DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25500#0313
ITALIAN RENAISSANCE.
209
blocks of stone and marble, which, lying near the surface,
were easily obtainable for building purposes. The monu-
mental character and massiveness of these materials con-
siderably influence the style of the architecture, as will be
at once apparent to every student (No. 118).
iii. Climate.—Among other causes which affected the
development of the style, we should note that the bright and
sunny climate rendered large openings for light unnecessary.
The character of the climate is well indicated by Tennyson :
“ In bright vignettes, and each complete
Of tower or duorno, sunny-sweet,
Or palace, how the city glittered
Through cypress avenues, at our feet.”
iv. Religion.—At this period Florence produced the
great Dominican preacher, Savonarola, whose reforming
energy divided the city, and swayed its policy. He looked
to the French king to call a general council to reform the
church. In art he tended to the Puritan theory. Although
suppressed by the Pope, his influence on the minds of his
generation was not lost—the Sistine frescoes witness his
power over Michael Angelo.
v. Social and Political.—The Medici dynasty, so
intimately connected with the rise of Florentine art, was
founded by John of Medici, who died 1429. He took the
popular side against the nobles, gradually usurping supreme
authority over the state. His son Cosimo, who died 1464,
employed his wealth liberally in the advancement of art.
He founded the Medici Library and Platonic Academy, and
was the patron of Brunelleschi, Donatello, Michelozzo,
Lippi, Masaccio, and others. Cosimo was succeeded by
Pietro and Lorenzo Medici, and Florence became the
centre of the Renaissance in art and literature.
The artists of the period were at the same time sculptors,
painters, and architects; among these were—Luca della
Robbia (1400-1482), famous for his glazed reliefs in terra-
cotta; Lorenzo Ghiberti (1378-1455), the sculptor of the
bronze gates to the Baptistery ; and Donatello (1386-1466).1
As showing the commercial prosperity of Florence, we may
1 Famous for his bas-reliefs and statues at Florence and elsewhere.
P
209
blocks of stone and marble, which, lying near the surface,
were easily obtainable for building purposes. The monu-
mental character and massiveness of these materials con-
siderably influence the style of the architecture, as will be
at once apparent to every student (No. 118).
iii. Climate.—Among other causes which affected the
development of the style, we should note that the bright and
sunny climate rendered large openings for light unnecessary.
The character of the climate is well indicated by Tennyson :
“ In bright vignettes, and each complete
Of tower or duorno, sunny-sweet,
Or palace, how the city glittered
Through cypress avenues, at our feet.”
iv. Religion.—At this period Florence produced the
great Dominican preacher, Savonarola, whose reforming
energy divided the city, and swayed its policy. He looked
to the French king to call a general council to reform the
church. In art he tended to the Puritan theory. Although
suppressed by the Pope, his influence on the minds of his
generation was not lost—the Sistine frescoes witness his
power over Michael Angelo.
v. Social and Political.—The Medici dynasty, so
intimately connected with the rise of Florentine art, was
founded by John of Medici, who died 1429. He took the
popular side against the nobles, gradually usurping supreme
authority over the state. His son Cosimo, who died 1464,
employed his wealth liberally in the advancement of art.
He founded the Medici Library and Platonic Academy, and
was the patron of Brunelleschi, Donatello, Michelozzo,
Lippi, Masaccio, and others. Cosimo was succeeded by
Pietro and Lorenzo Medici, and Florence became the
centre of the Renaissance in art and literature.
The artists of the period were at the same time sculptors,
painters, and architects; among these were—Luca della
Robbia (1400-1482), famous for his glazed reliefs in terra-
cotta; Lorenzo Ghiberti (1378-1455), the sculptor of the
bronze gates to the Baptistery ; and Donatello (1386-1466).1
As showing the commercial prosperity of Florence, we may
1 Famous for his bas-reliefs and statues at Florence and elsewhere.
P