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David, by Michelangelo (The Accademia Gallery, Florence ) is an example of high renaissance art

The Renaissance (French for "rebirth"; Italian: Rinascimento, from ri- "again" and nascere "be born")[1] was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform across Europe, this is a general use of the term. As a cultural movement, it encompassed a resurgence of learning based on classical sources, the development of linear perspective in painting, and gradual but widespread educational reform. Traditionally, this intellectual transformation has resulted in the Renaissance being viewed as a bridge between the Middle Ages and the Modern era. Although the Renaissance saw revolutions in many intellectual pursuits, as well as social and political upheaval, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man".[2][3]

There is a general, but not unchallenged, consensus that the Renaissance began in Florence, Tuscany in the 14th century.[4] Various theories have been proposed to account for its origins and characteristics, focusing on a variety of factors including the social and civic peculiarities of Florence at the time; its political structure; the patronage of its dominant family, the Medici;[5] and the migration of Greek scholars and texts to Italy following the Fall of Constantinople at the hands of the Ottoman Turks.[6][7][8]

The Renaissance has a long and complex historiography, and there has been much debate among historians as to the usefulness of Renaissance as a term and as a historical delineation.[9] Some have called into question whether the Renaissance was a cultural "advance" from the Middle Ages, instead seeing it as a period of pessimism and nostalgia for the classical age,[10] while others have instead focused on the continuity between the two eras.[11] Indeed, some have called for an end to the use of the term, which they see as a product of presentism – the use of history to validate and glorify modern ideals.[12] The word Renaissance has also been used to describe other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century.



"The School of Athens" by Raphael



Northern Europe

Leonardo da Vinci's Vitruvian Man shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in Vitruvius's De architectura around 1500 years before, Da Vinci tried to draw the perfectly proportioned man.

The Renaissance was a cultural movement that profoundly affected European intellectual life in the early modern period. Beginning in Italy, and spreading to the rest of Europe by the 16th century, its influence affected literature, philosophy, art, politics, science, religion, and other aspects of intellectual inquiry. Renaissance scholars employed the humanist method in study, and searched for realism and human emotion in art.[13]

Renaissance thinkers sought out in Europe's monastic libraries and the crumbling Byzantine Empire the literary, historical, and oratorical texts of antiquity, typically written in Latin or ancient Greek, many of which had fallen into obscurity. It is in their new focus on literary and historical texts that Renaissance scholars differed so markedly from the medieval scholars of the Renaissance of the 12th century, who had focused on studying Greek and Arabic works of natural sciences, philosophy and mathematics, rather than on such cultural texts. Renaissance humanists did not reject Christianity; quite the contrary, many of the Renaissance's greatest works were devoted to it, and the Church patronized many works of Renaissance art. However, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life.[14] In addition, many Greek Christian works, including the Greek New Testament, were brought back from Byzantium to Western Europe and engaged Western scholars for the first time since late antiquity. This new engagement with Greek Christian works, and particularly the return to the original Greek of the New Testament promoted by humanists Lorenzo Valla and Erasmus, would help pave the way for the Protestant Reformation.

Artists such as Masaccio strove to portray the human form realistically, developing techniques to render perspective and light more naturally. Political philosophers, most famously Niccolò Machiavelli, sought to describe political life as it really was, that is to understand it rationally. A critical contribution to Italian Renaissance humanism Pico della Mirandola wrote the famous text "De hominis dignitate" (Oration on the Dignity of Man, 1486), which consists of a series of theses on philosophy, natural thought, faith and magic defended against any opponent on the grounds of reason. In addition to studying classical Latin and Greek, Renaissance authors also began increasingly to use vernacular languages; combined with the introduction of printing, this would allow many more people access to books, especially the Bible.[15]

In all, the Renaissance could be viewed as an attempt by intellectuals to study and improve the secular and worldly, both through the revival of ideas from antiquity, and through novel approaches to thought. Some scholars, such as Rodney Stark,[16] play down the Renaissance in favor of the earlier innovations of the Italian city states in the High Middle Ages, which married responsive government, Christianity and the birth of capitalism. This analysis argues that, whereas the great European states (France and Spain) were absolutist monarchies, and others were under direct Church control, the independent city republics of Italy took over the principles of capitalism invented on monastic estates and set off a vast unprecedented commercial revolution which preceded and financed the Renaissance.


Most historians agree that the ideas that characterized the Renaissance had their origin in late 13th century Florence, in particular with the writings of Dante Alighieri (1265–1321) and Francesco Petrarca (1304–1374), as well as the painting of Giotto di Bondone (1267–1337).[17] Some writers date the Renaissance quite precisely; one proposed starting point is 1401, when the rival geniuses Lorenzo Ghiberti and Filippo Brunelleschi competed for the contract to build the bronze doors for the Baptistery of the Florence Cathedral (Ghiberti won).[18] Others see more general competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, and why it began when it did. Accordingly, several theories have been put forward to explain its origins.

During Renaissance, money and art went hand in hand. Artists depended totally on patrons while the patrons needed money to sustain genuises. Wealth was brought to Italy in 14th, 15th and 16th century by expanding trade into Asia and Europe. Silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought during Crusades made the prosperity of Genoa and Venice. [19]


Latin and Greek Phases of Renaissance humanism

In stark contrast to the High Middle Ages, when Latin scholars focused almost entirely on studying Greek and Arabic works of natural science, philosophy and mathematics,[20] Renaissance scholars were most interested in recovering and studying Latin and Greek literary, historical, and oratorical texts. Broadly speaking, this began in the fourteenth century with a Latin phase, when Renaissance scholars such as Petrarch, Coluccio Salutati (1331–1406), Niccolò de' Niccoli (1364–1437) and Poggio Bracciolini (1380–1459 AD) scoured the libraries of Europe in search of works by such Latin authors as Cicero, Livy and Seneca.[21] By the early fifteenth century, the bulk of such Latin literature had been recovered; the Greek phase of Renaissance humanism was now under way, as Western European scholars turned to recovering ancient Greek literary, historical, oratorical and theological texts.[22]

Demetrius Chalcondyles (14241511) was a Renaissance teacher of Greek and of Platonic philosophy who taught in Italy for over forty years;[23] at Padua, Perugia, Milan and Florence.[24]

Unlike the case of Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. Ancient Greek works on science, maths and philosophy had been studied since the High Middle Ages in Western Europe and in the medieval Islamic world, but Greek literary, oratorical and historical works, (such as Homer, the Greek dramatists, Demosthenes and Thucydides and so forth), were not studied in either the Latin or medieval Islamic worlds; in the Middle Ages these sorts of texts were only studied by Byzantine scholars. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity. This movement to reintegrate the regular study of Greek literary, historical, oratorical and theological texts back into the Western European curriculum is usually dated to Coluccio Salutati's invitation to the Byzantine diplomat and scholar Manuel Chrysoloras (c.1355–1415) to Florence to teach Greek,[25] his knowledge of the Greek language was of significant importance. Another Greek Byzantine scholar of importance was Demetrius Chalcondyles (14241511) who taught Platonic philosophy and the Greek language in Italy for a period of over forty years; at Padua[26], Perugia[27], Milan and Florence.[24] Among his pupils were Johann Reuchlin, Janus Lascaris, Poliziano, Leo X, Baldassare Castiglione[28], Giglio Gregorio Giraldi, Stefano Negri, and Giovanni Maria Cattaneo.[29][30]

The fall of the Byzantine Empire in 1453, accompanied by the closure of its schools of higher learning by the Ottoman Turks, brought many other Greek scholars to Italy and beyond, who brought with them Greek manuscripts, and knowledge of the classical Greek literature, some of which had been lost for centuries in the West.[31]

Social and political structures in Italy

A political map of the Italian Peninsula circa 1494

The unique political structures of late Middle Ages Italy have led some to theorize that its unusual social climate allowed the emergence of a rare cultural efflorescence. Italy did not exist as a political entity in the early modern period. Instead, it was divided into smaller city states and territories: the Kingdom of Naples controlled the south, the Republic of Florence and the Papal States at the center, the Genoese and the Milanese to the north and west respectively, and the Venetians to the east. Fifteenth-century Italy was one of the most urbanised areas in Europe.[32] Many of its cities stood among the ruins of ancient Roman buildings; it seems likely that the classical nature of the Renaissance was linked to its origin in the Roman Empire's heartland.[33]

Historian and political philosopher Quentin Skinner points out that Otto of Freising (c. 1114 - 1158) , a German bishop visiting north Italy during the 12th century, noticed a widespread new form of political and social organisation, observing that Italy appeared to have exited from Feudalism so that its society was based on merchants and commerce. Linked to this was anti-monarchical thinking, represented in the famous early Renaissance fresco cycle Allegory of Good and Bad Government in Siena by Ambrogio Lorenzetti (painted 1338–1340) whose strong message is about the virtues of fairness, justice, republicanism and good administration. Holding both Church and Empire at bay, these city republics were devoted to notions of liberty. Skinner reports that there were many defences of liberty such as Matteo Palmieri’s (1406–1475) celebration of Florentine genius not only in art, sculpture and architecture, but “the remarkable efflorescence of moral, social and political philosophy that occurred in Florence at the same time”.[34]

Even cities and states beyond central Italy, such as the Republic of Florence at this time, were also notable for their merchant Republics, especially the Republic of Venice. Although in practice these were oligarchical, and bore little resemblance to a modern democracy, they did have democratic features and were responsive states, with forms of participation in governance and belief in liberty.[35][36][37] The relative political freedom they afforded was conducive to academic and artistic advancement.[38] Likewise, the position of Italian cities such as Venice as great trading centres made them intellectual crossroads. Merchants brought with them ideas from far corners of the globe, particularly the Levant. Venice was Europe's gateway to trade with the East, and a producer of fine glass, while Florence was a capital of textiles. The wealth such business brought to Italy meant large public and private artistic projects could be commissioned and individuals had more leisure time for study.[38]

Black Death

One theory that has been advanced is that the devastation caused by the Black Death in Florence, which hit Europe between 1348 and 1350, resulted in a shift in the world view of people in 14th-century Italy. Italy was particularly badly hit by the plague, and it has been speculated that the familiarity with death that this brought caused thinkers to dwell more on their lives on Earth, rather than on spirituality and the afterlife.[39] It has also been argued that the Black Death prompted a new wave of piety, manifested in the sponsorship of religious works of art.[40] However, this does not fully explain why the Renaissance occurred specifically in Italy in the 14th century. The Black Death was a pandemic that affected all of Europe in the ways described, not only Italy. The Renaissance's emergence in Italy was most likely the result of the complex interaction of the above factors.[9]

In the wake of the black death, reduced population left work-forces depleted: this tended, throughout Europe, to give workers more bargaining power, particularly skilled workers. This led to a shift of power away from rulers and towards workers and merchants, particularly in smaller states (such as composed Italy at the time). Thus, regardless of its spiritual and psychic impact, the plague's economic (and consequent political) legacy may have helped set the scene for the Renaissance.

Cultural conditions in Florence

Lorenzo de' Medici, ruler of Florence and patron of arts

It has long been a matter of debate why the Renaissance began in Florence, and not elsewhere in Italy. Scholars have noted several features unique to Florentine cultural life which may have caused such a cultural movement. Many have emphasized the role played by the Medici, a banking family and later ducal ruling house, in patronizing and stimulating the arts. Lorenzo de' Medici (1449–1492) was the catalyst for an enormous amount of arts patronage, encouraging his countryman to commission works from Florence's leading artists, including Leonardo da Vinci, Sandro Botticelli, and Michelangelo Buonarroti.[5]

The Renaissance was certainly underway before Lorenzo came to power; indeed, before the Medici family itself achieved hegemony in Florentine society. Some historians have postulated that Florence was the birthplace of the Renaissance as a result of luck, i.e. because "Great Men" were born there by chance.[41] Da Vinci, Botticelli and Michelangelo were all born in Tuscany. Arguing that such chance seems improbable, other historians have contended that these "Great Men" were only able to rise to prominence because of the prevailing cultural conditions at the time.[42]



In some ways Humanism was not a philosophy per se, but rather a method of learning. In contrast to the medieval scholastic mode, which focused on resolving contradictions between authors, humanists would study ancient texts in the original, and appraise them through a combination of reasoning and empirical evidence. Humanist education was based on the programme of 'Studia Humanitatis', that being the study of five humanities: poetry, grammar, history, moral philosophy and rhetoric. Although historians have sometimes struggled to define humanism precisely, most have settled on "a middle of the road definition... the movement to recover, interpret, and assimilate the language, literature, learning and values of ancient Greece and Rome".[43] Above all, humanists asserted "the genius of man ... the unique and extraordinary ability of the human mind."[44]

Humanist scholars shaped the intellectual landscape throughout the early modern period. Political philosophers such as Niccolò Machiavelli and Thomas More (1478–1535) revived the ideas of Greek and Roman thinkers, and applied them in critiques of contemporary government. Machiavelli's contribution, in the view of Isaiah Berlin, was a decisive break in western political thought allocating a unique reasoning to politics and faith and perhaps making him the father of the social sciences. Pico della Mirandola who lived to only twenty-three years wrote what is often considered the manifesto of the Renaissance, a vibrant defence of thinking, the Oration on the Dignity of Man. Matteo Palmieri (1406–1475), another humanist, is most known for his work Della vita civile ("On Civic Life"; printed 1528) which advocated civic humanism, and his influence in refining the Tuscan vernacular to the same level as Latin. Palmieri's written works drawn on Roman philosophers and theorists, especially Cicero, who, like Palmieri, lived an active public life as a citizen and official, as well as a theorist and philosopher and also Quintilian. Strongly committed to a deep and broad education Palmieri believed this would dispose people to public engagement and enhance the human capacity to do good deeds and contribute to the community. Although holding public office between 1432 and 1475 he is best remembered for these writings extolling the ideal of humanism as combination of learning with civic or political action. Possibly the most succinct expression of his perspective on humanism is in a 1465 poetic work La città di vita, but an earlier work Della vita civile (On Civic Life) is more wide-ranging. Composed as a series of dialogues set in a country house in the Mugello countryside outside Florence during the plague of 1430, Palmieri expounds on the qualities of the ideal citizen. The dialogues concern how children develop mentally and physically, how citizens can conduct themselves morally, how citizens and states can ensure probity in public life, and an important debate on the difference between that which is pragmatically useful and that which is honest.


One of the distinguishing features of Renaissance art was its development of highly realistic linear perspective. Giotto di Bondone (1267–1337) is credited with first treating a painting as a window into space, but it was not until the demonstrations of architect Filippo Brunelleschi (1377–1446) and the subsequent writings of Leon Battista Alberti (1404–1472) that perspective was formalized as an artistic technique.[45] The development of perspective was part of a wider trend towards realism in the arts.[46] To that end, painters also developed other techniques, studying light, shadow, and, famously in the case of Leonardo da Vinci, human anatomy. Underlying these changes in artistic method, was a renewed desire to depict the beauty of nature, and to unravel the axioms of aesthetics, with the works of Leonardo, Michelangelo and Raphael representing artistic pinnacles that were to be much imitated by other artists.[47] Other notable artists include Sandro Botticelli, working for the Medici in Florence, Donatello another Florentine and Titian in Venice, among others.

Concurrently, in the Netherlands, a particularly vibrant artistic culture developed, the work of Hugo van der Goes and Jan van Eyck having particular influence on the development of painting in Italy, both technically with the introduction of oil paint and canvas, and stylistically in terms of naturalism in representation. (For more, see Renaissance in the Netherlands). Later, the work of Pieter Brueghel the Elder would inspire artists to depict themes of everyday life.[48]

Leonardo da Vinci's Mona Lisa, The Last Supper and Vitruvian Man are examples of renaissance art

In architecture, Filippo Brunelleschi was foremost in studying the remains of ancient classical buildings, and with rediscovered knowledge from the 1st-century writer Vitruvius and the flourishing discipline of mathematics, formulated the Renaissance style which emulated and improved on classical forms. Brunelleschi's major feat of engineering was the building of the dome of Florence Cathedral.[49] The first building to demonstrate this is claimed to be the church of St. Andrew built by Alberti in Mantua. The outstanding architectural work of the High Renaissance was the rebuilding of St. Peter's Basilica, combining the skills of Bramante, Michelangelo, Raphael, Sangallo and Maderno.

Monalisa by Leonardo da Vinci is the master piece of renaissance and world art

The Roman orders types of columns are used: Tuscan, Doric, Ionic, Corinthian and Composite. These can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421–1440) by Filippo Brunelleschi.[50]

Arches, semi-circular or (in the Mannerist style) segmental, are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental. Renaissance vaults do not have ribs. They are semi-circular or segmental and on a square plan, unlike the Gothic vault which is frequently rectangular.


