeded him to the throne of that wide land the Sultans hold. The other is Dido; faithless to the ashes of Sichaeus, she killed herself for love. The next whom the eternal tempest lashes is sense-drugged Cleopatra. See Helen there, from whom such ill arose. And great Achilles, who fought at last with love in the house of prayer. And Paris. And Tristan.' As they whirled above he pointed out more than a thousand shades of those torn from the mortal life by love."

"A comparison between Tintoretto's Last Supper (Fig. 13.28) and Leonardo's Last Supper (see Fig. 13.3) will illustrate the dramatic changes that had taken place in both the concept and style of art over almost a century. The depiction of time and motion are added to that of space, light has a drama all its own, and theatricality is the dominant aspect."

"Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow

"A poetic metrical scheme with four feet, each of which consists of an unaccented syllable followed by an accented syllable is known as iambic pentameter." Which of the following lines of poetry is NOT written in imabic pentameter?

"According to Descartes, the first essential in the search for truth was to make a fresh start by refusing to believe anything that could not be decisively proved to be true. This required that he doubt all of his previously held beliefs, including the evidence of his own senses. By stripping away all uncertainties, he reached a basis of indubitable certainty on which he could build: that he existed. The very act of doubting proved that he was a thinking being. As he put it in a famous phrase in his second Meditation, 'Cogito, ergo sum' ('I think, therefore I am').

"Almost half of the area of the painting of the Battle of Alexander at Issus is given over to landscape elements—craggy mountains, serene seas, and a turbulent sky that seems, only at this moment in the battle, to be calming. Masses of humanity—and their squabbles—are dwarfed by the awesome power of nature."

"Although most of Bach's works are on religious themes, the best known of all, the six Brandenburg Concertos, were written for the private entertainment of a minor prince, the Margrave of Brandenburg. Their form follows the Italian concerto grosso, an orchestral composition in three movements (sections): fast (allegro)—slow (adagio or largo)—fast (allegro)."

"Although the element of motion may seem anathema to architecture, Borromini introduced it as a component in several of his buildings. Combined with intricately framed space and dramatic lighting, this familiar Baroque characteristic found its equivalent in architectural design. The façade of Borromini's San Carlo alle Quattro Fontane (Fig. 15.9), completed the year of his death, undulates with sinuous curves and countercurves. Light plays across the surfaces, bouncing off the projections and plunging the recessed areas into darkness. The stone seems to pulse and breathe, at once joyous and tormented. This organic feeling echoes the interior of the small church, whose rippling concave and convex walls stretch up to an oval-shaped dome with a honeycomb pattern of coffering (Fig. 15.10). Perhaps for the first time since the Parthenon (see Fig. 3.3), a building is seen first as sculpture and only second as architecture."

"Ambrogio was granted an important commission for the Palazzo Pubblico, Siena's city hall (palazzo pubblico means "public palace"). Unusual for us in our study of Italian art thus far is this secular—rather than religious—commission. The three large frescoes on the walls of the Sala della Pace (the Hall of Peace) are the Allegory of Good Government, Bad Government and the Effects of Bad Government on the City, and Effects of Good Government on the City and on the Country (Figs. 11.17 and 11.18)."

"Among Duccio's pupils was Simone Martini (ca. 1285-1344), a close friend of Petrarch, who worked for a time at Naples for King Robert of Anjou and spent the last years of his life at the papal court of Avignon. In Martini's work, we find the last great development of Gothic art, the so-called International Style that swept Europe in the 14th and 15th centuries. The elegant courts of France and the French kingdoms of Italy had developed a taste for magnificent colors, fashionable costumes, and richly embellished fabrics."

"Anabaptism means being baptized again, reflecting the group's insistence on adult baptism even if baptism had been performed in infancy."

"As a determined humanist, Cereta maintained a scholarly lifestyle against a tide of criticism both from men who were her peers and from women. Out of those struggles came many letters penned to answer critics, including a defense of learning aimed at male humanists ("All human beings, women included, are born with the right to an education") and a defense of her vocation directed toward her female critics. She also fostered the concept of a community of women intended for scholarship and critiqued housework as a barrier to women's intellectual development."

"Bernini combined architecture, sculpture, and natural light (from a concealed window above the figures) to dramatize the saint's ecstatic vision, which is framed as if on a shallow stage. On the walls of the chapel, left and right, Bernini portrayed members of the Cornaro family observing the event from 'box seats' (Fig. 15.8). The entire space of the chapel is treated as a theatrical tableau. Perhaps it is not surprising to learn that Bernini also wrote plays and designed stage sets."

"Bronzino's's 16th-century masterpiece Venus, Cupid, Folly, and Time (The Exposure of Luxury) (Fig. 13.25) is a classic example of a work in which there is much more than meets the eye. On the surface, it is a fascinating jumble of mostly pallid figures, some of which possess body proportions that, as in the Pontormo painting, do little to convince us that they would exist in the real world. Over the years, the work has alternately titillated and intrigued viewers because of the manner in which it weaves an intricate allegory, with many actors, many symbols. Venus, undraped by Time and spread in a languorous diagonal across the front plane, is fondled by her son Cupid. Folly prepares to cast roses on the couple, while Hatred and Inconstancy (with two left hands) lurk in the background. Masks, symbolizing falseness, and other objects, with meanings known or unknown, contribute to the intricate puzzle. What is symbolized here? Is Bronzino saying that love in an environment of hatred and inconstancy is foolish or doomed? Is something being suggested about incest? Self-love? Can one fully appreciate Bronzino's painting without being aware of its iconography?"

"By the early 16th century, French composers, inspired by such lyric poets as Clément Marot (1496-1544), were writing more popular songs known as chansons. The best-known composer of chansons was Clément Janequin (ca. 1485-ca. 1560), who was famous for building his works around a narrative program. In "La Guerre" ("The War"), the music imitates the sound of shouting soldiers, fanfares, and rattling guns; other songs feature street cries and birdsong."

"Classical models of English drama were the Latin tragedies of Seneca and the comedies of Plautus and Terence, which, with the introduction of printing, became more frequently read and performed. These ancient Roman plays created a taste for the theater that English dramatists began to satisfy in increasing quantities."

"Constantine's basilica's basilica, Old Saint Peter's, was consecrated in November of 326 ce and was only half the size of the structure as it stands today. Its interior was decorated with mosaics and frescoes and was the site of monuments dedicated to popes and emperors; Charlemagne was crowned Holy Roman emperor in Old Saint Peter's by Pope Leo III in 800 ce. "

"Cosimo's most significant contribution to the advancement of Greek studies was the foundation and endowment of an academy for the study of Plato. "

"Dante, following a line of thought already developed by Abbot Suger and Thomas Aquinas, conceived the human journey as a slow ascent to the purity of God by means of the created things of this world. To settle for less than God was, in essence, to fail to return to the natural source of life. Light is a crucial motif in The Divine Comedy."

