Chapter 13 The Renaissance and Mannerism in Italy Chapter 13 The High Renaissance and Mannerism in Italy Culture and Values, 8 th Ed. Cunningham and Reich

Chapter 13Chapter 13The The High Renaissance and Mannerism Renaissance and Mannerism

in Italyin Italy

Chapter 13Chapter 13The The High Renaissance and Mannerism Renaissance and Mannerism

in Italyin Italy

Culture and Values, 8Culture and Values, 8thth Ed. Ed.Cunningham and Reich and Fichner-RathusCunningham and Reich and Fichner-Rathus

Culture and Values, 8Culture and Values, 8thth Ed. Ed.Cunningham and Reich and Fichner-RathusCunningham and Reich and Fichner-Rathus

Italy 1494Italy 1494

Leo X (1513–1521)

Son of Lorenzo the Magnificent; patronized Michelangelo and excommunicated Martin Luther.

HadrianVI (1522–1523)

Born in the Netherlands; a ferocious reformer and the last non-Italian pope until the 1970s.

Clement VII (1523–1534)

Grandson of Lorenzo the Magnificent; commissioned the Medici tombs in Florence, and The Last Judgmentfor the Sistine Chapel just before his death; excommunicated Henry VIII.

Paul III (1534–1549)

Commissioned Michelangelo to build the Farnese Palace in Rome; called the reform Council of Trent, which first met in 1545.

Julius III (1550–1555)

Patron of the composer Palestrina; confirmed the constitutions of the Jesuits in 1550; appointed Michelangelo as chief architect of Saint Peter’s.

Marcellus II (1555)

Reigned as pope for 22 days; honoree of Palestrina’s Missa Papae Marcelli.

Paul IV (1555–1559)

A fanatical reformer; began the papal reaction against the Renaissance spirit; encouraged the Inquisition and instituted the Index of Forbidden Books in 1557.

Popes and PatronagePopes and Patronage

Vatican as center of wealth, stabilityVatican as center of wealth, stabilityPope Sixtus IVPope Sixtus IVPope Julius IIPope Julius II

Beginnings of High Renaissance (1503)Beginnings of High Renaissance (1503) ““il papa terribileil papa terribile”” Raphael, MichelangeloRaphael, Michelangelo

The deThe de’’ Medici Family Medici Family

Vatican as center of wealth, stabilityVatican as center of wealth, stabilityPope Sixtus IVPope Sixtus IVPope Julius IIPope Julius II

Beginnings of High Renaissance (1503)Beginnings of High Renaissance (1503) ““il papa terribileil papa terribile”” Raphael, MichelangeloRaphael, Michelangelo

The deThe de’’ Medici Family Medici Family

The Visual ArtsThe Visual Arts

Leonardo da Vinci (1452-1519)Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of Mona Lisa, The Last Supper, Madonna of

the Rocksthe RocksOrthogonals, chiaroscuroOrthogonals, chiaroscuro

NotebooksNotebooks Mathematics, natural world and humanity, Mathematics, natural world and humanity,

love for beautylove for beauty

Leonardo da Vinci (1452-1519)Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of Mona Lisa, The Last Supper, Madonna of

the Rocksthe RocksOrthogonals, chiaroscuroOrthogonals, chiaroscuro

NotebooksNotebooks Mathematics, natural world and humanity, Mathematics, natural world and humanity,

love for beautylove for beauty

13.313.3 Leonardo da Vinci, Leonardo da Vinci, The Last SupperThe Last Supper, 1495-1498, Refectory, , 1495-1498, Refectory, Santa Maria delle Grazi, Milan, ItalySanta Maria delle Grazi, Milan, Italy

13.313.3 Leonardo da Vinci, Leonardo da Vinci, The Last SupperThe Last Supper, 1495-1498, Refectory, , 1495-1498, Refectory, Santa Maria delle Grazi, Milan, ItalySanta Maria delle Grazi, Milan, Italy

13.4A13.4A Leonardo da Leonardo da Vinci, Vinci, Madonna of Madonna of the Rocksthe Rocks, begun , begun 1483. Musee du 1483. Musee du Louvre, Paris, Louvre, Paris, FranceFrance

13.4A13.4A Leonardo da Leonardo da Vinci, Vinci, Madonna of Madonna of the Rocksthe Rocks, begun , begun 1483. Musee du 1483. Musee du Louvre, Paris, Louvre, Paris, FranceFrance

13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France

13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France

The Visual ArtsRaphael Sanzio (1483-1520)


From Urbino to PerugiaFrom Urbino to Perugia Apprentice to PeruginoApprentice to Perugino

