Renaissance Remix: Art & Imagination in 16 -Century Europe

Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Renaissance Remix: Art & Imagination in 16th-century Europe

Portraits & Identity

Portrait of a Boy of the Bracciforte Family of Piacenza, ca. 1560 Girolamo Mazzola Bedoli, Italian, ca. 1505-ca. 1569/70 Oil on canvas MAG: Marion Stratton Gould Fund, 76.13

Portrait of Anna Eleonora Sanvitale (1558/9 – 1582), 1562 [reproduction] Girolamo Mazzola Bedoli, Italian, ca. 1505-ca. 1569/70 Galleria Nazionale, Parma, Italy

The Power of the Print

Arms of Holzhausen, 1599 After a 1579 design by Jost Amman, Swiss, active in Germany 1538 –1591 Glass, silver stain, enamel, and lead MAG: Bertha Buswell Bequest, 42.28.2

Spanish Colonial Silver Real, 1542—1572 Spanish, minted in Mexico City Silver MAG: Bequest of Isabel C. Herdle, 2005.186

Double-Hemisphere World Map from the Polygot Bible (Sacrae Geographiae Tabulam ex Antiquissamorum Cultor), 1571—1572 Benito Arias Montano, Spanish, 1527—1598, with Christophe Plantin (publisher), French/Flemish, ca. 1520—1589 Engraving with later hand-coloring Loan from Seymour Schwartz, 20.2012L

Ptolemy's "Geographia," 1482 [facsimile edition, 1966] Francesco Berlinghieri, Italian, 1440—1501 Gallery purchase, 6505 Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Rotating prints, to include:

Two Genii, 1544 Hans Sebald Beham, German, 1500—1550 Copper engraving Marion Stratton Gould Fund, 67.62

Coat of Arms with an Eagle, 1543 Hans Sebald Beham, German, 1500—1550 Engraving Gift of the estate of Ralph Avery, 91.19

The Boar Hunt, 1540 Virgil Solis, German, 1514—1562 Engraving MAG: Gift of Dr. and Mrs. James H. Lockhart, Jr., 94.17

The Third Tournament, 1509 Lucas Cranach the Elder, German, 1472—1553 Woodcut MAG: Martin Brewer Anderson Collection, 24.32

The Tournament, 1500 Master MZ, German, active about 1500—1503 Engraving on laid paper MAG: Gift of Dr. and Mrs. James H. Lockhart, Jr., 94.18

The Standard Bearer of Underwalden, 1521 Urs Graf, Swiss, ca. 1485—1527 White-line woodcut MAG: Marion Stratton Gould Fund, 2001.5

Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Worldy Goods

Arms of Hans Eschmann, ca. 1532 Swiss Silver-stain on clear glass, pot-metal MAG: Gift of Natalie and J. Richard Ciccone, 2011.110

Portrait of a Boy Pietro Tacca, Italian, 1577—1640 Bronze MAG: R. T. Miller Fund, 49.68

Lock, mid-1500s Italian or French Gilded bronze MAG: R.T. Miller Fund, 57.20

Reverse Painted Medallion with Coat of Arms of Augustus, the Elector of Saxony (1526—1586), ca. 1585 German (Nuremberg, Augsburg, or Dresden) Glass, pigments, gold foil Loan from the Corning Museum of Glass, 81.3.133 (7.2012L)

Covered Tazza with Scenes from Genesis, ca. 1560 Workshop of Jean de Court, French, active 1555—1585 Enamel on copper MAG: Buswell-Hochstetter Bequest, 55.136

Plate with Diana and the Nymphs, 1546 Attributed to Francesco Durantino, Italian, active ca. 1543--54 Maiolica (tin-glazed earthenware) MAG: Buswell-Hochstetter Bequest, 55.138

Bowl with Mary Magdalene, ca.1535 Italian (probably Gubbio) Maiolica ware (tin-glazed earthenware) MAG: Buswell-Hochstetter Bequest, 55.153 Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

The Forge of the Heart, 1529 Master I.B., German, 1500s Engraving MAG: Marion Stratton Gould Fund, in honor of Dr. James Lockhart, Jr., 88.14

To be rotated…

Allegory of Vanity, late 1500s Flemish Oil on panel MAG: Bertha Buswell Bequest, 55.132

Casket, late 1500s French (probably Limoges) Brass, enamel MAG: Buswell-Hochstetter Bequest, 55.120

Pair of Candlesticks, probably 1500s Italian Bronze MAG: Buswell-Hochstetter Bequest, 55.122.1-2

Wedding Cutlery with Case in the Form of a Fish, ca. 1550 French Ivory, bone, steel, gilt, leather, paper and wood MAG: The Marie Adelaide Devine Fund and the Dr. Robert L. and Florence Foster Berg Fund, 2010.9

Tigerware Jug, 1574 British Salt-glazed stoneware with silver mountings MAG: Gift of Alastair Bradley Martin, 50.39

Nuppenbecher, 1500 German Glass Loan from the Corning Museum of Glass, 54.3.105 (8.2012L)

Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Goblet, 1500 Italian Glass Loan from the Corning Museum of Glass, Gift of the 79.3.369 (9.2012L)

