Unit 10 PowerPoint

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14 | 1 Unit 10: Renaissance, Reformation and Globalization

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14 | 2 Statue of Ferdinand All governments try to cultivate a popular image. For Ferdinand and Isabella, it was the appearance of piety. Contemporaries, such as the Burgundian sculptor Felipe Bigarny, portrayed them as paragons of Christian piety, as shown in this carved and painted wooden effigy of Ferdinand kneeling in the royal chapter of Granada Cathedral, where he was buried in 1516.

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14 | 3 Statue of Isabella Backed by a relief of Santiago, scourge of the Muslims, this polychrome statue of Isabella overlooked the royal tomb in the royal chapel of Granada Cathedral.

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14 | 4 Journey of the Magi Few Renaissance paintings better illustrate art in the service of the princely court than this painting by Benozzo Gozzoli (1420-1497), The Magi on Their Way to Bethlehem with Lorenzo the Magnificent, which was commissioned by Piero de' Medici to adorn his palace chapel. Everything in this fresco--the large crowd, the feathers and diamonds adorning many of the personages, the black servant in front--serves to flaunt the power and wealth of the House of Medici. The artist has discreetly placed himself in the crowd; the name Benozzo is embroidered on his cap.

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14 | 5 Ghiberti's Gates of Paradise Lorenzo Ghiberti (1378-1455) was given a commission to cast a pair of doors, with scenes drawn from the Old Testament, for the east side of the Baptistery of San Giovanni, Florence--thereafter known as The Gates of Paradise, so named by Michelangelo. In creating the ten 31-inch-square panels, Ghiberti's use of perspective is one of the hallmarks of his accomplishment.

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14 | 6 Brunelleschi's Dome Filipo Brunelleschi, the foremost architect of the Early Renaissance, lost the competition for the commission for the north door of the Baptistery to Ghiberti. In 1417 he bested Ghiberti for the commission to build a dome for the Florentine Cathedral. Between 1420 and 1436 he built a drum--a vertical supporting wall--on the existing 138-foot-diameter octagonal cross of the cathedral. He then assembled the dome on the drum, essentially creating an eight-sided Gothic vault.

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14 | 7 da Vinci, Mona Lisa In 1503 Leonardo da Vinci began his most famous work-- the Mona Lisa. The subject of the painting is Lisa Gherardini del Giocondo, the wife of a prominent Florentine businessman. She is posed half-length in the seated position, her posture is relaxed, and her gaze is direct. The softening of the edges of the background, effecting a fine haze called sfumato, creates a sense of intimacy and psychological drama.

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14 | 8 Michelangelo, David The concept of genius as divine inspiration is nowhere exemplified more fully than in the life and work of Michelangelo Buonarrotti (1475-1564). And Michelangelo was a sculptor--more specifically, a carver of marble statues--to the core. His David is the earliest monumental statue of the High Renaissance, and the city fathers eventually chose to put it in front of the Palazzo Vecchio, as the civic-patriotic symbol of the Florentine republic. Michelangelo fashioned the marble in a new, more natural manner. David's bare skin contrasts with the rough leather strap of the slingshot, and his right leg leans against a realistic tree trunk. He blends the classical model of a victorious athlete crowned with a laurel wreath with the biblical hero as a defender of the faith. David is a mature young man of consummate beauty.

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14 | 9 Michelangelo, Sistine Chapel ceiling Michelangelo Buonarroti's commission to adorn the vaults of the 130-foot-long ceiling of the Sistine Chapel was the most challenging enterprise of the Renaissance. Although Michelangelo had to adapt his monumental figures to fit the contours of the ceiling, they are highly expressive and communicate his belief that physical beauty manifests the spiritual beauty of the soul. The nine central panels portray the world described in Genesis from Creation to the Drunkenness of Noah. In the sections above the windows and in the lunettes around the windows, Michelangelo portrayed the generations of ancestors prior to Christ, and in the large corners of the chapel he depicts important scenes drawn from the Old Testament. (Vatican Museum)

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14 | 10 van Eyck, Arnolfini Wedding The founders of the northern school of Flemish painting were the two van Eyck brothers, Hubert and Jan (ca. 1390-1441), whose work marks a definitive break from the Middle Ages. They paid attention to minute details, and their technical artistry is particularly evident in their depiction of textures. Jan van Eyck's most famous painting, Giovanni Arnolfini and His Wife, is also filled with symbolism. The room of the bride's house in which the marriage takes place is filled with objects alluding to Netherlandish marriage customs; the little dog, symbolizing fidelity, completes the allegorical scene. Perhaps the most fascinating portion of the painting is the convex mirror--which not only reflects the bridal couple but the artist himself--and the inscription on the back wall, which reads "Johannes de Eyck fuit hic 1434"

