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The Renaissance began in times of religious turmoil. The late Middle Ages was a period of political intrigue surrounding the papacy, culminating in the Western Schism, in which three men simultaneously claimed to be the true pope. While the schism was resolved by the Council of Constance (1414), a resulting reform movement known as Conciliarism sought to limit the power of the pope. Although the papacy eventually emerged supreme in ecclesiastical matters by the Fifth Council of the Lateran (1511), it was dogged by continued accusations of corruption, most famously in the person of Pope Alexander VI, who was accused variously of simony, nepotism, and fathering four children.  Churchmen such as Erasmus and Luther proposed reform to the church, often based on Humanist textual criticism of the New Testament. In October 1517 Luther published the Ninety-five Theses, challenging papal authority and criticizing its perceived corruption, particularly with regard to instances of sold indulgences. The Ninety-five Theses led to the Reformation, a break with the Roman Catholic Church that previously claimed hegemony in Western Europe. Humanism and the Renaissance therefore played a direct role in sparking the Reformation, as well as in many other contemporaneous religious debates and conflicts. Pope Paul III came to the papal throne (1534–1549) after the sack of Rome in 1527, with uncertainties prevalent in the Catholic Church following the Protestant Reformation. Nicolaus Copernicus dedicated De revolutionibus orbium coelestium (On the Revolutions of the Celestial Spheres) to Paul III, who became the grandfather of Alessandro Farnese (cardinal), who had paintings by Titian, Michelangelo, and Raphael, as well as an important collection of drawings, and who commissioned the masterpiece of Giulio Clovio, arguably the last major illuminated manuscript, the Farnese Hours. The Church and the RenaissanceThe city of Rome, the papacy, and the Papal States were all affected by the Renaissance. On the one hand, it was a time of great artistic patronage and architectural magnificence, when the church pardoned and even sponsored such artists as Michelangelo, Brunelleschi, Bramante, Raphael, Fra Angelico, Donatello, and da Vinci. On the other hand, wealthy Italian families often secured episcopal offices, including the papacy, for their own members, some of whom were known for immorality. In the revival of neo-Platonism and other ancient philosophies, Renaissance Humanists did not reject Christianity; quite to the contrary, many of the Renaissance’s greatest works were devoted to it, and the church patronized many works of Renaissance art. The new ideals of Humanism, although more secular in some aspects, developed against a Christian backdrop, especially in the Northern Renaissance. In turn, the Renaissance had a profound effect on contemporary theology, particularly in the way people perceived the relationship between man and God. In addition to being the head of the church, the pope became one of Italy’s most important secular rulers, and pontiffs such as Julius II often waged campaigns to protect and expand their temporal domains. Furthermore, the popes, in a spirit of refined competition with other Italian lords, spent lavishly both on private luxuries and public works, repairing or building churches, bridges, and a magnificent system of aqueducts in Rome that still function today. From 1505 to 1626, St. Peter’s Basilica, perhaps the most recognized Christian church, was built on the site of the old Constantinian basilica in Rome. This was a time of increased contact with Greek culture, opening up new avenues of learning, especially in the fields of philosophy, poetry, classics, rhetoric, and political science, fostering a spirit of Humanism–all of which would influence the church. Counter-ReformationThe Counter-Reformation, also called the Catholic Reformation or the Catholic Revival, was the period of Catholic resurgence initiated in response to the Protestant Reformation, beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years’ War (1648). The Counter-Reformation was a comprehensive effort composed of four major elements—ecclesiastical or structural reconfigurations, new religious orders (such as the Jesuits), spiritual movements, and political reform. Such reforms included the foundation of seminaries for the proper training of priests in the spiritual life and the theological traditions of the church, the reform of religious life by returning orders to their spiritual foundations, and new spiritual movements focusing on the devotional life and a personal relationship with Christ, including the Spanish mystics and the French school of spirituality. It also involved political activities that included the Roman Inquisition. One primary emphasis of the Counter-Reformation was a mission to reach parts of the world that had been colonized as predominantly Catholic, and also try to reconvert areas, such as Sweden and England, that were at one time Catholic but had been Protestantized during the Reformation.