"Donatello's most Classically inspired work is his David (see Fig. 12.16), commissioned for the garden of the Medici palace; it is the first life-size, freestanding statue of a nude figure since antiquity. The sinuous contrapposto stance and body proportions are reminiscent of Greek prototypes that were mimicked by Roman artists."

"From the beginning of the redesign of St. Peter's in the mid-15th century to its completion, 27 popes had come and gone and almost every Renaissance artist of note was associated in some way with the building: Alberti, Bramante, Raphael, Michelangelo, Giacomo della Porta, and many more. Urban VIII would be known as the first of the Baroque builder-popes. He was also the grand patron of the era's most prolific and accomplished sculptor—Gian Lorenzo Bernini."

"From the time of its first performance, Handel's "Hallelujah Chorus," which ends the second part of his oratorio Messiah, has been recognized as one of the great masterpieces of Baroque splendor and fervor. With its hammering drums and triumphant trumpets soaring, it epitomizes the grandeur and religious conviction of the Baroque era. It uses the typical Baroque device of light and shade to achieve its effect, with the music changing volume in order to dramatize the text. The chorus begins vigorously and fervently, repeating the word hallelujah with increasing emphasis and volume. Then the music suddenly drops to a lower level as the chorus sings, "For the Lord God omnipotent reigneth." The music becomes even quieter with the next section, beginning "The Kingdom of this world," as if the sound were about to fade away."

"Fulfilling the wishes of his father, Philip II constructed a vast, Italian Renaissance-style complex in Madrid that contained—within a fortified, regimented grid-plan—a palace, church, monastery, and mausoleum. Called El Escorial (Fig. 14.20), it stands as testimony to the era of Spanish supremacy—and Philip's fervent Catholicism. The austere design of the Escorial buildings stands in marked contrast to Moorish style that had a continued presence in Spain in spite of the Reconquista."

"Gentileschi's Judith Decapitating Holofernes is one of her most studied and violent paintings. She returned to the subject repeatedly in many different versions, leading some historians to suggest that her seeming obsession with the story signified her personal struggle in the wake of her rape and subsequent trial of her accuser, during which she was tortured in an attempt to verify the truth of her testimony."

Josquin de Prez

"He has been called the bridge figure between the music of the Middle Ages and the Renaissance. Although he wrote madrigals and many masses in his career, it was in the motet for four voices—a form not held to traditional usage in the way masses were—that he showed his true genius for creative musical composition. "

"Henry VIII's marriage to his first wife, Catherine of Aragon, failed because the couple could not produce a male heir to the throne. The king sought a papal dispensation that would permit divorce, but the pope refused the petition. Parliament enacted laws breaking ties with the pope and establishing Henry VIII as the governor of the Church of England, along with his secular title as king."

"Hilliard's Ermine Portrait of Queen Elizabeth I (Fig. 14.19), as sumptuous and meticulously detailed as it is, was intended to symbolize the queen's wealth and power rather than to accurately record her appearance. Her diminutive, delicate hands seem to hover against a constellation of beads that embellish an inky black gown; the stiff pleats of her starched lace collar appear to emanate, as the rays of the sun, from her luminous complexion and flame-red hair. As queen of England and Ireland in her own right, Elizabeth is the picture of transcendent authority."

Michel de Montaigne

"I am not sorry that we notice the barbarous horror of such acts, but I am heartily sorry that, judging their faults rightly, we should be so blind to our own. I think there is more barbarity in eating a man alive than in eating him dead; and in tearing by tortures and the rack a body still full of feeling, in roasting a man bit by bit, in having him bitten and mangled by dogs and swine (as we have not only read but seen within fresh memory, not among ancient enemies, but among neighbors and fellow citizens, and what is worse, on the pretext of piety and religion), than in roasting and eating him after he is dead."

"If the sheer quantity of music Bach wrote is stupefying, so is the complexity of his musical thought. Among the forms he preferred was the fugue (derived from the Latin word for 'light'). In the course of a fugue, a single theme is passed from voice to voice or instrument to instrument (generally four in number), each imitating the principal theme in turn. The theme thus becomes combined with itself and, in the process, the composer creates a web of sound in which each musical part is equally important; this technique is called counterpoint (contrapunctus in Latin)."

"In 1492, Christopher Columbus (1451-1506) set sail for the East Indies on an expedition funded by the Catholic monarchs of Spain, Ferdinand II of Aragon and Isabella I I of Castile. It was the first of his three voyages under the Spanish flag, but his were not the only explorations made possible by Spain's deep financial coffers. As the 16th century began, Francisco Pizarro (ca. 1470-1541), Vasco Nunez de Balboa (ca. 1475-1517), Ferdinand Magellan (1480-1521), and Hernan Cortes (1485-1547) and others did their part to conquer the New World for Spain (and Portugal), enriching the country with plunder and launching widespread colonization."

"In 1506, Pope Julius II commissioned the architect Donato Bramante (1444-1514) to rebuild Saint Peter's Basilica in the Vatican (Figs. 13.17). Old Saint Peter's had stood on Vatican Hill since it was first constructed more than 1000 years earlier, during the time of the Roman emperor Constantine.

"In Julius Caesar and many other plays, Shakespeare explains his characters' feelings and motives by using the soliloquy—that is, by having the characters utter their thoughts aloud, facing the audience, rather than addressing them to another character in the drama."

"In The Faerie Queene, Spenser combined the romance of Ariosto and the Christian allegory of Tasso to create an immensely complex epic. Its chivalrous hero, the Knight of the Red Cross, represents both Christianity and, through his resemblance to Saint George, England. At the same time, the tests he undergoes make him a Renaissance version of the medieval figure of Everyman."

Palestrina

"In [Missa Papae Marcelli, Credo], we hear _______'s successful return to earlier traditions of church music, a return that satisfies the Counter-Reformation requirement of keeping the text clearly audible. Indeed, he may have composed the mass to illustrate the musical seriousness and textual intelligibility laid down as requirements by the Council of Trent."

"In his painting of Christ in the Crucifixion panel (see Fig. 14.8), Grünewald uses numerous details to depict the intensity of Christ's anguish—from his straining hands frozen in the agony of death, to the thorns stuck in his festering body, to the huge iron spike that pins his feet to the cross. It is difficult to imagine anything further from the Italian Renaissance and its concepts of ideal beauty than this tortured image."

"In interpreting what they read, individuals were to be guided not by religious authorities but by their own judgments on what they read, and by their own consciences. This doctrine is known as 'universal priesthood,' because it denies a special authority to the clergy. All of these teachings, although primarily theological, were to have profound and long-range cultural impacts."

"In the 15th century, Europe's recovery in the aftermath of the plague that had struck in 1348 was aided by political changes and new economic developments. A class of wealthy families emerged, whose claims to eminence were based less on noble blood than on the ability to make money through capitalism—commercial trade, banking, and monetary-exchange systems."