The upheavals occurring in the arts and humanities were mirrored by a dynamic period of change in the sciences. Some have seen this flurry of activity as a "scientific revolution", heralding the beginning of the modern age.[51] Others have seen it merely as an acceleration of a continuous process stretching from the ancient world to the present day.[52] Regardless, there is general agreement that the Renaissance saw significant changes in the way the universe was viewed and the methods with which philosophers sought to explain natural phenomena.[53]

Galileo Galilei. Portrait in crayon by Leoni

Science and art were very much intermingled in the early Renaissance, with artists such as Leonardo da Vinci making observational drawings of anatomy and nature. An exhaustive 2007 study by Fritjof Capra [54] shows that Leonardo was a much greater scientist than previously thought, and not just an inventor. In science theory and in conducting actual science practice, Leonardo was innovative. He set up controlled experiments in water flow, medical dissection, and systematic study of movement and aerodynamics; he devised principles of research method that for Capra classify him as “father of modern science”. In Capra's detailed assessment of many surviving manuscripts Leonardo's science is more in tune with holistic non-mechanistic and non-reductive approaches to science which are becoming popular today. Perhaps the most significant development of the era was not a specific discovery, but rather a process for discovery, the scientific method.[53] This revolutionary new way of learning about the world focused on empirical evidence, the importance of mathematics, and discarding the Aristotelian "final cause" in favor of a mechanical philosophy. Early and influential proponents of these ideas included Copernicus and Galileo. In his 1991 survey of these developments, Charles Van Doren [55] considers that the Copernican revolution really is the Galilean cartesian (René Descartes) revolution, on account of the nature of the courage and depth of change their work brought about.

The new scientific method led to great contributions in the fields of astronomy, physics, biology, and anatomy. With the publication of Vesalius's De humani corporis fabrica, a new confidence was placed in the role of dissection, observation, and a mechanistic view of anatomy.[53]


The new ideals of humanism, although more secular in some aspects, developed against a Christian backdrop, especially in the Northern Renaissance. Indeed, much (if not most) of the new art was commissioned by or in dedication to the Church.[14] However, the Renaissance had a profound effect on contemporary theology, particularly in the way people perceived the relationship between man and God.[14] Many of the period's foremost theologians were followers of the humanist method, including Erasmus, Zwingli, Thomas More, Martin Luther, and John Calvin.

Alexander VI, a Borgia Pope infamous for his corruption

The Renaissance began in times of religious turmoil. The late Middle Ages saw a period of political intrigue surrounding the Papacy, culminating in the Western Schism, in which three men simultaneously claimed to be true Bishop of Rome.[56] While the schism was resolved by the Council of Constance (1414), the 15th century saw a resulting reform movement know as Conciliarism, which sought to limit the pope's power. 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 illegitimate children whilst Pope, whom he married off to gain more power.[57]

Churchmen such as Erasmus and Luther proposed reform to the Church, often based on humanist textual criticism of the New Testament.[14] Indeed, it was Luther who in October 1517 published the 95 Theses, challenging papal authority and criticizing its perceived corruption, particularly with regard to its sale of indulgences. The 95 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.


By the 15th century, writers, artists and architects in Italy were well aware of the transformations that were taking place and were using phrases like modi antichi (in the antique manner) or alle romana et alla antica (in the manner of the Romans and the ancients) to describe their work. The term la rinascita first appeared, however, in its broad sense in Giorgio Vasari's Vite de' più eccellenti architetti, pittori, et scultori Italiani (The Lives of the Artists, 1550, revised 1568).[58][59] Vasari divides the age into three phases: the first phase contains Cimabue, Giotto, and Arnolfo di Cambio; the second phase contains Masaccio, Brunelleschi, and Donatello; the third centers on Leonardo da Vinci and culminates with Michelangelo. It was not just the growing awareness of classical antiquity that drove this development, according to Vasari, but also the growing desire to study and imitate nature.[60]


In the 15th century, the Renaissance spread with great speed from its birthplace in Florence, first to the rest of Italy, and soon to the rest of Europe. The invention of the printing press allowed the rapid transmission of these new ideas. As it spread, its ideas diversified and changed, being adapted to local culture. In the 20th century, scholars began to break the Renaissance into regional and national movements.

Northern Europe

The Renaissance as it occurred in Northern Europe has been termed the "Northern Renaissance".


The Renaissance style came directly from Italy during the Quattrocento to Hungary first in the Central European region, thanks to the development of early Hungarian-Italian relationships – not only in dynastic connections, but also in cultural, humanistic and commercial relations – growing in strength from the 1300s. Italian architectural influence became stronger in the reign of Zsigmond thanks to the church foundations of the Florentine Scolaries and the castle constructions of Pipo of Ozora. The relationship between Hungarian and Italian Gothic styles was a second reason – exaggerated breakthrough of walls is avoided, preferring clean and light structures. The new Italian trend combined with existing national traditions to create a particular local Renaissance art. Acceptance of Renaissance art was furthered by the continuous arrival of humanist thought in the country. Many young Hungarians studying at Italian universities came closer to the Florentine humanist center, so a direct connection with Florence evolved. The growing number of Italian traders moving to Hungary, specially to Buda, helped this process. New thoughts were carried by the humanist prelates, among them Vitéz János, archbishop of Esztergom, one of the founders of Hungarian humanism.[61] After the marriage in 1476 of Matthias Corvinus (King of Hungary from 1458–1490) to Beatrice of Naples, Buda became one of the most important artistic centres of the Renaissance north of the Alps.[62] The most important humanists living in Matthias' court were Antonio Bonfini and the famous Hungarian poet Janus Pannonius.[62] Matthias Corvinus's library, the Bibliotheca Corviniana, was Europe's greatest collections of secular books: historical chronicles, philosophic and scientific works in the fifteenth century. His library was second only in size to the Vatican Library. (However, the Vatican Library mainly contained Bibles and religious materials.)[63] In 1489, Bartolomeo della Fonte of Florence wrote that Lorenzo de Medici founded his own Greek-Latin library encouraged by the example of the Hungarian king. Corvinus's library is part of UNESCO World Heritage.[64] Other important figures of Hungarian Renaissance: Bálint Balassi (poet) , Sebestyén Tinódi Lantos (poet), Bálint Bakfark (composer and lutenist)


Poznań City Hall rebuilt from the Gothic style by Giovanni Batista di Quadro (1550–1555)

An early Italian humanist who came to Poland in the mid-15th century was Filip Callimachus. Many Italian artists came to Poland with Bona Sforza of Milan, when she married King Zygmunt I of Poland in 1518.[65] This was supported by temporarily strengthened monarchies in both areas, as well as by newly-established universities.[66]


In the second half of the 15th century, the spirit of the age spread to Germany and the Low Countries, where the development of the printing press (ca. 1450) and early Renaissance artists like the painters Jan van Eyck (1395–1441) and Hieronymus Bosch (1450–1516) and the composers Johannes Ockeghem (1410–1497), Jacob Obrecht (1457–1505) and Josquin des Prez (1455–1521), predated the influence from Italy. In the early Protestant areas of the country humanism became closely linked to the turmoil of the Protestant Reformation, and the art and writing of the German Renaissance frequently reflected this dispute.[67] However, the gothic style and medieval scholastic philosophy remained exclusively until the turn of the 16th century. Emperor Maximilian I (Ruling:1493-1519) was the first truly Renaissance monarch of the Holy Roman Empire.


In 1495 the Italian Renaissance arrived in France, imported by King Charles VIII after his invasion of Italy. A factor that promoted the spread of secularism was the Church's inability to offer assistance against the Black Death. Francis I imported Italian art and artists, including Leonardo da Vinci, and built ornate palaces at great expense. Writers such as François Rabelais, Pierre de Ronsard, Joachim du Bellay and Michel de Montaigne, painters such as Jean Clouet and musicians such as Jean Mouton also borrowed from the spirit of the Italian Renaissance.

In 1533, a fourteen-year old Caterina de' Medici, (1519–1589) born in Florence to Lorenzo II de' Medici and Madeleine de la Tour d'Auvergne married Henry, second son of King Francis I and Queen Claude. Though she became famous and infamous for her role in France's religious wars, she made a direct contribution in bringing arts, sciences and music (including the origins of ballet) to the French court from her native Florence.


"What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving, how express and admirable in action, how like an angel in apprehension, how like a god!" — from William Shakespeare's Hamlet.

In England, the Elizabethan era marked the beginning of the English Renaissance with the work of writers William Shakespeare, Christopher Marlowe, Edmund Spenser, Sir Thomas More, Francis Bacon, Sir Philip Sidney, John Milton, as well as great artists, architects (such as Inigo Jones who introduced Italianate architecture to England), and composers such as Thomas Tallis, John Taverner, and William Byrd.

Southern Europe


While Renaissance ideas were moving north from Italy, there was a simultaneous southward spread of some areas of innovation, particularly in music.[68] The music of the 15th century Burgundian School defined the beginning of the Renaissance in that art and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of what was the first true international style in music since the standardization of Gregorian Chant in the 9th century.[68] The culmination of the Netherlandish school was in the music of the Italian composer, Palestrina. At the end of the 16th century Italy again became a center of musical innovation, with the development of the polychoral style of the Venetian School, which spread northward into Germany around 1600.

The paintings of the Italian Renaissance differed from those of the Northern Renaissance. Italian Renaissance artists were among the first to paint secular scenes, breaking away from the purely religious art of medieval painters. At first, Northern Renaissance artists remained focused on religious subjects, such as the contemporary religious upheaval portrayed by Albrecht Dürer. Later on, the works of Pieter Bruegel influenced artists to paint scenes of daily life rather than religious or classical themes. It was also during the northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil painting technique, which enabled artists to produce strong colors on a hard surface that could survive for centuries.[69] A feature of the Northern Renaissance was its use of the vernacular in place of Latin or Greek, which allowed greater freedom of expression. This movement had started in Italy with the decisive influence of Dante Alighieri on the development of vernacular languages; in fact the focus on writing in Italian has neglected a major source of Florentine ideas expressed in Latin.[70] The spread of the technology of the German invention of movable type printing boosted the Renaissance, in Northern Europe as elsewhere; with Venice becoming a world center of printing.


The Renaissance arrived in the Iberian peninsula through the Mediterranean possessions of the Aragonese Crown and the city of Valencia. Indeed, many of the early Spanish Renaissance writers come from the Kingdom of Aragon, including Ausiàs March and Joanot Martorell. In the Kingdom of Castile, the early Renaissance was heavily influenced by the Italian humanism, starting with writers and poets starting with the Marquis of Santillana, who introduced the new Italian poetry to Spain in the early 15th century. Other writers, such as Jorge Manrique, Fernando de Rojas, Juan del Encina, Juan Boscán Almogáver and Garcilaso de la Vega, kept a close resemblance to the Italian canon. Miguel de Cervantes's masterpiece Don Quixote is credited as the first Western novel. Renaissance humanism flourished in the early 16th century, with influential writers such as philosopher Juan Luis Vives, grammarian Antonio de Nebrija or natural historian Pedro de Mexía.

Later Spanish Renaissance tended towards religious themes and mysticism, with poets such as fray Luis de León, Teresa of Ávila and John of the Cross, and treated issues related to the exploration of the New World, with chroniclers and writers such as Inca Garcilaso de la Vega or Bartolomé de las Casas, giving rise to a body of work, now known as Spanish Renaissance literature. The late Renaissance in Spain also saw the rise of artists such as El Greco, and composers such as Tomás Luis de Victoria and Antonio de Cabezón.


In Portugal, the Renaissance arrived through the influence of the wealthy Italian merchants that started investing their money in the profitable Indian commerce that Portugal had monopolized during the late 15th century. Lisbon flourished, and writers such as Gil Vicente, Sá de Miranda, Bernardim Ribeiro and Luís de Camões and artists such as Nuno Gonçalves appeared.



The term was first used retrospectively by the Italian artist and critic Giorgio Vasari (1511–1574) in his book The Lives of the Artists (published 1550). In the book Vasari was attempting to define what he described as a break with the barbarities of gothic art: the arts had fallen into decay with the collapse of the Roman Empire and only the Tuscan artists, beginning with Cimabue (1240–1301) and Giotto (1267–1337) began to reverse this decline in the arts. According to Vasari, antique art was central to the rebirth of Italian art.[71]

However, it was not until the nineteenth century that the French word Renaissance achieved popularity in describing the cultural movement that began in the late-13th century. The Renaissance was first defined by French historian Jules Michelet (1798–1874), in his 1855 work, Histoire de France. For Michelet, the Renaissance was more a development in science than in art and culture. He asserted that it spanned the period from Columbus to Copernicus to Galileo; that is, from the end of the 15th century to the middle of the seventeenth century.[72] Moreover, Michelet distinguished between what he called, "the bizarre and monstrous" quality of the Middle Ages and the democratic values that he, as a vocal Republican, chose to see in its character.[9] A French nationalist, Michelet also sought to claim the Renaissance as a French movement.[9]

The Swiss historian Jacob Burckhardt (1818–1897) in his Die Cultur der Renaissance in Italien (1860), by contrast, defined the Renaissance as the period between Giotto and Michelangelo in Italy, that is, the 14th to mid-16th centuries. He saw in the Renaissance the emergence of the modern spirit of individuality, which had been stifled in the Middle Ages.[73] His book was widely read and was influential in the development of the modern interpretation of the Italian Renaissance.[74] However, Buckhardt has been accused of setting forth a linear Whiggish view of history in seeing the Renaissance as the origin of the modern world.[11]

More recently, historians have been much less keen to define the Renaissance as a historical age, or even a coherent cultural movement. As Randolph Starn has put it,

Rather than a period with definitive beginnings and endings and consistent content in between, the Renaissance can be (and occasionally has been) seen as a movement of practices and ideas to which specific groups and identifiable persons variously responded in different times and places. It would be in this sense a network of diverse, sometimes converging, sometimes conflicting cultures, not a single, time-bound culture.[11]
—Randolph Starn

For better or for worse?

Much of the debate around the Renaissance has centered around whether the Renaissance truly was an "improvement" on the culture of the Middle Ages. Both Michelet and Burckhardt were keen to describe the progress made in the Renaissance towards the "modern age". Burckhardt likened the change to a veil being removed from man's eyes, allowing him to see clearly.[41]

In the Middle Ages both sides of human consciousness – that which was turned within as that which was turned without – lay dreaming or half awake beneath a common veil. The veil was woven of faith, illusion, and childish prepossession, through which the world and history were seen clad in strange hues.[75]

—Jacob Burckhardt, The Civilization of the Renaissance in Italy

On the other hand, many historians now point out that most of the negative social factors popularly associated with the "medieval" period – poverty, warfare, religious and political persecution, for example – seem to have worsened in this era which saw the rise of Machiavelli, the Wars of Religion, the corrupt Borgia Popes, and the intensified witch-hunts of the 16th century. Many people who lived during the Renaissance did not view it as the "golden age" imagined by certain 19th-century authors, but were concerned by these social maladies.[76] Significantly, though, the artists, writers, and patrons involved in the cultural movements in question believed they were living in a new era that was a clean break from the Middle Ages.[58] Some Marxist historians prefer to describe the Renaissance in material terms, holding the view that the changes in art, literature, and philosophy were part of a general economic trend away from feudalism towards capitalism, resulting in a bourgeois class with leisure time to devote to the arts.[77]

Johan Huizinga (1872–1945) acknowledged the existence of the Renaissance but questioned whether it was a positive change. In his book The Waning of the Middle Ages, he argued that the Renaissance was a period of decline from the High Middle Ages, destroying much that was important.[10] The Latin language, for instance, had evolved greatly from the classical period and was still a living language used in the church and elsewhere. The Renaissance obsession with classical purity halted its further evolution and saw Latin revert to its classical form. Robert S. Lopez has contended that it was a period of deep economic recession.[78] Meanwhile George Sarton and Lynn Thorndike have both argued that scientific progress was perhaps less original than has traditionally been supposed.[79]

Some historians have begun to consider the word Renaissance to be unnecessarily loaded, implying an unambiguously positive rebirth from the supposedly more primitive "Dark Ages" (Middle Ages). Many historians now prefer to use the term "Early Modern" for this period, a more neutral designation that highlights the period as a transitional one between the Middle Ages and the modern era.[80] Others such as Roger Osborne have come to consider the Italian Renaissance as a repository of the myths and ideals of western history in general, and instead of rebirth of ancient ideas as a period of great innovation [81]

Other Renaissances

The term Renaissance has also been used to define time periods outside of the 15th and 16th centuries. Charles H. Haskins (1870–1937), for example, made a case for a Renaissance of the 12th century.[82] Other historians have argued for a Carolingian Renaissance in the 8th and 9th centuries, and still later for an Ottonian Renaissance in the 10th century.[83] Other periods of cultural rebirth have also been termed "renaissances", such as the Bengal Renaissance or the Harlem Renaissance.