Renaissance is a French word meaning “rebirth.” It refers to a period in European civilization that was marked by a revival of Classical learning and wisdom. The Renaissance saw many contributions to different fields, including new scientific laws, new forms of art and architecture, and new religious and political ideas. Read more below: Renaissance There is some debate over the actual start of the Renaissance. However, it is generally believed to have begun in Italy during the 14th century, after the end of the Middle Ages, and reached its height in the 15th century. The Renaissance spread to the rest of Europe in the 16th and 17th centuries. Read more below: Renaissance Learn more about the Middle Ages. The idea of a Renaissance man developed in Italy and derived from Leon Battista Alberti’s notion that “a man can do all things if he will.” The ideal embodied the basic tenets of Renaissance humanism, which considered man the centre of the universe and led to the belief that people should try to embrace all knowledge and develop their own abilities as fully as possible. Leonardo da Vinci is a leading example of a Renaissance man, noted for his achievements in art, science, music, invention, and writing. Learn more about humanism. Renaissance, (French: “Rebirth”) period in European civilization immediately following the Middle Ages and conventionally held to have been characterized by a surge of interest in Classical scholarship and values. The Renaissance also witnessed the discovery and exploration of new continents, the substitution of the Copernican for the Ptolemaic system of astronomy, the decline of the feudal system and the growth of commerce, and the invention or application of such potentially powerful innovations as paper, printing, the mariner’s compass, and gunpowder. To the scholars and thinkers of the day, however, it was primarily a time of the revival of Classical learning and wisdom after a long period of cultural decline and stagnation. A brief treatment of the Renaissance follows. For full treatment, see Europe, history of: The Renaissance. The term Middle Ages was coined by scholars in the 15th century to designate the interval between the downfall of the Classical world of Greece and Rome and its rediscovery at the beginning of their own century, a revival in which they felt they were participating. Indeed, the notion of a long period of cultural darkness had been expressed by Petrarch even earlier. Events at the end of the Middle Ages, particularly beginning in the 12th century, set in motion a series of social, political, and intellectual transformations that culminated in the Renaissance. These included the increasing failure of the Roman Catholic Church and the Holy Roman Empire to provide a stable and unifying framework for the organization of spiritual and material life, the rise in importance of city-states and national monarchies, the development of national languages, and the breakup of the old feudal structures. Marsilio Ficino While the spirit of the Renaissance ultimately took many forms, it was expressed earliest by the intellectual movement called humanism. Humanism was initiated by secular men of letters rather than by the scholar-clerics who had dominated medieval intellectual life and had developed the Scholastic philosophy. Humanism began and achieved fruition first in Italy. Its predecessors were men like Dante and Petrarch, and its chief protagonists included Gianozzo Manetti, Leonardo Bruni, Marsilio Ficino, Giovanni Pico della Mirandola, Lorenzo Valla, and Coluccio Salutati. The fall of Constantinople in 1453 provided humanism with a major boost, for many eastern scholars fled to Italy, bringing with them important books and manuscripts and a tradition of Greek scholarship.
History: Fact or Fiction? Get hooked on history as this quiz sorts out the past. Find out who really invented movable type, who Winston Churchill called "Mum," and when the first sonic boom was heard. Humanism had several significant features. First, it took human nature in all of its various manifestations and achievements as its subject. Second, it stressed the unity and compatibility of the truth found in all philosophical and theological schools and systems, a doctrine known as syncretism. Third, it emphasized the dignity of man. In place of the medieval ideal of a life of penance as the highest and noblest form of human activity, the humanists looked to the struggle of creation and the attempt to exert mastery over nature. Finally, humanism looked forward to a rebirth of a lost human spirit and wisdom. In the course of striving to recover it, however, the humanists assisted in the consolidation of a new spiritual and intellectual outlook and in the development of a new body of knowledge. The effect of humanism was to help men break free from the mental strictures imposed by religious orthodoxy, to inspire free inquiry and criticism, and to inspire a new confidence in the possibilities of human thought and creations. Hans Holbein the Younger: Erasmus From Italy the new humanist spirit and the Renaissance it engendered spread north to all parts of Europe, aided by the invention of printing, which allowed literacy and the availability of Classical texts to grow explosively. Foremost among northern humanists was Desiderius Erasmus, whose Praise of Folly (1509) epitomized the moral essence of humanism in its insistence on heartfelt goodness as opposed to formalistic piety. The intellectual stimulation provided by humanists helped spark the Reformation, from which, however, many humanists, including Erasmus, recoiled. By the end of the 16th century the battle of Reformation and Counter-Reformation had commanded much of Europe’s energy and attention, while the intellectual life was poised on the brink of the Enlightenment. