11/18/14 Viviana Montalti. P.8 Chapter 9: Assessments. 1. How did the lack of a single strong ruler benefit Italy during the Renaissance? The lack of a single strong ruler made it possible for a number of city-states in northern and central Italy to remain independent. 2. How did the demand for goods affect both the power of the Italian states and the Catholic Church? As the Italian states grew wealthier‚ the power of the Church began to decline slightly. 3. How did the fact that other countries
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and hard work in the cultivation of virtù? a. Alberti b. Ficino c. Pico della Mirandola d. Castiglione Answer: a 7. Which one of the following applied his vast study of ancient literature to defend free will and the unlimited potential of the individual? a. Alberti b. Ficino c. Pico della Mirandola d. Castiglione Answer: c 8. Which one of the following translated the entire body of Plato’s writings from Greek into Latin? a. Alberti b. Ficino c. Pico della Mirandola d. Castiglione
Free Renaissance Florence Renaissance humanism
The Thirteenth Century • Early 14th Century and late 16th Century • New kind of collaboration between artists and patrons‚ religious civic institutions and between the perceived relationship of past to present. • Emphasis on the potential of the human being‚ power of a liberal classical education to produce a well rounded individual. • Rivalry between Siena and Florence • Guilds associations of workers that set standards of work and prices and protected the rights of workers and their families
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His first days of painting were in Florence Italy and he studied under the artist Verrocchio. One of Da Vinci’s famous works of art was the Vitruvian Man which was created in the late 1487. The drawing and text are sometimes called the cannon of proportions‚ or the proportions of man. It is stored in the Gallerie dell’Accademia in Venice‚ Italy. “ His interest in architecture and engineering led him to the works of the Roman architect Vitruvius‚ whose treatise had inspired Alberti earlier in the
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GHIBERTI 1378-1455 ITALIAN RENAISSANCE ARTIST Lorenzo Ghiberti was born in 1378 c.‚ in Pelago‚ Italy and died Dec. 1‚ 1455 in Florence. Ghiberti was an important early Italian Renaissance sculptor‚ whose doors (Gates of Paradise 1425-52) for the Baptistery of the cathedral of Florence are considered one of the greatest masterpieces of Italian art in the Quattrocento. Other works include three bronze statues for Or San Michele (1416–25) and the reliefs for Siena cathedral (1417–27). Ghiberti
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children to be virtuous citizens mirrors this humanist goal. On the subject of children‚ ALberti says‚ “I do encourage you to continue and as you are doing in every sort of activity and hard discipline that you may attain excellence and deserve fame.” (Brophy‚ 34) He is insistent that children understand the evil of idleness‚ and be well rounded in their skill sets. (Brophy‚ 32/33/34) According to ALberti a man needs to secure his own happiness through knowledge and success in his chosen field
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Meaning “rebirth” in French‚ the Renaissance in Italy represented a reawakening of classical ideals in art. Beginning in the 14th century‚ the revival of interest in antiquity inspired architects of the age to construct buildings of incredible proportion and symmetry that exuded harmony and order. The renewed concern with classicism sparked the creative imaginations of Renaissance architects‚ who referred to ancient architecture as a model which they often studied for inspiration. Though Renaissance
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concept triggered the minds of artists during the Renaissance to take on a new approach for church plans (Honour and Fleming 444-445). However‚ it is not until the fifteenth century that the centralized plan was regarded as a divine expression when Alberti discussed scientific method of maintaining God’s image through mathematical approach in De Re Aedificatoria‚ a treatise containing the first full program of the ideal Renaissance church (Tavernor 30). From Alberti’s perspective‚ a centralized plan
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Appenines‚ where Francesca had given Pacioli access to the library of Frederico‚ the Count of Urbino‚ where he furthered his knowledge of mathematics with the help of four thousand books. Francesca had also introduced Pacioli to Leon Baptist Alberti. Alberti had taken the liberty to be Pacioli’s mentor and had arranged for him to tutor the three sons of the rich
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create a dramatic build up to the highly lighted altar. The bay before the dome is slightly smaller and darker then the others. On the nave‚ Giovanni Battista painted‚ The Triumph of the Name of Jesus‚ with fresco.3 Including the mural‚ all the paintings and sculptures within the church were created in unison for the benefit of
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