See also


  • Brotton, Jerry. The Renaissance: A Very Short Introduction (2006) excerpt and text search
  • Burckhardt, Jacob The Civilization of the Renaissance in Italy (1860), a famous classic; excerpt and text search 2007 edition; also complete text online
  • Burke, P, The European Renaissance: Centre and Peripheries ISBN 0-631-19845-8
  • Cronin, Vincent (1967), The Florentine Renaissance ISBN 0002112620
    • ------------------(1969), The Flowering of the Renaissance, ISBN 0712698841
    • ------------------(1992), The Renaissance, ISBN 0002154110
  • Cambridge Modern History, Vol. 1. The Renaissance (1903), older atticles by scholars complete text online
  • Campbell, Gordon. The Oxford Dictionary of the Renaissance. (2003). 862 pp. online at OUP
  • Ergang, Robert (1967), The Renaissance, ISBN 0-442-02319-7
  • Ferguson, Wallace K. (1962), Europe in Transition, 1300–1500, ISBN 0-04-940008-8
  • Fletcher, Stella. The Longman Companion to Renaissance Europe, 1390-1530. (2000). 347 pp.
  • Grendler, Paul F., ed. The Renaissance: An Encyclopedia for Students. (2003). 970 pp.
  • Grendler, Paul F. "The Future of Sixteenth Century Studies: Renaissance and Reformation Scholarship in the Next Forty Years," Sixteenth Century Journal Spring 2009, Vol. 40 Issue 1, pp 182+
  • Hale, John. The Civilization of Europe in the Renaissance. (1994). 648 pp.; a magistral survey, heavily illustrated excerpt and text search
  • Hall, Bert S. Weapons and Warfare in Renaissance Europe: Gunpowder, Technology, and Tactics (2001) excerpt and text search
  • Haskins, Charles Homer (1927), The Renaissance of the Twelfth Century, ISBN 0-674-76075-1
  • Hattaway, Michael, ed. A Companion to English Renaissance Literature and Culture. (2000). 747 pp.
  • Huizinga, Johan (1924), The Waning of the Middle Ages, republished in 1990 ISBN 0-14-013702-5
  • Jensen, De Lamar (1992), Renaissance Europe, ISBN 0-395-88947-2
  • Johnson, Paul. The Renaissance: A Short History. (2000). 197 pp. excerpt and text search
  • King, Margaret L. Women of the Renaissance (1991) excerpt and text search
  • Kristeller, Paul Oskar, and Michael Mooney. Renaissance Thought and its Sources (1979) excerpt and text search
  • Lopez, Robert S. (1952), Hard Times and Investment in Culture
  • Nauert, Charles G. Historical Dictionary of the Renaissance. (2004). 541 pp.
  • Patrick, James A., ed. Renaissance and Reformation (5 vol 2007), 1584 pages; comprehensive encyclopedia
  • Plumb, J. H. The Italian Renaissance (2001) excerpt and text search
  • Robin, Diana; Larsen, Anne R.; and Levin, Carole, eds. Encyclopedia of Women in the Renaissance: Italy, France, and England (2007) 459p.
  • Rowse, A. L. The Elizabethan Renaissance: The Life of the Society (2000) excerpt and text search
  • Ruggiero, Guido, ed. A Companion to the Worlds of the Renaissance. (2002). 561 pp.
  • Rundle, David, ed. The Hutchinson Encyclopedia of the Renaissance. (1999). 434 pp.; numerous brief articles online edition
  • Speake, Jennifer and Thomas G. Bergin, eds. Encyclopedia of the Renaissance and the Reformation. (2004). 550 pp.
  • Starn, Randolph. "A Postmodern Renaissance?" Renaissance Quarterly 2007 60(1): 1-24
  • Stephens, John, The Italian Renaissance: The Origins of Intellectual and Artistic Change before the Renaissance ISBN 0-582-49337-4
  • Strathern, Paul (2003), The Medici: Godfathers of the Renaissance, ISBN 1844130983
  • Thorndike, Lynn (1943) 'Renaissance or Prenaissance?' in "Some Remarks on the Question of the Originality of the Renaissance", Journal of the History of Ideas Vol. 4, No. 1, Jan. 1943
  • Trivellato, Francesca. "Renaissance Italy and the Muslim Mediterranean in Recent Historical Work," Journal of Modern History (March 2010), Vol. 82, No. 1: 127-155.
  • Turner, Richard N. Renaissance Florence (2005) excerpt and text search
  • Ward, A. The Cambridge Modern History. Vol 1: The Renaissance (1902)
  • Weiss, Roberto (1969) The Renaissance Discovery of Classical Antiquity, ISBN 1-597-40150-1
  • Werkmeister, William H. [editor] (1959). Facets of the Renaissance. Los Angeles: University of Southern California Press. 

Primary sources


  1. ^ "Renaissance, Online Etymology Dictionary". Retrieved 2009-07-31. 
  2. ^ BBC Science & Nature, Leonardo da Vinci Retrieved on May 12, 2007
  3. ^ BBC History, Michelangelo Retrieved on May 12, 2007
  4. ^ Burke, P., The European Renaissance: Centre and Peripheries (Blackwell, Oxford 1998)
  5. ^ a b Strathern, Paul The Medici: Godfathers of the Renaissance (2003)
  6. ^ Encyclopedia Britannica, Renaissance, 2008, O.Ed.
  7. ^ Har, Michael H. History of Libraries in the Western World, Scarecrow Press Incorporate, 1999, ISBN0810837242
  8. ^ Norwich, John Julius, A Short History of Byzantium, 1997, Knopf, ISBN0679450882
  9. ^ a b c d Brotton, J., The Renaissance: A Very Short Introduction, OUP, 2006.
  10. ^ a b Huizanga, Johan, The Waning of the Middle Ages (1919, trans. 1924)
  11. ^ a b c Starn, Randolph. "Renaissance Redux" The American Historical Review Vol.103 No.1 p.124 (Subscription required for JSTOR link)
  12. ^ The Idea of the Renaissance, Richard Hooker, Washington State University Website (Retrieved on May 2)
  13. ^ Perry, M. Humanities in the Western Tradition, Ch. 13
  14. ^ a b c d Open University, Looking at the Renaissance: Religious Context in the Renaissance (Retrieved on May 10, 2007)
  15. ^ Open University, Looking at the Renaissance: Urban economy and government (Retrieved May 15, 2007)
  16. ^ Stark, Rodney, The Victory of Reason, Random House, NY: 2005
  17. ^ See below, under "Sources".
  18. ^ Walker, Paul Robert, The Feud that sparked the Renaissance: How Brunelleschi and Ghiberti Changed the Art World, (New York, Perennial-Harper Collins, 2003)
  19. ^ Severy, Merle; Thomas b Allen, Ross Bennett, Jules B Billard, Russell Bourne, Edward Lanoutte, David F Robinson, Verla Lee Smith (1970). The Renaissance - Maker of Modern Man. National Geographic Society. ISBN 0870440918. 
  20. ^ For information on this earlier, very different approach to a different set of ancient texts (scientific texts rather than cultural texts) see Latin translations of the 12th century, and Islamic contributions to Medieval Europe.
  21. ^ L.D. Reynolds and Nigel Wilson, Scribes and Scholars: A guide to the transmission of Greek and Latin Literature Clarendon Press, Oxford, 1974, p.113-123.
  22. ^ L.D. Reynolds and Nigel G. Wilson, Scribes and scholars p. 123; 130-137.
  23. ^ Valeriano, Pierio; Gaisser, Julia Haig (1999). Pierio Valeriano on the ill fortune of learned men: a Renaissance humanist and his world. University of Michigan Press. p. 281. ISBN 0472110551, 9780472110551. "Demetrius Chalcondyles was a prominent Greek humanist. He taught Greek in Italy for over forty years." 
  24. ^ a b Bèze, Théodore de; Summers, Kirk M. (2001). A view from the Palatine: the Iuvenilia of Théodore de Bèze. Arizona Center for Medieval and Renaissance Studies. p. 442. ISBN 0866982795 9780866982795. "Demetrius Chalcondyles (1423-1511), a Greek refugee who taught Greek at Perugia, Padua, Florence, and Milan. Around 1493 he produced a Greek textbook for beginners." 
  25. ^ L.D. Reynolds and Nigel G. Wilson, Scribes and scholars, p. 119, 131.
  26. ^ "Demetrius Chalcondyles.". Retrieved 2009-09-24. "Demetrius Chalcondyles – born 1424, Athens [Greece] died 1511, Milan [Italy]. In 1447 Demetrius went to Italy, where Cardinal Bessarion became his patron. He was made professor at Padua in 1463." 
  27. ^ Cubberley, Ellwood Patterson (2008). The History of Education Volume 1. BiblioBazaar, LLC. p. 264. ISBN 0554225239, 9780554225234. "Another Greek of importance was Demetrius Chalcondyles of Athens (1424—1511), who reached Italy in 1447. In 1450 he became professor of Greek at Perugia." 
  28. ^ "Baldassare Castiglione". Retrieved 2009-12-26. "Castiglione was educated [by] Demetrius Chalcondyles." 
  29. ^ Valeriano, Pierio; Gaisser, Julia Haig (1999). Pierio Valeriano on the ill fortune of learned men: a Renaissance humanist and his world. University of Michigan Press. p. 281. ISBN 0472110551, 9780472110551. "Demetrius Chalcondyles was a prominent Greek humanist. He taught Greek in Italy for over forty years; among his pupils were Ianus Lascaris, Poliziano, Leo X, Castaglione, Giraldi, Stefano Negri, and Giovanni Maria Cattaneo." 
  30. ^ "Demetrius Chalcondyles.". Retrieved 2009-09-25. "One of his pupils at Florence was the German scholar Johann Reuchlin." 
  31. ^ History of the Renaissance, HistoryWorld (Retrieved on May 10, 2007)
  32. ^ Kirshner, Julius, Family and Marriage: A socio-legal perspective, Italy in the Age of the Renaissance: 1300–1550, ed. John M. Najemy (Oxford University Press, 2004) p.89 (Retrieved on 10-05-2007)
  33. ^ Burckhardt, Jacob, The Revival of Antiquity', The Civilization of the Renaissance in Italy (trans. by S.G.C. Middlemore, 1878)
  34. ^ Skinner, Quentin, The Foundations of Modern Political Thought, vol I: The Renaissance; vol II: The Age of Reformation, Cambridge University Press, p. 69
  35. ^ Skinner, Quentin, The Foundations of Modern Political Thought, vol I: The Renaissance; vol II: The Age of Reformation, Cambridge University Press, p. 69)
  36. ^ Stark, Rodney, The Victory of Reason, New York, Random House, 2005
  37. ^ Martin, J. and Romano, D., Venice Reconsidered, Baltimore, Johns Hopkins University, 2000
  38. ^ a b Burckhardt, Jacob, The Republics: Venice and Florence, The Civilization of the Renaissance in Italy, translated by S.G.C. Middlemore, 1878.
  39. ^ For more, see Barbara Tuchman's book, A Distant Mirror.
  40. ^ The End of Europe's Middle Ages: The Black Death University of Calgary website. (Retrieved on April 5, 2007)
  41. ^ a b Burckhardt, Jacob, The Development of the Individual, The Civilization of the Renaissance in Italy, translated by S.G.C. Middlemore, 1878.
  42. ^ Stephens, J., Individualism and the cult of creative personality, The Italian Renaissance, New York, 1990 p. 121.
  43. ^ Burke, P., The spread of Italian humanism, in The impact of humanism on western Europe, ed. A. Goodman and A. MacKay, London, 1990, p. 2.
  44. ^ As asserted by Gianozzo Manetti in On the Dignity and Excellence of Man, cited in Clare, J., Italian Renaissance.
  45. ^ Clare, John D. & Millen, Alan, Italian Renaissance, London, 1994, p. 14.
  46. ^ Stork, David G. Optics and Realism in Renaissance Art (Retrieved on May 10, 2007)
  47. ^ Vasari, Giorgio, Lives of the Artists, translated by George Bull, Penguin Classics, 1965, ISBN 0-14-044-164-6.
  48. ^ Peter Brueghel Biography, Web Gallery of Art (Retrieved on May 10, 2007)
  49. ^ Hooker, Richard, Architecture and Public Space (Retrieved on May 10, 2007)
  50. ^ Saalman, Howard (1993). Filippo Brunelleschi: The Buildings. Zwemmer. 
  51. ^ Butterfield, Herbert, The Origins of Modern Science, 1300–1800, p. viii
  52. ^ Shapin, Steven. The Scientific Revolution, Chicago: University of Chicago Press, 1996, p. 1.
  53. ^ a b c Brotton, J., "Science and Philosophy", The Renaissance: A Very Short Introduction OUP, 2006.
  54. ^ Capra, Fritjof, The Science of Leonardo; Inside the Mind of the Great Genius of the Renaissance, New York, Doubleday, 2007.
  55. ^ Van Doren, Charles, A History of Knowledge, New York, Ballantine, 1991.
  56. ^ Catholic Encyclopedia, Western Schism (Retrieved on May 10, 2007)
  57. ^ Catholic Encyclopedia, Alexander VI (Retrieved on May 10, 2007)
  58. ^ a b Panofsky, Erwin. Renaissance and Renascences in Western Art, New York: Harper and Row, 1960.
  59. ^ The Open University Guide to the Renaissance, Defining the Renaissance (Retrieved on May 10, 2007)
  60. ^ Sohm, Philip. Style in the Art Theory of Early Modern Italy (Cambridge: Cambridge University Press, 2001)
  61. ^ "the influences of the florentine renaissance in hungary". Retrieved 2009-07-31. 
  62. ^ a b Czigány, Lóránt, A History of Hungarian Literature, "The Renaissance in Hungary" (Retrieved on May 10, 2007)
  63. ^ Marcus Tanner, The Raven King: Matthias Corvinus and the Fate of his Lost Library (New Haven: Yale U.P., 2008)
  64. ^ [1]
  65. ^ (1494,%E2%80%93,1557),1958.html History of Poland on Polish Government's website (Retrieved on April 4–2007)
  66. ^ For example, the re-establishment of Jagiellonian University in 1400.
  67. ^ Review of Lewis Spitz, The Religious Renaissance of the German Humanists. Review by Gerald Strauss, English Historical Review, Vol. 80, No. 314, p.156. Available on JSTOR (subscription required).
  68. ^ a b Láng, Paul Henry. "The So Called Netherlands Schools," The Musical Quarterly, Vol. 25, No. 1. (Jan., 1939), pp. 48–59. (Subscription required for JSTOR link.)
  69. ^ Painting in Oil in the Low Countries and Its Spread to Southern Europe, Metropolitan Museum of Art website. (Retrieved April 5–2007)
  70. ^ Celenza, Christopher, (2004) The Lost Italian Renaissance: Humanists, Historians, and Latin's Legacy.Baltimore, Johns Hopkins University Press
  71. ^ "Defining the Renaissance, Open University". Retrieved 2009-07-31. 
  72. ^ Michelet, Jules. History of France, trans. G. H. Smith (New York: D. Appleton, 1847)
  73. ^ Burckhardt, Jacob. The Civilization of the Renaissance in Italy (trans. S.G.C Middlemore, London, 1878)
  74. ^ Gay, Peter, Style in History, New York: Basic Books, 1974.
  75. ^ Burckhardt, Jacob, The Civilization of the Renaissance in Italy,, retrieved August 31, 2008 
  76. ^ Savonarola's popularity is a prime example of the manifestation of such concerns. Other examples include Philip II of Spain's censorship of Florentine paintings, noted by Edward L. Goldberg, "Spanish Values and Tuscan Painting", Renaissance Quarterly (1998) p.914
  77. ^ Renaissance Forum at Hull University, Autumn 1997 (Retrieved on 10-05-2007)
  78. ^ Lopez, Robert S., and Miskimin, Harry A., The Economic Depression of the Renaissance, Economic History Review, 2nd ser., 14 (1962), pp. 408-26. Available on JSTOR (subscription required)
  79. ^ Thorndike, Lynn (1943) Renaissance or Prenaissance? in "Some Remarks on the Question of the Originality of the Renaissance", Journal of the History of Ideas Vol. 4, No. 1, Jan. 1943. Available on JSTOR (subscription required)
  80. ^ Greenblatt, S. Renaissance Self-Fashioning: From More to Shakespeare, University of Chicago Press, 1980.
  81. ^ Osborne, Roger, Civilization: a new history of the Western world, Pegasus Books, 2006.
  82. ^ Haskins, Charles Homer, The Renaissance of the Twelfth Century, Cambridge: Harvard University Press, 1927.
  83. ^ Hubert, Jean, L’Empire carolingien, (English: The Carolingian Renaissance, translated by James Emmons, New York: G. Braziller, 1970.