Magdeburg Humpen, 1594 German or Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, Gift of Edwin J. Beinecke, 57.3.84 (5.2012L)

Ages of Man Humpen, 1578 or 1594 German or Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, 57.3.86 (6.2012L)

Reichsadler Humpen, 1574 Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, 60.3.4 (4.2012L)

The Art of Music

An Allegory of Hearing, after 1581 Italian; After a design by Marten de Vos (Flemish, 1532—1603) Oil on cradled panel MAG: Gift of Lester Slocum, Jr. and his sister, Mrs. Joyce S. DiStasio, 98.21

Lute, early 1970s Craig N. Stapley, American, 1950-1999 Wood Loan from Professor Wayne H. Knox and Victoria Ka’iulani Visiko, 19.2012L

Rebec and Bow, 1980 Bernard Lehmann, American, b. 1949 Maple and walnut, mother-of-pearl, rosewood; bow: rosewood, horsetail Lent by Steven D. Barley, Ed.D, 22.2012L

Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Compositione di messer Vincenzo Capirola , ca. 1517 [facsimile edition, 1981] Vincenzo Capirola, Italian, 1474 –after 1548 Lent by Deborah Fox, 21.2012L

Tapestry

Musical Game Park: A Forest Scene with Peasants, 1500s Flemish Wool and silk Anonymous loan, T238

To be rotated with…

Nativity of the Christ Child, 1500s Flemish Wool, silk and cotton MAG: Gift of William M. Wood III and his sister, Mrs. Allen Perkins Spaulding, 79.50

Arms & Armor

Partial Armor made for the Dukes of Brunswick-Wolfenbüttel, 1560s (breastplate dated 1562) German; Made in the Brunswick Armory Etched steel MAG: The Maurice and Maxine B. Forman Fund, the Clara and Edwin Strasenburgh Fund, the Marie Adelaide Devine Fund and the June Alexander Memorial Fund, 2006.57

Shaffron, ca. 1560–70 Italian (probably Brescia) Steel, brass, and leather Loan from the Metropolitan Museum of Art, 14.25.1664 (15.2012L)

Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Burgonet in Oriental Fashion, 1565-1599 German Steel, gold, bronze, glass Loan from the Metropolitan Museum of Art, 14.25.601 (12.2012L)

Comb Morion for the Guard of the Dukes of Hesse-Darmstadt, ca. 1600 German Steel, brass Loan from the Metropolitan Museum of Art, 29.158.48 (17.2012L)

Burgonet of the Guard of Pope Julius III, ca. 1550-1555 Italian (Brescia) Steel, gold, brass Loan from the Metropolitan Museum of Art, 04.3.222 (10.2012L)

Shield, 1560-1569 Italian Steel Loan from the Metropolitan Museum of Art, 14.25.755 (13.2012L)

Rapier, 1580 Italian Steel, gilding Loan from the Metropolitan Museum of Art, 29.16.10 (16.2012L)

Dress Rapier, ca. 1570 Spanish Steel, gilding Loan from the Metropolitan Museum of Art, 04.3.287 (11.2012L)

Wheellock Pistol, 1580-1589 German Steel, gilt Loan from the Metropolitan Museum of Art, 14.25.1430 (14.2012L) Memorial Art Gallery Docent Meeting The Dorothy McBride Gill Discovery Center September 11, 2012

Breastplate, 1580 German Steel Loan from the Metropolitan Museum of Art, 29.158.164 (18.2012L)

A Wild Woman Supporting a Heraldic Shield, 1475-1500 Unknown Netherlandish workshop Silver stain on clear glass MAG: Marie Adelaide Devine Fund and Marion Stratton Gould Fund, 2008.1

St. Michael Slaying Lucifer, ca. 1530 Southern Lowlands or Germany Glass Loan from the Corning Museum of Glass, 84.3.236 (3.2012L)

Renaissance Remix: Art & Imagination in 16th-century Europe 1

A Renaissance Journey

The term Renaissance, which literally means “rebirth,” describes the historical and cultural period in Western European civilization that lasted from about 1400 to 1600.

Renaissance Remix focuses on the spirit of change that distinguishes European visual and musical arts from about 1520 to 1580. By this time, the new technology of printing had transformed European society. Trade and exploration resulted in increased wealth and knowledge, and population shifts inspired new public, artistic, and educational standards. Although the social hierarchies and religious restrictions of previous generations still existed, individuals enjoyed an increased participation in and knowledge of the world beyond their immediate surroundings.

During the Renaissance, intellectual and artistic energies heralded the transition from the Middle Ages to the modern world. Artists and patrons increasingly valued individual expression and creativity. People developed a revitalized interest in classical antiquity, wealth increased among the merchant class, and trade and exploration expanded both at home and abroad. In combination, these new developments created a spirit of change that affected all aspects of European life, including education and the arts.

Renaissance Remix: Art & Imagination in 16th-century Europe 2

A Spirit of Change

Renaissance Remix focuses on the spirit of change that influenced European visual and musical arts from about 1520 to 1580.