From Perugia to Florence (1505)From Perugia to Florence (1505)Madonna of the MeadowMadonna of the Meadow (1508) (1508)

Pyramidal configurationPyramidal configuration Rationally orderedRationally ordered Modeling of human formsModeling of human forms

Human quality of the divine figureHuman quality of the divine figure

From Urbino to PerugiaFrom Urbino to Perugia Apprentice to PeruginoApprentice to Perugino

From Perugia to Florence (1505)From Perugia to Florence (1505)Madonna of the MeadowMadonna of the Meadow (1508) (1508)

Pyramidal configurationPyramidal configuration Rationally orderedRationally ordered Modeling of human formsModeling of human forms

Human quality of the divine figureHuman quality of the divine figure

13.713.7 Raphael, Raphael, Madonna of the Madonna of the MeadowMeadow, 1508, , 1508,

Kunsthistorisches Kunsthistorisches Museum, Vienna, Museum, Vienna, AustriaAustria

13.713.7 Raphael, Raphael, Madonna of the Madonna of the MeadowMeadow, 1508, , 1508,

Kunsthistorisches Kunsthistorisches Museum, Vienna, Museum, Vienna, AustriaAustria



From Florence to Vatican (1508)From Florence to Vatican (1508)School of AthensSchool of Athens (1509-1511) (1509-1511)

Symbolic homage to philosophySymbolic homage to philosophy Renaissance idealRenaissance ideal

Balance of philosophy and theologyBalance of philosophy and theology

From Florence to Vatican (1508)From Florence to Vatican (1508)School of AthensSchool of Athens (1509-1511) (1509-1511)

Symbolic homage to philosophySymbolic homage to philosophy Renaissance idealRenaissance ideal

Balance of philosophy and theologyBalance of philosophy and theology

13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy

13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy

The Visual ArtsThe Visual Arts

Lorenzo deLorenzo de’’ Medici MediciMichelangelo Buonarroti (1476-1564)Michelangelo Buonarroti (1476-1564)

PietáPietáMichelangeloMichelangelo’’s s DavidDavid

Statement of idealized beautyStatement of idealized beauty Palazzo Vecchio: symbol of civic powerPalazzo Vecchio: symbol of civic power

Lorenzo deLorenzo de’’ Medici MediciMichelangelo Buonarroti (1476-1564)Michelangelo Buonarroti (1476-1564)

PietáPietáMichelangeloMichelangelo’’s s DavidDavid

Statement of idealized beautyStatement of idealized beauty Palazzo Vecchio: symbol of civic powerPalazzo Vecchio: symbol of civic power

Pieta1498-9, marble

St. Peter’sVaticanRome

Pieta1498-9, marble

St. Peter’sVaticanRome

13.1013.10 Michelangelo, Michelangelo, David, David, 1501-1504, 1501-1504, Accademia di Belle Accademia di Belle Arti, Florence, ItalyArti, Florence, Italy

13.1013.10 Michelangelo, Michelangelo, David, David, 1501-1504, 1501-1504, Accademia di Belle Accademia di Belle Arti, Florence, ItalyArti, Florence, Italy

The Visual ArtsMichelangelo Buonarroti (1475-1564)


Tomb for Pope Julius IITomb for Pope Julius II

MosesMoses (1513-1515) (1513-1515) Divine fury, divine lightDivine fury, divine light TerribilitàTerribilità

Tomb for Pope Julius IITomb for Pope Julius II

MosesMoses (1513-1515) (1513-1515) Divine fury, divine lightDivine fury, divine light TerribilitàTerribilità

13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy

13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy



The Sistine ChapelThe Sistine Chapel

““Michelangelo, SculptorMichelangelo, Sculptor””Architectural and thematic motifsArchitectural and thematic motifs InterpretationInterpretation

Neo-PlatonismNeo-Platonism Old Testament and pagan prophetsOld Testament and pagan prophets Complex tree symbolismComplex tree symbolism Human wisdom + GodHuman wisdom + God’’s revelations revelation

The Sistine ChapelThe Sistine Chapel

““Michelangelo, SculptorMichelangelo, Sculptor””Architectural and thematic motifsArchitectural and thematic motifs InterpretationInterpretation

Neo-PlatonismNeo-Platonism Old Testament and pagan prophetsOld Testament and pagan prophets Complex tree symbolismComplex tree symbolism Human wisdom + GodHuman wisdom + God’’s revelations revelation