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1911 encyclopedia

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From LoveToKnow 1911

THE. RENAISSANCE - The "Renaissance" or "Renascence" is a term used to indicate a well-known but indefinite space of time and a certain phase in the development of Europe.' On the one hand it denotes the transition from that period of history which we call the middle ages to that which we call modern. On the other hand it implies those changes in the intellectual and moral attitude of the Western nations by which the transition was characterized. If we insist upon the literal and etymological meaning of the word, the Renaissance was a re-birth; and it is needful to inquire of what it was the re-birth. The metaphor of Renaissance may signify the entrance of the European nations upon a fresh stage of vital energy in general, implying a fuller consciousness and a freer exercise of faculties than had belonged to the medieval period. Or it may mean the resuscitation of simply intellectual activities, stimulated by the revival of antique learning and its application to the arts and literatures of modern peoples. Upon our choice between these two interpretations of the word depend important differences in any treatment of the subject. The former has the disadvantage of making it difficult to separate the Renaissance from other historical phases - the Reformation, for example - with which it ought not to be confounded. The latter has the merit of assigning a specific name to a limited series of events and group of facts, which can be distinguished for the purpose of analysis from other events and facts with which they are intimately but not indissolubly connected. In other words, the one definition of Renaissance makes it denote the whole change which came over Europe at the close of the middle ages. The other confines it to what was known by our ancestors as the Revival of Learning. Yet, when we concentrate attention on the recovery of antique culture, we become aware that this was only one phenomenon or symptom of a far wider and more comprehensive alteration in the conditions of the European races. We find it needful to retain both terms, Renaissance and Revival of Learning, and 1 For a somewhat different view of the parcelling out into such periods, see the article Middle Ages.

to show the relations between the series of events and facts which they severally imply. The Revival of Learning must be regarded as a function of that vital energy, an organ of that mental evolution, which brought into existence the modern world, with its new conceptions of philosophy and religion, its reawakened arts and sciences, its firmer grasp on the realities of human nature and the world, its manifold inventions and discoveries, its altered political systems, its expansive and progressive forces. Important as the Revival of Learning undoubtedly was, there are essential factors in the complex called the Renaissance with which it can but remotely be connected. When we analyse the whole group of phenomena which have to be considered, we perceive that some of the most essential have nothing or little to do with the recovery of the classics. These are, briefly speaking, the decay of those great fabrics, church and empire, which ruled the middle ages both as ideas and as realities; the development of nationalities and languages; the enfeeblement of the feudal system throughout Europe; the invention and application of paper, the mariner's compass, gunpowder, and printing; the exploration of continents beyond the ocean; and the substitution of the Copernican for the Ptolemaic system of astronomy. Europe in fact had been prepared for a thoroughgoing metamorphosis before that new ideal of human life and culture which the Revival of Learning brought to light had been made manifest. It had recovered from the confusion consequent upon the dissolution of the ancient Roman empire. The Teutonic tribes had been Christianized, civilized and assimilated to the previously Latinized races over whom they exercised the authority of conquerors. Comparative tranquillity and material comfort had succeeded to discord and rough living. Modern nationalities, defined as separate factors in a common system, were ready to co-operate upon the basis of European federation. The ideas of universal monarchy and of indivisible Christendom, incorporated in the Holy Roman Empire and the Roman Church, had so far lost their hold that scope was offered for the introduction of new theories both of state and church which would have seemed visionary or impious to the medieval mind. It is therefore obvious that some term, wider than Revival of Learning, descriptive of the change which began to pass over Europe in the 14th and 15th centuries, has to be adopted. That of Renaissance, Rinascimento, or Renascence is sufficient for the purpose, though we have to guard against the tyranny of what is after all a metaphor. We must not suffer it to lead us into rhetoric about the deadness and the darkness of the middle ages, or hamper our inquiry with preconceived assumptions that the re-birth in question was in any true sense a return to the irrecoverable pagan past. Nor must we imagine that there was any abrupt break with the middle ages. On the contrary, the Renaissance was rather the last stage of the middle ages, emerging from ecclesiastical and feudal despotism, developing what was original in medieval ideas by the light of classic arts and letters, holding in itself the promise of the modern world. It was therefore a period and a process of transition, fusion, preparation, tentative endeavour. And just at this point the real importance of the Revival of Learning may be indicated. That rediscovery of the classic past restored the confidence in their own faculties to men striving after spiritual freedom; revealed the continuity of history and the identity of human nature in spite of diverse creeds and different customs; held up for emulation masterworks of literature, philosophy and art; provoked inquiry; encouraged criticism; shattered the narrow mental barriers imposed by medieval orthodoxy. Humanism, a word which will often recur in the ensuing paragraphs, denotes a specific bias which the forces liberated in the Renaissance took from contact with the ancient world, - the particular form assumed by human self-esteem at that epoch, - the ideal of life and civilization evolved by the modern nations. It indicates the endeavour of man to reconstitute himself as a free being, not as the thrall of theological despotism, and the peculiar assistance he derived in this effort from Greek and Roman literature, the litterae humaniores, letters leaning rather to the side of man than of divinity.

In this article the Renaissance will be considered as implying a comprehensive movement of the European intellect and will Method toward self-emancipation, toward reassertion of the natural rights of the reason and the senses, toward the conquest of this planet as a place of human occupation, and toward the formation of regulative theories both for states and individuals differing from those of medieval times. The Revival of Learning will be treated as a decisive factor in this process of evolution on a new plan. To exclude the Reformation and the Counter-Reformation wholly from the survey is impossible. These terms indicate moments in the whole process of modern history which were opposed, each to the other, and both to the Renaissance; and it is needful to bear in mind that they have, scientifically speaking, a quite separate existence. Yet if the history of Europe in the 16th century of our era came to be written with the brevity with which we write the history of Europe in the 6th century B.C., it would be difficult at the distance of time implied by that supposition to distinguish the Italian movement of the Renaissance in its origin from the German movement of the Reformation. Both would be seen to have a common startingpoint in the reaction against long dominant ideas which were becoming obsolete, and also in the excitation of faculties which had during the same period been accumulating energy.

The Renaissance, if we try to regard it as a period, was essentially the transition from one historical stage to another. It cannot therefore be confined within strict chronological limits.

There is one date, however, which may be remembered with advantage as the starting-point in time of the Re naissance, after the departure from the middle ages had been definitely and consciously made by the Italians. This is the year 1453, when Constantinople, chosen for his capital by the first Christian emperor of Rome, fell into the hands of the Turk. One of the survivals of the old world, the shadow of what had been the Eastern Empire, now passed suddenly away. Almost at the same date that visionary revival of the Western Empire, which had imposed for six centuries upon the imagination of medieval Europe, hampering Italy and impeding the consolidation of Germany, ceased to reckon among political actualities; while its more robust rival, the Roman Church, seemed likely to sink into the rank of a petty Italian principality. It was demonstrated by the destruction of the Eastern and the dotage of the Western Empire, and by the new papal policy which Nicholas V. inaugurated, that the old order of society was about to be superseded. Nothing remained to check those centrifugal forces in state and church which substituted a confederation of rival European powers for the earlier ideal of universal monarchy, and separate religious constitutions for the previous Catholic unity. At the same time the new learning introduced by the earlier humanists awakened free thought, encouraged curiosity, and prepared the best minds of Europe for speculative audacities from which the schoolmen would have shrunk, and which soon expressed themselves in acts of cosmopolitan importance. If we look a little forward to the years 1492-1500, we obtain a second date of great importance. In these years the expedition of Charles VIII. to Naples opened Italy to French, Spanish and German interference. The leading nations of Europe began to compete for the prize of the peninsula, and learned meanwhile that culture which the Italians had perfected. In these years the secularization of the papacy was carried to its final point by Alexander VI., and the Reformation became inevitable. The same period was marked by the discovery of America, the exploration of the Indian seas, and the consolidation of the Spanish nationality. It also witnessed the application of printing to the diffusion of knowledge. Thus, speaking roughly, the half-century between 1450 and 1500 may be termed the culminating point of the Renaissance. The transition from the medieval to the modern order was now secured if not accomplished, and a Rubicon had been crossed from which no retrogression to the past was possible. Looking yet a little farther, to the years 1527 and 1530, a third decisive date is reached. In the first of these years happened the sack of Rome, in the second the pacification of Italy by Charles V. under a Spanish hegemony. The age of the Renaissance was now closed for the land which gave it birth. The Reformation had taken firm hold on northern Europe. The Counter-Reformation was already imminent.

It must not be imagined that so great a change as that implied by the Renaissance was accomplished without premonitory symptoms and previous endeavours. In the main we mean by it the recovery of freedom for the human spirit after a long period of bondage to oppressive ecclesiastical and political orthodoxy - a return to the liberal and practical conceptions of the world which the nations of antiquity had enjoyed, but upon a new and enlarged platform. This being so, it was inevitable that the finally successful efforts after self-emancipation should have been anticipated from time to time by strivings within the ages that are known as dark and medieval. It is therefore part of the present inquiry to pass in review some of the claimants to be considered precursors of the Renaissance.

First of all must be named the Frank in whose lifetime the dual conception of universal empire and universal church, divinely appointed, sacred and inviolable, began to control the order of European society. Charles the Great (Charlemagne) lent his forces to the plan of resuscitating the Roman empire at a moment when his own power made him the arbiter of western Europe, when the papacy needed his alliance, and when the Eastern Empire had passed under the usurped regency of a female. He modelled an empire, Roman in name but essentially Teutonic, since it owed such substance as its fabric possessed to Frankish armies and the sinews of the German people. As a structure composed of diverF ill-connected parts it fell to pieces at its builder's death, leaving little but the incubus of a memory, the fascination of a mighty name, to dominate the mind of medieval Europe. As an idea, the empire grew in visionary power, and remained one of the chief obstacles in the way of both Italian and German national coherence. Real force was not in it, but rather in that counterpart to its unlimited pretensions, the church, which had evolved it from barbarian night, and which used her own more vital energies for undermining the rival of her creation. Charles the Great, having proclaimed himself successor of the Caesars, was obscurely ambitious of imitating the Augusti also in the sphere of letters. He caused a scheme of humanistic education to be formulated, and gave employment at his court to rhetoricians, of whom Alcuin was the most considerable. But very little came of the revival of learning which Charles is supposed to have encouraged; and the empire he restored was accepted by the medieval intellect in a crudely theological and vaguely mystical spirit. We should, however, here remember that the study of Roman law, which was one important precursory symptom of the Renaissance, owed much to medieval respect for the empire as a divine institution. This, together with the municipal Italian intolerance of the Lombard and Frankish codes, kept alive the practice and. revived the science of Latin jurisprudence at an early period.

Philosophy had attempted to free itself from the trammels of theological orthodoxy in the hardy speculations of some schoolmen, notably of Scotus Erigena and Abelard. These innovators found, however, small support, and were defeated by opponents who used the same logical weapons with authority to back them. Nor were the rationalistic opinions of the Averroists without their value, though the church condemned these deviators from her discipline as heretics. Such medieval materialists, moreover, had but feeble hold upon the substance of real knowledge. Imperfect acquaintance with authors whom they studied in Latin translations made by Jews from Arabic commentaries on Greek texts, together with almost total ignorance of natural laws, condemned them to sterility. Like the other schiomachists of their epoch, they fought with phantoms in a visionary realm. A similar judgment may be passed upon those Paulician, Albigensian, Paterine and Epicurean dissenters from the Catholic creed who opposed the phalanxes of orthodoxy with frail imaginative weapons, and alarmed established orders in the state by the audacity of their communistic opinions. Physical science struggled into feeble life in the cells of Gerbert and Roger Bacon. But these men were accounted magicians by the vulgar; and, while the one eventually assumed the tiara, the other was incarcerated in a dungeon. The schools meanwhile resounded still to the interminable dispute upon abstractions. Are only universals real, or has each name a corresponding entity? From the midst of the Franciscans who had persecuted Roger Bacon because he presumed to know more than was consistent with human humility arose John of Parma, adopting and popularizing the mystic prophecy of Joachim of Flora. The reign of the Father is past; the reign of the Son is passing; the reign of the Spirit is at hand. Such was the formula of the Eternal Gospel, which, as an unconscious forecast of the Renaissance, has attracted retrospective students by its felicity of adaptation to their historical method. Yet we must remember that this bold intuition of the abbot Joachim indicated a monastic reaction against the tyrannies and corruptions of the church, rather than a fertile philosophical conception. The Fraticelli spiritualists, and similar sects who fed their imagination with his doctrine, expired in the flames to which Fra Dolcino Longino and Margharita were consigned. To what extent the accusations of profligate morals brought against these reforming sectarians were justified remains doubtful; and the same uncertainty rests upon the alleged iniquities of the Templars. It is only certain that at this epoch the fabric of Catholic faith was threatened with various forms of prophetic and Oriental mysticism, symptomatic of a widespread desire to grasp at something simpler, purer and less rigid than Latin theology afforded. Devoid of criticism, devoid of sound learning, devoid of a firm hold on the realities of life, these heresies passed away without solid results and were forgotten.

We are too apt to take for granted that the men of the middle ages were immersed in meditations on the other world, and that their = intellectual exercises were confined to abstractions of the / schools, hallucinations of the fancy, allegories, visions.

This assumption applies indeed in a broad sense to that period which was dominated by intolerant theology and deprived of positive knowledge. Yet there are abundant signs that the native human instincts, the natural human appetites, remained unaltered and alive beneath the crust of orthodoxy. In the person of a pope like Boniface VIII. those ineradicable forces of the natural man assumed, if we may trust the depositions of ecclesiastics well acquainted with his life, a form of brutal atheistic cynicism. In the person of an emperor, Frederick II., they emerged under the more agreeable garb of liberal culture and Epicurean scepticism. Frederick dreamed of remodelling society upon a mundane type, which anticipated the large toleration and cosmopolitan enlightenment of the actual Renaissance. But his efforts were defeated by the unrelenting hostility of the church, and by the incapacity of his contemporaries to understand his aims. After being forced in his lifetime to submit to authority, he was consigned by Dante to hell. Frederick's ideal of civilization was derived in a large measure from Provence, where a beautiful culture had prematurely bloomed, filling southern Europe with the perfume of poetry and gentle living. Here, if anywhere, it seemed as though the ecclesiastical and feudal fetters of the middle ages might be broken, and humanity might enter on a new stage of joyous unimpeded evolution. This was, however, not to be. The church preached Simon de Montfort's crusade, and organized Dominic's Inquisition; what Quinet calls the "Renaissance sociale par l'Amour" was extirpated by sword, fire, famine and pestilence. Meanwhile the Provencal poets had developed their modern language with incomparable richness and dexterity, creating forms of verse and modes of emotional expression which determined the latest medieval phase of literature in Europe. The naturalism of which we have been speaking found free utterance now in the fabliaux of jongleurs, lyrics of minnesingers, tales of trouveres, romances of Arthur and his knights - compositions varied in type and tone, but in all of which sincere passion and real enjoyment of life pierce through the thin veil of chivalrous mysticism or of allegory with which they were sometimes conventionally draped. The tales of Lancelot and Tristram, the lives of the troubadours and the Wachtlieder of the minnesingers, sufficiently prove with what sensual freedom a knight loved the lady whom custom and art made him profess to worship as a saint. We do not need to be reminded that Beatrice's adorer had a wife and children, or that Laura's poet owned a son and daughter by a concubine, in order to perceive that the mystic passion of chivalry was compatible in the middle ages with commonplace matrimony or vulgar illegitimate connexions. But perhaps the most convincing testimony to the presence of this ineradicable naturalism is afforded by the Latin songs of wandering students, known as Carmina Burana, written by the self-styled Goliardi. In these compositions, remarkable for their lacile handling of medieval Latin rhymes and rhythms, the allegorizing mysticism which envelops chivalrous poetry is discarded. Love is treated from a frankly carnal point of view. Bacchus and Venus go hand in hand, as in the ancient anteChristian age. The open-air enjoyments of the wood, the field, the dance upon the village green, are sung with juvenile lightheartedness. No grave note, warning us that the pleasures of this earth are fleeting, that the visible world is but a symbol of the invisible, that human life is a probation for the life beyond, interrupts the tinkling music as of castanets and tripping feet which gives a novel charm to these unique relics of the 13th century. Goliardic poetry is further curious as showing how the classics even at that early period were a fountain-head of pagan inspiration. In the taverns and low places of amusement haunted by those lettered songsters, on the open road and in the forests trodden by their vagrant feet, the deities of Greece and Rome were not in exile, but at home within the hearts of living men. Thus, while Christendom was still preoccupied with the Crusades, two main forces of the Renaissance, naturalism and enthusiasm for antique modes of feeling, already brought their latent potency to light, prematurely indeed and precociously, yet with a promise that was destined to be kept.

