Renaissance

An Educated Renaissance

1. Hans Holbein’s The Ambassadors, an icon of the Renaissance, yet only discovered in the 19th century. Its enigmatic sitters and objects offer a wealth of insights into the period.

                 

                What catches the eye as much as the gaze of both sitters is the table in the middle of the composition and the objects scattered across its upper and lower tiers. On the lower shelf are two books (a hymn book and a merchant’s arithmetic book), a lute, a terrestrial globe, a case of flutes, a set square, and a pair of dividers. The upper shelf contains a celestial globe, and several extremely specialized scientific instruments: quadrants, sundials, and a torquetum (and navigational aid). 

                 These objects represent the seven liberal arts that provided the basis of a Renaissance education. The three basic arts – grammar, logic, and rhetoric – were known as the trivium. They can be related to the activities of the two sitters. They are ambassadors, trained in the use of texts, but above all skilled in the art of argument and persuasion. The quadrivium referred to arithmetic, music, geometry, and astronomy, all of which are clearly represented in Holbein’s precise depiction of the arithmetic book, the lute, and the scientific instruments.

                 These academic subjects formed the basis of the studia humanitatis, the course of study followed by most young men of the period, more popularly known as humanism. Humanism represented a significant new development in late 14th- and 15th-century Europe that involved the study of the classical texts of Greek and Roman language, culture, politics, and philosophy. The highly flexible nature of the studia humanitatis encouraged the study of a variety of new disciplines that became central to Renaissance thought, such as classical philology, literature, history, and moral philosophy.

                 Holbein is showing that his sitters are themselves ‘New Men’, scholarly but worldly figures, utilizing their learning in pursuit of fame and ambition. The figure on the right is Jean de Dinteville, the French ambassador to the English court of Henry VIII. On the left is his close friend Georges de Selve, bishop of Lavaur.

                 The objects on the table are chosen to suggest that their positions in the worlds of politics and religion are closely connected to their understanding of humanist thinking. The painting implies that knowledge of the disciplines represented by these objects is crucial to worldly ambition and success.

The Darker Side of the Renaissance

                 Yet if we look even more closely at the objects in Holbein’s painting, they lead us to quite another version of the Renaissance. On the lower shelf one of the strings on the lute is broken, a symbol of discord. Next to the lute is an open hymn book, identifiable as the work of the religious reformer Martin Luther. On the right-hand edge of the painting, the curtain is slightly pulled back to reveal a silver crucifix. 

                 These objects draw our attention to religious debate and discord in the Renaissance. When Holbein painted it, Luther’s Protestant ideas were sweeping through Europe, defying the established authority of the Roman Catholic Church. The broken lute is a powerful symbol of the religious conflict characterized by Holbein in his juxtaposition of Lutheran hymn book and Catholic crucifix.Holbein’s Lutheran hymn book is quite clearly a printed book. The invention of printing in the latter half of the 15th century revolutionized the creation, distribution, and understanding of information and knowledge. 

                 Compared to the laborious and often inaccurate copying of manuscripts, printed books were circulated with a speed and accuracy and in quantities previously unimaginable. But the spread of new ideas in print, especially in religion, would also provoke instability, uncertainty, and anxiety, leading artists and thinkers to further question who they were and how they lived in a rapidly expanding world. This relationship between achievement and the anxiety it creates is one of the characteristic features of the Renaissance.

                 Next to Holbein’s Lutheran hymn book sits another printed book, which at first seems more mundane, but which offers another telling dimension of the Renaissance. The book is an instruction manual for merchants in how to calculate profit and loss. Its presence alongside the more ‘cultural’ objects in the painting shows that in the Renaissance business and finance were inextricably connected to culture and art. 

                 While the book alludes to the quadrivium of Renaissance humanist learning, it also points towards an awareness that the cultural achievements of the Renaissance were built on the success of the spheres of trade and finance. As the world grew in size and complexity, new mechanisms for understanding the increasingly invisible circulation of money and goods were required to maximize profit and minimize loss. The result was a renewed interest in disciplines like mathematics as a way of understanding the economics of a progressively global Renaissance world picture.

                 The terrestrial globe behind the merchant’s arithmetic book confirms the expansion of trade and finance as a defining feature of the Renaissance. The globe is one of the most important objects in the painting. Travel, exploration, and discovery were dynamic, controversial aspects of the Renaissance, and Holbein’s globe tells us this in its remarkably up-to-date representation of the world as it was perceived in 1533. Europe is labelled ‘Europa’. 