13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy

13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy

13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy

13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy



MichelangelesqueMichelangelesque Masculine anatomy, musculatureMasculine anatomy, musculature Physical bulk, linear grace, emotionalityPhysical bulk, linear grace, emotionality Creation of AdamCreation of Adam (1508-1511) (1508-1511) The Last JudgmentThe Last Judgment (1534-1541) (1534-1541)

Medici ChapelMedici Chapel Architectural and sculptural designArchitectural and sculptural design Life, death, resurrectionLife, death, resurrection

MichelangelesqueMichelangelesque Masculine anatomy, musculatureMasculine anatomy, musculature Physical bulk, linear grace, emotionalityPhysical bulk, linear grace, emotionality Creation of AdamCreation of Adam (1508-1511) (1508-1511) The Last JudgmentThe Last Judgment (1534-1541) (1534-1541)

Medici ChapelMedici Chapel Architectural and sculptural designArchitectural and sculptural design Life, death, resurrectionLife, death, resurrection

1534-41 The Last Judgeme

nt, fresco, Sistine Chapel,

Vatican.

1534-41 The Last Judgeme

nt, fresco, Sistine Chapel,

Vatican.

13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy

13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy



The New Saint PeterThe New Saint Peter’’ss

Donato Bramante (1444-1514)Donato Bramante (1444-1514) TempiettoTempietto

Michelangelo as architect (1546)Michelangelo as architect (1546) BramanteBramante’’s plan s plan RRibbed, arched dome ibbed, arched dome Drum to support domeDrum to support dome

The New Saint PeterThe New Saint Peter’’ss

Donato Bramante (1444-1514)Donato Bramante (1444-1514) TempiettoTempietto

Michelangelo as architect (1546)Michelangelo as architect (1546) BramanteBramante’’s plan s plan RRibbed, arched dome ibbed, arched dome Drum to support domeDrum to support dome

Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact plan of a Greek cross with arms or transepts (b) of equal length meeting at a central altar (a) set under a dome, with each arm ending in a semicircular apse (e) opening to a portal or entrance (c), and including several chapels (d) for smaller services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a Latin cross, adding Raphael’s choir (f) to surround the altar on three sides, closing the portals in favor of a formal entrance (c), and forming a nave (g) from the arm proceeding from a huge vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564, rejected Sangallo’s design and returned to a centralized domed Greek cross inscribed within a square but retained the vestibule (c), now fronted by a portico with giant columns. (IV) Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with elongated nave (g), narthex (h), portico (c), and Baroque façade. This plan also shows Gian Lorenzo Bernini’s piazza (j) with colonnades, 1656–1667. Maderna’s final additions, especially the elongated nave, narthex, and large façade, obscured Michelangelo’s original design. Artwork by Cecilia Cunningham.

The High Renaissance in VeniceThe High Renaissance in Venice

Andrea PalladioAndrea Palladio Classical Architecture of Greece reflected Classical Architecture of Greece reflected

through Roman structuresthrough Roman structures Four Books of Architecture (1570)Four Books of Architecture (1570) Palazzo Chiericati Palazzo Chiericati

Harmony and balanceHarmony and balance

Andrea PalladioAndrea Palladio Classical Architecture of Greece reflected Classical Architecture of Greece reflected

through Roman structuresthrough Roman structures Four Books of Architecture (1570)Four Books of Architecture (1570) Palazzo Chiericati Palazzo Chiericati

Harmony and balanceHarmony and balance

Andrea Palladio

Palazzo Chiericati

begun 1550s.

Vicenza, Italy.

Andrea Palladio

Palazzo Chiericati

begun 1550s.

Vicenza, Italy.

The High Renaissance in VenicePainting


Tradition of easel paintingTradition of easel paintingUse of oil paintsUse of oil paints

Brilliance of colorBrilliance of color Subtlety of lightSubtlety of light

Eye for close detailEye for close detailLove of landscapeLove of landscape

Tradition of easel paintingTradition of easel paintingUse of oil paintsUse of oil paints

Brilliance of colorBrilliance of color Subtlety of lightSubtlety of light

Eye for close detailEye for close detailLove of landscapeLove of landscape



Titian (c. 1488-1576)Titian (c. 1488-1576) Assumption of the VirginAssumption of the Virgin (1516-1518) (1516-1518) Venus of UrbinoVenus of Urbino (1538) (1538)

Tintoretto (1518-1594)Tintoretto (1518-1594) ““The drawing of Michelangelo and the color of The drawing of Michelangelo and the color of

Titian.Titian.”” The Last SupperThe Last Supper

Titian (c. 1488-1576)Titian (c. 1488-1576) Assumption of the VirginAssumption of the Virgin (1516-1518) (1516-1518) Venus of UrbinoVenus of Urbino (1538) (1538)

Tintoretto (1518-1594)Tintoretto (1518-1594) ““The drawing of Michelangelo and the color of The drawing of Michelangelo and the color of

Titian.Titian.”” The Last SupperThe Last Supper

13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy

1592-94, Tintoretto, The Last Supper, oil on canvas,San Giorgio Maggiore, Venice, Italy.

