World History Honors Summer Reading Assignment 2014-15
Primary Sources: Renaissance
Directions:
1. Read “A Brief Overview” of the Renaissance. Highlight important information.
2. Read each primary source carefully. Highlight or underline main ideas as you
read.
3. For EACH source (1-6) answer the following questions:
a. Where and when was this source produced?
b. Who created this source? What do you know about the author?
c. What point is the source trying to convey?
d. Why is this source important?
 List the name of the source and label your answers for each source.
(a-d)
4. Summary: What conclusions can you draw concerning the Renaissance based
upon these sources?
Good luck- See you in September!
The Renaissance: A Brief Overview
The word Renaissance is a French word meaning re-birth and that is literally what it
refers to. It refers to a re-birth of arts and culture into Europe after the Middle Ages that
basically passed by without the arts. The word Renaissance is often interpreted,
however, as two things. Firstly it is often interpreted as everything that occurred during
the Renaissance Period such as the wars fought, governments that ruled and colonies
settled. But Renaissance also refers to the actual revolution, which lay solely in the arts
and focused around one of the city-states of Italy, Florence. This revolution was the
resurgence of creative study and the glorification of artists, painters and sculptures
instead of them being treated as baggage in the community. This revolution really only
effected the higher parts of the social ladder and the peasants were still too poor to
enjoy such luxuries.
The central issue in the development of Renaissance Art in Italy was the renewed
connection with Classical Antiquity, that is, ancient philosophy, literature and science
from Ancient Greece and Rome. The philosophy that underpinned this interest in
Classical Antiquity is referred to as ‘humanism’ – a celebration of humanity and its
ability and power to create and discover new things. The Renaissance is commonly
divided into two parts, the Early Renaissance and the High Renaissance. During this time
the emergence of art and architecture was an ongoing process.
Early Renaissance generally refers to the Renaissance art produced in the 15th century
(1400s). Florence, a city in Italy, was the world center for artistic thinking because of its
political situation. Rather than being an aristocracy like most European states, Florence
was a Republic, a form of governance that respected artists as great men instead of
mere puppets of those in power. Further, wealthy families such as the Medici and Pazzi
families in Florence had enough money to commission artists to create incredible
artworks that would display their wealth to the rest of society. In an effort to compete
for social power in this way, these patrons of the arts provided both the funds and new
uses for art that helped generate the artistic growth in Florence during this time. Around
1450 a lot of new artists appeared in Italy such as Botticelli and Pollaiuolo who came to
settle in Florence with its ideal political and social circumstances.
Some of the principal figures in the Early Renaissance artistic revolution were the three
artists Donatello (a sculptor), Masaccio (a painter) and Brunelleschi (an architect).
These and other Renaissance artists sought to find a better way to paint or create the
natural world. They tried to show human personality and behaviour inside their painting
and sculptures to create a more vivid image. This was a major advance from the
medieval period as the artist’s purpose was no longer to only create art for within
monasteries and ‘brainwash’ the population with art. Rational inquiry was the way to
create this idea of perfect representation of the body. There was therefore a push to
discover the proper laws of proportion for architecture and the correct representation
of the human body in paintings. Three important concepts during the whole
Renaissance were proportion, contrapostoand linear perspective.
The High Renaissance period spanned for a brief period of about 75 years and went
from approximately 1495 to 1520. It was said to have been created by the artistic
genius of people like Leonardo da Vinci, Titian, Donato Bramante, Michelangelo and
Raphael. All people who study art in the Renaissance period consider Leonardo da
Vinci a model of perfection and excellence. He was in fact an illegitimate son of a
Florentine notary who was accepted into the Painters Guild of Florence when he was
20. He was an enigmatic genius who began a huge variety of projects, many of which
were never finished. His impressive intellect gave him an insight into the natural sciences
in which he was interested for he understood that how to see was the basis to
understanding nature. Some of his most famous works were the Mona Lisa, The Last
Supper and The Virgin of the Rocks.