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14 | 11 El Greco, Burial of Count of Orgaz Born in Crete, Domenikos Theotokopoulos (1541-1614), known as El Greco ("The Greek"), moved to Venice in the 1560s and learned the techniques of the Venetian masters. El Greco brought to his art a deeply religious intensity and often imbued religious themes with an ecstatic, emotional, and mystical quality. His painting The Burial of Count Orgaz conveys the traditional message that good works will merit the intercession of the saints in the matter of salvation and attaining heaven. The action operates on three levels: death, the funeral, and the arrival of the Count's soul in heaven.

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14 | 12 Print Shop This colored engraving, after a miniature of the sixteenth century, depicts a French printshop of the time. A workman operates the "press," quite literally a screw device that presses the paper to the inked type. Other employees examine the printed sheets, each of which holds four pages. When folded, the sheets make a book.

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14 | 13 The True Church and the False Church This woodcut by Lucas Cranach the Elder (1472-1553) was designed to make clear the distinction between the evangelical church and the papacy. On one side Christ and his sacrifice are clearly at the center; on the other side the pope and innumerable church officials are caught in the flames of Hell.

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14 | 14 Luther and Wittenberg Reformers The massive figure of John Frederick, Elector of Saxony, who protected and supported Luther, dominates this group portrait of Martin Luther and the Wittenberg Reformers by Lucas Cranach the Younger. Luther is on the far left; his associate Philipp Melanchthon is in the front row on the right. Luther's face shows a quiet determination.

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14 | 15 Augsburg Confession In this woodcut of the Augsburg Confession being read to Charles V, the artist has included text and images of the Lutheran teachings on the sacraments and the nature of salvation in the background. In contrast are the images on the left of a papal ceremony and court hierarchy in which, the artist implies, Christ is not present.

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14 | 16 Council of Trent This sixteenth-century painting by the School of Titian depicts a well-attended meeting of the Council of Trent. Since the early sessions were sparsely attended, this meeting seems to be a later session. Few bishops from northern Europe, however, ever attended. The Swiss guards (forefront) of the Vatican were founded by Pope Julius II in 1505 to defend the papacy.

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14 | 17 Pope Approves Jesuit Constitutions Juan de Valdes Leal (Spanish; active mainly in Seville and Cordoba) was famous for grimly moralizing subjects. He also created moving religious paintings and fine portraits. This portrait of Ignatius Loyola is a reasonable likeness and that of Pope Paul III an idealization; in 1540 he was a very old man. When the Jesuit constitutions were read to him, the pope supposedly murmured, "There is the finger of God."

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14 | 18 Marco Polo's Headless People Medieval Christians believed that wondrous peoples lived beyond the borders of Christendom. Images of headless or one-legged men were usually included in travel accounts. This illustration from Marco Polo's Travels shows what many Europeans expected to find when they traveled.

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14 | 19 Cantino Map The Cantino Map was named for the agent secretly commissioned to design it in Lisbon for the Duke of Ferrara, an avid Italian map collector. It reveals such a good knowledge of the African continent, of the islands of the West Indies, and of the shoreline of present-day Venezuela, Guiana, and Brazil that modern scholars suspect there may have been clandestine voyages to the Americas shortly after Columbus's.

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14 | 20 Vessels off Java Coast This sixteenth-century Dutch engraving shows four types of vessels off the Java Coast. Clockwise from top: a Javanese trading sailboat; a Chinese junk, a flat bottomed ship with high poop (exposed partial deck) and battens (material to fasten down hatches in foul weather); a local fishing boat; and a Javanese junk.

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14 | 21 Pepper Harvest To break the monotony of their bland diet, Europeans had a passion for pepper, which--along with cinnamon, cloves, nutmeg, and ginger--was the main object of the Asian trade. One kilo of pepper cost 2 grams of silver at the place of production in the East Indies; 10 to 14 grams in Alexandria, Egypt; 14 to 18 grams in Venice; and 20 to 30 grams at the markets of northern Europe. Thus, we can appreciate the fifteenth-century expression "as dear as pepper." Here natives fill vats, and the dealer tastes a peppercorn for pungency.

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14 | 22 Portuguese in India In the sixteenth century Portuguese men moved to the Indian Ocean basin to work as administrators and traders. This Indo-Portuguese drawing from about 1540 shows a Portuguese man speaking to an Indian woman, perhaps making a proposal of marriage.