When due regard is paid to these miscellaneous evidences of intellectual and sensual freedom during the middle ages, it will be seen that there were by no means lacking elements of native vigour ready to burst forth. What was wanting was not vitality and licence, not audacity of speculation, not lawless instinct or rebellious impulse. It was rather the right touch on life, the right feeling for human independence, the right way of approaching the materials of philosophy, religion, scholarship and literature, that failed. The courage that is born of knowledge, the calm strength begotten by a positive attitude of mind, face to face with the dominant over-shadowing Sphinx of theology, were lacking. We may fairly say that natural and untaught people had more of the just intuition that was needed than learned folk trained in the schools. But these people were rendered licentious in revolt or impotent for salutary action by ignorance, by terror, by uneasy dread of the doom declared for heretics and rebels. The massive vengeance of the church hung over them, like a heavy sword suspended in the cloudy air. Superstition and stupidity hedged them in on every side, so that sorcery and magic seemed the only means of winning power over nature or insight into mysteries surrounding human life. The path from darkness to light was lost; thought was involved in allegory; the study of nature had been perverted into an inept system of grotesque and pious parablemongering; the pursuit of truth had become a game of wordy dialectics. The other world, with its imagined heaven and hell, haunted the conscience like a nightmare. However sweet this world seemed, however fair the flesh, both world and flesh were theoretically given over to the devil. It was not worth while to master and economize the resources of this earth, to utilize the good and ameliorate the evils of this life, while every one agreed, in theory at any rate, that the present was but a bad prelude to an infinitely worse or infinitely better future. To escape from these preoccupations and prejudices except upon the path of conscious and deliberate sin was impossible for all but minds of rarest quality and courage; and these were too often reduced to the recantation of their supposed errors no less by some secret clinging sense of guilt than by the church's iron hand. Man and the actual universe kept on reasserting their rights and claims, announcing their goodliness and delightfulness, in one way or another; but they were always being thrust back again into Cimmerian regions of abstractions, fictions, visions, spectral hopes and fears, in the midst of which the intellect somnambulistically moved upon an unknown way.

At this point the Revival of Learning intervened to determine the course of the Renaissance. Medieval students possessed a considerable portion of the Latin classics, though Italy Greek had become in the fullest sense of the phrase Revival of a dead language. But what they retained of ancient literature they could not comprehend in the right spirit. Between them and the text of poet or historian hung a veil of mysticism, a vapour of misapprehension. The odour of unsanctity clung around those relics of the pagan past. Men bred in the cloister and the lecture-room of the logicians, trained in scholastic disputations, versed in allegorical interpretations of the plainest words and most apparent facts, could not find the key which might unlock those stores of wisdom and of beauty. Petrarch first opened a new method in scholarship, and revealed what we denote as humanism. In his teaching lay the twofold discovery of man and of the world. For humanism, which was the vital element in the Revival of Learning, consists mainly of a just perception of the dignity of man as a rational, volitional and sentient being, born upon this earth with a right to use it and enjoy it. Humanism implied the rejection of those visions of a future and imagined state of souls as the only absolute reality, which had fascinated the imagination of the middle ages. It involved a vivid recognition of the goodliness of man and nature, displayed in the great monuments of human power recovered from the past. It stimulated the curiosity of latent sensibilities, provoked fresh inquisition into the groundwork of existence, and strengthened man's self-esteem by knowledge of what men had thought and felt and done in ages when Christianity was not. It roused a desire to reappropriate the whole abandoned provinces of mundane energy, and a hope to emulate antiquity in works of living loveliness and vigour. The Italians of the 14th century, more precocious than the other European races, were ripe for this emancipation of enslaved intelligence. In the classics they found the food which was required to nourish the new spirit; and a variety of circumstances, among which must be reckoned the pride of a nation boasting of its descent from the Populus Romanus, rendered them apt to fling aside the obstacles that had impeded the free action of the mind through many centuries. Petrarch not only set his countrymen upon the right method of studying the Latin classics, but he also divined the importance of recovering a knowledge of Greek literature. To this task Boccaccio addressed himself; and he was followed by numerous Italian enthusiasts, who visited Byzantium before its fall as the sacred city of a new revelation. The next step was to collect MSS., to hunt out, copy and preserve the precious relics of the past. In this work of accumulation Guarino and Filelfo, Aurispa and Poggio, took the chief part, aided by the wealth of Italian patricians, merchant-princes and despots, who were inspired by the sacred thirst for learning. Learning was then no mere pursuit of a special and recluse class. It was fashionable and it was passionate, pervading all society with the fervour of romance. For a generation nursed in decadent scholasticism and stereotyped theological formulae it was the fountain of renascent youth, beauty and freedom, the shape in which the Helen of art and poetry appeared to the ravished eyes of medieval Faustus. It was the resurrection of the mightiest spirits of the past. "I go," said Cyriac of Ancona, the indefatigable though uncritical explorer of antiquities, "I go to awake the dead !" This was the enthusiasm, this the vitalizing faith, which made the work of scholarship in the i 5th century so highly strung and ardent. The men who followed it knew that they were restoring humanity to its birthright after the expatriation of ten centuries. They were instinctively aware that the effort was for liberty of action, thought and conscience in the future. This conviction made young men leave their loves and pleasures, grave men quit their counting-houses, churchmen desert their missals, to crowd the lecture-rooms of philologers and rhetoricians. When Greek had been acquired, MSS. accumulated, libraries and museums formed, came the age of printers and expositors. Aldus Manutius in Italy, Froben in Basel, the Etiennes in Paris, committed to the press what the investigators had recovered. Nor were there wanting men who dedicated their powers to Hebrew and Oriental erudition, laying, together with the Grecians, a basis for those Biblical studies which advanced the Reformation. Meanwhile the languages of Greece and Rome had been so thoroughly appropriated that a final race of scholars, headed by Politian, Pontano, Valla, handled once again in verse and prose both antique dialects, and thrilled the ears of Europe with new-made pagan melodies. The church itself at this epoch lent its influence to the prevalent enthusiasm. Nicholas V. and Leo X., not to mention intervening popes who showed themselves tolerant of humanistic culture, were heroes of the classical revival. Scholarship became the surest path of advancement to ecclesiastical and political honours. Italy was one great school of the new learning at the moment when the German, French and Spanish nations were invited to her feast.

It will be well to describe briefly, but in detail, what this meeting of the modern with the ancient mind effected over the whole field of intellectual interests. In doing so, we must be careful to remember that the study of the classics did but give a special impulse to pent-up energies which were bound in one way or another to assert their independence. Without the Revival of Learning the direction of those forces would have been different; but that novel intuition into the nature of the world and man which constitutes what we describe as Renaissance must have emerged. As the facts, however, stand before us, it is impossible to dissociate the rejection of the other world as the sole reality, the joyous acceptance of this world as a place to live and act in, the conviction that "the proper study of mankind is man," from humanism. Humanism, as it actually appeared in Italy, was positive in its conception of the problems to be solved, pagan in its contempt for medieval mysticism, invigorated for sensuous enjoyment by contact with antiquity, yet holding in itself the germ of new religious aspirations, profounder science and sterner probings of the mysteries of life than had been attempted even by the ancients. The operation of this humanistic spirit has now to be traced.

It is obvious that Italian literature owed little at the outset to the Revival of Learning. The Divine Comedy, the Canzoniere and the Decameron were works of monumental art, deriving neither form nor inspiration immediately from the classic's, but applying the originality of Italian genius Petrarch to matter drawn from previous medieval sources. Dante showed both in his epic poem and in his lyrics that he had not abandoned the sphere of contemporary thought.

Allegory and theology, the vision and the symbol, still Revival Learning. determine the form of masterpieces which for perfection of workmanship and for emancipated force of intellect rank among the highest products of the human mind. Yet they are not medieval in the same sense as the song of Roland or the Arthurian cycle. They proved that, though Italy came late into the realm of literature, her action was destined to be decisive and alterative by the introduction of a new spirit, a firmer and more positive grasp on life and art. These qualities she owed to her material prosperity, to her freedom from feudalism, to her secularized church, her commercial nobility, her political independence in a federation of small states. Petrarch and Boccaccio, though they both held the medieval doctrine that literature should teach some abstruse truth beneath a veil of fiction, differed from Dante in this that their poetry and prose in the vernacular abandoned both allegory and symbol. In their practice they ignored their theory. Petrarch's lyrics continue the Provencal tradition as it had been reformed in Tuscany, with a subtler and more modern analysis of emotion, a purer and more chastened style, than his masters could boast. Boccaccio's tales, in like manner, continue the tradition of the fabliaux, raising that literary species to the rank of finished art, enriching it with humour and strengthening its substance by keen insight into all varieties of character. The Canzoniere and the Decameron distinguish themselves from medieval literature, not by any return to classical precedents, but by free self-conscious handling of human nature. So much had to be premised in order to make it clear in what relation humanism stood to the Renaissance, since the Italian work of Dante, Petrarch and Boccaccio is sufficient to indicate the re-birth of the spirit after ages of apparent deadness. Had the Revival of Learning not intervened it is probable that the vigorous efforts of these writers alone would have inaugurated a new age of European culture. Yet, while noting this reservation of judgment, it must also be remarked that all three felt themselves under some peculiar obligation to the classics. Dante, medieval as his temper seems to us, chose Virgil for his guide, and ascribed his mastery of style to the study of Virgilian poetry. Petrarch and Boccaccio were, as we have seen, the pioneers of the new learning. They held their writings in the vernacular cheap, and initiated that contempt for the mother tongue which was a note of the earlier Renaissance. Giovanni Villani, the first chronicler who used Italian for the compilation of a methodical history, tells us how he was impelled to write by musing on the ruins of Rome and thinking of the vanished greatness of the Latin race. We have therefore to recognize that the four greatest writers of the 14th century, while the Revival of Learning was yet in its cradle, each after his own fashion acknowledged the vivifying touch upon their spirit of the antique genius. They seem to have been conscious that they could not give the desired impulse to modern literature and art without contact with the classics; and, in spite of the splendour of their achievements in Italian, they found no immediate followers upon that path.

The fascination of pure study was so powerful, the Italians at that epoch were so eager to recover the past, that during the 15th century we have before our eyes the spectacle of this great nation deviating from the course of development begun in poetry by Dante and Petrarch, in prose by Boccaccio ism to and Villani, into the channels of scholarship and anti- - quarian research. The language of the Canzoniere and Decameron was abandoned for revived Latin and discovered Greek. Acquisition supplanted invention; imitation of classical authors suppressed originality of style. The energies of the Italian people were devoted to transcribing codices, settling. texts, translating Greek books into Latin, compiling grammars, commentaries, encyclopaedias, dictionaries, epitomes and ephemerides. During this century the best histories - Bruno's and Poggio's annals of Florence, for example - were composed in Latin after the manner of Livy. The best dissertations, Landino's Camaldunenses, Valla's De Voluptate, were laboured imitations of Cicero's Tusculans. The best verses, Pontano's elegies, Politian's hexameters, were in like manner Latin; public orations upon ceremonial occasions were delivered in the Latin tongue; correspondence, official and familiar, was carried on in the same language; even the fabliaux received, in Poggio's Facetiae. a dress of elegant Latinity. The noticeable barrenness of Italian literature at this period is referable to the fact that men of genius and talent devoted themselves to erudition and struggled to express their thoughts and feelings in a speech which was not natural. Yet they were engaged in a work of incalculable importance. At the close of the century the knowledge of Greece and Rome had been reappropriated and placed beyond the possibility of destruction; the chasm between the old and new world had been bridged; medieval modes of thinking and discussing had been superseded; the staple of education, the common culture which has brought all Europe into intellectual agreement, was already in existence. Humanism was now an actuality. Owing to the uncritical veneration for antiquity which then prevailed, it had received a strong tincture of pedantry. Its professors, in their revolt against the middle ages, made light of Christianity and paraded paganism. What was even worse from an artistic point of view, they had contracted puerilities of style, vanities of rhetoric, stupidities of wearisome citation. Still, at the opening of the 16th century, it became manifest what fruits of noble quality the Revival of Letters was about to bring forth for modern literature. Two great scholars, Lorenzo de' Medici and Politian, had already returned to the practice of Italian poetry. Their work is the first absolutely modern work, - modern in the sense of having absorbed the stores of classic learning and reproduced those treasures in forms of simple, natural, native beauty. Boiardo occupies a similar position by the fusion of classic mythology with chivalrous romance in his Orlando Innamorato. But the victor's laurels were reserved for Ariosto, whose Orlando Furioso is the purest and most perfect extant example of Renaissance poetry. It was not merely in what they had acquired and assimilated from the classics that these poets showed the transformation effected in the field of literature by humanism. The whole method and spirit of medieval art had been abandoned. That of the Cinque Cento is positive, defined, mundane. The deity, if deity there be, that rules in it, is beauty. Interest is confined to the actions, passions, sufferings and joys of human life, to its pathetic, tragic, humorous and sentimental incidents. Of the state of souls beyond the grave we hear and are supposed to care nothing. In the drama the pedantry of the Revival, which had not injured romantic literature, made itself perniciously felt. Rules were collected from Horace and Aristotle. Seneca was chosen as the model of tragedy; Plautus and Terence supplied the groundwork of comedy. Thus in the plays of Rucellai, Trissino, Sperone and other tragic poets the nobler elements of humanism, considered as a revelation of the world and man, obtained no free development. Even the comedies of the best authors are too observant of Latin precedents, although some pieces of Machiavelli, Ariosto, Aretino, Cecchi and Gelli are admirable for vivid delineation of contemporary manners.

The relation of the plastic arts to the revival of learning is similar to that which has been sketched in the case of poetry. Cimabue started with work which owed nothing directly to anti quity. At about the same time Niccola Pisano (d. 1278) studied the style of sculpture in fragments of Graeco-Roman marbles. His manner influenced Giotto, who set painting on a forward path. Fortunately for the unimpeded expansion of Italian art, little was brought to light of antique workmanship during the 14th and 15th centuries. The classical stimulus came to painters, sculptors and architects chiefly through literature. Therefore there was narrow scope for imitation, and the right spirit of humanism displayed itself in a passionate study of perspective, nature and the nude. Yet we find in the writings of Ghiberti and Alberti, we notice in the masterpieces of these men and their compeers Brunelleschi and Donatello, how even in the 15th century the minds of artists were fascinated by what survived of classic grace and science. Gradually, as the race became penetrated with antique thought, the earlier Christian motives of the arts yielded to pagan subjects. Gothic architecture, which had always flourished feebly on Italian soil, was supplanted by a hybrid Roman style. The study of Vitruvius gave strong support to that pseudo-classic manner which, when it had reached its final point in Palladio's work, overspread the whole of Europe and dominated taste during two centuries. But the perfect plastic art of Italy, the pure art of the Cinque Cento, the painting of Raphael, Da Vinci, Titian and Correggio, the sculpture of Donatello, Michelangelo and Sansovino, the architecture of Bramante, Omodeo and the Venetian Lombardi, however much imbued with the spirit of the classical revival, takes rank beside the poetry of Ariosto as a free intelligent product of the Renaissance. That is to say, it is not so much an outcome of studies in antiquity as an exhibition of emancipated modern genius fired and illuminated by the masterpieces of the past. It indicates a separation from the middle ages, inasmuch as it is permanently natural. Its religion is joyous, sensuous, dramatic, terrible, but in each and all of its many-sided manifestations strictly human. Its touch on classical mythology is original, rarely imitative or pedantic. The art of the Renaissance was an apocalypse of the beauty of the world and man in unaffected spontaneity, without side thoughts for piety or erudition, inspired by pure delight in loveliness and harmony for their own sakes.