A significant artistic development during the Renaissance was the expansion of the
types of subject matter artists were allowed to focus on. Up until just before the
Renaissance, art was mainly created about religious themes because it’s main context
was churches and monasteries. Because wealthy patrons were buying their own art
during the Renaissance, they could dictate the subject matter for themselves.
Mythological scenes from Ancient Greek and Roman myths became a popular subject.
Portraiture also became popular given the motivations of art patrons to show
themselves off. Of course, the Catholic church remained a significant influence in
society at this time, so a lot of Renaissance art developed religious themes such as the
Virgin and Child (baby Jesus with Mary).
Source: http://theteachersvanity.wordpress.com/2012/02/29/the-renaissance-a-briefsummary/
Primary Sources: Renaissance
World History Honors 2014- 15
Source #1: Letter to Posterity: Petrarch Writes His Autobiography
Francesco Petrarch
(c. 1367-1372)
Greeting.–It is possible that some word of me may have come to you, though even this is doubtful, since
an insignificant and obscure name will scarcely penetrate far in either time or space. If, however, you
should have heard of me, you may desire to know what manner of man I was, or what was the outcome
of my labors, especially those of which some description or, at any rate, the bare titles may have reached
you.
To begin with myself, then: the utterances of men concerning me will differ widely, since in passing
judgment almost every one is influenced not so much by truth as by preference, and good and evil report
alike know no bounds. I was, in truth, a poor mortal like yourself, neither very exalted in my origin, nor,
on the other hand, of the most humble birth, but belonging, as Augustus Caesar says of himself, to an
ancient family. As to my disposition, I was not naturally perverse or wanting in modesty, however the
contagion of evil associations may have corrupted me.
My youth was gone before I realized it; I was carried away by the strength of manhood; but a riper age
brought me to my senses and taught me by experience the truth I had long before read in books, that
youth and pleasure are vanity,–nay, that the Author of all ages and times permits us miserable mortals,
puffed up with emptiness, thus to wander about, until finally, coming to a tardy consciousness of our
sins, we shall learn to know ourselves.
In my prime I was blessed with a quick and active body, although not exceptionally strong; and while I
do not lay claim to remarkable personal beauty, I was comely enough in my best days. I was possessed of
a clear complexion, between light and dark, lively eyes, and for long years a keen vision, which however
deserted me, contrary to my hopes, after I reached my sixtieth birthday, and forced me, to my great
annoyance, to resort to glasses. Although I had previously enjoyed perfect health, old age brought with it
the usual array of discomforts.
My parents were honorable folk, Florentine in their origin, of medium fortune, or, I may as well admit it,
in a condition verging upon poverty. They had been expelled from their native city, and consequently I
was born in exile, at Arezzo, in the year 1304 of this latter age, which begins with Christ’s birth, July the
20th, on a Monday, at dawn. … In my familiar associations with kings and princes, and in my friendship
with noble personages, my good fortune has been such as to excite envy. But it is the cruel fate of those
who are growing old that they can commonly only weep for friends who have passed away. The greatest
kings of this age have loved and courted me. They may know why; I certainly do not. With some of them
I was on such terms that they seemed in a certain sense my guests rather than I theirs; their lofty
position in no way embarrassing me, but, on the contrary, bringing with it many advantages. I fled,
however, from many of those to whom I was greatly attached; and such was my innate longing for
liberty, that I studiously avoided those whose very name seemed incompatible with the freedom that I
loved.
I possessed a well-balanced rather than a keen intellect,–one prone to all kinds of good and wholesome
study, but especially inclined to moral philosophy and the art of poetry. The latter, indeed, I neglected as
time went on, and took delight in sacred literature. Finding in that a hidden sweetness which I had once
esteemed but lightly, I came to regard the works of the poets as only amenities.