The term Renaissance, which literally means “rebirth,” describes the historical and cultural period in Western European civilization that lasted from about 1400 to 1600. It was a period of transition from the medieval world to the modern, when the rapid growth of the printing and publishing industry disseminated images, scientific knowledge, and religious ideas throughout and beyond Europe. Social standing and wealth for many individuals and their families improved through new opportunities in exploration, travel, trade, and education.

Increased wealth in the noble and middle classes provided a fertile market for an expanding community of artists, artisans, and musicians. Portraits served as status symbols, as did the tapestries and other domestic goods made to furnish homes and private interiors. Arms and armor served not only to protect and defend owners, but also proclaimed wealth, social position, and political rank. The development of new instruments for private and public performance, innovative styles, and versatile compositions transformed the role of music in religion and everyday life.

Renaissance Remix: Art & Imagination in 16th-century Europe 3

Portraiture and Identity

During the Renaissance, portraits were as much about family identity and social status as they were the sitter’s likeness.

Portrait painters of this time frequently portrayed their subjects wearing lavish costumes and surrounded by objects that proclaimed a high degree of cultural sophistication. The presence of books might suggest educational achievements, while a flute or lute could refer to a musical interest or talent. Many portraits include images of coats of arms or other symbols that identify family lineage or associations.

As the middle and upper classes grew more affluent, more people had the desire and ability to commission and pay for works of art. Many well-known artists who created religious and mythological paintings were also in high demand as portraitists to noble and wealthy patrons. Because of their close ties to powerful families, these painters often achieved prestigious positions in society.

Portrait of a Boy of the Bracciforte Family of Piacenza, ca. 1540 Girolamo Mazzola Bedoli, Italian, ca. 1505—ca. 1569/70 Oil on canvas MAG: Marion Stratton Gould Fund, 76.13

Portrait of Anna Eleonora Sanvitale, 1562 [reproduction] Girolamo Mazzola Bedoli, Italian, ca. 1505—ca. 1569/70 Galleria Nazionale, Parma, Italy Photo Credit : Scala / Art Resource, NY

Renaissance Remix: Art & Imagination in 16th-century Europe 4

The Difference is in the Details (interactive) Girolamo Mazzola Bedoli painted this portrait of Anna Eleanora Sanvitale, a young girl from a noble family of Parma, when she was only four years old. The portrait now belongs to Parma’s National Gallery.

Despite their similarities, does Anna’s portrait tell a different tale from our Boy of the Bracciforte Family of Piazcenza, also painted by Bedoli? A closer look offers clues to the differences between the lives and futures of girls and boys during the Renaissance.

Girls were taught to be humble, Boys were encouraged to become obedient, and virtuous women. Education well-rounded men of leadership and intelligence. The figure of Prudence Noble boys and girls both represents modesty and purity. learned reading and writing, The figure of Fame represents often in several languages. future greatness.

Women were generally considered Men were considered physically, physically, mentally, and morally Power and Status mentally, and morally superior to inferior to men. women. Europe in the 16th century Boys were encouraged to Girls and women were favored and supported develop their talents to expected to be quiet and males. support and sustain the honor respectful, and to obey their of the family. male relatives. A married woman was valued for her A man had absolute authority over his ability to have children and keep a Marriage wife and children, who were household that suited her husband’s considered his property. status. The families of noble boys This dog may have been and girls often arranged The money purse symbolizes a real pet, but a dog also marriages to unite two the family’s current wealth, often symbolizes family and future prospects. loyalty. wealthy families or create a political alliance. Mothers taught their daughters to Fathers prepared their sons to improve manage a household and be good wives Family the family estates through politics, and mothers. business, and warfare. In wealthy families, both Mothers were thought to have mother and father played Fathers taught sons to carry on the most influence on the important roles in the raising the family name, while for shaping of a child’s character. of children. daughters, they arranged valuable marriages. Most noblewomen had few legal rights A nobleman was eligible to participate and lost them when they married. Authority in all aspects of law and government.

An unmarried woman Noble boys and girls had to The firstborn son of a remained under the control of follow rules set by society as nobleman often inherited all male relatives throughout her well as governments. the family property and titles. life.

Renaissance Remix: Art & Imagination in 16th-century Europe 1

The Power of the Print

During the Renaissance, the rapidly increasing use of the printing press transformed religious, intellectual, and artistic life.

Printmaking, which began in Europe around 1400, made it possible for thousands of identical images and texts to be produced from a single source. Scientific and geographic knowledge previously known only by an elite group of scholars, nobles, and religious leaders became available to a much wider public. Classical texts as well as contemporary books and religious treatises were disseminated throughout and beyond Europe.

The publication of maps and explorers’ accounts particularly expanded popular knowledge of the New World. The work of musicians and composers reached new audiences through the publication of printed music. Printed images of popular paintings and subjects made art accessible to people of lesser means. Scholars and publishers used prints to illustrate their texts. Artists created designs specifically for production by printmakers. Artisans then used these prints as the basis for decorative images on ceramics, stained glass, armor, and musical instruments.