"In this fresco panel, Michelangelo imagined the most dramatic moment in God's creation of the first human. Adam lies listless for lack of a soul on a patch of fertile green and looks directly at God the Father as He rushes toward him amidst a host of angels nestled under billowing drapery. The entire composition pulls toward the left, echoing the illuminated diagonal of empty sky that provides a backdrop for the very moment of creation. The atmosphere is electric; the hand of God reaches out to spark spiritual life within Adam—but does not touch him! In some of the most dramatic negative space in the history of art, Michelangelo has left it to the spectator to complete the act."

"Inspired by classical architecture, the discovery and collection of ancient art, and the classics of Greek and Latin literature, under their leadership, Rome became a center of artistic excellence, humanist learning, and the revival of all things antiquity."

"It is not by chance that a first glance at Dürer's Self-Portrait of 1500 (Fig. 14.5) suggests a Christlike figure rather than a prosperous German painter of the turn of the century. The effect is intentional. The lofty gaze underlines the solemn, almost transcendent nature of the artist's vision, while the positioning of the fingers of his hand vaguely recall the sign of blessing seen in icons and other representations of Christ..... Our focus is drawn to the artist's penetrating eyes and his hand, symbolizing the important connection between the artist's vision and his skill."

Neo-Platonic

"Just as in Lorenzo de' Medici's poetry, references to what kind of spiritual fulfillment made possible by the contemplation of ideal beauty is evident in Botticelli's paintings, such as his most famous--The Birth of Venus.

"La Tour's works frequently display a single source of light, such that those parts of his subjects who are bereft of that light disappear into the shadows. His The Penitent Magdalen (Fig. 15.28) shows Mary Magdalene in a pensive mood, reflecting, perhaps, on her carnal sins or on the passing of her beloved Jesus. The symbolism in the painting suggests inner conflict—the mirror symbolizing vanity, the skull symbolizing mortality, and the candle, perhaps, symbolizing spiritual enlightenment. What is signified by the reflection of the candle in the mirror? Although the lighting in the piece may recall Caravaggio, the feeling tone with La Tour here is reflective, not passionate."

ONES NOT RIGHT

"Like everyone else around him, Giotto (ca. 1267-1337) was influenced by his mentors and contemporaries. He certainly knew the work of Giovanni Pisano and Cimabue and probably contributed to the discourse on Classical art. But Giotto's preeminent contribution to the history of painting was his realism. He acquired it through a close observation of the world around him—not only the natural world but also human behavior. The Byzantine style was defined by rich, glowing surfaces, with elaborate linear designs. Now, for the first time, figures seemed truly three-dimensional, a sense of volume created by a careful manipulation of light and shadow known as modeling or chiarosuro.

"Lorenzo's interests in learning ran deep. He had been tutored as a youth by Ficino, and as an adult continued the habit of spending evenings with an elite group of friends (including Ficino). He often took with him his friend, the painter Sandro Botticelli, and a young sculptor who worked in a Medici-sponsored sculpture garden, Michelangelo Buonarroti."

"Milton owed his grounding in the classics to the Renaissance. In composing Paradise Lost, an epic poem that touches on the whole range of human experience, he was deliberately inviting comparison to Homer and Virgil."

"Montaigne's method was to write on a widely variegated list of topics gleaned either from his readings or from his own experiences. He called these short meditations essays. Our modern form .... is rooted in Montaigne's first use of the genre in Europe."

"More's Utopia—a term he coined—is a philosophical romance, written in Latin in 1516, about an ideal island nation resembling Plato's Republic. "

"Much of Byrd's instrumental music was written for the virginal, an early keyboard instrument in the form of an oblong box small enough to be placed on a table or held in the player's lap."

Laura Cereta

"My ears are wearied by your carping. You brashly and publicly not merely wonder but indeed lament that I am said to possess as fine a mind as nature ever bestowed upon the most learned man. You seem to think that so learned a woman has scarcely before been seen in the world. You are wrong on both counts, Sempronius, and have clearly strayed from the path of truth and disseminate falsehood. I agree that you should be grieved, indeed, you should be ashamed, for you have ceased to be a living man, but have become an animated stone; having rejected the studies which make men wise, you rot in torpid leisure. Not nature but your own soul has betrayed you, deserting virtue for the easy path of sin."

Sonnet 130

"My mistress' eyes are nothing like the sun; Coral is far more red than her lips' red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks;

Hamlet

"No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action."

Christine de Pizan

"Not all men (and especially the wisest) share the opinion that it is bad for women to be educated. But it is very true that many foolish men have claimed this because it displeased them that women knew more than they did. Your father, who was a great scientist and philosopher, did not believe that women were worth less by knowing science; rather, as you know, he took great pleasure from seeing your inclination to learning. The feminine opinion of your mother, however, who wished to keep you busy with spinning and silly girlishness, following the common custom of women, was the major obstacle to your being more involved in the sciences."

Sonnet 55

"Not marble, nor the gilded monuments Of princes, shall outlive this powerful rhyme; But you shall shine more bright in these contents Than unswept stone, besmear'd with sluttish time. When wasteful war shall statues overturn, And broils root out the work of masonry, Nor Mars his sword nor war's quick fire shall burn

Giovanni Boccaccio

"One day ... the rags of a pauper who had died from the disease were thrown into the street, where they attracted the attention of two pigs. In their wonted fashion, the pigs first of all gave the rags a thorough mauling with their snouts, after which they took them between their teeth and shook them against their cheeks. And within s short time they began to writhe as though they had been poisoned, then they both dropped dead to the ground, spread-eagled upon the rags that had brought about their undoing. These things, and many others of a similar or even worse nature, caused various fears and fantasies to take root in the minds of those who were still alive and well. And almost without exception, they took a single and very inhuman precaution, namely to avoid or run away from the sick and their belongings, by which means they all thought that their own health would be preserved."

"Other works of Bach illustrate a broader range of Baroque characteristics: religious fervor, illusionism, emotionalism. We hear this last feature in this work, where the music seems to express boundless joy. In two other respects, the work is typical of the Baroque period. It is written for a group of performers playing together—a technique that was to develop into the Classical Orchestra—and, more importantly perhaps, the music's purpose is to give pleasure to performers and listeners alike: music as entertainment."

Desidus Erasmus

"Perhaps it would be better to pass silently over the theologians. Dealing with them, since they are hot-tempered, is like ... eating poisonous beans. They may attack me with six hundred arguments and force me to retract what I hold; for if I refuse, they will immediately declare me a heretic. . . . These theologians are happy in their self-love, and as if they were presently inhabiting a third heaven, they look down on all men as though they were animals that crawled along the ground, coming near to pity them. They are protected by a wall of scholastic definitions, arguments, corollaries, and implicit and explicit propositions. . .

"Perhaps the major artistic innovation of the 17th century was a new form of musical entertainment that appeared at the beginning of the Baroque period: opera. This consisted of a play in which the text was sung rather than spoken."

"Seminal to the tradition of Giotto and Masaccio in painting was the illusion of roundness in figures modeled by subtle gradations of value, that is, tonal contrasts of light and shade. Botticelli's's principle element of art, by contrast, was line—line that delimits and therefore flattens form, line that plays across figures and surfaces and seems to have a life of its own."