1592-94, Tintoretto, The Last Supper, oil on canvas,San Giorgio Maggiore, Venice, Italy.

MannerismMannerism

Characteristics of MannerismCharacteristics of Mannerism Distortion and elongationDistortion and elongation Flattened, two-dimensional spaceFlattened, two-dimensional space Lack of a defined focal pointLack of a defined focal point Discordant pastel huesDiscordant pastel hues

Jacopo Carucci da Pontormo Jacopo Carucci da Pontormo (1494-1557)(1494-1557) DepositionDeposition (c. 1528) (c. 1528)

Il BronzinoIl Bronzino Venus, Cupid, Folly, and Time (The Venus, Cupid, Folly, and Time (The

Exposure of Luxury)Exposure of Luxury)

Characteristics of MannerismCharacteristics of Mannerism Distortion and elongationDistortion and elongation Flattened, two-dimensional spaceFlattened, two-dimensional space Lack of a defined focal pointLack of a defined focal point Discordant pastel huesDiscordant pastel hues

Jacopo Carucci da Pontormo Jacopo Carucci da Pontormo (1494-1557)(1494-1557) DepositionDeposition (c. 1528) (c. 1528)

Il BronzinoIl Bronzino Venus, Cupid, Folly, and Time (The Venus, Cupid, Folly, and Time (The

Exposure of Luxury)Exposure of Luxury)

Jacopo Pontormo

(born Carucci), Ent

ombment, 1525–1528.

Oil on panel, 123″ × 76″ (312.4 × 193

cm). Capponi Chapel, Santa

Felicità, Florence,

Italy.

Jacopo Pontormo

(born Carucci), Ent

ombment, 1525–1528.

Oil on panel, 123″ × 76″ (312.4 × 193

cm). Capponi Chapel, Santa

Felicità, Florence,

Italy.

13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England

13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England

MannerismMannerism

Lavinia Fontana (1552-1614)Lavinia Fontana (1552-1614) Daughter of Bolognese painterDaughter of Bolognese painter Portrait painter (Rome, Bologna)Portrait painter (Rome, Bologna) Exaggerated angles, use of colorExaggerated angles, use of color

Sofonisba Anguissola (1532?-1624)Sofonisba Anguissola (1532?-1624) Renaissance and Baroque mastersRenaissance and Baroque masters Pictorial representationsPictorial representations Contrasts of dark and lightContrasts of dark and light

Lavinia Fontana (1552-1614)Lavinia Fontana (1552-1614) Daughter of Bolognese painterDaughter of Bolognese painter Portrait painter (Rome, Bologna)Portrait painter (Rome, Bologna) Exaggerated angles, use of colorExaggerated angles, use of color

Sofonisba Anguissola (1532?-1624)Sofonisba Anguissola (1532?-1624) Renaissance and Baroque mastersRenaissance and Baroque masters Pictorial representationsPictorial representations Contrasts of dark and lightContrasts of dark and light

13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

MannerismMannerism

Giovanni da Bologna (1529-1608)Giovanni da Bologna (1529-1608) SculptorSculptor Abduction of the Sabine WomenAbduction of the Sabine Women

El Greco (1541-1614)El Greco (1541-1614) Distortion of figures and ambiguous spaceDistortion of figures and ambiguous space The Burial of the Count of OrgazThe Burial of the Count of Orgaz

Giovanni da Bologna (1529-1608)Giovanni da Bologna (1529-1608) SculptorSculptor Abduction of the Sabine WomenAbduction of the Sabine Women

El Greco (1541-1614)El Greco (1541-1614) Distortion of figures and ambiguous spaceDistortion of figures and ambiguous space The Burial of the Count of OrgazThe Burial of the Count of Orgaz

Giovanni da Bologna, Abduction of the Sabine

Women, ca. 1581–1583.

Marble, 13′5″ (409 cm) high. Loggia dei

Lanzi, Florence,

Italy.

Giovanni da Bologna, Abduction of the Sabine

Women, ca. 1581–1583.

Marble, 13′5″ (409 cm) high. Loggia dei

Lanzi, Florence,

Italy.