Arms of Holzhausen, 1599 After a 1579 design by Jost Amman, Swiss, active in Germany 1538 –1591 Glass, silver stain, enamel, and lead MAG: Bertha Buswell Bequest, 42.28.2

Ptolemy's "Geographia," 1482 [facsimile edition, 1966] Francesco Berlinghieri, Italian, 1440—1501 Gallery purchase, 6505

Spanish Colonial Silver Real, 1542—1572 Spanish, minted in Mexico City Silver MAG: Bequest of Isabel C. Herdle, 2005.186 Renaissance Remix: Art & Imagination in 16th-century Europe 2

Rotating prints, to include:

Two Genii, 1544 Hans Sebald Beham, German, 1500—1550 Copper engraving Marion Stratton Gould Fund, 67.62

Coat of Arms with an Eagle, 1543 Hans Sebald Beham, German, 1500—1550 Engraving Gift of the estate of Ralph Avery, 91.19

The Boar Hunt, 1540 Virgil Solis, German, 1514—1562 Engraving MAG: Gift of Dr. and Mrs. James H. Lockhart, Jr., 94.17

The Third Tournament, 1509 Lucas Cranach the Elder, German, 1472—1553 Woodcut MAG: Martin Brewer Anderson Collection, 24.32

The Tournament, 1500 Master MZ, German, active about 1500—1503 Engraving on laid paper MAG: Gift of Dr. and Mrs. James H. Lockhart, Jr., 94.18

The Standard Bearer of Underwalden, 1521 Urs Graf, Swiss, ca. 1485—1527 White-line woodcut MAG: Marion Stratton Gould Fund, 2001.5

Renaissance Remix: Art & Imagination in 16th-century Europe 3

Inspiration from Ink (interactive) How did a printer create and distribute prints? How did prints influence life during the Renaissance? To find out, match up the correct sides of these cubes.

Creating a Print: Planning and Design Using movable, reusable metal type and woodcut images, the compositor laid out a page inside a wooden frame called a forme. Notice that the letters appear backwards! Creating a Print: Inking It Up The beater applied ink to the finished forme layout using a pair of stuffed leather pads called “ink-balls.” The printing press required a new type of ink made with oils and soot. Creating a Print: Paper and Press The pressman turned the press like a giant screw, pressing a damp piece of paper onto the inked forme. The printing press was based on the wine-press, used to squeeze the juice from grapes. Creating a Print: Drying and Distribution The freshly printed paper was hung up to dry, clothesline-style. Finished prints were ready for sale or for binding into books.

Spread of Knowledge: Pattern Books Printers, engravers, and architects all consulted printed pattern books for decorative and symbolic design ideas. This print shows a variety of designs inspired by Roman art. This printed page demonstrates four different options for a carved ceiling. Spread of Knowledge: News Bulletins Single-page, illustrated broadsheets spread news quickly and kept the public informed and excited about important or unusual events. A news broadsheet printed in Nuremberg describes and illustrates a mass sighting of a “battle in the sky.” Printed portraits and writings of Martin Luther, an early leader of the Protestant Reformation, spread throughout Europe.

Spread of Knowledge: Facts and Fiction Inexpensive prints featuring detailed images and information (some real, some imaginary) from newly discovered lands appealed to a wide audience. Master printer Albrecht Dürer probably did not actually see a real rhinoceros before he created his print. European explorers confused the Native Americans they encountered with Picts, an ancient Celtic people of Scotland. Renaissance Remix: Art & Imagination in 16th-century Europe 4

Spread of Knowledge: Insider Information Printed medical and technical texts made scholarly information available to a wide audience, including interested amateurs. Renaissance illustrators developed layered images, similar to today’s pop-up books, with paper flaps that lift to reveal the inner workings of the human body. Technical manuals on architecture and engineering explained ancient inventions as well as new ideas.

From Painting to Print: The Painter A painter produces an original work of art that can be sold only to a single customer.

From Painting to Print: The Engraver An engraver copies the painting by carving the image onto a wood block or etching it into a metal plate.

From Painting to Print: The Printer The engraver works with a printer to publish prints: smaller, black-and-white or hand-colored versions of the painting.

From Painting to Print: The Customer The printer sells the prints from the shop or a market stall, giving many people the chance to own “the painting.”

Trade and Exploration: Early World View Before the 16th century, Europeans had limited understanding of the world’s lands and oceans. In this hand-drawn map, only the areas of Europe and western Asia (top left) are recognizable. Trade and Exploration: European Expansion Curiosity about the world, thirst for adventure, and desire for riches from new lands inspired exploration, conquest, and colonization. This hand-colored map shows the route taken by Ferdinand Magellan and his crew on the first documented European voyage around the world from 1519 to 1522. Trade and Exploration: A New World View First-hand knowledge of previously unknown lands also brought about great advances in cartography, the art and science of map-making. This richly decorated map includes illustrations of people and animals from around the world: Europe and Asia at the top, the Americas and Africa below. Trade and Exploration: Safe Harbors Printed portolans, sea charts with sailing directions for specific coastal areas, helped sailors to navigate treacherous shallow waters and underwater currents. This 1586 portolan charts part of Spain’s northern coast, showing harbors and landmarks as well as whales and sea monsters.

Creating a Print: Planning and Design (1) Creating a Print: Inking It Up (2)

NOTICE THAT THE THE PRINTING PRESS LETTERS APPEAR REQUIRED A NEW TYPE BACKWARDS! OF INK MADE WITH OILS AND SOOT.

