1. Culture and Values, 6th Ed.
Cunningham and Reich

2.  Vatican as center of wealth, stability
 Many artists migrated to the Vatican to be recipients
of patronage when the Medici declined.
 Patronage – artists were paid and supported to create
specific works of art
 Pope Sixtus IV – commissioned artists who
were famous in Florence to fresco the side
walls of the Sistine Chapel:
 Ghirlandaio, Botticelli, Perugino

3.  Pope Julius II
 Beginnings of High Renaissance (1503)
 Appreciated fine art; influenced by his uncle, Pope
Sixtus IV
 “il papa terribile” – the awesome pope
 Summoned Raphael Sanzio and Michelangelo
Buonarroti to Rome

4.  From Urbino to Perugia
 Born in Urbino and practiced art under his father’s
direction
 His father died in 1494
 Became apprentice to Perugino, the painted
 Moved from Perugia to Florence (1505)
 Worked there for 3 years
 Painted many madonnas while in Florence

5.  Madonna of the Meadow (1508) (Fig. 13.1)
 Typical Raphael style of madonna
 Pyramidal configuration – believable and balanced
space
 This geometrical device was popularized by Leonardo
da Vinci
 Rationally ordered
 Modeling of human forms
 Conveys genuine sweetness and warmth
 Human quality of the divine figure is Raphael’s
trademark

7.  Went from Florence to Vatican (Rome) (1508)
 Pope Julius had him working on various projects in the
Vatican by the next year.
 Commissioned him to decorate rooms of his palace
 School of Athens (1509-1511) (Fig. 13.2)
 Large fresco on the wall of the Stanza della Segnatura, an
office in the Vatican Palace
 Symbolic homage to philosophy
 Sets the great philosophers of old in an immense
architectural framework inspired by Roman architecture
 Renaissance ideal – sensitivity to ordered space, ease
with Classical thought, Roman architecture, brilliant
color and form, and love for intellectual clarity

8.  The Transfiguration (1527) (Fig. 13.3)
 Last work, unfinished at his death
 Balance of philosophy and theology
 Old and New Testament figures; light and dark to
reflect balance

11.  Called to Rome in 1505 by Pope Julius II to
create a monumental tomb: Tomb for Pope
Julius II
 Tomb was never finished; Michelangelo was
interrupted by Julius, his death, and later the
Medici family

12.  Moses (1513-1515) – one of the finished pieces of the
tomb (Fig. 13.4)
 Fiercely inspired look on Moses’ face; bulky physicality,
carefully modeled musculature, drapery, and hair
 Face radiates divine fury, divine light
 Terribilità - awesomeness

13.  Boboli Captives (1527-1528) (Fig. 13.5)
 Rough and unfinished:
 Neo-Platonic notion of form and matter – ideal form
struggles to be freed from gross matter
 Insight into artist’s methods
 Captives were possible meant to serve as corner
supports for the bottom level of the tomb (Fig. 13.6)

16.  The Sistine Chapel (Fig. 13.8)
 Julius commanded Michelangelo to fresco the ceiling.
 He resisted the project and fled Rome; he was ordered
back by papal edict.
 Finished the ceiling in 3 years (1508-1511).
 “Michelangelo, Sculptor” – signed the ceiling to
remind Julius of his reluctance to paint.
 Architectural and thematic motifs
 Heroic action of the Old Testament; biblical ancestors of
Christ; pagan sibyls and OT prophets; scenes from
Genesis

17.  Interpretation – the overall meaning is problematic
 The following elements must all be considered:
 Neo-Platonism – manipulation of dark and light;
liberation of spirit from matter; and geometrical
allusions
 Old Testament and pagan prophets – points to the
coming of Christ
 Complex tree symbolism – trees in the Bible: tree of good
and evil, the cross, etc.); and allusion to the pope’s family
name (della Rovere – “of the oak tree”)
 Human wisdom (sibyls) + God’s revelation (prophets)

19.  Michelangelesque: describes the style
 Masculine anatomy, musculature
 Combines physical bulk with linear grace, & powerful
display of emotion
 Creation of Adam (1508-1511) (Fig. 13.9)
 The Last Judgment (1534-1541) (Fig. 13.10)

21.  Medici Chapel in Florentine Church of San
Lorenzo (Fig. 13.11)
 Worked under patronage of popes Leo X and
Clement VII, both from Medici family
 Designed and executed both sculptures and the chapel
 Never completely finished the chapel
 Meditation of the shortness of life, inevitability of
death, and hope for resurrection
 Brothers Lorenzo the Magnificent and Giuliano are
buried in the chapel
 Night and Day; Dawn and Dusk (Fig. 13.12)

22.  The New Saint Peter’s Basilica – 1,000 years old,
and had suffered from roof fires, structural
stresses, and ravages of time
 Donato Bramante (1444-1514), architect
 Envisioned a central domed church with a floor plan in
the shape of a Greek cross with 4 equal arms (Fig. 13.13)
 Tempietto (little temple) – small chapel he built in 1502 in
Rome may give a clue to Bramante’s vision for St.
Peter’s.