Among the many subjects which interested me, I dwelt especially upon antiquity, for our own age has
always repelled me, so that, had it not been for the love of those dear to me, I should have preferred to
have been born in any other period than our own. In order to forget my own time, I have constantly
striven to place myself in spirit in other ages, and consequently I delighted in history. The conflicting
statements troubled me, but when in doubt I accepted what appeared most probable, or yielded to the
authority of the writer.
Source #2: Nicolo Nicoli: A Humanist’s Passion for the Classics
(c. 1450)
Vespasiano da Bisticci
Nicolo may justly be called the father and the benefactor of all students of letters, for he gave them
protection and encouragement to work, and pointed out to them the rewards which would follow. If he
knew of any Greek or Latin book which was not in Florence he spared neither trouble nor cost until he
should procure it; indeed, there are numberless Latin books which the city possesses through his care.
He gained such high reputation amongst men of letters that Messer Leonardo sent him his Life of Cicero
and pronounced him to be the censor [i.e., foremost critic] of the Latin tongue.
He was a man of upright life who favored virtue and censured vice. He collected a fine library, not
regarding the cost, and was always searching for rare books. He bought all these with the wealth which
his father had left, putting aside only what was necessary for his maintenance. He sold several of his
farms and spent the proceeds on his library. He was a devoted Christian, who specially favored monks
and friars, and was the foe of evildoers. He held his books rather for the use of others than of himself,
and all lettered students of Greek or Latin would come to him to borrow books, which he would always
lend. … If he heard of students going to Greece or to France or elsewhere he would give them the names
of books which they lacked in Florence, and procure for them the help of Cosimo de’ Medici who would
do anything for him. When it happened that he could only get the copy of a book he would copy it
himself, either in current or shaped characters, all in the finest script, as may be seen in San Marco,
where there are many books from his hand in one lettering or the other. He procured at his own expense
the works of Tertullian and other [ancient] writers which were not in Italy. He also found an imperfect
copy of Ammianus Marcellinus and wrote it out with his own hand. The De Oratore and the Brutus [by
Cicero] were sent to Nicolo from Lombardy, having been brought by the envoys of Duke Filippo when
they went to ask for peace in the time of Pope Martin. The book was found in a chest in a very old
church; this chest had not been opened for a long time, and they found the book, a very ancient example,
while searching for evidence concerning certain ancient rights. De Oratore was found broken up, and it
is through the care of Nicolo that we find it perfect today. He also rediscovered many sacred works and
several of Tully’s [Cicero's] orations.
Through Nicolo Florence acquired many fine works of sculpture, of which he had great knowledge as
well as of painting. A complete copy of Pliny did not exist in Florence, but when Nicolo heard that there
was one in Lubeck, in Germany, he secured it by Cosimo’s aid, and thus Pliny came to Florence. All the
young men he knew in Florence used to come to him for instruction in letters, and he cared for the needs
of all those who wanted books or teachers. He did not seek any office in Florence [although] he was
made an official in the University; many times he was selected for some governorship, but he refused
them all, saying that they were food for the vultures, and he would let these feed on them. He called
vultures those who went into the alehouses and devoured the poor. …
Source #3: A Renaissance Oration on Human Dignity
Giovanni Pico Della Mirandola
(1486)
At last it seems to me I have come to understand why man is the most fortunate of creatures and
consequently worthy of all admiration and what precisely is that rank which is his lot in the universal
chain of Being–a rank to be envied not only by brutes but even by the stars and by minds beyond this
world. It is a matter past faith and a wondrous one. Why should it not be? For it is on this very account
that man is rightly called and judged a great miracle and a wonderful creature indeed. …
O supreme generosity of God the Father, O highest and most marvelous felicity of man! To him it is
granted to have whatever he chooses, to be whatever he wills. Beasts as soon as they are born (so says
Lucilius) bring with them from their mother’s womb all they will ever possess. Spiritual beings, either
from the beginning or soon thereafter, become what they are to be for ever and ever. On man when he