Detail from Book Printing, Plate 4 of the New Discoveries series by Stradanus, ca. 1584 Detail from Book Printing, Plate 4 of the New Discoveries series by Stradanus, ca. 1584 Using movable, reusable metal type and woodcut images, the compositor laid out a page inside a wooden frame called a forme. The beater applied ink to the finished forme layout using a pair of stuffed leather pads called “ink-balls.” Creating a Print: Paper and Press (3) Creating a Print: Drying and Distribution (4)

THE PRINTING PRESS WAS BASED ON THE Detail from Engraving in WINE PRESS, USED TO Copper, Plate 19 of the SQUEEZE THE JUICE New Discoveries series FROM GRAPES. by Stradanus, ca. 1584

The freshly printed paper was hung up to dry, clothesline-style.

Detail from Book Printing, Plate 4 of the New Discoveries series POPULAR BOOKS WERE PRINTED UP BUT NOT by Stradanus, ca. 1584 BOUND UNTIL THEY Detail from A Printer’s Shop by Jost Amman, 1568 WERE PURCHASED. The pressman turned the press like a giant screw, pressing a damp piece of paper onto the inked forme. Finished prints were ready for sale or for binding into books. Trade and Exploration: Early World View (1) Trade and Exploration: European Expansion (2)

Before the 16th century, Europeans had limited understanding Curiosity about the world, thirst for adventure, and desire for of the world’s lands and oceans. riches from new lands inspired exploration, conquest, and colonization.

World map by Battista Agnese, published in the Portolan Atlas, 1544

15th-century copy of Claudius Ptolemy’s world map, ca. 150 CE This hand-colored map shows the route taken by Ferdinand Magellan In this hand-drawn map, only the areas of Europe and western Asia and his crew on the first documented European voyage around the are recognizable. world from 1519 to 1522.

Trade and Exploration: A New World View (3) Trade and Exploration: Safe Harbors (4)

First-hand knowledge of previously unknown lands brought Printed portolans, sea charts with sailing directions for specific about great advances in cartography, the art and science of map- making. coastal areas, helped sailors to navigate treacherous shallow waters and underwater currents.

Double hemisphere map by Petrus Plancius, 1594 Engraved, hand-colored portolan by Lucas Jansz. Waghenaer, 1586

This richly decorated map includes illustrations of people and animals This 1586 portolan charts part of Spain’s northern coast, showing from around the world: Europe and Asia at the top, the Americas and harbors and landmarks as well as whales and sea monsters. Africa below.

From Painting to Print: The Painter (1) From Painting to Print: The Engraver (2) A painter produces an original work of art that can be sold only An engraver copies the painting by carving the image onto to a single customer. a wood block or etching it into a metal plate.

Details from Engraving in Copper, Plate 19 of the New Discoveries series by Stradanus, ca. 1584 Detail from Oil Painting), Plate 14 of the New Discoveries series by Stradanus, ca. 1584 From Painting to Print: The Printer (3) From Painting to Print: The Customer (4) The engraver works with a printer to publish prints: smaller, The printer sells the prints from the shop or a market stall, black-and-white or colored versions of the painting. giving many people the chance to own “the painting.”

Detail of Fair at the Great Hall at Prague Castle, by Gilles Sadeler, 1607

Detail from Engraving in Copper, Plate 19 of the New Discoveries series by Stradanus, ca. 1584 Spread of Knowledge: Pattern Books (1) Spread of Knowledge: News Bulletins (2) Printers, engravers, and architects all consulted printed pattern Single-page, illustrated broadsheets spread news quickly and kept books for decorative and symbolic design ideas. the public informed and excited about important or unusual events.

This printed page demonstrates four different A news broadsheet printed in Nuremberg describes and options for a carved ceiling. illustrates a mass sighting of a “battle in the sky.” Heavenly Apparition over Nuremberg on April 14, 1561 Ceiling Designs, after by Hanns Glaser, 1566 Sebastiano Serlio, published 1562 .

This print shows a variety of designs inspired by Printed portraits and writings of Martin Luther, an early leader of the Protestant Reformation, Roman art. spread throughout Europe. Grotesque and Roman Ornament, Martin Luther by Daniel Hopfer, 1523 after Hans Vredeman de Vries, 1500s

Spread of Knowledge: Facts and Fiction (3) Spread of Knowledge: Insider Information (4) Inexpensive prints featuring detailed images and information (some Printed medical and technical texts made scholarly information real, some imaginary) from newly-discovered lands appealed to a available to a wide audience, including interested amateurs. wide audience. Renaissance illustrators developed layered images, Master printer Albrecht Dürer probably did not similar to today’s pop-up books, with paper flaps that see a real rhinoceros before he created his print. lift to reveal the inner workings of the human body. Rhinoceros by Albrecht Dürer, 1515 Anatomical Fugitive Sheet: Female, published by Alain de Matonniere, ca. 1560

European explorers confused the Native Americans Technical manuals on architecture and engineering they encountered with Picts, an ancient Celtic people of Scotland. explained ancient inventions as well as new ideas.