Veronica Franco

"Since I will not believe that I am loved, nor should I believe it or reward you for the pledge you have made me up to now, win my approval, sir, with deeds: prove yourself through them, if I, too, am expected to prove my love with deeds

"The Baroque era was born in Rome, where a series of powerful popes—Paul V, Gregory XV, Urban VIII, Innocent X, and Alexander VII—wielded power and influence in the realms of religion, politics, and art."

"The Château de Chambord (see Fig. 14.15) is a good example of a hybrid design. An assortment of Gothic-style spires, turrets, chimneys, and other structures rise at the roofline over a large, square, central module marked by cylindrical towers at the corners. Assertive horizontal moldings that run the length of the building balance the bit of ... verticality in the center and in the conical roofs that serve as endpoints for the château's symmetrical wings. The precise delineation of the floors and the rhythmic placement of windows—one aligned atop the other—are reminiscent of the design of Italian palazzi (see Fig. 12.34)."

"The Holy Trinity is only one of several important fresco commissions Masaccio received between 1424 and 1427. Within a year after they were completed, he died, at the age of 27. The Holy Trinity is our first best example of linear perspective in Renaissance painting, begun at around the same time as Ghiberti was working on the Gates of Paradise. Both artists were experimenting with the illusion of deep space on a two-dimensional surface and both were applying mathematics to do so."

"The Palace of Versailles was conceived by the king in political terms. The architects' task, both inside and out, was to create a building that would illustrate Louis XIV's symbolic concept of himself as the Sun King. Thus, each morning the king would rise from his bed, make his way past the assembled court through the Hall of Mirrors (see Fig. 15.30), where the 357 mirrors that decorated the 17 arches across from the windows reflected both the daylight and his own splendor, and enter the gardens along the main wing of the palace—laid out on an east-west axis to follow the path of the sun.

"The composition of the Last Supper is one of near absolute symmetry, with Jesus positioned as the fulcrum to the left and right of which are six animated—one could say agitated—apostles. All of the lines in the composition orthogonals converge at a single point on the horizon, seen in the distance through the center of three windows behind Jesus. Our attention is held by His isolation; the apostles lean away reflexively at His accusation that one among them will betray Him."

"The irregularity of styles across and even within regions suggested by the term Baroque is again apparent. Artists of Spain and Flanders adopted the Venetian love of color and application of paint in loosely brushed swaths. Northern artists had always been interested in realism, and during the Baroque period, they carried this emphasis to an extreme. Paintings of everyday life and activities became the favorite subjects of Dutch artists, who followed in Bruegel's footsteps and perfected the art of genre painting. The Baroque movement also extended into France and England, but there it often manifested in a strict adherence to classicism. For the first time, European culture began to spread across the Atlantic, carried to the Americas by Counter-Reformation missionaries."

"The massive Spanish Armada—the largest fleet the world had ever seen—was ready early in 1588 and sailed majestically north, only to be met by a fleet of lighter, faster English ships commanded by Sir Francis Drake. The rest is part history, part legend. Even before the expedition sailed, Drake had "singed the beard of the King of Spain" by sailing into Cádiz harbor and setting fire to some of the Spanish galleons anchored there. What was left of the Armada reached the English Channel, where it was destroyed, partly by superior English tactics and partly by a huge storm promptly dubbed (by the victors, at least) the Protestant Wind. The subsequent tales of English valor and daring brought a new luster to the closing years of the Elizabethan Age.

"The minimal palette of white, browns, and cool blues communicates the essence of winter, a bleak backdrop against which humans huddle, work, and play. There is inevitability—even beauty—in the way that people and nature are bound together by a sense of order and purpose. Humanism—encountered by Bruegel during his trip to Italy and reinforced by philosophers active in Antwerp—seems to have inspired him to create works that have a similar regard for human dignity."

"The modern-day country of Germany lies at the core of what was the Holy Roman Empire (see Map 14.1). The history of Germany is intimately bound up with that of the Habsburg family... one of the most powerful royal houses in Europe...."

"The more triumphantly Galileo proclaimed his findings, the more he found himself involved in something beyond mere scientific controversy. His real opponent was the church, which had officially adopted the Ptolemaic view of the universe: that the Earth formed the center of the universe around which the sun, moon, and planets circled."

"The most melancholy works of all Elizabethan music are the ayres (simple songs for one voice accompanied by either other voices or instruments) of John Dowland (1562-1626)—the rare example of an Elizabethan musician who traveled widely. Irish by birth, Dowland visited France, Germany, and Italy, and even worked for a while at the court of King Christian IV of Denmark and Norway; ultimately, he settled in England."

"The official position of the church was newly stated at the Council of Trent, which met sporadically from 1545 to 1563. Under the leadership of Pope Paul III, the council redefined Catholic doctrines and reaffirmed those dogmas that Protestantism had challenged. Transubstantiation, the apostolic succession of the priesthood, the belief in purgatory, and the rule of celibacy for the clergy were all confirmed as basic to the Catholic system of faith."

"The patronage of the popes for the creation and the performance of music dates back to the earliest centuries of the papacy. Gregorian chant, after all, is considered a product of the interest of Pope Gregory and the school of Roman chant. In 1473, Pope Sixtus IV established a permanent choir for his private chapel, which came to be the most important center of Roman music. Sixtus's nephew Julius II endowed the choir for Saint Peter's, the Julian Choir."

"The sculptor's portrayal of the body at rest (with flawless contrapposto) compels our eyes to linger, to take in the details of David's splendid form. Michelangelo's version of David is a perfect reflection of the humanist notion that human beings are at the center of the universe, the "measure of all things."

"Thomas Wyatt (1503-1542) was the poet who is credited with bringing the sonnet into the English language. His father was a close adviser to King Henry VII and remained in the position when Henry VIII ascended to the throne in 1509."

"Titian's pictorial method differed from those of Leonardo, Raphael, and Michelangelo; he constructed his compositions by means of color, brushwork, and glazing rather than with line and chiaroscuro."

Niccolò Machiavelli

"Upon this a question arises: whether it be better to be loved than feared or feared than loved? It may be answered that one should wish to be both, but, because it is difficult to unite them in one person, [it] is much safer to be feared than loved, when, of the two, either must be dispensed with. Because this is to be asserted in general of men, that they are ungrateful, fickle, false, cowardly, covetous, and as long as you succeed they are yours entirely; they will offer you their blood, property, life and children, as is said above, when the need is far distant; but when it approaches they turn against you. . . . [Men] have less scruple

"We might not see this as a Baroque composition if it were not for three things: the single source of light bathing the elements in the composition, the genre subject, and the sense of mystery captured by Vermeer. What is the woman doing? She has opened the window and taken a jug into her hand at the same time, but we will never know for what purpose.