In the fields of science and philosophy humanism wrought similar important changes. Petrarch began by waging relentless war against the logicians and materialists of his own day. Science With the advance made in Greek studies scholastic methods of thinking fell into contemptuous oblivion. The newly soppy. aroused curiosity for nature encouraged men'like Alberti, Da Vinci, Toscanelli and Da Porta to make practical experiments, penetrate the working of physical forces, and invent scientific instruments. Anatomy began to be studied, and the time was not far distant when Titian should lend his pencil to the epoch-making treatise of Vesalius. The middle ages had been satisfied with absurd and visionary notions about the world around them, while the body of man was regarded with too much suspicion to be studied. Now the right method of interrogating nature with patience and loving admiration was instituted. At the same time the texts of ancient authors supplied hints which led to discoveries so far-reaching in their results as those of Copernicus, Columbus and Galileo. In philosophy, properly so called, the humanistic scorn for medieval dullness and obscurity swept away theological metaphysics as valueless. But at first little beyond empty rhetoric and clumsy compilation was substituted. The ethical treatises of the scholars are deficient in substance, while Ficino's attempt to revive Platonism betrays an uncritical conception of his master's drift. It was something, however, to have shaken off the shackles of ecclesiastical authority; and, even if a new authority, that of the ancients, was accepted in its stead, still progress was being made toward sounder methods of analysis. This is noticeable in Pomponazzo's system of materialism, based on the interpretation of Aristotle, but revealing a virile spirit of disinterested and unprejudiced research. The thinkers of southern Italy, Telesio, Bruno and Campanella, at last opened the two chief lines on which modern speculation has since moved. Telesio and Campanella may be termed the predecessors of Bacon. Bruno was the precursor of the idealistic schools. All three alike strove to disengage their minds from classical as well as ecclesiastical authority, proving that the emancipation of the will had been accomplished. It must be added that their writings, like every other product of the Renaissance, except its purest poetry and art, exhibit a hybrid between medieval and modern tendencies. Childish ineptitudes are mingled with intuitions of maturest wisdom, and seeds of future thought germinate in the decaying refuse of past systems.

Humanism in its earliest stages was uncritical. It absorbed the relics of antiquity with omnivorous appetite, and with very imperfect sense of the distinction between worse and better Criticism. work. Yet it led in process of time to criticism. The critique of literature began in the lecture-room of Politian, in the printing-house of Aldus, and in the school of Vittorino. The critique of Roman law started, under Politian's auspices, upon a more liberal course than that which had been followed by the powerful but narrow-sighted glossators of Bologna. Finally, in the court of Naples arose that most formidable of all critical engines, the critique of established ecclesiastical traditions and spurious historical documents. Valla by one vigorous effort destroyed the False Decretals and exposed the Donation of Constantine to ridicule, paving the way for the polemic carried on against the dubious pretensions of the papal throne by scholars of the Reformation. A similar criticism, conducted less on lines of erudition than of persiflage and irony, ransacked the moral abuses of the church and played around the very foundations of Christianity. This was tolerated with approval by men who repeated Leo X.'s witty epigram: "What profit has not that fable of Christ brought us !" The same critical and philosophic spirit working on the materials of history produced a new science, the honours of which belong to Machiavelli. He showed, on the one side, how the history of a people can be written with a recognition of fixed principles, and at the same time with an artistic feeling for personal and dramatic episodes. On the other side, he addressed himself to the analysis of man considered as a political being, to the anatomy of constitutions and the classification of governments, to the study of motives underlying public action, the secrets of success and the causes of failure in the conduct of affairs. The unscrupulous rigour with which he applied his scientific method, and the sinister deductions he thought himself justified in drawing from the results it yielded, excited terror and repulsion. Nevertheless, a department had been added to the intellectual empire of mankind, in which fellow-workers, like Guicciardini at Florence, and subsequently Sarpi at Venice, were not slow to follow the path traced by Machiavelli.

The object of the foregoing paragraphs has been to show in what way the positive, inquisitive, secular, exploratory spirit of the Renaissance, when toned and controlled by humanism, penetrated the regions of literature, art, philosophy and science. It becomes at this point of much moment to consider how social manners in Italy were modified by the same causes, since the type developed there was in large measure communicated together with the new culture to the rest of Europe. The first subject to be noticed under this heading is education. What has come to be called a classical education was the immediate product of the Italian Renaissance. The universities of Bologna, Padua and Salerno had been famous through the middle ages for the study of law, physics and medicine; and during the 15th and 16th centuries the first two still enjoyed celebrity in these faculties. But at this period no lecture-rooms were so crowded as those in which professors of antique literature and language read passages from the poets and orators, taught Greek, and commented upon the systems of philosophers. The medieval curriculum offered no defined place for the new learning of the Revival, which had indeed no recognized name. Chairs had therefore to be founded under the title of rhetoric, from which men like Chrysoloras and Guarino, Filelfo and Politian expounded orally to hundreds of eager students from every town of Italy and every nation in Europe their accumulated knowledge of antiquity. One mass of Greek and Roman erudition, including history and metaphysics, law and science, civic institutions and the art of war, mythology and magistracies, metrical systems and oratory, agriculture and astronomy, domestic manners and religious rites, grammar and philology, biography and numismatics, formed the miscellaneous subject-matter of this so-styled rhetoric. Notes taken at these lectures supplied young scholars with hints for further exploration; and a certain tradition of treating antique authors for the display of general learning, as well as for the elucidation of their texts, came into vogue, which has determined the method of scholarship for the last three centuries in Europe. The lack of printed books in the first period of the Revival, and the comparative rarity of Greek erudition among students, combined with the intense enthusiasm aroused for the new gospel of the classics, gave special value to the personal teaching of these professors. They journeyed from city to city, attracted by promises of higher pay, and allured by ever-growing laurels of popular fame. Each large town established its public study, academy or university, similar institutions under varying designations, for the exposition of the literae humaniores. The humanists, or professors of that branch of knowledge, became a class of the highest dignity. They were found in the chanceries of the republics, in the papal curia, in the council chambers of princes, at the headquarters of condottieri, wherever business had to be transacted, speeches to be made and the work of secretaries to be performed. Furthermore, they undertook the charge of private education, opening schools which displaced the medieval system of instruction, and taking engagements as tutors in the families of despots, noblemen and wealthy merchants. The academy established by Vittorino da Feltre at Mantua under the protection of Gian Francesco Gonzaga for the training of pupils of both sexes, might be chosen as the type of this Italian method. His scholars, who were lodged in appropriate buildings, met daily to hear the master read and comment on the classics. They learned portions of the best authors by heart, exercised themselves in translation from one language to another, and practised composition in prose and verse. It was Vittorino's care to see that, while their memories were duly stored with words and facts, their judgment should be formed by critical analysis, attention to style, and comparison of the authors of a decadent age with those who were acknowledged classics. During the hours of recreation suitable physical exercises, as fencing, riding and gymnastics, were conducted under qualified trainers. From this sketch it will be seen how closely the educational system which came into England during the reigns of the Tudors, and which has prevailed until the present time, was modelled upon the Italian type. English youths who spend their time at Eton between athletic sports and Latin verses, and who take an Ireland with a first class in "Greats" at Oxford, are pursuing the same course of physical and mental discipline as the princes of Gonzaga or Montefeltro in the 15th century.

The humanists effected a deeply penetrating change in social manners. Through their influence as tutors, professors, orators and courtiers, society was permeated by a fresh ideal of culture. To be a gentleman in Italy meant at this epoch to be a man acquainted with the rudiments at least of scholarship, refined in diction, capable of corresponding or of speaking in choice phrases, open to the beauty of the arts, intelligently interested in archaeology, taking for his models of conduct the great men of antiquity rather than the saints of the church. He was also expected to prove himself an adept in physical exercises and in the courteous observances which survived from chivalry. The type is set before us by Castiglione in that book upon the courtier which went the round of Europe in the 16th century. It is further emphasized in a famous passage of the Orlando Innamorato where Boiardo compares the Italian ideal of an accomplished gentleman with the coarser type admired by nations of the north. To this point the awakened intelligence of the Renaissance, instructed by humanism, polished by the fine arts, expanding in genial conditions of diffused wealth, had brought the Italians at a period when the rest of Europe was comparatively barbarous.

This picture has undoubtedly .a darker side. Humanism, in its revolt against the middle ages, was, as we have seen already, mundane, pagan, irreligious, positive. The Renaissance can, after all, be regarded only as a period of transition in which much of the good of the past was sacrificed while some of the evil was retained, and neither the bad nor the. good of the future was brought clearly into fact. Beneath the surface of brilliant social culture lurked gross appetites and savage passions, unrestrained by medieval piety, untutored by modern experience. Italian society exhibited an almost unexampled spectacle of literary, artistic and courtly refinement crossed by brutalities of lust, treasons, poisonings, assassinations, violence. A succession of worldly pontiffs brought the church into flagrant discord with the principles of Christianity. Steeped in pagan learning, emulous of imitating the manners of the ancients, used to think and feel in harmony with Ovid and Theocritus, and at the same time rendered cynical by the corruption of papal Rome, the educated classes lost their grasp upon morality. Political honesty ceased almost to have a name in Italy. The Christian virtues were scorned by the foremost actors and the ablest thinkers of the time, while the antique virtues were themes for rhetoric rather than moving-springs of conduct. This is apparent to all students of Machiavelli and Guicciardini, the profoundest analysts of their age, the bitterest satirists of its vices, but themselves infected with its incapacity for moral goodness. Not only were the Italians vitiated; but they had also become impotent for action and resistance. At the height of the Renaissance the five great powers in the peninsula formed a confederation of independent but mutually attractive and repellent states. Equilibrium was maintained by diplomacy, in which the humanists played a foremost part, casting a network of intrigue over the nation which helped in no small measure to stimulate intelligence and create a common medium of culture, but which accustomed statesmen to believe that everything could be achieved by wire-pulling. Wars were conducted on a showy system by means of mercenaries, who played a safe game in the field and developed a system of bloodless campaigns. Meanwhile the people grew up unused to arms. When Italy between the years 1494 and 1530 became the battlefield of French, German and Spanish forces, it was seen to what a point of helplessness the political, moral and social conditions of the Renaissance had brought the nation.

It was needful to study at some length the main phenomena of the Renaissance in Italy, because the history of that phase of evolution in the other Western races turns almost entirely upon points in which they either adhered of the to or diverged from the type established there. Speaking broadly, what France, Germany, Spain and England assimilated from Italy at this epoch was in the - first place the new learning, as it was then called. out This implied the new conception of human life, the new interest in the material universe, the new method of education, and the new manners, which we have seen to be inseparable from Italian humanism. Under these forms of intellectual enlightenment and polite culture the renascence of the human spirit had appeared in Italy, where it was more than elsewhere connected with the study of classical antiquity. But that audacious exploratory energy which formed the motive force of the Renaissance as distinguished from the Revival of Learning took, as we shall see, very different directions in the several nations who now were sending the flower of their youth to study at the feet of Italian rhetoricians.

The Renaissance ran its course in Italy with strange indifference to consequences. The five great powers, held in equilibrium by Lorenzo de' Medici, dreamed that the peninsula could be maintained in statu quo by diplomacy. The church saw no danger in encouraging a pseudo-pagan ideal of life, violating its own principle of existence by assuming the policy of an aggrandizing secular state, and outraging Christendom openly by its acts and utterances. Society at large was hardly aware that an intellectual force of stupendous magnitude and incalculable explosive power had been created by the new learning.

Why should not established institutions proceed upon the customary and convenient methods of routine, while the delights of existence were augmented, manners polished, arts developed, and a golden age of epicurean ease made decent by a state religion which no one cared to break with because no one was left to regard it seriously? This was the attitude of the Italians when the Renaissance, which they had initiated as a thing of beauty, began to operate as a thing of power beyond the Alps.

Germany was already provided with universities, seven of which had been founded between 1348 and 1409. In these haunts of learning the new studies took root after the year 1440, chiefly through the influence of travelling professors; Peter Luder and Samuel Karoch. German scholars made their way to Lombard and Tuscan lecture-rooms, bringing back in Ger- the methods of the humanists. Greek, Latin and Hebrew erudition soon found itself at home on Teutonic soil. Like Italian men of letters, these pioneers of humanism gave a classic turn to their patronymics; unfamiliar names, Crotus Rubeanus and Pierius Graecus, Capnion and Lupambulus Ganymedes, Oecolampadius and Melanchthon, resounded on the Rhine. A few of the German princes, among whom Maximilian, the prince cardinal Albert of Mainz, Frederick the Wise of Saxony, and Eberhard of Wurttemberg deserve mention, exercised a not insignificant influence on letters by the foundation of new universities and the patronage of learned men. The cities of Strassburg, Nuremberg, Augsburg, Basel, became centres of learned coteries, which gathered round scholars like Wimpheling, Brant, Peutinger, Schedel, and Pirckheimer, artists like Darer and Holbein, printers of the eminence of Froben. Academies in imitation of Italian institutions came into existence, the two most conspicuous, named after the Rhine and the Danube, holding their headquarters respectively at Heidelberg and Vienna. Crowned poets, of whom the most eminent was Conrad Celtes Protucius (Pickel!), emulated the fame of Politian and Pontano. Yet, though the Renaissance was thus widely communicated to the centres of German intelligence, it displayed a different character from that which it assumed in Italy. Gothic art, which was indigenous in Germany, yielded but little to southern influences. Such work as that of Diirer, Vischer, Cranach, Schlingauer, Holbein, consummate as it was in technical excellence, did not assume Italian forms of loveliness, did not display the paganism of the Latin races. The modification of Gothic architecture by pseudo-Roman elements of style was incomplete. What Germany afterwards took of the Palladian manner was destined to reach it on a circuitous route from France. In like manner the new learning failed to penetrate all classes of society with the rapidity of its expansion in Italy, nor was the new ideal of life and customs so easily substituted for the medieval. The German aristocracy, as Aeneas Sylvius had noticed, remained for the most part barbarous, addicted to gross pleasures, contemptuous of culture. The German dialects were too rough to receive that artistic elaboration under antique influences which had been so facile in Tuscany. The doctors of the universities were too wedded to their antiquated manuals and methods, too satisfied with dullness, too proud of titles and diplomas, too anxious to preserve ecclesiastical discipline and to repress mental activity, for a genial spirit of humanism to spread freely. Not in Cologne or Tubingen but in Padua and Florence did the German pioneers of the Renaissance acquire their sense of liberal studies. And when they returned home they found themselves encumbered with stupidities, jealousies and rancours. Moreover, the temper of these more enlightened men was itself opposed to Italian indifference and immorality; it was pugnacious and polemical, eager to beat down the arrogance of monks and theologians rather than to pursue an ideal of aesthetical self-culture. To a student of the origins of German humanism it is Tear that something very different from the Renaissance of Lorenzo le' Medici and Leo X. was in preparation from the first upon Feutonic soil. Far less plastic and form-loving than the Italian, the German intelligence was more penetrative, earnest, disputative, occupied with substantial problems. Starting with theological criticism, proceeding to the stage of solid studies in the three learned languages, German humanism occupied the attention of a widely scattered sect of erudite scholars; but it did not arouse the interest of the whole nation until it was forced into a violently militant attitude by Pfefferkorn's attack on Reuchlin. That attempt to extinguish honest thought prepared the Reformation; and humanism after 1518 was absorbed in politico-religious warfare.

The point of contact between humanism and the Reformation in Germany has to be insisted on; for it is just here that the relation of the Reformation to the Renaissance in general makes itself apparent. As the Renaissance had its precursory movements in the medieval period, so the German Reformation was preceded by Wickliffe and Huss, by the discontents of the Great Schism and by the councils of Constance and Basel. These two main streams of modern progress had been proceeding upon different tracks to diverse issues, but they touched in the studies stimulated by the Revival, and they had a common origin in the struggle of the spirit after self-emancipation. Johann Reuchlin, who entered the lecture-room of Argyropoulos at Rome in 1482, Erasmus of Rotterdam, who once dwelt at Venice as the house guest of the Aldi, applied their critical knowledge of Hebrew and of Greek to the elucidation and diffusion of the Bible. To the Germans, as to all nations of that epoch, the Bible came as a new book, because they now read it for the first time with eyes opened by humanism. The touch of the new spirit which had evolved literature, art and culture in Italy sufficed in Germany to recreate Christianity. This new spirit in Italy emancipated human intelligence by the classics; in Germany it emancipated the human conscience by the Bible. The indignation excited by Leo X.'s sale of indulgences, the moral rage stirred in Northern hearts by papal abominations in Rome, were external causes which precipitated the schism between Teutonic and Latin Christianity. The Reformation, inspired by the same energy of resuscitated life as the Renaissance, assisted by the same engines of the printing-press and paper, using the same apparatus of scholarship, criticism, literary skill, being in truth another manifestation of the same world-movement under a diverse form, now posed itself as an irreconcilable antagonist to Renaissance Italy. It would be difficult to draw any comparison between German and Italian humanists to the disparagement of the former. Reuchlin was no less learned than Pico; Melanchthon no less humane than Ficino; Erasmus no less witty, and far more trenchant, than Petrarch; Ulrich von Hutten no less humorous than Folengo; Paracelsus no less fantastically learned than Cardano. But the cause in which German intellect and will were enlisted was so different that it is difficult not to make a formal separation between that movement which evolved culture in Italy and that which restored religion in Germany, establishing the freedom of intelligence in the one sphere and the freedom of the conscience in the other. The truth is that the Reformation was the Teutonic Renaissance. It was the emancipation of the reason on a line neglected by the Italians, more important indeed in its political consequences, more weighty in its bearing -on rationalistic developments than the Italian Renaissance, but none the less an outcome of the same ground-influences. We have already in this century reached a point at which, in spite of stubborn Protestant dogmatism and bitter Catholic reaction, we can perceive how the ultimate affranchisement of man will be the work of both.