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now It was in art that the spirit of the Renaissance achieved its sharpest formulation. Art came to be seen as a branch of knowledge, valuable in its own right and capable of providing man with images of God and his creations as well as with insights into man’s position in the universe. In the hands of men such as Leonardo da Vinci it was even a science, a means for exploring nature and a record of discoveries. Art was to be based on the observation of the visible world and practiced according to mathematical principles of balance, harmony, and perspective, which were developed at this time. In the works of painters such as Masaccio, the brothers Pietro and Ambrogio Lorenzetti, Fra Angelico, Sandro Botticelli, Perugino, Piero della Francesca, Raphael, and Titian; sculptors such as Giovanni Pisano, Donatello, Andrea del Verrocchio, Lorenzo Ghiberti, and Michelangelo; and architects such as Leon Battista Alberti, Filippo Brunelleschi, Andrea Palladio, Michelozzo, and Filarete, the dignity of man found expression in the arts. In Italy the Renaissance proper was preceded by an important “proto-renaissance” in the late 13th and early 14th centuries, which drew inspiration from Franciscan radicalism. St. Francis of Assisi had rejected the formal Scholasticism of the prevailing Christian theology and gone out among the poor praising the beauties and spiritual value of nature. His example inspired Italian artists and poets to take pleasure in the world around them. The work of the most famous artist of the proto-renaissance period, Giotto (1266/67 or 1276–1337), reveals a new pictorial style that depends on clear, simple structure and great psychological penetration rather than on the flat, linear decorativeness and hierarchical compositions of his predecessors and contemporaries, such as the Florentine painter Cimabue and the Siennese painters Duccio and Simone Martini. The great poet Dante lived at about the same time as Giotto, and his poetry shows a similar concern with inward experience and the subtle shades and variations of human nature. Although his Divine Comedy belongs to the Middle Ages in its plan and ideas, its subjective spirit and power of expression look forward to the Renaissance. Petrarch and Giovanni Boccaccio also belong to this proto-renaissance period, both through their extensive studies of Latin literature and through their writings in the vernacular. Unfortunately, the terrible plague of 1348 and subsequent civil wars submerged both the revival of humanistic studies and the growing interest in individualism and naturalism revealed in the works of Giotto and Dante. The spirit of the Renaissance did not surface again until the 15th century. In 1401 a competition was held at Florence to award the commission for bronze doors to be placed on the baptistery of San Giovanni. Defeated by the goldsmith and painter Lorenzo Ghiberti, Filippo Brunelleschi and Donatello left for Rome, where they immersed themselves in the study of ancient architecture and sculpture. When they returned to Florence and began to put their knowledge into practice, the rationalized art of the ancient world was reborn. The founder of Renaissance painting was Masaccio (1401–28). The intellectuality of his conceptions, the monumentality of his compositions, and the high degree of naturalism in his works mark Masaccio as a pivotal figure in Renaissance painting. The succeeding generation of artists—Piero della Francesca, the Pollaiuolo brothers, and Verrochio—pressed forward with researches into linear and aerial perspective and anatomy, developing a style of scientific naturalism. St. George by Donatello The situation in Florence was uniquely favourable to the arts. The civic pride of Florentines found expression in statues of the patron saints commissioned from Ghiberti and Donatello for niches in the grain-market guildhall known as Or San Michele, and in the largest dome built since antiquity, placed by Brunelleschi on the Florence cathedral. The cost of construction and decoration of palaces, churches, and monasteries was underwritten by wealthy merchant families, chief among whom were the Medici family. The Adoration of the Shepherds The Medici traded in all of the major cities in Europe, and one of the most famous masterpieces of Northern Renaissance art, The Portinari Altarpiece, by Hugo van der Goes (c. 1476; Uffizi, Florence), was commissioned by their agent, Tommaso Portinari. Instead of being painted with the customary tempera of the period, the work is painted with translucent oil glazes that produce brilliant jewel-like colour and a glossy surface. Early Northern Renaissance painters were more concerned with the detailed reproduction of objects and their symbolic meaning than with the study of scientific perspective and anatomy even after these achievements became widely known. On the other hand, central Italian painters began to adopt the oil medium soon after The Portinari Altarpiece was brought to Florence in 1476. |
Which option best describes a difference between the ideas of humanists and those of the Catholic Church during the Renaissance?
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