"Whereas Bernini could move in the company of popes and princes, Caravaggio had an affinity for what the French would call the demimonde, literally the "half-world"—people who drink, gamble, and live on the edge. After all, he was one of them. Just as he rejected the artifice of decorum and moralistic societal values, so too did he reject traditional, idealized portrayals of religious subjects in favor of something more earthy, more real, more believable.

Thomas Wyatt

"Whoso list to hunt? I know where is an hind! But as for me, alas! I may no more: The vain travail hath wearied me so sore; I am of them that furthest come behind; Yet may I by no means my wearied mind Draw from the deer; but as she fleeth afore, Fainting I follow; I leave off therefore, Since in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I, may spend his time in vain; And graven with diamonds in letters plain There is written her fair neck round about: 'Noli me tangere; for Caesar's I am, And wild for to hold, though I seem tame.'"

"Why does Dante portray Satan so grotesquely? It is clear that he borrowed from Byzantine mosaics, with which he would have been familiar, in the baptistery of Florence. Beyond that, the whole complex of Satan is heavily weighted with symbolic significance. Satan lies in frozen darkness at a point in the universe farthest from the warmth and light of God. He is the fallen angel of light (Lucifer—another name for the archangel Satan—means "light bearer"), now encased in a pit in the center of the earth that has been excavated by the force of his own fall from heaven. Satan is immobile, in contrast to God, who is the mover of all things. Satan is inarticulate because he represents the souls of hell who have lost what Dante calls 'the good of intellect.' Satan and all the souls in hell will remain unfulfilled as created rational beings, because they are cut off from the ultimate source of rational understanding and fulfillment: God. Intellectual estrangement from God is for Dante, as it was for Thomas Aquinas, the essence of damnation. This estrangement is most evident in the case of Satan, whose very being symbolizes the loss of rationality."

"With his adaptation of Italian Renaissance designs and motifs in his designs for London buildings, Inigo Jones brought the revival of classicism to the medieval city. The block-like plan of the Banqueting House at Whitehall features many familiar characteristics (Fig. 15.31). The symmetrical alignment of windows, repetition of architectural elements (engaged columns, pilasters, arches, and pediments), references to the Doric and Corinthian architectural orders, and the balustrade pay homage in a creative way to buildings such as St. Peter's (see Fig. 15.4) and the villas designed by Palladio (see Fig. 13.22)."

"Written according to typical Baroque practice, each movement of Vivaldi's concertos is based on a single, strongly rhythmic theme, heard right at the beginning of the section. The fast tempo of the first movement of the "Spring" concerto indicates in the work a delight at the return of the season of flowers. Two further Baroque devices help Vivaldi characterize the specific season: virtuosity (on the part of the solo violinist) and illusionism."

sixteen years

According to Decoding daVinci, how long did it take Leonardo to complete the Mona Lisa?

self-effacing and world-denying attitude in favor of God

According to Swiss historian Jakob Burckhardt in his massive Civilization of the Renaissance in Italy, which of the following is NOT a characteristic of the emerging Renaissance?

sfumato

Leonardo da Vinci adapted the chiaroscuro technique to obscure the edges of things, creating what can be interpreted as a blurry, soft, or even vague effect. What is this technique called?

revising his work to arrive at an ideal vision

Leonardo da Vinci painted differently than any of his contemporaries. X-ray comparisons of Raphael's La Belle Jardinière (image 1) to Leonardo's Mona Lisa (image 2) reveal this difference in stark detail. Unlike other painters of the Renaissance, Leonardo was constantly doing what?

the small size of the portrait

Levina Teerlinc's skill as a portrait artist is most obviously evident from what characteristic of the portrait of Lady Catherine Grey.

indulgences

Martin Luther's "95 Theses" principally attacked what Roman Catholic practice?

Michelangelo gives us David before the deadly encounter. He stares intently at his enemy, his knitted brows reflecting the inner workings of his razor-sharp mind. Michelangelo captures David caught in the moment between choice and action with what would become a signature physical and emotional tension."

peripheral vision

Mona Lisa is interactive. Her smile seems to be triggered by the arrival of the viewer. This illusion of movement is due not just to Leonardo's understanding of light and anatomy but also his understanding of human _______.

Pantheon

Palladio's Villa Rotunda is based on the design of what Ancient Roman structure?

mudejar

Pilato's House combines Christian and Muslim styles. What is this hybrid style called?

Aristotle and Plato

Raphael's Philosophy mingles Classical-era thinkers with humanists, artists, and architects of the Renaissance to emphasize their close relationship. Between what two figures is the vanishing point?

portraying noble patrons as thought they looked, rather than as they actually were

Rembrandt's paintings, such as his Self-Portrait of 1652, reveals the psychology of the subject rather than surface characteristics. Which of the following details is NOT used by the painter to achieve this effect?

The 14th century (often called the Trecento, Italian for "300") is usually described by historians as the age that marks the end of the medieval period and the beginning of the Renaissance in Western Europe.

the rise of the Habsburgs (brought into the Spanish monarchy by marriage) under Charles V and his son, Philip II the expulsion of Jews from Spain in March of 1492 the Reconquista—the reconquest of Spanish lands ruled by Muslims following the fall of Granada in January of 1492 the unification of Spain with the marriage of Ferdinand and Isabella in 1469

The Spanish Golden Age in art and literature coincided with which of the following defining events of the late 15th and early 16th centuries?

Classical Ideal

The balance between emotion and order/restraint that is so prominent in the paintings and sculptures of the High Renaissance owes its origins to what ancient philosophy?

guilds

The cooperation and competition between these commercial groups in Florence signaled the beginning of a new form of "representative" government and sponsored what would later become known as the Italian Renaissance.

veil

The degradation of the varnish has hidden many details of the Mona Lisa. An infrared image of the painting, for example, reveals that rather than being "plump," Lisa is actually wearing what item?

papacy

The end of the "Babylonian Captivity" marked a decline in the power of the merchant families and the rise of what faction in Italy in the 15th and 16th centuries?

Dante

The last panel of the Garden of Earthly Delights shown below structures the punishments of Hell according to sin, much as illustrated by which of the following?

Enlightenment

The leading English thinker of the generation following Hobbes was John Locke (1632-1704), whose work helped pave the way for what cultural movement?

The more prosperous spectators sat in the galleries, where they had a clear view of the stage, while the poorer spectators stood on the ground around the stage. Dramatists and actors soon learned to please these so-called groundlings by appealing to their taste for noise and spectacle."

Medici

The most powerful of the banking and trading families of Florence was which of the following?

religious narratives in commonplace settings. detailed portrait likenesses and the use of real models for the faces of religious figures. the expression of human emotions.

The overwhelming realism of Flemish religious painting results from which of the following factors?

Great Schism

The removal of the papacy from Rome to Avignon, France, in 1309 resulted in a split within the Catholic Church that produced two sets of rival Popes. This split is known as the _________.

Mary Magdalene

The resurrection of Christ from the tomb is not an unusual subject for artists of the 16th century. What is unusual about Fontana's Do Not Touch Me is her choice to make what figure the focus of her painting?