                 This is itself significant, as the 15th and 16th centuries were the point at which Europe began to be defined as possessing a common political and cultural identity. Prior to this people rarely called themselves ‘European’. Holbein also portrays the recent discoveries made through voyages in Africa and Asia, as well as in the ‘New World’ voyages of Christopher Columbus, begun in 1492, and Ferdinand Magellan’s first circumnavigation of the globe in 1522. These discoveries situated Europe in a rapidly expanding world, but also changed the continent’s relationship with the cultures and communities it encountered.As with the impact of the printing press, and the upheavals in religion, this global expansion bequeathed a double-edged legacy. One of the outcomes was the destruction of indigenous cultures and communities through war and disease, because they were unprepared for or uninterested in adopting European beliefs and ways of living. Along with the cultural, scientific, and technological achievements of the period came religious intolerance, political ignorance, slavery, and massive inequalities in wealth and status – what has been called ‘the darker side of the Renaissance’.

Where and When Was the Renaissance?

                 The Renaissance is usually associated with the Italian city states like Florence, but Italy’s undoubted importance has too often overshadowed the development of new ideas in northern Europe, the Iberian peninsula, the Islamic world, south-east Asia, and Africa. In offering a more global perspective on the nature of the Renaissance, it would be more accurate to refer to a series of ‘Renaissances’ throughout these regions, each with their own highly specific and separate characteristics.These other Renaissances often overlapped and exchanged influences with the more classical and traditionally understood Renaissance centred on Italy. The Renaissance was a remarkably international, fluid, and mobile phenomenon.

                 Today, there is a popular consensus that the term ‘Renaissance’ refers to a profound and enduring upheaval and transformation in culture, politics, art, and society in Europe between the years 1400 and 1600. The word describes both a period in history and a more general ideal of cultural renewal. The term comes from the French for ‘rebirth’. Since the 9th century it has been used to describe the period in European history when the rebirth of intellectual and artistic appreciation of Graeco-Roman culture gave rise to the modern individual as well as the social and cultural institutions that define so many people in the western world today.

                 Art historians often view the Renaissance as beginning as early as the 13th century, with the art of Giotto and Cimabue, and ending in the late 16th century with the work of Michelangelo and Venetian painters like Titian. Literary scholars in the Anglo-American world take a very different perspective, focusing on the rise of vernacular English literature in the 16th and 17th centuries in the poetry and drama of Spenser, Shakespeare, and Milton. 

                 Historians take a different approach again, labelling the period c.1500–1700 as ‘early modern’, rather than ‘Renaissance’. These differences in dating and even naming the Renaissance have become so intense that the validity of the term is now in doubt. Does it have any meaning any more? Is it possible to separate the Renaissance from the Middle Ages that preceded it, and the modern world that came after it? Does it underpin a belief in European cultural superiority? To answer these questions, we need to understand how the term ‘Renaissance’ itself came into being.No 16th-century audience would have recognized the term ‘Renaissance’. 

                 The Italian word rinascita (‘rebirth’) was used in the 16th century to refer to the revival of classical culture. But the specific French word ‘Renaissance’ was not used as a descriptive historical phrase until the middle of the 19th century. The first person to use the term was the French historian Jules Michelet, a French nationalist deeply committed to the egalitarian principles of the French Revolution. Between 1833 and 1862 Michelet worked on his greatest project, the multi–volume History of France. He was a progressive republican, vociferous in his condemnation of both the aristocracy and the church. In 1855 he published his seventh volume of the History, entitled La Renaissance. For him the Renaissance meant:

. . . the discovery of the world and the discovery of man. The sixteenth century . . . went from Columbus to Copernicus, from Copernicus to Galileo, from the discovery of the earth to that of the heavens. Man refound himself.

                 The scientific discoveries of explorers and thinkers like Columbus, Copernicus, and Galileo went hand in hand with more philosophical definitions of individuality that Michelet identified in the writings of Rabelais, Montaigne, and Shakespeare. This new spirit was contrasted with what Michelet viewed as the ‘bizarre and monstrous’ quality of the Middle Ages. To him the Renaissance represented a progressive, democratic condition that celebrated the great virtues he valued – Reason, Truth, Art, and Beauty. According to Michelet, the Renaissance ‘recognized itself as identical at heart with the modern age’.