The Trvve Picture of One Picte by Theodor de Bry, Lifting Tackle Composed of a Post, Lines, Pulleys and Winch, published in 1588 after Leon Battista Alberti, 1565

Renaissance Remix: Art & Imagination in 16th-century Europe 1

Worldly Goods

During the Renaissance, increased wealth among the noble and mercantile classes provided a fertile market for luxury objects.

The home was the center of a Renaissance family’s domestic and spiritual life. Like today, the wealthiest members of society furnished their houses with expensive and elaborate objects. Furniture, tapestries, dining utensils, stained glass, art prints, and musical instruments created an impressive and luxurious environment that enriched both private life and public entertainment.

Decorative yet functional ceramics, ivories, metalwork, and glass were often produced by highly- trained artisans employed in sophisticated workshops that often marketed and exported their wares to a wider public. Seemingly unique decoration was frequently drawn from printed pattern books filled with a wide range of designs made by well-known artists throughout Europe. Artisans used these books for reference images of biblical scenes, allegorical figures, and intricate designs inspired by ancient Greek and Roman art.

Arms of Hans Eschmann, ca. 1532 Swiss Silver-stain on clear glass, pot-metal MAG: Gift of Natalie and J. Richard Ciccone, 2011.110

Portrait of a Boy Pietro Tacca, Italian, 1577—1640 Bronze MAG: R. T. Miller Fund, 49.68

Lock, mid-1500s Italian or French Gilded bronze MAG: R.T. Miller Fund, 57.20

Renaissance Remix: Art & Imagination in 16th-century Europe 2

Covered Tazza with Scenes from Genesis, ca. 1560 Workshop of Jean de Court, French, active 1555—1585 Enamel on copper MAG: Buswell-Hochstetter Bequest, 55.136

Plate with Diana and the Nymphs, 1546 Attributed to Francesco Durantino, Italian, active ca. 1543--54 Maiolica (tin-glazed earthenware) MAG: Buswell-Hochstetter Bequest, 55.138

Bowl with Mary Magdalene, ca.1535 Italian (probably Gubbio) Maiolica ware (tin-glazed earthenware) MAG: Buswell-Hochstetter Bequest, 55.153

The Forge of the Heart, 1529 Master I.B., German, 1500s Engraving MAG: Marion Stratton Gould Fund, in honor of Dr. James Lockhart, Jr., 88.14

To be rotated…

Allegory of Vanity, late 1500s Flemish Oil on panel MAG: Bertha Buswell Bequest, 55.132

Casket, late 1500s French (probably Limoges) Brass, enamel MAG: Buswell-Hochstetter Bequest, 55.120

Pair of Candlesticks, probably 1500s Italian Bronze MAG: Buswell-Hochstetter Bequest, 55.122.1-2 Renaissance Remix: Art & Imagination in 16th-century Europe 3

Tigerware Jug, 1574 British Salt-glazed stoneware with silver mountings MAG: Gift of Alastair Bradley Martin, 50.39

Nuppenbecher, 1500 German Glass Loan from the Corning Museum of Glass, 54.3.105 (8.2012L)

Goblet, 1500 Italian Glass Loan from the Corning Museum of Glass, 79.3.369 (9.2012L)

Magdeburg Humpen, 1594 German or Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, Gift of Edwin J. Beinecke, 57.3.84 (5.2012L)

Ages of Man Humpen, 1578 or 1594 German or Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, 57.3.86 (6.2012L)

Reichsadler Humpen, 1574 Bohemian Glass, enamel, gilding Loan from the Corning Museum of Glass, 60.3.4 (4.2012L)

Renaissance Remix: Art & Imagination in 16th-century Europe 4

Mind Your (16th-century) Manners! (interactive) A new and more complex system of table manners emerged during the Renaissance. Test yourself: Which of the rules below was actually followed at that time?

True! Place your goblet on the right, Most people ate with only a knife and their and your bread on the left. fingers. Using a fork for eating did not Bring your own eating knife. become acceptable for another 100 years.

Detail from Banquet of Members of Amsterdam's Crossbow Civic Guard by Cornelis Anthonisz., 1533

False! Use your fingers to take Diners used the tip of their eating knife to salt from the salt dish, or take a bit of salt, which was served not in simply dip your meat directly shakers, but in shallow, sometimes very fancy, dishes. into the salt. Detail from The Marriage at Cana by Gerard David, ca. 1500

Use a knife to cut your meat True! Good manners meant never eating food and spear it to move it to your directly off your knife and using only plate. To eat it, pick it up using certain fingers. the thumb and first two fingers of your right hand. Detail from Judith Dining with Holofernes by Lucas Cranach the Elder, 1531

Do not wipe your greasy True! fingers on your coat. Instead, Wiping your fingers on the tablecloth was perfectly acceptable. wipe them on your napkin or

use the tablecloth. Detail from Portrait of the de Moucheron Family (artist unknown), 1563

When you have finished True! Diners did not have cups of their own; your drink, hand the cup to a drinking cups and plates were often shared servant to be rinsed and used by two people.

by someone else. Detail from January for the Höchstetter Family of Augsberg by Jörg Breu the Elder, 1520s

Renaissance Remix: Art & Imagination in 16th-century Europe 1

The Art of Music

During the Renaissance, music was an essential part of civic, religious, and courtly life.