came into life the Father conferred the seeds of all kinds and the germs of every way of life. Whatever
seeds each man cultivates will grow to maturity and bear in him their own fruit. If they be vegetative, he
will be like a plant. If sensitive, he will become brutish. If rational, he will grow into a heavenly being. If
intellectual, he will be an angel and the son of God. And if, happy in the lot of no created thing, he
withdraws into the center of his own unity, his spirit, made one with God, in the solitary darkness of
God, who is set above all things, shall surpass them all. Who would not admire this our chameleon? Or
who could more greatly admire aught else whatever? It is man who Asclepius of Athens, arguing from
his mutability of character and from his self-transforming nature, on just grounds says was symbolized
by Proteus in the mysteries. Hence those metamorphoses renowned among the Hebrews and the
Pythagoreans. …
Source #4: Selecting a Bride in Renaissance Florence
Alessandra Macinghi Delghi Strozzi
(1464-1465)
[April 20, 1464] … Concerning the matter of a wife [for Filippo], it appears to me that if Francesco di
Messer Guglielmino Tanagli wishes to give his daughter, that it would be a fine marriage. … Now I will
speak with Marco [Parenti, Alessandra's son-in-law], to see if there are other prospects that would be
better. … Francesco Tanagli has a good reputation, and he has held office, not the highest, but still he has
been in office. You may ask: “Why should he give her to someone in exile?” There are three reasons.
First, there aren’t many young men of good family who have both virtue and property. Secondly, she has
only a small dowry, 1,000 florins, which is the dowry of an artisan. … Third, I believe that he will give her
away, because he has a large family and he will need help to settle them. …
[August 17, 1465] … Sunday morning I went to the first mass at S. Reparata … to see the Adimari girl,
who customarily goes to that mass, and I found the Tanagli girl there. Not knowing who she was, I stood
beside her. … She is very attractive, well proportioned, as large or larger than Caterina [Alessandra's
daughter]. … She has a long face, and her features are not very delicate, but they aren’t like a peasant’s.
From her demeanor, she does not appear to me to be indolent. … I walked behind her as we left the
church, and thus I realized that she was one of the Tanagli. …
[September 13, 1465] … Marco came to me and said that he had met with Francesco Tanagli, who had
spoken very coldly, so that I understand that he had changed his mind. … I believe that this is the result
of the long delay in our replying to him, both yours and Marco’s. Now that this delay has angered him,
and he has at hand some prospect that is more attractive. … I am very annoyed by this business. …
[Filippo Strozzi eventually married Fiametta di Donato Adimari, in 1466.]
Source #5: Classroom Rebellion: Students Berate a Renaissance Teacher
Students of Conrad Celtis
(c. 1500)
By your long and incessant scoldings, with which you frequently consume half the hour, you force us to
make some reply in the name of truth. You accuse us of madness and charge that we are stupid
barbarians, and you call wild beasts those whose fees support you. … This we might have borne with
better grace, but for the fact that you yourself abound in the faults of which you accuse us. For what of
the fact that, while you carp about us, you yourself are so torpid from dissipation that in private
conversation your drowsy head droops to your elbow like a figure eight. You touch on many points in
questions, but you speak neither plain argument nor cultured speech nor elegant Latin expositions; nor
do you observe true coherence and order of speaking. Yet you have at hand the motto, “He teaches
clearly who understands clearly.” Either you lack understanding–a shameful thing in a doctor–or you
think us unworthy of your learning, which is incredible. For you certainly experience daily studious
auditors, sometimes learned men, calculated to adorn you with great praise. Or you dislike the labor of
lecturing, as we clearly comprehend, understand and see. In this one point you both derogate from your
own reputation and seem to us all deficient. But now we have clearly expressed ourselves on that point.
Wherefore, if you are ready and willing to vindicate the name and dignity of a preceptor and doctor, to
fulfill your professional duties, we will be more attentive. If first, as befits you, you clear yourself of the
fault you impute to us, you will make us more diligent by your diligence, which has now long been
lacking, if you can conquer and overcome your dislike of study and tardiness in work. If you do less, we
shall have to take more stringent measures.