23.  Raphael and Sangallo worked on the project, as
well , after Bramante’s death.
 Added nave and aisles.
 Michelangelo as architect (1546)
 Used Bramante’s plan for central domed Greek cross
 Major difference: ribbed, arched dome modeled after
a cathedral in Florence
 Michelangelo lived to see the completion of the
drum to support dome
 Drum was raised 30 years later (after his death) by
Giacomo della Porta

25.  Rome excelled in fresco, sculpture, and
architecture – Venice had tradition of easel
painting
 Use of oil paints because of damp atmosphere
 Could enrich and deepen color – make color more
brilliant
 Subtlety of light
 Eye for close detail
 Love of landscape

26.  Giorgione (c.1477-1510) – most celebrated painter
in 16th century Venice
 Venetian Renaissance Style
 Enthroned Madonna with Saints (1500-1505) (Fig. 13.15)
 Painted for his hometown cathedral
 Highly geometric work – use of pyramid/triangle
 More typical work – painting without religious content
or recognizable storyline/narrative
 Le Concert Champêtre (c. 1510) (Fig. 13.16)
 Secular homage to joy of life rendered with richness and
lushness of concept and color.

27.  Titian (c. 1488-1576)
 Use of striking color
 Very popular and created many works
 Two representative paintings demonstrate his abilities:
 Assumption of the Virgin (1516-1518) (Fig. 13.17)
 Panel painting in the Venetian Church of the Frari
 Use of triangular composition; shift from dark to light; and
lines converging on the Madonna for movement
 Venus of Urbino (1538) (Fig. 13.18)
 Homage to feminine beauty from human perspective
 Architectural background; evenly divided between light and
dark; lush and rich

28.  Tintoretto (1518-1594)
 “little dyer” – name for his father’s occupation
 Over his studio door: “The drawing of Michelangelo
and the color of Titian.”
 Scuola - most famous work; cycle of frescoes
 The Last Supper (Fig. 13.19) – Church of San Giorgio
Maggiore
 Energetic and dramatic style

32.  Artistic “mood” – exaggeration of Renaissance
form and loosening of Renaissance intellectuality
 Frederick Hartt’s schema
 ***See page 325 in textbook***
 Michelangelo’s mannerist style in later works
 Night, Day, Dawn, and Dusk
 Entrance to Laurentian Library (Fig. 13.20)
 Windows aren’t windows, columns support nothing;
staircase steps seem agitated and in motion
 The Last Judgment – example of Mannerism

34.  Jacopo Carucci da Pontormo (1494-1557)
 Eccentric and reclusive painter; studied with da Vinci
 Deposition (c. 1528) (Fig. 13.21)
 Shocking colors: pinks, greens, and blues
 Parmigianino (1503-1540)
 Madonna of the Long Neck (c. 1535) (Fig. 13.22)
 Gigantic proportions
 Implied eroticism – shape of her body; long fingers;
curving S of her neck; and partially clad figures
clustered at her side
 Mannerism is a testament to inventiveness,
restlessness of human spirit

36.  Lavinia Fontana (1552-1614)
 Daughter of Bolognese painter
 Portrait painter in Rome, Bologna
 Adopted Mannerist style: Exaggerated angles, use of
color
 Dead Christ with the Symbols of the Passion (1581) (Fig.
13.23)
 Sofonisba Anguissola (1532?-1624)
 Influenced by both Renaissance and Baroque masters
 Pictorial representations – self-portrait (Fig. 13.24)
 Contrasts of dark and light

37. Music at the Papal Court
 Sistine Choir and Julian Choir – established
permanent choirs for private chapels
 Sistine Choir was composed of male voices
 Preadolescent boys sang soprano, older men sang alto,
tenor, and bass
 a capella – without musical accompaniment

38.  Josquin des Prez (c. 1440-1521)
 Sistine Choir, composer and director
 True genius for creative musical composition: Motet
for four voices
 Praised for his homogenous musical structure,
balance, lyrical quality
 Motet uses sacred text sung by four voices in
polyphony
 Clear division in text, but used overlapping voices to
avoid sense of break in the music
 Tu Pauperum Refugium (Thou Refuge of the Poor)

39. Music at the Papal Court
 Giovanni Pierluigi da Palestrina (1525-1594)
 Choirmaster of capella Guilia (Saint Peter’s)
 1571-1594 Vatican’s music director
 Conservative masses in response to Catholic reform
movement
 Returning to the simpler ways of the past
 Music reflects that conservation

40. Venetian Music
 Adrian Willaert – Dutchman who became
choirmaster of the Church of St. Mark
 Trained both Andrea and Giovanni Gabrieli
 Church of St. Mark
 Split choirs – 2 choirs permitted variation of composition
 Could sing to and against each other
 Instrumental music in liturgy; pioneered the use of the
organ for liturgical music
 Intonazione (music played before service), toccata
(virtuoso prelude)

42. Castiglione’s Courtier (1528)
 Characters discuss chivalry, classical virtues,
Platonic love
 Courtiers should be a person of humanist learning,
impeccable ethics, refined courtesy, physical and martial
skills, and fascinating conversation
 Uomo universale – well-rounded person
 Sprezzatura – effortless mastery
 Criticism: Overly refined, idealized worldview
 Courtier’s world is that of elite aristocracy

43. Cellini’s Autobiography
 Chronicles a life of violence, intrigue, sex,
egotism, politics
 Vignettes of all walks of life; realistic snapshots
 Popes, commoners, artists, soldiers, cardinals,
prostitutes, assassins
 Insight into methods of the artist
 Describes the process of casting the bronze statue of
Perseus (Fig. 13.26)