Many important musical innovations emerged in the 1500s, including new genres, compositions, and the development of instruments such as the lute, viola de gamba, and small keyboard instruments called virginals. Composers throughout Europe enhanced their compositions for voice as well as new stringed and keyboard instruments to make music more complex, personal, and passionate. Ensembles of musicians, much like a modern orchestra, became popular at court. No occasion, sacred or secular, public or private, was complete without music.

Instrument makers responded creatively to the growing market for instrumental music. Many cities supported the manufacture of instruments designed to “please the eye and delight the ear,” inspiring the elaborate painted decoration of instruments with allegorical or musical imagery. Performers and collectors flourished; music-loving noble families encouraged instrument makers to compete for splendor of tone and appearance in their creations.

An Allegory of Hearing, after 1581 Italian; After a design by Marten de Vos (Flemish, 1532—1603) Oil on cradled panel MAG: Gift of Lester Slocum, Jr. and his sister, Mrs. Joyce S. DiStasio, 98.21

Lute, early 1970s Craig N. Stapley, American, 1950-1999 Wood Loan from Professor Wayne H. Knox and Victoria Ka’iulani Visiko, 19.2012L

Rebec and Bow, 1980 Bernard Lehmann, American, b. 1949 Maple and walnut, mother-of-pearl, rosewood; bow: rosewood, horsetail Lent by Steven D. Barley, Ed.D, 22.2012L

Compositione di messer Vincenzo Capirola , ca. 1517 [facsimile edition, 1981] Vincenzo Capirola, Italian, 1474 –after 1548 Lent by Deborah Fox, 21.2012L

Renaissance Remix: Art & Imagination in 16th-century Europe 2

Tunes of the Times (interactive)

What did Renaissance music sound like?

Sacred Music The Catholic Church favored inspirational music sung in Latin by choirs,

with and without instrumental accompaniment. Protestant worshipers sang simple hymns in the local language.

Introitus, from Missa pro Defunctis a 5, by Cristóbal de Morales (Spanish, ca. 1500–1553), 1544. [Recorded by Hespèrion XX]. On Music of the Middle Ages

& Renaissance, Auvidis ES9904 1997.

Mit Fried und Freud (With Peace and Joy), by Martin Luther (German, 1483– Detail from Annunciation to Shepherds with 1546), 1524. [Recorded by Himlische Cantorey]. On Music of the Reformation, Choir of Angels by Johannes Sadeler, 1587 CPO 777275-2 Public / Festival Music Country dances and village festivals included musicians playing common instruments, who improvised variations on simple tunes and well-known folksongs.

Chi passa per‘sta strada, by Fillippo Azzaiolo (Italian, 1530/40 –after 1569). [Recorded by The Musicians of Swanne Alley]. On In the Streets and Theatres of London, Virgin Classics VC7 90789-2.

Der Tod Reit' auf Einem Kohlschwarzen Rappen. [Recorded by Wolfgang Detail from The Year's End Roth]. On Early German Ballads, Vol. 1: (1280 –1619). Smithsonian Folkways by Hans Sebald Beham, 1546 Recordings/ Folkways Records, 2004.

Private/Domestic Music Newly available printed sheet music gave professional traveling musicians access to a wider variety of music, and encouraged upper class amateurs to learn to play and entertain themselves.

La Traditora #3, by Marco dall'Aquila & others (Italian, (ca. 1470 –after 1537). [Recorded by Paul O’Dette (lute)]. On Lute Music, Volume 2: Early Italian Renaissance Lute Music. Harmonia Mundi USA, 1994.

Divisions on “Frais et Gaillard” (madrigal by Clemens non Papa), by Giovanni Bassano (Italian, (ca. 1558 –1617), 1591. [Recorded by Annalisa Pappano & Ronn Four Musicians by Tobias Stimmer, mid-1500s. McFarlane]. On Renaissance Treble Viola da Gamba Divisions with Lute. Annalisa Pappano, 2012. Military / Parade Music

The rhythms of beating drums and high-pitched, simple tunes on flutes helped to keep a large group of soldiers together, whether marching in parade or fighting on the battlefield.

Tanz des Leu, traditional. [Recorded on Basel drum]. On Traditional Swiss Musical Instruments, Claves Records, 1996.

A Procession of Soldiers by Jost Amman, La Rousse, from the Val d’Anniviers. [Recorded on military drum and fife]. On mid-1500s. Traditional Swiss Musical Instruments, Claves Records, 1996.

Renaissance Remix: Art & Imagination in 16th-century Europe 1

Tapestry

During the Renaissance, large and elaborate tapestries woven of wool and silk insulated and decorated the walls of homes, churches, and public buildings.

In use for centuries by the very wealthy, by the 1500s tapestries became more affordable and accessible to the prosperous mercantile as well as the noble classes. This was due in part to the rigorous organization of tapestry workshops, which increased their production with more skilled and trained weavers. Although several major centers of tapestry production developed throughout Europe, by the late 1400s the large-scale and high-quality tapestry market was dominated by the city of Brussels. From these production centers, tapestries were exported throughout Europe.