Source #6: The Prince: Power Politics During the Italian Renaissance
Niccolo Machiavelli
(1513)
Every one understands how praiseworthy it is in a prince to keep faith, and to live uprightly and not
craftily. Nevertheless we see, from what has taken place in our own days, that princes who have set little
store by their word, but have known how to overreach men by their cunning, have accomplished great
things, and in the end got the better of those who trusted to honest dealing.
Be it known, then, that there are two ways of contending,–one in accordance with the laws, the other by
force; the first of which is proper to men, the second to beasts. But since the first method is often
ineffectual, it becomes necessary to resort to the second. A prince should, therefore, understand how to
use well both the man and the beast. … But inasmuch as a prince should know how to use the beast’s
nature wisely, he ought of beasts to choose both the lion and the fox; for the lion cannot guard himself
from the toils, nor the fox from wolves. He must therefore be a fox to discern toils, and a lion to drive off
wolves.
To rely wholly on the lion is unwise; and for this reason a prudent prince neither can nor ought to keep
his word when to keep it is hurtful to him and the causes which led him to pledge it are removed. If all
men were good, this would not be good advice, but since they are dishonest and do not keep faith with
you, you in return need not keep faith with them; and no prince was ever at a loss for plausible reasons
to cloak a breach of faith. Of this numberless recent instances could be given, and it might be shown how
many solemn treaties and engagements have been rendered inoperative and idle through want of faith
among princes, and that he who has best known how to play the fox has had the best success.
It is necessary, indeed, to put a good color on this nature, and to be skilled in simulating and
dissembling. But men are so simple, and governed so absolutely by their present needs, that he who
wishes to deceive will never fail in finding willing dupes. One recent example I will not omit. Pope
Alexander VI had no care or thought but how to deceive, and always found material to work on. No man
ever had a more effective manner or asseverating, or made promises with more solemn protestations, or
observed them less. And yet, because he understood this side of human nature, his frauds always
succeeded. …
In his efforts to aggrandize his son the duke [Caesar Borgia], Alexander VI had to face many difficulties,
both immediate and remote. In the first place, he saw no way to make him ruler of any state which did
not belong to the Church. Yet, if he sought to take for him a state of the Church, he knew that the duke of
Milan and the Venetians would withhold their consent, Faenza and Rimini [towns in the province of
Romagna] being already under the protection of the latter. Further, he saw that the forces of Italy, and
those more especially of which he might have availed himself, were in the hands of men who had reason
to fear his aggrandizement,– that is, of the Orsini, the Colonnesi [Roman noble families] and their
followers. These, therefore, he could not trust. …
And since this part of his [Caesar Borgia's] conduct merits both attention and imitation, I shall not pass it
over in silence. After the duke had taken Romagna, finding that it had been ruled by feeble lords, who
thought more of plundering than of governing their subjects,–which gave them more cause for division
than for union, so that the country was overrun with robbery, tumult, and every kind of outrage,–he
judged it necessary, with a view to rendering it peaceful, and obedient to his authority, to provide it with
a good government. Accordingly he set over it Messer Remiro d’ Orco, a stern and prompt ruler, who,
being intrusted with the fullest powers, in a very short time, and with much credit to himself, restored it
to tranquility and order. But afterwards the duke, apprehending that such unlimited authority might
become odious, decided that it was no longer needed, and established [at] the center of the province a
civil tribunal, with an excellent president, in which every town was represented by its advocate. And
knowing that past severities had generated ill feeling against himself, in order to purge the minds of the
people and gain their good will, he sought to show them that any cruelty which had been done had not
originated with him, but in the harsh disposition of this minister. Availing himself of the pretext which
this afforded, he one morning caused Remiro to be beheaded, and exposed in the market place of Cesena
with a block and bloody ax by his side. The barbarity of this spectacle at once astounded and satisfied
the populace.