St. Peter's

The structure shown here shows what Bramante's version of what __________ have looked like had he lived to carry it out.

Anne Bradstreet

This former Calvinist is considered the first American poet whose work focuses on the struggles of New England colonial life.

This group, known as the Florentine Camerata, objected strongly to the way in which the polyphonic style in vocal music reduced the text to incomprehensible nonsense. They looked back nostalgically to the time of the Greeks, when almost every word of Greek tragedy was both sung and accompanied by instruments, yet remained perfectly understandable to the spectators. Greek music was lost forever, but at least the group could revive what they considered its essence. The result was the introduction of a musical form known as monody, or recitative, which consisted of the free declamation of a single vocal line with a simple instrumental accompaniment for support. Thus, listeners could follow the text with ease. The addition of music also gave an emotional intensity not present in simple spoken verse, thus satisfying the Baroque interest in heightened emotion."

Nicolaus Copernicus

This man denied that the sun and planets revolve around the Earth and reverted to a Greek theory that the Earth and planets orbit the sun.

lighthearted in tone and fast moving, using refrains such as "Fa-la-la" new technique of printing, which not only made written music available but also allowed it to circulate widely into private homes written for amateur singers who chose to make music for their own pleasure aims to please both listeners and performers, demanding little technical skill

Thomas Morley's madrigals, such as his "Now Is the Month of Maying" became popular for which of the following reasons?

memento mori

Thomas Smith's self-portrait not only records his physical characteristics, but it is also a meditation on his life and, ultimately, inescapable death. The naval battle in the left foreground (a painting on a wall or view through a window?) draws our attention to his successful military accomplishments at sea, and in the left foreground—as if to counteract the element of vainglory—a skull sits atop a handwritten poem that rebukes him for this vanity. In art history, this is called a _____, literally a "reminder of death."

To add depth to his paintings, Leonardo painted in layers. Some of his paintings have up to how many layers?

Christopher Marlowe

Was this the face that launched a thousand ships And burnt the topless towers of Ilium? Sweet Helen, make me immortal with a kiss. [Kisses her.] Her lips suck forth my soul; see where it flies!— Come, Helen, come, give me my soul again. Here will I dwell, for Heaven is in these lips, And all is dross that is not Helena

anthem

What is the English term for a motet?

blank verse

What poetic form did Christopher Marlowe use in his plays that was imitated by virtually every other Elizabethan playwright, including Shakespeare?

bubonic plague/1348/Central Asia

What was the disease that became known as the Black Death? When did it begin to sweep through Europe? From where did it originate?

John Donne

Which English poet is widely considered to be the father of Metaphysical poetry but is also classified by some scholars as a Mannerist?

-In the course of her long reign (1558-1603), Elizabeth established her court as a center of art and learning. Although the influence of Italian models on the visual arts was less marked in England than elsewhere, revived interest in Classical antiquity and the new humanism it inspired is reflected in the works of Shakespeare and other Elizabethan writers. -Spain reached the height of its power in the 16th century, controlling territories in the Americas, parts of France and Germany, and the Netherlands. Despite all the turmoil, excellent art was produced in the Netherlands—as it apparently is in many or most societies undergoing transformations. -Charles V, of Germany and the Holy Roman Empire, was the principal competitor of Francis I for political domination of Italy, and although his interest in the arts was less cultivated than that of his rival, his conquests brought Italian culture to both Spain and the North. -Under, Ferdinand and Isabella, Spain (and Portugal) conquered the New World, enriching the country with plunder and launching widespread colonization. As the 16th century drew to a close, Spain controlled territories in Europe and the Mediterranean as well as North Africa and the New World. It was the wealthiest, most powerful, and most Catholic country in Europe. -Francis I attracted Italian artists to the French court, among them Leonardo da Vinci, Andrea del Sarto, and Benvenuto Cellini.

Which of the following accounts for how the Italian Renaissance spread throughout Northern Europe and Spain?

distortion and elongation of figures flattened and ambiguous space lack of compositional balance and defined focal point discordant pastel hues

Which of the following characterizes the works of the Mannerists?

Claudio Monteverdi

Which of the following composers is credited for writing the first great opera, L'Orfeo ?

-the face (particularly the eyes) and the hands (their placement and gestures) convey much about the personality of the sitter, inviting us to "know" rather than just to see -the sitter's confident eyes fix on the viewer when it would have been considered inappropriate for a woman to look directly into the eyes of a man -the typical profile view of a sitter is replaced with a natural three-quarter-turned body position by which a visual dialogue could be established between the sitter and all of us outside of the picture space -the fine line between revealing and concealing, and thus our interpretation of the painting is limited only by our capacity to imagine

Which of the following explains how da Vinci's Mona Lisa revolutionized portraiture?

Niccolo Machiavelli

Which of the following humanist authors asserts that a ruler must not be deterred from his tasks by any consideration of morality beyond that of power and its ends?

order and restraint

Which of the following is NOT a characteristic of the art of the Baroque Era as a rule?

redemption through good works

Which of the following is NOT a core belief of Calvinism?

rising sense of nationalism in Europe idea of church reform had been maturing for centuries low moral and intellectual condition of much of the clergy

Which of the following is a cause of the Protestant Reformation?

long history of repeated invasions loss of its position as the seat of the papacy the fallout of the Great Schism wars among the city-states

Which of the following is a reason for the widespread poverty in Rome in the 15th century?

rejection of Protestantism as part of the Counter-Reformation in England

Which of the following reasons does NOT explain why England was culturally isolated from the High Renaissance in Italy?

light

While most of his contemporaries mixed their pigments with egg, Leonardo used linseed or walnut oil. The advantage of these ingredients is that they allowed the layers of his paintings to be penetrated by more what?

quadro riportato

While seeming to be modeled on Michelangelo's fresco in the Sistine Chapel, Annibale Carracci's The Love of the Gods differs in one distinct way that makes use of what technique?

Virgil

Who among the following guides Dante through the nine circles of hell?

Michelangelo

Who designed St. Peter's Basilica?

Bramante

Who did Pope Julius II put in charge of the redesign of St. Peter's?

daVinci

Who is thought to be the subject of this sculpture of David?

secular

With the rise of the merchant class, subjects in art moved from the religious to the _________.

Copernicus

With the telescope of his own design and construction, Galileo proved that the universe is in a constant state of change. Finally confirming whose theory originally?

Your Answer 1) Simply the depiction of Mary on an outing with her son and his cousin, just being a mother humanizes her in a way rarely seen. With the depictions of christ usually draped in holy symbolism- always reminding you not to forget your place- and that they're more than human. 2) With her arm wrapped around who would later be known as John the Baptist, and her gaze and outstretched hand towards her son, she appears loving, and caring. The warm light and Leonardos use of "sfumato" lend a hand in ingratiating her, creating a soft and hazy effect. The answer to this question was found in Ch. 13.2: The High Renaissance and Mannerism In Italy, Leonardo Davinci

Explain the Judeo-Christian concept of God that lies at the heart of the John Calvin's theory of predestination. Explain the conflict that lies within the concept of predestination. How do Calvinists usually deal with this problem?