                 Michelet was the first thinker to define the Renaissance as a decisive historical period in European culture that represented a crucial break with the Middle Ages, and which created a modern understanding of humanity and its place in the world. He also promoted the Renaissance as representing a certain spirit or attitude, as much as referring to a specific historical period. Michelet’s Renaissance does not happen in Italy in the 14th and 15th centuries, as we have come to expect. Instead, his Renaissance takes place in the 16th century. As a French nationalist, Michelet was eager to claim the Renaissance as a French phenomenon. As a republican he also rejected what he saw as 14th-century Italy’s admiration for church and political tyranny as deeply undemocratic, and hence not part of the spirit of the Renaissance.

                 Michelet’s story of the Renaissance was shaped decisively by his own 19th-century circumstances. In fact, the values of Michelet’s Renaissance sound strikingly close to those of his cherished French Revolution: espousing the values of freedom, reason, and democracy, rejecting political and religious tyranny, and enshrining the spirit of freedom and the dignity of ‘man’. Disappointed in the failure of these values in his own time, Michelet went in search of a historical moment where the values of liberty and egalitarianism triumphed and promised a modern world free of tyranny. 

A Global Renaissance

                 One of the problems with the classic definitions of the Renaissance proposed is that they celebrate the achievements of European civilization to the exclusion of all others. It is no coincidence that the period that witnessed the invention of the term was also the moment at which Europe was most aggressively asserting its imperial dominance across the globe. In recent years, alternative approaches to the Renaissance from history, economics, and anthropology have complicated this picture, and offered alternative factors crucial to understanding the Renaissance, but which were dismissed by 19th-century thinkers like Michelet and Burckhardt as irrelevant. This chapter situates the Renaissance within the wider international world. It argues that trade, finance, commodities, patronage, imperial conflict, and the exchange with different cultures were all key elements of the Renaissance. Focusing on these issues offers a different understanding of what shaped the Renaissance. It also leads us to think of the creativity of the Renaissance as not confined to painting, writing, sculpture, and architecture. Other artefacts such as ceramics, textiles, metalwork, and furniture also shaped people’s beliefs and attitudes, even though many of these objects have since been neglected, destroyed, or lost.

               Another famous Renaissance painting that raises many of these issues is Gentile and Giovanni Bellini’s painting Saint Mark 

Gentile and Giovanni Bellini’s Saint Mark Preaching in Alexandria (1504–7) captures Europe’s fascination with the culture, architecture, and communities of the east.

               Preaching in Alexandria, the centrepiece of the Pinacoteca di Brera Renaissance collection in Milan. The Bellini painting depicts St Mark, the founder of the Christian Church in Alexandria, where he was martyred around ad 75, and patron saint of Venice. In the painting Mark stands in a pulpit, preaching to a group of oriental women swathed in white mantles. Behind Mark stands a group of Venetian noblemen, while in front of the saint is an extraordinary array of oriental figures that mingle easily with more Europeans. They include Egyptian Mamluks, North African ‘Moors’, Ottomans, Persians, Ethiopians, and Tartars.

               The drama of the action takes place in the bottom third of the painting; the rest of the canvas is dominated by the dramatic landscape of Alexandria. A domed Byzantine basilica, an imaginative recreation of St Mark’s Alexandrian church, dominates the backdrop. In the piazza Oriental figures converse, some on horseback, others leading camels and a giraffe. The houses that face onto the square are adorned with Egyptian grilles and tiles. Islamic carpets and rugs hang from the windows. The minarets, columns, and pillars that make up the skyline are a mixture of Alexandrian landmarks and the Bellinis’ own invention. The basilica is an eclectic mixture of elements of the Church of San Marco in Venice and Hagia Sophia in Constantinople, while the towers and columns in the distance correspond to some of Alexandria’s most famous landmarks, many of which had already been emulated in the architecture of Venice itself.At first the painting appears to be a pious image of the Christian martyr preaching to a group of ‘unbelievers’, drawing on the classical world so precious to Renaissance thinkers and artists. However, this only tells one side of the story. Although Mark is dressed as an ancient Roman, in keeping with his life in 1st-century Alexandria, the garments of the audience are recognizably late 15th century, as are the surrounding buildings.


               The Bellinis depict the intermingling of communities and cultures in a scene that evokes both the western church and the eastern marketplace. The painting is a combination of two worlds: the contemporary and the classical. At the same time as evoking the world of 1st-century Alexandria and the life of St Mark, the artists are also keen to portray Venice’s relationship with contemporary, late 15th-century Alexandria. Commissioned to paint a story of the history of Venice’s patron saint, they depict St Mark in a contemporary setting that would have been recognizable to many wealthy and influential Venetians. This is a familiar feature of Renaissance art and literature: dressing the contemporary world up in the clothes of the past as a way of understanding the present.