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14 | 23 Arawak Women Making Tortillas The first Amerindians to encounter Columbus were the Arawak of Hispaniola (modern Haiti and the Dominican Republic). They cultivated maize (corn), cassava (a tuber), sweet potatoes, and hot peppers, as well as cotton and tobacco. This sixteenth-century woodcut depicts techniques of food preparation in the West Indies. The woman at the left grinds cornmeal on a metate. The woman in the center pats cornmeal dough flat and fries the tortillas. The third woman serves tortillas with a bowl of stew.

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14 | 24 Mexico-Spanish Encounter On May 23, 1520, Pedro de Alvarado, one of Cortes's captains, massacred Mexican nobles who had been dancing during a religious celebration. This illustration from the Codex Duran depicts the Mexican counterattack. The Spaniards took refuge in the palace, where the Mexicans besieged them. The difference in weapons is striking: The Mexicans are armed with spears, the Spaniards with firearms and crossbows. The colorful dress of the Mexicans--indicating that this was a ceremonial rite for them--contrasts with the dull metallic gray of the Spaniards' armor. The location of these events is indicated by the glyph for Mexico-Tenochtitlan (the cactus) seen above the Mexican warriors.

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14 | 25 Las Casas and Crusade for Justice Bartolome de las Casas (1474-1566)--a Dominican missionary and eventually bishop of Chiapas in southern Mexico--passionately condemned the violence and brutality of the Spanish conquests. His criticisms were published widely and accompanied by woodcuts such as this one showing the cruelty of the conquerors. In response to Las Casas, Charles V passed laws protecting the rights of the indigenous peoples.

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14 | 26 Silver Refinery at Potosi, Bolivia The silver refineries of Spanish America were among the largest industrial establishments in the Western Hemisphere during the colonial period. By the middle of the seventeenth century the mines of Potosi, Bolivia, had attracted a population of more than 120,000. This illustration shows a typical refinery (ingenio). Aqueducts carried water to the refineries. The water wheel shown on the right drove two sets of vertical stamps that crushed ore. Crushed ore was sorted, dried, and mixed with mercury and other catalysts to extract the silver. The amalgam was then separated by a combination of washing and heating. The end result was a nearly pure ingot of silver.

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14 | 27 Columbian Exchange The term Columbian Exchange refers to the transfer of peoples, animals, plants, and diseases between the New and Old Worlds. After the Spanish conquest, the introduction of plants and animals from the Old World dramatically altered the American environment. Here an Amerindian woman is seen milking a cow. Livestock sometimes destroyed the fields of native peoples, but cattle, sheep, pigs, and goats also provided food, leather, and wool.

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14 | 28 Forming Mexican Peoples This painting by an unknown eighteenth-century Mexican artist presents a naive but sympathetic view of interracial unions and marriages in colonial Mexico. On the left, the union of a Spanish man and a native American woman has produced a racially mixed mestizo. The handsome group on the right features a mestizo woman and a Spaniard with their little daughter.

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14 | 29 Portuguese Fort Guarding Musqat Harbor Portuguese power in East Africa suffered severe blows when the Arabs of Oman, in southeastern Arabia, captured their south Arabian stronghold at Musqat (1650) and went on to create a maritime empire of their own, working in greater cooperation with the African populations. Musqat in Oman and Aden in Yemen, the best harbors in southern Arabia, were always targets for imperial navies trying to establish dominance in the Indian Ocean. Musqat's harbor is small and circular with one narrow entrance overlooked by the fortress. The palace of the sultan of Oman is still located at the opposite end of the harbor.

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14 | 30 From the Jesuit Library at Beijing Jesuits such as Matteo Ricci were willing to share books on technology and science with Chinese scholars. But without firsthand experience it was impossible for Chinese translators to convey how a man walking in a wheel drives a shaft that changes the pressure inside two pumps. The left-hand illustration is from Zonca, Trombe da Rota per Vavar Aqua, 1607. In the Chinese translation of the drawing, from Qi tushuo (Illustrations on Energy), 1627, the mechanisms were all lost.

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14 | 31 The Global Empire of Charles V Charles V exercised theoretical jurisdiction over more European territory than anyone since Charlemagne. He also claimed authority over large parts of North and South America.

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14 | 32 The Protestant and the Catholic Reformations The Reformations shattered the religious unity of Western Christendom. What common cultural traits predominated in regions where a particular branch of the Christian faith was maintained or took root?

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14 | 33 Spain’s Global Empire

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14 | 34 Dutch World Trade