Your Answer 1) They believed that God had utter control over predestination, weaving ones path from the beginning. 2) If ones path is layed out before them, what about those destined for damnation? Why would God do that if he had utter control of where they are going. 3) He argued that god remains just and fair- even when predestining an individual to damnation, because he does not impell or cause them to sin themselves. The answer to this question was found in Ch. 14, The High Renaissance in Northern Europe and Spain, The Cultural Significance of the Reformation

Explain at least two irreconcilable differences between the Humanists and the Reformists.

Your Answer 1) While reformers believed primarily that man is stained by sin and can only be redeemed by the grace of God, humanists believed and focused on the perfectibility of man. 2) While reformers insisted that the truth of religious existence can only be found in the bible, while humanists though that could be found through careful study. The answer to this question was found in Ch. 14, The High Renaissance in Northern Europe and Spain, Luther and Erasmus

Describe at least two specific details in Anguissola's A Game of Chess make the work more than just a formal portrait. What Flemish painter influenced this artist?

Your Answer Anguissola made what would otherwise be a very stately portrait very humanizing and almost playful by showing her subjects characters. The oldest sister looks up from their game, breaking the fourth wall- so to speak, while her opponent appears to try to get her attention. All the while the youngest of the three sisters has a grin on her face which perfectly encapsulates that smug younger sibling excitement- presumably about a turn just taken. The answer to this question was foung in Ch. 13.27, The High Renaissance and Mannerism in Italy, Sofonisba Anguissola

Caravaggio and Gentilischi paint the same subject of Judith and Holofernes. Briefly describe the story behind this subject. Explain the key differences in the portrayal of the subject by the two artists.

Your Answer Both works depict a Biblical scene of the decapitation of a tyrannical Assyrian general by a woman named Judith, saving her oppressed people. While both encapsulate baroque styles, Caravaggio's version shows a general caught off-guard in a drunken stupor and Gentileschi's tyrant has snapped out of it and is actively struggling and being overcome by Judith. The answer to this question was found in Ch. 15.13, The seventeenth Century, Caravaggio and Gentileschi

El Greco's The Burial of Count Orgaz is divided into two halves--heaven and earth. These two halves each reflect the two major artistic movements of the High Renaissance in Italy. Identify each artistic movement and the half of the painting it exemplifies. Explain how each half reflects the movement that it is identified with.

Your Answer El Greco showed the two influences of "mysticism and realism" in his work The Burial of Count Orgaz. Their contrasting methodology in a single piece of artwork is unique and divided by a horizontal line of white heads. The lower half shows "reality", with only mortals- their slightly elongated forms matching with mannerism technique. The upper half shows the sweeping divine- with obvious, sharp contrasting color schemes and a seemingly turbulent atmosphere. The answer to this question was found in Ch. 14.22, The High Renaissance in Northern Europe and Spain, El Greco.

Explain the plot of The Tragicall History of the Life and Death of Doctor Faustus, Marlowe's masterpiece.

Your Answer In The Tragicall History of the Life and Death of Doctor Faustus, a german professor has sold his body and soul to the devil in attempt to gain ultimate wisdom and power. He travels to the Vatican, Emperors Palace, and "through the heavens", Eventually meeting the unspeaking Helen of Troy, he speaks the infamous lines: "Was this the face that launched a thousand ships And burnt the topless towers of Ilium?". Faustus does attempt to make right with God but it is too late and he is met with a gruesome end. The answer to this question was found in Ch. 14.12, The High Renaissance in Northern Europe and Spain, Christopher Marlowe.

Just as Michelangelo's David epitomizes the cultural ideals of the Renaissance, Bernini's David captures what two characteristics of the Baroque? Explain how Bernini uses these two characteristics in his David.

Your Answer In perfect contrast to renaissance era depictions of David, Bernini's instead shows the man in action, with muscles tensed, right before releasing Goliath's killing shot. To add drama and theatricality, Bernini designed the viewing angle to be directly in line with the impending projectile. The answer to this question was largely answered from memory of your recent lecture, though Ch. 15.7, The Seventeenth Century, Baroque Sculpture and Architecture in Rome: Gian Lorenzo Bernini was referenced

Identify the artist of the Mannerist painting shown here Describe at least three specific details in the work that defy the naturalism typical of Renaissance art.

Your Answer Jacopo da Pontormo created Entombment between 1525 and 1528. The painting departs from common "High Renaissance Styles" heavily by portraying its subjects with elongated or disproportionate limbs and body parts and allowing a lack of depth or realism with seemingly floating subjects. As mentioned, there is a strange "ambiguity" in space and depth, with everyone pushing out from a center point- leaving a void.

Identify the artist who created this panel; he was the winner of a competition for the right to decorate the the east doors of the Baptistery of San Giovanni in Florence, Italy. What political crisis was occurring at Florence when the competition was announced in 1401. Why was this representation chosen over the competitor's?

Your Answer Lorenzo Ghiberti created this panel, Sacrifice of Isaac, between 1401 and 1402 for a competition to decorate the doors of the Baptistery of San Giovanni. His panel supposedly won out over his competitor's (Fillipo Brunelleschi) simply because of its displayed prowess in technique, but some suggest that it was because his portrayal of Isaac was much more forgiving and painted him in a strong defiant light when they needed such characteristics from Florence's people. This was because at the time, a military standoff between Milan and Florence saw the city surrounded. The answer to this question was found in Ch. 12.13, The Baptisery Competition: Fillipo Brunelleschi and Lorenzo Ghiberti

Explain how Rembrandt uses composition, light, and shade to direct the viewer's eye in The Anatomy Lesson of Dr. Nicolaes Tulp.

Your Answer Rembrandt uses his mastery of light and composition to pull the viewers eye to the center of the portrait. He does this by allowing the edges to fade into blackness and obscurity, while placing a "spotlight" on the cadaver (as evidenced by the darkness allowing them not to stick out). The answer to this question was found in Ch. 15.20, The Seventeenth Century, Rembrandt Van Rijn

Although labeled Gothic, how does the Cathedral of Santa Maria del Fiore differ in structure (excluding the dome) from the cathedrals of France and the rest of Europe? What important cultural movement does this structure foreshadow?

Your Answer The Cathedral of Santa Maria del Fiore broke the Northern Gothic "mold" by explaining itself more to the outside viewer and not shielding itself in buttresses cascading into painted glass works. Instead, its interior dimensions and floor plan are on full display. In addition, (except for it's actual dome) it doesn't make great strides to reach heavenward; as was largely the style. The answer to this question was found in "Fig. 11.22 Cathedral of Santa Maria del Fiore: Cathedral Architecture".

Ch.1 The 14th century (often called the Trecento, Italian for "300") is usually described by historians as the age that marks the end of the medieval period and the beginning of the Renaissance in Western Europe.