The German Reformation was incapable of propagating itself in Italy, chiefly for the reason that the intellectual forces which it represented and employed had already found specific The outlet in that country. It was not in the nature of the Italians, sceptical and paganized by the Revival, to be revival keenly interested about questions which seemed to revive in Italy. the scholastic disputes of the middle ages. It was not in their external conditions, suffering as they were from invasions, enthralled by despots, to use the Reformation as a lever for political revolution. Yet when a tumultuary army of so-called Lutherans sacked Rome in 1527 no sober thinker doubted that a new agent had appeared in Europe which would alter the destinies of the peninsula. The Renaissance was virtually closed, so far as it concerned Italy, when Clement VII. and Charles V. struck their compact at Bologna in 1530. This compact proclaimed the principle of monarchical absolutism, supported by papal authority, itself monarchically absolute, which influenced Europe until the outbreak of the Revolution. A reaction immediately set in both against the Renaissance and the Reformation. The council of Trent, opened in 1545 and closed in 1563, decreed a formal purgation of the church, affirmed the fundamental doctrines of Catholicism, strengthened the papal supremacy, and inaugurated that movement of resistance which is known as the Counter-Reformation. The complex onward effort of the modern nations, expressing itself in Italy as Renaissance, in Germany as Reformation, had aroused the forces of conservatism. The four main instruments of the reaction were the papacy, which had done so much by its sympathy with the revival to promote the humanistic spirit it now dreaded, the strength of Spain, and two Spanish institutions planted on Roman soil - the Inquisition and the Order of Jesus. The principle contended for and established by this reaction was absolutism as opposed to freedom - monarchical absolutism, papal absolutism, the suppression of energies liberated by the Renaissance and the Reformation. The partial triumph of this principle was secure, inasmuch as the majority of established powers in church and state felt threatened by the revolutionary opinions afloat in Europe. Renaissance and Reformation were, moreover, already at strife. Both, too, were spiritual and elastic tendencies toward progress, ideals rather than solid organisms.

The part played by Spain in this period of history was determined in large measure by external circumstance. The Spaniards became one nation by the conquest of Granada and the union of the crowns of Castile and Aragon. The war of national aggrandizement, being in its nature a crusade, inflamed the religious enthusiasm of the people. It was followed by the expulsion of Jews and Moors, and by arts the establishment of the Inquisition on a solid basis, with powers formidable to the freedom of all Spaniards from the peasant to the throne. These facts explain the decisive action of the Spanish nation on the side of Catholic conservatism, and help us to understand why their brilliant achievements in the field of culture during the 16th century were speedily followed by stagnation. It will be well, in dealing with the Renaissance in Spain, to touch first upon the arts and literature, and then to consider those qualities of character in action whereby the nation most distinguished itself from the rest of Europe. Architecture in Spain, emerging from the Gothic stage, developed an Early Renaissance style of bewildering richness by adopting elements of Arabic and Moorish decoration. Sculpture exhibited realistic vigour of indubitably native stamp; and the minor plastic crafts were cultivated with success on lines of striking originality. Painting grew from a homely stock, until the work of Velazquez showed that Spanish masters in this branch were fully abreast of their Italian compeers and contemporaries. To dwell here upon the Italianizing versifiers, moralists and pastoral romancers who attempted to refine the vernacular of the Romancero would be superfluous. They are mainly noticeable as proving that certain coteries in Spain were willing to accept the Italian Renaissance. But the real force of the people was not in this courtly literary style. It expressed itself at last in the monumental work of Don Quixote, which places Cervantes beside Rabelais, Ariosto and Shakespeare as one of the four supreme exponents of the Renaissance. The affectations of decadent chivalry disappeared before its humour; the lineaments of a noble nation, animated by the youth of modern Europe emerging from the middle ages, were portrayed in its enduring pictures of human experience. The Spanish drama, meanwhile, untrammelled by those false canons of pseudo-classic taste which fettered the theatre in Italy and afterwards in France, rose to an eminence in the hands of Lope de Vega and Calderon which only the English, and the English only in the masterpieces of three or four playwrights, can rival. Camoens, in the Lusiad, if we may here group Portugal with Spain, was the first modern poet to compose an epic on a purely modern theme, vying with Virgil, but not bending to pedantic rules, and breathing the spirit of the age of heroic adventures and almost fabulous discoveries into his melodious numbers. What has chiefly to be noted regarding the achievements of the Spanish race in arts and letters at this epoch is their potent national originality. The revival of learning produced in Spain no slavish imitation as it did in Italy, no formal humanism, and, it may be added, very little of fruitful scholarship. The Renaissance here, as in England, displayed essential qualities of intellectual freedom, delight in life, exultation over rediscovered earth and man. The note of Renaissance work in Germany was still Gothic. This we feel in the penetrative earnestness of Darer, in the homeliness of Hans Sachs, in the grotesque humour of Eulenspiegel and the Narrenschiff, the sombre pregnancy of the Faust legend, the almost stolid mastery of Holbein. It lay not in the German genius to escape from the preoccupations and the limitations of the middle ages, for this reason mainly that what we call medieval was to a very large extent Teutonic. But on the Spanish peninsula, in the masterpieces of Velazquez, Cervantes, Camoens, Calderon, we emerge into an atmosphere of art, definitely national, distinctly modern, where solid natural forms stand before us realistically modelled, with light and shadow on their rounded outlines, and where the airiest creatures of the fancy take shape and weave a dance of rhythmic, light, incomparable intricacy. The Spanish Renaissance would in itself suffice, if other witnesses were wanting, to prove how inaccurate is the theory that limits this movement to the revival of learning. Touched by Italian influences, enriched and fortified by the new learning, Spanish genius walked firmly forward on its own path. It was only crushed by forces generated in the nation that produced it, by the Inquisition and by despotic Catholic absolutism.

In the history of the Renaissance, Spain and Portugal represent the exploration of the ocean and the colonization of the other Explora- hemisphere. The voyages of Columbus and Vespucci of to America, the rounding of the Cape by Diaz and the discovery of the sea road to India by Vasco da Gama, Cortes's conquest of Mexico and Pizarro's conquest of Peru, marked a new era for the human race and inaugurated the modern age more decisively than any other series of events has done. It has recently been maintained that modern European history is chiefly an affair of competition between confederated states for the possession of lands revealed by Columbus and Da Gama. Without challenging or adopting this speculation, it may be safely affirmed that nothing so pregnant of results has happened as this exploration of the globe. To say that it displaced the centre of gravity in politics and commerce, substituting the ocean for the Mediterranean, dethroning Italy from her seat of central importance in traffic, depressing the eastern and elevating the western powers of Europe, opening a path for Anglo-Saxon expansiveness, forcing philosophers and statesmen to regard the Occidental nations as a single group in counterpoise to other groups of nations, the European community as one unit correlated to other units of humanity upon this planet, is truth enough to vindicate the vast significance of these discoveries. The Renaissance, far from being the re-birth of antiquity with its civilization confined to the Mediterranean, with its Hercules' Pillars beyond which lay Cimmerian darkness, was thus effectively the entrance upon a quite incalculably wider stage of life, on which mankind at large has since enacted one great drama.

While Spanish navies were exploring the ocean, and Spanish paladins were overturning empires, Charles V. headed the reaction of Catholicism against reform. Stronger as king of Spain than as emperor, for the Empire was little but a name,. he lent the weight of his authority to that system of coercion and repression which enslaved Italy, desolated Germany with war, and drowned the Low Countries in blood. Philip II., with full approval of the Spanish nation, pursued the same policy in an even stricter spirit. He was powerfully assisted by two institutions, in which the national character of Spain expressed itself, the Inquisition and the Society of Jesus. Of the former it is not needful to speak here. But we have to observe that the last great phenomenon of the Spanish Renaissance was Ignatius Loyola, who organized the militia by means of which the church worked her Counter-Reformation. His motto, Perinde ac cadaver, expressed that recognition of absolutism which papacy and monarchy demanded for their consolidation (see Jesuits and Loyola).

The logical order of an essay which attempts to show how Renaissance was correlated to Reformation and CounterReformation has necessitated the treatment of Italy, Germany and Spain in succession; for these three nations were the three main agents in the triple process to be analysed. It was due to their specific qualities, and to the diverse circumstances of their external development, that the re-birth of Europe took this form of duplex action on the lines of intellectual and moral progress, followed by reaction against mental freedom. We have now to speak of France, which earliest absorbed the influence of the Italian revival, and of England, which received it latest. The Renaissance may be said to have begun in France with Charles VIII.'s expedition to Naples, and to have continued until the extinction of the house of Valois. Louis XII. and Francis I. spent a considerable portion of their reigns in the attempt to secure possession of the Italian provinces they claimed. Henry II.'s queen was Catherine of the Medicean family; and her children, Charles IX. and Henry III., were Italianated Frenchmen. Thus the connexion between France and Italy during the period1494-1589was continuous. The French passed to and fro across the Alps on military and peaceful expeditions. Italians came to France as courtiers, ambassadors, men of business, captains and artists. French society assumed a strong Italian colouring, nor were the manners of the court very different from those of an Italian city, except that externally they remained ruder and less polished. The relation between the crown and its great feudatories, the military bias of the aristocracy, and the marked distinction between classes which survived from the middle ages, rendered France in many vital points unlike Italy. Yet the annals of that age, and the anecdotes retailed by Brantome, prove that the royalty and nobility of France had been largely Italianized.

It is said that Louis XII. brought Fra Giocondo of Verona back with him to France, and founded a school of architects. But we need not have recourse to this legend for the explanation of such Italian influences as were already noticeable architec- in the Renaissance buildings on the Loire. Without determining the French style, Italian intercourse helped to stimulate its formation and development. There are students of the 15th century in France who resent this intrusion of the Italian Renaissance. But they forget that France was bound by inexorable laws of human evolution to obey the impulse which communicated itself to every form of art in Europe. In the school of Fontainebleau, under the patronage of Francis I., that Italian influence made itself distinctly felt; yet a true French manner had been already formed, which, when it was subsequently applied at Paris, preserved a marked national quality. The characteristic of the style developed by Bullant, De l'Orme and Lescot,, in the royal or princely palaces of Chenonceaux, Chambord, Anet, Ecouen, Fontainebleau, the Louvre and elsewhere, is a blending of capricious fancy and inventive richness of decoration with purity of outline and a large sense of the beauty of extended masses. Beginning with the older castles of Touraine, and passing onward to the Tuileries, we trace the passage from the medieval fortress to the modern pleasure-house, and note how architecture obeyed the special demands of that new phenomenon of Renaissance civilization, the court. In the general distribution of parts these monumental buildings express the peculiar conditions which French society assumed under the influence of Francis I. and Diane de Poitiers. In details of execution and harmonic combinations they illustrate the precision, logic, lucidity and cheerful spirit of the national genius. Here, as in Lombardy, a feeling for serene beauty derived from study of the antique has not interrupted the evolution of a style indigenous to France and eminently characteristic of the French temperament.

During the reign of Francis I. several Italian painters of eminence visited France. Among these, Del Rosso, Primaticcio, Del Sarto and Da Vinci are the most famous. But their example French was not productive of a really great school of French painting. It was left for the Poussins and Claude Lorraine in the next century, acting under mingled Italian and Flemish influences, to embody the still active spirit of the classical revival. These three masters were the contemporaries of Corneille, and do not belong to the Renaissance period. Sculpture, on the contrary, in which art, as in architecture, the medieval French had been surpassed by no other people of Europe, was practised with originality and power in the reigns of Henry II. and Francis I. Ponzio and Cellini, who quitted Italy for France, found themselves outrivalled in their own sphere by Jean Goujon, Cousin and Pilon. The decorative sculpture of this epoch, whether combined with architecture or isolated in monumental statuary, ranks for grace and suavity with the best of Sansovino's. At the same time it is unmistakably inspired by a sense of beauty different from the Italian - more piquant and pointed, less languorous, more mannered perhaps, but with less of empty rhythmical effect. All this while, the minor arts of enamelling, miniature, glass-painting, goldsmith's work, jewellery, engraving, tapestry, wood-carving, pottery, &c., were cultivated with a spontaneity and freedom which proved that France, in the middle point between Flanders and Italy, was able to use both influences without a sacrifice of native taste. It may indeed be said in general that what is true of France is likewise true of all countries which felt the artistic impulses of the Renaissance. Whether we regard Spain, the Netherlands, or Germany at this epoch, we find a national impress stamped upon the products of the plastic and the decorative arts, notwithstanding the prevalence of certain forms derived from the antique and Italy. It was only at a later period that the formalism of pseudo-classic pedantry reduced natural and national originality to a dead unanimity.

French literature was quick to respond to Renaissance influences. De Comines, the historian of Charles VIII.'s expedition to Naples, differs from the earlier French chroniclers in his way of French . regarding the world of men and affairs. He has the perspicuity and analytical penetration of a Venetian ambassador. Villon, his contemporary, may rather be ranked, so far as artistic form and use of knowledge are concerned, with poets of the middle ages, and in particular with the Goliardi. But he is essentially modern in the vividness of his self-portraiture, and in what we are wont to call realism. Both De Comines and Villon indicate the entrance of a new quality into literature. The Rhetoriqueurs, while protracting medieval traditions by their use of allegory and complicated metrical systems, sought to improve the French language by introducing Latinisms. Thus the Revival of Learning began to affect the vernacular in the last years of the 15th century. Marot and his school reacted against this pedantry. The Renaissance displayed itself in their effort to purify the form and diction of poetry. But the decisive revolution was effected by Ronsard and his comrades of the Pleiade. It was their professed object to raise French to a level with the classics, and to acclimatize Italian species of verse. The humanistic movement led these learned writers to engraft the graces of the antique upon their native literature, and to refine it by emulating the lucidity of Petrarch. The result of their endeavour was immediately apparent in the new force added to French rhythm, the new pomp, richness, colouring and polish conferred upon poetic diction. French style gradually attained to fixity, and the alexandrine came to be recognized as the standard line in poetry. D'Aubigne's invective and Regnier's satire, at the close of the 16th century, are as modern as Voltaire's. Meanwhile the drama was emerging from the medieval mysteries; and the classical type, made popular by Garnier's genius, was elaborated, as in Italy, upon the model of Seneca and the canons of the three unities. The tradition thus formed was continued and fortified by the illustrious playwrights of the 17th century. Translation from Greek and Latin into French progressed rapidly at the commencement of this period. It was a marked characteristic of the Renaissance in France to appropriate the spoils of Greece and Rome for the profit of the mother tongue. Amyot's Plutarch and his Daphnis and Chloe rank among the most exquisite examples of beautiful French prose. Prose had now the charm of simplicity combined with grace. To mention Brantome is to mention the most entertaining of gossips. To speak of Montaigne is to speak of the best as well as the first of essayists. In all the literary work which has been mentioned, the originality and freshness of the French genius are no less conspicuous than its saturation with the new learning and with Italian studies. But the greatest name of the epoch, the name which is synonymous with the Renaissance in France, has yet to be uttered. That, of course, is Rabelais. His incommensurable and indescribable masterpiece of mingled humour, wisdom, satire, erudition, indecency, profundity, levity, imagination, realism, reflects the whole age in its mirror of hyperAristophanic farce. What Ariosto is for Italy, Cervantes for Spain, Erasmus for Holland, Luther for Germany, Shakespeare for England, that is Rabelais for France. The Renaissance cannot be comprehended in its true character without familiarity with these six representatives of its manifold and many-sided inspiration.

