INSTRUCTOR’S MANUAL

CHAPTER 12:  THE HIGH RENAISSANCE AND

 MANNERISM IN ITALY

I.  LEARNING OBJECTIVES

·        To detail the effect of the patronage of the popes on the art, architecture, and music of the High Renaissance

·        To discuss the major works of the great artists of the High Renaissance:  Da Vinci, Raphael, and Michelangelo

·        To present the major artists of the Venetian Renaissance

·        To describe the characteristics of Mannerism and Mannerist art

·        To discuss two women artists of the High Renaissance:  Lavinia Fontana and Sofonisba Anguissola

·        To set forth the characteristics of music in the sixteenth century, including the music of the Papal Court and Venetian Music

·        To parallel contrasting voices in the high Renaissance, especially Baldassare Castiglione and Benvenuto Cellini

II.  OUTLINE OF CHAPTER CONTENTS

The 16^th Century in Italy:  Of Politics, Popes, and Patronage

The Visual Arts

                   Leonardo da Vinci

                   Raphael Sanzio

                   Michelangelo Buonarroti

          The New Saint Peter’s

                   Bramante’s Plan

                   Michelangelo’s Plan

          The High Renaissance in Venice

                   Andrea Palladio

          Painting in Venice

                   Titian

                   Tintoretto

          Mannerism

                   Jacopo da Pontormo

                   Parmigianino

                   Il Bronzino

                   Lavinia Fontana

                   Sofonisba Anguissola

                   Giovanni da Bologna

                   El Greco

Music

          Music at the Papal Court

                   Palestrina

          Venetian Music

Literature

                   Leonardo da Vinci                  

Michelangelo Buonarroti

Vittoria Colonna

Baldassare Castiglione

Vernonica Franco

Benvenuto Cellini

III.  FIGURES, MAPS, AND TABLES

Figure 12.1  Michelangelo, Moses

Map 12.1  Italy in 1494

Figure 12.2  Some Popes of the 16^th Century

Figure 12.3  Leonardo da Vinci, The Last Supper

Figure 12.4A  Leonardo da Vinci, Madonna of the Rocks

Figure 12.4B  The pyramidal structure of Leonardo da Vinci’s Madonna of the

                             Rocks

Figure 12.5  Leonardo da Vinci, Mona Lisa

Figure 12.6  Leonardo da Vinci, anatomical drawing, medical studies of the

                             human body

Figure 12.7  Raphael, Madonna of the Meadow

Figure 12.8A  Raphael, Philosophy (The School of Athens)

Figure 12.8B  One-point perspective in Raphael’s Philosophy (The School of

                             Athens)

Figure 12.9  Michelangelo, Pieta

Figure 12.10  Michelangelo, David

Figure 12.11  Michelangelo, Moses

Figure 12.12A  Michelangelo, ceiling of the Sistine Chapel

Figure 12.12B  Schematic drawing of the iconographic plan of the Sistine Chapel

                                      Ceiling

Figure 12.13  Michelangelo, The Creation of Adam, detail, Sistine Chapel ceiling

Figure 12.14  Michelangelo, The Last Judgment

Figure 12.15  Michelangelo, Medici Chapel

Figure 12.16  Michelangelo, Night, detail, Medici Chapel

Figure 12.17  Floor plans for the new Saint Peter’s Basilica, Rome

Figure 12.18  Michelangelo, Saint Peter’s Basilica

Figure 12.19  Andrea Palladio, Palazzo Chiericati

Figure 12.20  Titian, Venus of Urbino

Figure 12.21  Tintoretto, The Last Supper

Figure 12.22  Jacopo Pontormo, Entombment

Figure 12.23  Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury)

Figure 12.24  Lavinia Fontana, Noli Me Tangere

Figure 12.25  Sofonisba Anguissola, A Game of Chess

Figure 12.26  Giovanni da Bologna, Abduction of the Sabine Women

Figure 12.27  El Greco, The Burial of the Count of Orgaz

Figure 12.28  Raphael, Baldassare Castiglione

Figure 12.29  Tintoretto, Veronica Franco

Figure 12.30  Kitagawa Utamaro, White make-up

Figure 12.31  Benvenuto Cellini, Perseus Holding the Head of Medusa

IV.  SUGGESTIONS FOR CLASSROOM DISCUSSION

Popes and Patronage

1.  What impact on art can the focused patronage of one person have?  Examine the patronage of Sixtus IV, Julius II, and/or Charles IV.

2.  What is the meaning of the saying that “Art follows patronage”?

Da Vinci, Raphael, and Michelangelo

1.  How does Neoplatonic thinking affect Michelangelo’s sculpture in the Tomb of Julius II and the Medici tombs?  How does it affect his Sistine chapel ceiling?