13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

Music in the Sixteenth CenturyMusic in the Sixteenth Century

Music at the Papal CourtMusic at the Papal Court

Sistine Choir and Julian ChoirSistine Choir and Julian Choir Male voices, Male voices, a capellaa capella

Josquin des Prez (c. 1450-1521)Josquin des Prez (c. 1450-1521) Sistine Choir, composer and directorSistine Choir, composer and director Motet for four voicesMotet for four voices Structure, balance, lyrical qualityStructure, balance, lyrical quality


Sistine Choir and Julian ChoirSistine Choir and Julian Choir Male voices, Male voices, a capellaa capella

Josquin des Prez (c. 1450-1521)Josquin des Prez (c. 1450-1521) Sistine Choir, composer and directorSistine Choir, composer and director Motet for four voicesMotet for four voices Structure, balance, lyrical qualityStructure, balance, lyrical quality



Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina (1525-1594)(1525-1594) Choirmaster of Choirmaster of capella Guiliacapella Guilia (Julian choir) (Julian choir) 1571-1594 Vatican1571-1594 Vatican’’s music directors music director Conservative masses in response to Catholic Conservative masses in response to Catholic

reform movementreform movement


Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina (1525-1594)(1525-1594) Choirmaster of Choirmaster of capella Guiliacapella Guilia (Julian choir) (Julian choir) 1571-1594 Vatican1571-1594 Vatican’’s music directors music director Conservative masses in response to Catholic Conservative masses in response to Catholic

reform movementreform movement


Venetian MusicVenetian Music

Adrian WillaertAdrian Willaert Andrea and Giovanni GabrieliAndrea and Giovanni Gabrieli

Church of St. Mark Church of St. Mark Split choirsSplit choirs Instrumental music in liturgyInstrumental music in liturgy Intonazione, toccataIntonazione, toccata

Intellectual influence of Italian humanismIntellectual influence of Italian humanism

Venetian MusicVenetian Music

Adrian WillaertAdrian Willaert Andrea and Giovanni GabrieliAndrea and Giovanni Gabrieli

Church of St. Mark Church of St. Mark Split choirsSplit choirs Instrumental music in liturgyInstrumental music in liturgy Intonazione, toccataIntonazione, toccata

Intellectual influence of Italian humanismIntellectual influence of Italian humanism

LiteratureLiterature

Leonardo da Vinci 13,000 pages of notes

Michaelangelo Buonarroti Poetry

Vittoria ColonnaBaldassare Castiglione

The Book of the CourtierVeronica FrancoBenvenuto Cellini

Leonardo da Vinci 13,000 pages of notes

Michaelangelo Buonarroti Poetry

Vittoria ColonnaBaldassare Castiglione

The Book of the CourtierVeronica FrancoBenvenuto Cellini

Tintoretto, Veronica

Franco, late 16th century. Oil on canvas,

18″ × 24″ (46 × 61 cm).

Worcester Museum of Art, Worcester, Mass.

Tintoretto, Veronica

Franco, late 16th century. Oil on canvas,

18″ × 24″ (46 × 61 cm).

Worcester Museum of Art, Worcester, Mass.

Compare & contrastCompare

& contrast

Compare & contrastCompare & contrast

Compare/contrastCompare/contrast

Chapter Thirteen: Discussion QuestionsChapter Thirteen: Discussion Questions

Compare the artistic developments that took place Compare the artistic developments that took place in Rome and those that took place in Venice. To in Rome and those that took place in Venice. To what can we attribute the differences? Explain.what can we attribute the differences? Explain.

To what extent did Neo-Platonism manifest itself To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and in this chapter? Explain, citing specific artists and works.works.

How did environmental factors and geography How did environmental factors and geography contribute to Venetian art during the contribute to Venetian art during the Renaissance? Consider both visual and aural arts Renaissance? Consider both visual and aural arts in your discussion.in your discussion.

Compare the artistic developments that took place Compare the artistic developments that took place in Rome and those that took place in Venice. To in Rome and those that took place in Venice. To what can we attribute the differences? Explain.what can we attribute the differences? Explain.

To what extent did Neo-Platonism manifest itself To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and in this chapter? Explain, citing specific artists and works.works.

How did environmental factors and geography How did environmental factors and geography contribute to Venetian art during the contribute to Venetian art during the Renaissance? Consider both visual and aural arts Renaissance? Consider both visual and aural arts in your discussion.in your discussion.

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Chapter 13 The Renaissance and Mannerism in Italy Chapter 13 The High Renaissance and Mannerism in Italy Culture and Values, 8 th Ed. Cunningham and Reich