The designs for tapestries come from drawings called cartoons that were often created by well-known painters. Tapestry weavers used a wide variety of different colored threads to achieve shading and shape, allowing the creation of complex figures and scenes on a very large scale. Wealthy patrons could commission specific designs that reflected their interests and individual tastes, whether religious or secular in nature.

Musical Game Park: A Forest Scene with Peasants, 1500s Flemish Wool and silk Anonymous loan, T238

To be rotated with…

Nativity of the Christ Child, 1500s Flemish Wool, silk and cotton MAG: Gift of William M. Wood III and his sister, Mrs. Allen Perkins Spaulding, 79.50

Renaissance Remix: Art & Imagination in 16th-century Europe 2

Weaving a Story (interactive) This large woven wall-hanging has a complex design, full of interesting scenes and characters. Lift a panel below and take a closer look at the Who, What, and Where of a few details.

A fine lady sits in a loaded horse-drawn cart, her A few townspeople dance merrily at small fluffy dog in her lap. A groom rides one the edge of the village, while others horse to guide the team, and a group of armed shop at open-air market stalls or watch soldiers escorts the group. the artists and craftspeople at work.

A pair of long legged herons stands at A young woman sits in an archway between two the edge of a forest pool. One stays upright tall columns. She plays the lira de braccio, a low- and alert, while the other devours a freshly toned string instrument. caught meal.

Renaissance Remix: Art & Imagination in 16th-century Europe 1

Arms and Armor

During the Renaissance, arms and armor were essential components of cultural and military life.

Nobles wore highly decorated suits of armor in ceremonies and tournaments as well as in military conflicts. Images of armor appeared in all types of art, including portraits and religious paintings, to emphasize the status, wealth, and power of the wearer. Artisans decorated high-quality arms and armor with elaborate biblical and mythological scenes, hunting motifs, and coats of arms or symbols that identified the owner.

Armor workshops, whether attached to a noble family or independently owned, developed new forms of armor and weaponry that responded to the changing requirements of their patrons. These developments included structural improvements, elaborate decoration, more durable materials, and specialized styles for particular types of warfare or tournament fighting.

Please Touch This Armor! (interactive) This is a pair of pauldrons (PAWL-druhns), or shoulder protectors, from a suit of armor. Feel how the armor is designed and constructed. Leather straps hold the steel plates together and allow the shoulder joint to move

Renaissance Remix: Art & Imagination in 16th-century Europe 2

Shaffron, ca. 1560—1570 Italian (probably Brescia) Steel, brass, and leather Loan from the Metropolitan Museum of Art, 14.25.1664 (15.2012L)

The Armored Horse

Since ancient times, humans have used animals, especially horses, in an effort to gain advantage over their enemy during battle.

The medieval knight was inseparable from his horse, which supplied him with both transportation and speed. War horses were bred for their power and were essential to the heavy cavalry, or mounted and armored shock troops, that charged the enemy on the frontlines. Armorers created coverings in textile, leather, mail, and steel plate that protected horse and man alike from combatants on both the battlefield and in tournaments.

During the 1500s, new developments in military tactics and types of weaponry changed the nature of warfare. By the end of the century, horses wore the bard, or full horse armor, only for ceremonial occasions. Armories continued to produce individual pieces of horse armor, such as the shaffron and saddle steel, for use in parades and tournaments. Armor for the Renaissance horse, frequently ordered as part of a garniture, or large set of interchangeable pieces, often matched the armor of his master in quality and elaborate decoration.

Renaissance Remix: Art & Imagination in 16th-century Europe 3

Burgonet in Oriental Fashion, 1565—1599 German Steel, gold, bronze, glass Loan from the Metropolitan Museum of Art, 14.25.601 (12.2012L)

Comb Morion for the Guard of the Dukes of Hesse-Darmstadt, ca. 1600 German Steel, brass Loan from the Metropolitan Museum of Art, 29.158.48 (17.2012L)

Burgonet of the Guard of Pope Julius III, ca. 1550—1555 Italian (Brescia) Steel, gold, brass Loan from the Metropolitan Museum of Art, 04.3.222 (10.2012L)

Shield, 1560—1569 Italian Steel Loan from the Metropolitan Museum of Art, 14.25.755 (13.2012L)

Rapier, 1580 Italian Steel, gilding Loan from the Metropolitan Museum of Art, 29.16.10 (16.2012L)

Dress Rapier, ca. 1570 Spanish Steel, gilding Loan from the Metropolitan Museum of Art, 04.3.287 (11.2012L)

Renaissance Remix: Art & Imagination in 16th-century Europe 4

Wheellock Pistol, 1580—1589 German Steel, gilt Loan from the Metropolitan Museum of Art, 14.25.1430 (14.2012L)

Breastplate, 1580 German Steel Loan from the Metropolitan Museum of Art, 29.158.164 (18.2012L)

A Wild Woman Supporting a Heraldic Shield, 1475-1500 Unknown Netherlandish workshop Silver stain on clear glass MAG: Marie Adelaide Devine Fund and Marion Stratton Gould Fund, 2008.1

St. Michael Slaying Lucifer, ca. 1530 Southern Lowlands or Germany Glass Loan from the Corning Museum of Glass, 84.3.236 (3.2012L)