2.  Is Michelangelo’s Last Judgment a work in the Renaissance style?

3.  In what way are Raphael and Michelangelo the quintessential Renaissance artists?  Compare and contrast their styles.

4.  Identify the following figures in The School of Athens:

Plato (Leonardo)            Xenophon                      Ptolemy

Pythagoras                     Diogenes                        Epicurus

Aristotle                         Aeschines                       Raphael (self portrait)

Averroes                        Euclid (Bramante)                   Sodoma

Socrates                         Alcibiades                      Heraclitus (Michelangelo)

Zoroaster                       Zeno

The following will help locate the figures:

·        This fresco represents natural truth.

·        The basilica is inspired by Constantine’s in the Roman Forum.

·        It is decorated with statues of Apollo and Minerva.

·        Plato holds the text of Timaeus and points to heaven, the “seat of ideas.”

·        Aristotle holds his Ethics and points to Earth.

·        Socrates is on the left in an olive cloak, arguing.

·        Facing an old man, Zeno, Epicurus is crowned with grape leaves, indicating hedonism.

·        Pythagoras teaches from a book.  Heraclitus (Michelangelo, with his arm on the rectangular solid) is absent from the original cartoon, but present in the fresco.  It is believed that Raphael added it in 1511 after seeing the first half of the Sistine chapel ceiling.

·        Diogenes is stretched out on the stairs.  Euclid, portrayed as Bramante, is demonstrating a theorem with the help of a compass.

·        The fresco is signed in the gold border of Euclid’s robe.

·        Ptolemy, the geographer, holds a globe of the sky.

·        The young man facing the viewer is Raphael, standing next to Sodoma (in the white cloak), who preceded Raphael in decorating the ceiling of the room.

5.  Analyze the use of space and linear perspective in da Vinci’s Last Supper (Fig. 12.3), and Uccello’s Battle of San Romano (Fig. 11.25).

6.  Discuss aerial or atmospheric perspective, linear perspective, and chiaroscuro in da Vinci’s Madonna of the Rocks (Fig. 12.4AB)

The New Saint Peter’s

How does the evolution of the design of the New Saint Peter’s Basilica—from a centralized plan to its current form—show the shift away from Renaissance ideals?

Venetian Painting

1.  Compare and contrast the Venetian painting style of the High Renaissance to the painting style being used in Rome at the same time.

2.  Contrast Titian’s Venus of Urbino (Fig. 12.21) to Botticelli’s Birth of Venus (Fig. 11.28).  Note the differences in:  the interpretation of the subject, the use of line, the use of color, and the allocation of space in the paintings.

3.  Contrast Tintoretto’s Last Supper (Fig. 12.22) to da Vinci’s Last Supper (Fig. 12.3).  How does this contrast point out the characteristics of Mannerist art?

Music of the High Renaissance

Compare and contrast the music of Josquin des Prez to that of Palestrina.  Then compare and contrast the music of Palestrina to that of Gabrieli.

V.  ASSIGNMENTS FOR STUDENTS

1.  Michelangelo is more than a culmination of the Italian Renaissance (as is Raphael).  He consistently reaches beyond the bounds of the Renaissance to anticipate future developments in art.  Organize a presentation in which you examine one sculpture done in each of the periods of Michelangelo’s life.  How does each work reflect a major emphasis from each period of his artistic life?  How does each work point toward future developments in art?

2.  Offer a dialogue on the nature of women featuring Baldassare Castiglione and Laura Cereta.

3.  Investigate additional works by Sofonisba Anguissola.  Present your findings to the class.

4.  Did Cellini have the right to his high opinion of himself?  Justify your answer.

5.  Write a resume for either da Vinci or Michelangelo.

6.  Write a dialogue between Castiglione and Cellini on the “ideal man.”

7.  Locate modern examples that reflect Renaissance principles of composition.  Share these examples with the class.

8.  Who was Vittoria Colona and what role did she play in the life of Michelangelo?

VI.  ADDITIONAL RESOURCES

From Films for the Humanities:

          Leonardo da Vinci:  the Mind of the Renaissance

          Journey of the Magus:  Artists and Patrons in Renaissance Italy

          Epitome of the Italian Renaissance:  The Gonzagas of Mantua

From Films for the Humanities and Sciences:

          Out of Darkness (church Music from Gregorian chant to Palestrina)

          Apocalypse:  The Reinvention of Christian Art (Michelangelo’s Sistine

                   Ceiling)

          Light and Liberty:  Renaissance Art in Venice

          Monteverdi in Mantua

From the History Channel:

          Michelangelo:  Artist and Man (Biography)

          Leonardo da Vinci:  Renaissance Master (Biography)

From PBS:

          Life of Leonardo Da Vinci

          The History of Western art

          The Great Artists

          Art of the Western World

          Sister Wendy’s History of Painting