The French Renaissance, so rich on the side of arts and letters, was hardly less rich on the side of classical studies. The revival French of learning has a noble muster-roll of names in France: scholar Turnebus, the patriarch of Hellenistic studies; the. Etiennes of Paris, equalling in numbers, and RePorma- learning their Venetian rivals; the two Scaligers; impas sioned Dolet; eloquent Muret; learned Cujas; terrible Calvin; Ramus, the intrepid antagonist of Aristotle; France De Thou and De Beze; ponderous Casaubon; brilliant young Saumaise. The distinguishing characteristics of French humanism are vivid intelligence, critical audacity and polemical acumen, perspicuity of exposition, learning directed in its applications by logical sense rather than by artistic ideals of taste. Some of the names just mentioned remind us that in France, as in Germany and Holland, the Reformation was closely connected with the revival of learning. Humanism has never been in the narrow sense of that term Protestant; still less has it been strictly Catholic. In Italy it fostered a temper of mind decidedly averse to theological speculation and religious earnestness. In Holland and Germany, with Erasmus, Reuchlin and Melanchthon, it developed types of character, urbane, reflective, pointedly or gently critical, which, left to themselves, would not have plunged the north of Europe into the whirlpool of belligerent reform. Yet none the less was the new learning, through the open spirit of inquiry it nourished, its vindication of the private reason, its enthusiasm for republican antiquity, and its proud assertion of the rights of human independence, linked by a strong and subtle chain to that turbid revolt of the individual consciousness against spiritual despotism draped in fallacies and throned upon abuses. To this rebellion we give the name of Reformation. But, while the necessities of antagonism to papal Rome made it assume at first the form of narrow and sectarian opposition, it marked in fact a vital struggle of the intellect towards truth and freedom, involving future results of scepticism and rationalistic audacity from which its earlier champions would have shrunk. It marked, moreover, in the condition of armed resistance against established authority which was forced upon it by the Counter-Reformation, a firm resolve to assert political liberty, leading in the course of time to a revolution with which the rebellious spirit of the Revival was sympathetic. This being the relation of humanism in general to reform, French learning in particular displayed such innovating boldness as threw many of its most conspicuous professors into the camp at war with Rome. Calvin, a French student of Picard origin, created the type of Protestantism to which the majority of French Huguenots adhered. This too was a moment at which philosophical seclusion was hardly possible. In a nation so tumultuously agitated one side or the other had to be adopted. Those of the French humanists who did not proclaim Huguenot opinions found themselves obliged with Muretus to lend their talents to the Counter-Reformation, or to suffer persecution for heterodoxy, like Dolet. The church, terrified and infuriated by the progress of reform, suspected learning on its own account. To be an eminent scholar was to be accused of immorality, heresy and atheism in a single indictment; and the defence of weaker minds lay in joining the Jesuits, as Heinsius was fain to do. France had already absorbed the earlier Renaissance in an Italianizing spirit before the Reformation made itself felt as a political actuality. This fact, together with the strong Italian bias of the Valois, serves to explain in some degree the reason why the Counter-Reformation entailed those fierce entangled civil wars, massacres of St Bartholomew, murders of the Guises, regicides, treasons and empoisonments that terminated with the compromise of Henry IV. It is no part of the present subject to analyse the political, religious and social interests of that struggle. The upshot was the triumph of the Counter-Reformation, and the establishment of its principle, absolutism, as the basis of French government. It was a French king who, when the nation had been reduced to order, uttered the famous word of absolutism, "L'Etat, c'est moi." The Renaissance in the Low Countries, as elsewhere, had its brilliant age of arts and letters. During the middle ages the wealthy free towns of Flanders flourished under conditions not The dissimilar to those of the Italian republics. They raised Netherr miracles of architectural beauty, which were modified in the 15th and 16th centuries by characteristic elements of the new style. The Van Eycks, followed by Memling, Metsys, Mabuse, Lucas van Leyden, struck out a new path in the revival of painting and taught Europe the secret of oil-colouring. But it was reserved for the 17th century to witness the flower and fruit time of this powerful art in the work of Porbus, Rubens and Vandyck, in the Dutch schools of landscape and home-life, and in the unique masterpieces of Rembrandt. We have a right to connect this later period with the Renaissance, because the diststcted state of the Netherlands during the 16th century suspended, while it could not extinguish, their aesthetic development. The various schools of the 17th century, moreover, are animated with the Renaissance spirit no less surely than the Florentine school of the 15th or the Venetian of the 16th. The animal vigour and carnal enjoyment of Rubens, the refined Italianizing beauty of Vandyck, the mystery of light and gloom on Rembrandt's panels, the love of nature in Ruysdael, Cuyp and Van Hooghe, with their luminously misty skies, silvery daylight and broad expanse of landscape, the interest in common life displayed by Ter Borch, Van Steen, Douw, Ostade and Teniers, the instinct for the beauty of animals in Potter, the vast sea spaces of Vanderveldt, the grasp on reality, the acute intuition into character in portraits, the scientific study of the world and man, the robust sympathy with natural appetites, which distinguish the whole art of the Low Countries, are a direct emanation from the Renaissance.

The vernacular in the Netherlands profited at first but little by the impulse which raised Italian, Spanish, French and English to the rank of classic languages. But humanism, first of all in its protagonist Erasmus, afterwards in the long 'a ' list of critical scholars and editors, Lipsius, Heinsius sc and Grotius, in the printers Elzevir and-Plantin, developed ship. itself from the centre of the Leiden university with massive energy, and proved that it was still a motive force of intellectual progress. In the fields of classical learning the students of the Low Countries broke new ground chiefly by methodical collection, classification and comprehensive criticism of previously accumulated stores. Their works were solid and substantial edifices, forming the substratum for future scholarship. In addition to this they brought philosophy and scientific thoroughness to bear on studies which had been pursued in a more literary spirit. It would, however, be uncritical to pursue this subject further; for the encyclopaedic labours of the Dutch philologers belong to a period when the Renaissance was overpast. For the same reason it is inadmissible to do more than mention the name of Spinoza here.

The Netherlands became the battlefield of Reformation and Counter-Reformation in even a stricter sense than France. Here the antagonistic principles were plainly posed in the course of struggle against foreign despotism. The conflict ended in the assertion of political independence as opposed to absolute dominion. Europe in large measure ence. owes the modern ideal of political liberty to that spirit of stubborn resistance which broke the power of Spain. Recent history, and in particular the history of democracy, claims for its province the several stages whereby this principle was developed in England and America, and its outburst in the frenzy of the French Revolution. It is enough here to have alluded to the part played by the Low Countries in the genesis of a motive force which may be described as the last manifestation of the Renaissance striving after self-emancipation.

The insular position of England, combined with the nature of the English people, has allowed us to feel the vibration of European movements later and with less of shock than any of the continental nations. Before a wave of progress has reached our shores we have had the opportunity of watching it as spectators, and of considering how we shall receive it. Revolutions have passed from the tumultuous stages of their origin into some settled and recognizable state before we have been called upon to cope with them. It was thus that England took the influences of the Renaissance and Reformation simultaneously, and almost at the same time found herself engaged in that struggle with the Counter-Reformation which, crowned by the defeat of the Spanish Armada, stimulated the sense of nationality and developed the naval forces of the race. Both Renaissance and Reformation had been anticipated by at least a century in England. Chaucer's poetry, which owed so much to Italian examples, gave an early foretaste of the former. Wickliffe's teaching was a vital moment in the latter. But the French wars, the Wars of the Roses and the persecution of the Lollards deferred the coming of the new age; and the year 1536, when Henry VIII. passed the Act of Supremacy through parliament, may be fixed as the date when England entered definitively upon a career of intellectual development abreast with the foremost nations of the continent. The circumstances just now insisted on explain the specific character of the English Renaissance. The Reformation had been adopted by consent of the king, lords and commons; and this change in the state religion, though it was not confirmed without reaction, agitation and bloodshed, cost the nation comparatively little disturbance. Humanism, before it affected the bulk of the English people, had already permeated Italian and French literature. Classical erudition had been adapted to the needs of modern thought.

The hard work of collecting, printing, annotating and translating Greek and Latin authors had been accomplished. The masterpieces of antiquity had been interpreted and made intelligible. Much of the learning popularized by our poets and dramatists was derived at second hand from modern literature. This does not mean that England was deficient in ripe and sound scholars. More, Colet, Ascham, Cheke, Camden were men whose familiarity with the classics was both intimate and easy. Public schools and universities conformed to the modern methods of study; nor were there wanting opportunities for youths of humble origin to obtain an education which placed them on a level with Italian scholars. The single case of Ben Jonson sufficiently proves this. Yet learning did not at this epoch become a marked speciality in England. There was no class corresponding to the humanists. It should also be remembered that the best works of Italian literature were introduced into Great Britain together with the classics. Phaer's Virgil, Chapman's Homer, Harrington's Orlando, Marlowe's Hero and Leander, Fairfax's Jerusalem Delivered, North's Plutarch, Hoby's Courtier - to mention only a few examples - placed English readers simultaneously in possession of the most eminent and representative works of Greece, Rome and Italy. At the same time Spanish influences reached them through the imitators of Guevara and the dramatists; French influences in the versions of romances; German in fluences in popular translations of the Faust legend, Eulenspiegel and similar productions. The authorized version of the Bible had also been recently given to the people - so that almost at the same period of time England obtained in the vernacular an extensive library of ancient and modern authors. This was a privilege enjoyed in like measure by no other nation. It sufficiently accounts for the richness and variety of Elizabethan literature, and for the enthusiasm with which the English language was cultivated.

Speaking strictly, England borrowed little in the region of the arts from other nations, and developed still less that was original. What is called Jacobean architecture marks indeed an Arts, interesting stage in the transition from the Gothic style. But, compared with Italian, French, Spanish, German and Flemish work of a like period, it is both timid and dry. Sculpture was represented in London for a brief space by Torrigiani; painting by Holbein and Antonio More; music by Italians and Frenchmen of the Chapel Royal. But no Englishmen rose to European eminence in these departments. With literature the case was very different. Wyat and Surrey began by engrafting the forms and graces of Italian poetry upon the native stock. They introduced the sonnet and blank verse. Sidney followed with the sestine and terza rima and with various experiments in classic metres, none of which took root on English soil. The translators handled the octave stanza. Marlowe gave new vigour to the couplet. The first period of the English Renaissance was one of imitation and assimilation. Academies after the Italian type were founded. Tragedies in the style of Seneca, rivalling Italian and French dramas of the epoch, were produced. Attempts to Latinize ancestral rhythms, similar to those which had failed in Italy and France, were made. Tentative essays in criticism and dissertations on the art of poetry abounded. It seemed as though the Renaissance ran a risk of being throttled in its cradle by superfluity of foreign and pedantic nutriment. But the natural vigour of the English genius resisted influences alien to itself, and showed a robust capacity for digesting the varied diet offered to it. As there was nothing despotic in the temper of the ruling classes, nothing oppressive in English culture, the literature of that age evolved itself freely from the people. It was under these conditions that Spenser gave his romantic epic to the world, a poem which derived its allegory from the middle ages, its decorative richness from the Italian Renaissance, its sweetness, purity, harmony and imaginative splendour from the most poetic nation of the modern world. Under the same conditions. the Elizabethan drama, which in its totality is the real exponent of the English Renaissance, came into existence. This drama very early freed itself from the pseudo-classic mannerism which imposed on taste in Italy and France. Depicting feudalism in the vivid colours of an age at war with feudal institutions, breathing into antique histories the breath of actual life, embracing the romance of Italy and Spain, the mysteries of German legend, the fictions of poetic fancy and the facts of daily life, humours of the moment and abstractions of philosophical speculation, in one homogeneous amalgam instinct with intense vitality, this extraordinary birth of time, with Shakespeare for the master of all ages, left a monument of the Re- naissance unrivalled for pure creative power by any other product of that epoch. To complete the sketch, we must set Bacon, the expositor of modern scientific method, beside Spenser and Shakespeare, as the third representative of the Renaissance in England. Nor should Raleigh, Drake, Hawkins, the semi-buccaneer explorers of the ocean, be omitted. They, following the lead of Portuguese and Spaniards, combating the Counter-Reformation on the seas, opened for England her career of colonization and plantation. All this while the political policy of Tudors and Stewarts tended towards monarchical absolutism, while the Reformation in England, modified by contact with the Low Countries during their struggles, was narrowing into strict reactionary intolerance. Puritanism indicated a revolt of the religious conscience of the nation against the arts and manners of the Renaissance, against the encroachments of belligerentCatholicism, against the corrupt and Italianated court of James I., against the absolutist pretensions of his son Charles. In its final manifestation during the Commonwealth, Puritanism won a transient victory over the mundane forces of both Reformation and Renaissance, as these had taken shape in England. It also secured the eventual triumph of constitutional independence. Milton, the greatest humanistic poet of the English race, lent his pen and moral energies during the best years of his life to securing that principle on which modern political systems at present rest. Thus the geographical isolation of England, and the comparatively late adoption by the English of matured Italian and German influences, give peculiar complexity to the phenomena of Reformation and Renaissance simultaneously developed on our island. The period of our history between 1536 and 1642 shows how difficult it is to separate these two factors in the re-birth of Europe, both of which contributed so powerfully to the formation of modern English nationality.

It has been impossible to avoid an air of superficiality, and the repetition of facts known to every schoolboy, in this sketch New of so complicated a subject as the Renaissance, - embracing many nations, a great variety of topics and an indefinite period of time. Yet no other treatment was possible upon the lines laid down at the outset, where it was explained why the term Renaissance cannot now be confined to the Revival of Learning and the effect of antique studies upon literary and artistic ideals. The purpose of this article has been to show that, while the Renaissance implied a new way of regarding the material world and human nature, a new conception of man's destiny and duties on this planet, a new culture and new intellectual perceptions penetrating every sphere of thought and energy, it also involved new reciprocal relations between the members of the European group of nations. The Renaissance closed the middle ages and opened the modern era, - not merely because the mental and moral ideas which then sprang into activity and owed their force in large measure to the revival of classical learning were opposed to medieval modes of thinking and feeling, but also because the political and international relations specific to it as an age were at variance with fundamental theories of the past. Instead of empire and church, the sun and moon of the medieval system, a federation of peoples, separate in type and divergent in interests, yet bound together by common tendencies, common culture and common efforts, came into existence. For obedience to central authority was substituted balance of power. Henceforth the hegemony of Europe attached to no crown, imperial or papal, but to the nation which was capable of winning it, in the spiritual region by mental ascendancy, and in the temporal by force.

That this is the right way of regarding the subject appears from the events of the first two decades of the 16th century, those years in which the humanistic revival attained its highest point in Italy. Luther published his theses in 1517, sixty-four years after the fall of Constantinople, twenty-three years after the expedition of Charles VIII. to Naples, ten years before the sack of Rome, at a moment when France, Spain and England had only felt the influences of Italian culture but feebly. From that date forward two parties wrestled for supremacy in Europe, to which may be given the familiar names of Liberalism and Conservatism, the party of progress and the party of established institutions. The triumph of the former was most signal among the Teutonic peoples. The Latin races, championed by Spain and supported by the papacy, fought the battle of the latter, and succeeded for a time in rolling back the tide of revolutionary conquest. Meanwhile that liberal culture which had been created for Europe by the Italians before the contest of the Reformation began continued to spread, although it was stifled in Italy and Spain, retarded in France and the Low Countries, well-nigh extirpated by wars in Germany, and diverted from its course in England by the counter-movement of Puritanism. The autos da f e of Seville and Madrid, the flames to which Bruno, Dolet and Paleario were flung, the dungeon of Campanella and the seclusion of Galileo, the massacre of St Bartholomew and the faggots of Smithfield, the desolated plains of Germany and the cruelties of Alva in the Netherlands, disillusioned Europe of those golden dreams which had arisen in the earlier days of humanism, and which had been so pleasantly indulged by Rabelais. In truth the Renaissance was ruled by no Astraea redux, but rather by a severe spirit which brought no peace but a sword, reminding men of sternest duties, testing what of moral force and tenacity was in them, compelling them to strike for the old order or the new, suffering no lukewarm halting between two opinions. That, in spite of retardation and retrogression, the old order of ideas should have yielded to the new all over Europe, - that science should have won firm standing-ground, and political liberty should have struggled through those birth-throes of its origin, - was in the nature of things. Had this not been, the Renaissance or re-birth of Europe would be a term without a meaning. (J. A. S.) Literature. - The special articles on the several arts and the literatures of modern Europe, and on the biographies of great men mentioned in this essay, will give details of necessity here omitted. Of works on the Renaissance in general may be mentioned Jacob Burckhardt, Die Cultur der Renaissance in Italien (Eng. trans., 1878); G. Voigt, Wiederbelebung des Classischen Alterthums (2 vols. 3rd ed., by M. Lehnerdt, 1893); J. A. Symonds, Renaissance in Italy; Marc Monnier, Renaissance de Dante a Luther; Eugene Miintz, Precurseurs de la Renaissance (1882), Renaissance en Italie et en France (1885), and Hist. de fart pendant la Renaissance (1889-95); Ludwig Geiger, Humanismus and Renaissance in Italien and Deutschland (1882), and Cambridge Modern History, vol. i., "The Renaissance" (Cambridge, 1903), where full bibliographies will be found.

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