Your Answer The artist referred to only as Cimabue was the creator of Madonna Enthroned with Angels and Prophets. His work is easily differentiated from earlier Byzantine influences. For instance, the depiction of Madonna's drapery is much more true-to-life or naturalistic in the way that it rests and folds from her form. In addition her thrones architecture recedes such that it creates a surprising amount of depth. The answer to this question was found in "11-3b Painting in Florence: A Break with the Past/Cimabue."

Explain how Titian uses color and composition to focus the veiwer's attention in the Venus of Urbino.

Your Answer The display of Titian's masterful color work draws the eye to The Venus herself, with such minute gradients in skin color. The entire back-left quadrant is also covered by a dark green curtain, encouraging the viewer to focus on the subject. Yet, with the other half open and quite bright, it invites one to shift between both. The answer to this question was found in Ch. 13.23, The High Renaissance and Mannerism in Italy, Titian

Before the sevententh century, great thinkers such as Thomas Aquinas had attempted to understand how the world works. How did 17th-century scientists and philosophers differ from their predecessors in dealing with age-old problems? Provide at least one example of this new approach.

Your Answer The intellectual attitudes of the Renaissance thinkers differed from their predecessors by, "turning away from the contemplation of the absolute and eternal to a study of the particular and the perceivable". Essentially, moving from the theoretical- to the applied. For instance, great 17th century thinker Thomas Equinas sought to understand motion through convoluted metaphysical terms while Galileo studied motion through directly applied experiments. The answer to this question was found in Ch. 15, The Seventeenth Century, Philosophy and Science in the Seventeenth Century

Identify the artist who created this fresco. Identify at least two characteristics of the work that reflect the Baroque. Be sure to explain how the work is meant to be viewed in your response.

Your Answer The original architect of il Gesù was Giacomo Barozzi da Vignola, but was continued by Giacomo della Porta after his death. Meant to be viewed by "throngs of devout worshippers" with precessions of adorned clergymen carrying out sacred rituals and traditions, the room- when active- emanated baroque era influences. A combination of painting, sculpture, and architecture work together to create a breath-taking, drama filled, overwhelming presence in the room. The answer to this question was found in Ch. 15.3, The Seventeenth Century, Il Gesu

The portrait of the Spanish royal family, known as Las Meninas painted by Diego Velázquez, leaves some details to the scene that cannot be explained. Describe at least two of them.

Your Answer The simple setting of the piece is at odds with traditional portraiture in Las Meninas. With the painter and canvas in full view, one is left to wonder what is actually going on. Is the princess getting her finishing touches before she's ready? If so, why is this getting painted instead? Who is the man observing from the door in the background? These questions remain a mystery. The answer to this question was found in Ch. 15.15, The Seventeenth Century, Diego Velázquez

Your Answer The three subject are arranged in a "pyramidal" configuration in both pieces, intended to produce rationally ordered compositions. In both, the children are connecting, but are also lightly restrained from one another either by Mary or by Angel, possibly foreshadowing Jesus' sacrifice on the cross. Da Vinci's use of Sfumato starkly contrasts with Raphaels use of sharp clarity and bold color. Their settings differ immensely as well, while Da Vinci's chows a gathering in front of dark rocky background while Raphaels is much more pastoral. The answer to this question was found in Ch. 13.6: The High Renaissance and Mannerism In Italy, Raphael Sanzio

Name the artist of the painting shown below. Further, identify and explain how at least three details reflect the symbolism common in Flemish art of this time.

Your Answer This work- Giovanni Arnolfini and His Wife- by Jan Van Eyck, has captivated me since I first came across it. While art had moved to more secular, rather than religious subjects and themes, it was still filled with symbolic meaning. Though much of its actual intention is veiled in forgotten history- forcing mere speculation- one can at least ogle at their existence and intricacy. A new theory argues that this work marks and substantiates a transference of legal rights from Arnolfini to his wife, with Van Eyck even signing his own name on the wall behind them as to be a witness. Their light fixture has each of the candles burned down except for one on the husbands side. Some argue that this symbolizes unity in matrimony yet others argue that this is actually showing that this is a work done after his wifes death and represents her having had her wick burned down and extinguished. In addition, the couple is not holding hands in the reflection which may have simply been an attempt to show himself between them in such a small space (the visuals in the mirror were so fine that Eyck painted with a single-haired brush). The answer to this question was found in Ch. 12.2, The Fifteenth Century: Toward The Renaissance

Despite his famous legacy as an artist, how many paintings did Leonardo da Vinci actually leave to history?

Classicism

Despite the apparent chaos of The Abduction of the Sabine Women, Nicolas Poussin had rejected the excess of the Baroque in favor of what artistic style?

Tudors

Emerging victorious after the War of the Roses, this family ruled England for most of the Renaissance.

Materialism

English philosopher Thomas Hobbes (1588-1679) founded a philosophical movement that held the view that everything that exists is either made of matter or—in the case of the mind, for example—depends on matter for its existence. This movement was known as what?

Ignatius Loyola

Founder of the Jesuits and a leader of the Counter-Reformation, this man's Spiritual Exercises express a mystical, even morbid spirit of introspection, inspired by the visions of Satan, Jesus, and the Trinity.

Giovanni da Bologna's "Abduction of the Sabine Women (Fig. 13.29), assigned this title only after the work had been exhibited, has a complex spiral composition that encourages the viewer to walk around the statue and take it in all from all angles. This movement reveals different combinations of line and shape, solid and void so that no single perspective is the same as another. It is the viewer who constructs the entirety of the action by virtue of his or her 'participation' in the piece."

at least 6,000 pages

How many pages of Leonardo da Vinci's notebooks are known to exist?

stop-action

In The Rape of the Daughters of Leucippus, Peter Paul Rubens utilizes what typical Baroque technique, which depicts a single moment in a dramatic event.

novel

In a masterful blend of comedy and tragedy, Miguel Cervantes Saavedra (1547-1616) makes use of what new literary form in Don Quixote?

Dante

In addition to biblical tradition, the narrative of Michelangelo's Last Judgment owes its origins to whom?

tenebrism

In paintings such as The Calling of St. Matthew, Caravaggio utilizes a technique known as _____ that puts a spotlight on the subjects of his paintings, a technique widely copied by his admirs during the Baroque period.

In view of England's self-appointed position as the bulwark of Protestantism against the Catholic Church in general and Spain in particular, it is hardly surprising that Renaissance ideas that developed south of the Alps took some time to affect English culture.""One of the few foreign painters to work in England was the Northerner Hans Holbein the Younger (1497/1498-1543), a court painter to Henry VIII who was enlisted to travel to prospective brides and paint their likenesses for the king's approval. Holbein's Anne of Cleves (Fig. 14.17) is an example; after viewing the portrait (and that of her sister, Amalia), Henry sent for Anne and made her his fourth queen. Six months later, the marriage between Henry and the woman he called his "Flanders Mare" was annulled. The formal frontal pose and exquisite though understated detail of Anne's costume convey her poise."

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