We will have a breaks, I will take roll early, 9:45 pm we will do our in-class discussion--before you are dismissed at the end of class: 10:15.
Sample Questions
Think-Pair-Share
This type of activity first asks students to consider a question on their own, and then provides an opportunity for students to discuss it in pairs, and finally together with the whole class. The success of these activities depend on the nature of the questions posed. This activity works ideally with questions to encourage deeper thinking, problem-solving, and/or critical analysis. The group discussions are critical as they allow students to articulate their thought processes.
The procedure is as follows:
- Pose a question, usually by writing it on the board or projecting it.
- Have students consider the question on their own (1 – 2 min).
- Then allow the students form groups of 2-3 people.
- Next, have students discuss the question with their partner and share their ideas and/or contrasting opinions (3 min).
- Re-group as a whole class and solicit responses from some or all of the pairs (3 min).
Zheng He (1371–1433 or 1435), a nominal Muslim, formerly romanized as Cheng Ho, was a Hui court eunuch, mariner, explorer, diplomat, and fleet admiral during China's early Ming dynasty. Born Ma He, Zheng commanded expeditionary voyages to Southeast Asia, South Asia, Western Asia, and East Africa from 1405 to 1433. His larger ships stretched 120 meters in length (Columbus's Santa Maria, for comparison, was 26 meters). These carried hundreds of sailors on four tiers of decks.[2]
As a favorite of the Yongle Emperor, whose usurpation he assisted, he rose to the top of the imperial hierarchy and served as commander of the southern capital Nanjing (the capital was later moved to Beijing by the Yongle Emperor). These voyages were long neglected in official Chinese histories but have become well known in China and abroad since the publication of Liang Qichao's Biography of Our Homeland's Great Navigator, Zheng He[3] in 1904.[4] A trilingual stele left by the navigator was discovered on the island of Sri Lanka shortly thereafter.
Likewise, the Muslim majority world was advanced during the late Middle Ages, but what happened?
Islamic Failure, Western Success, and the two ways Muslims justify it, 3:50
https://youtu.be/1YI5g_x_NVM
Why did the West advance towards modernity? And, at the same time, why did other cultures such as the Chinese and Muslim majority areas lag behind?
- Pose a question, usually by writing it on the board or projecting it.
- Have students consider the question on their own (1 – 2 min).
- Then allow the students form groups of 2-3 people.
- Next, have students discuss the question with their partner and share their ideas and/or contrasting opinions (3 min).
- Re-group as a whole class and solicit responses from some or all of the pairs (3 min).
Pre-Built Course Content
https://blackboard.strayer.edu/bbcswebdav/institution/HUM/112/1146/Week1/Lecture/lecture.html
Faith Gets Some Dazzle: The drama of Italian Baroque art.
Week 1 Checklist
- Download the Course Guide and Assignments and Rubrics documents located in the Student Center
- Read the following from your textbook:
- Chapter 21: The Baroque in Italy
- Chapter 22: The Secular Baroque in the North
- Explore the Week 1 Music Folder
- View the Week 1 Lecture videos
- Do the Week 1 Explore Activities
- Participate in the Week 1 Discussion (choose only one (1) of the discussion options) - 20 Points
9:45 pm
"Baroque Style" Please respond to one (1) of the following, using sources under the Explore heading as the basis of your response:
Monteverdi and Vivaldi
Vivaldi Spring The Four Seasons High Quality, 9:41 Spring "Allegro-Largo-Allegro" (The Four Seasons); from The National Botanical Gardens of Wales; Julia Fischer en el violin; acompañada de "Academy of St Martin in the Fields"; del Maestro Antonio Lucio Vivaldi Spring – Concerto in E Major Allegro "Giunt' è la Primavera e festosetti La Salutan gl' Augei con lieto canto, E i fonti allo Spirar de' Zeffiretti Con dolce mormorio Scorrono intanto: Vengon' coprendo l' aer di nero amanto E Lampi, e tuoni ad annuntiarla eletti Indi tacendo questi, gl' Augelletti; Tornan' di nuovo al lor canoro incanto:" Largo "E quindi sul fiorito ameno prato Al caro mormorio di fronde e piante Dorme 'l Caprar col fido can' à lato." Allegro "Di pastoral Zampogna al suon festante Danzan Ninfe e Pastor nel tetto amato Di primavera all' apparir brillante."
Spring – Concerto in E Major
Allegro
Springtime is upon us. The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes. Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven, Then they die away to silence, and the birds take up their charming songs once more. Largo On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps, his faithful dog beside him. Allegro Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring. https://youtu.be/aFHPRi0ZeXE Baroque Visual Arts
What is Baroque?
Baroque was a style in art that used exaggerated motion and clear,
easily interpreted detail to produce drama, tension, exuberance, and
grandeur from sculpture, painting, literature, and music. The baroque
style started around 1600 in Rome, Italy and spread to most of Europe.
In music the Baroque applies to the final period of dominance of
imitative counterpoint.
The popularity and success of the "baroque" was encouraged by the Catholic Church when it decided that the drama of the baroque artists' style could communicate religious themes in direct and emotional involvement. The secular aristocracy also saw the dramatic style of baroque architecture and art as a means of impressing visitors and would-be competitors. Baroque palaces are built round an entrance sequence of courts, anterooms, grand staircases, and reception rooms of sequentially increasing magnificence. Many forms of art, music, architecture, and literature inspired each other in the "baroque" cultural movement. The Baroque originated around 1600. The canon promulgated at the Council of Trent (1545?63), by which the Roman Catholic Church addressed the representational arts by demanding that paintings and sculptures in church contexts should speak to the illiterate rather than to the well-informed, is customarily offered as an inspiration of the Baroque, which appeared, however, a generation later. This turn toward a populist conception of the function of ecclesiastical art is seen by many art historians as driving the innovations of Caravaggio and the Carracci brothers, all of whom were working (and competing for commissions) in Rome around 1600. The appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, and dramatic (see the Prometheus sculpture below). Baroque art drew on certain broad and heroic tendencies in Annibale Caracci and his circle, and found inspiration in other artists like Correggio and Caravaggio and Federico Barocci, nowadays sometimes termed 'proto-Baroque'. A defining statement of what Baroque signifies in painting is provided by the series of paintings executed by Peter Paul Rubens for Marie de Medici at the Luxembourg Palace in Paris (now at the Louvre), in which a Catholic painter satisfied a Catholic patron: Baroque-era conceptions of monarchy, iconography, handling of paint, and compositions as well as the depiction of space and movement. Another frequently cited work of Baroque art is Bernini's "Saint Theresa in ecstasy" for the Cornaro chapel in S. Maria della Vittoria, which brings together multiple arts, including opera.
The Baroque evolved from Mannerism in Italy and quickly spread throughout Europe. However, this florid style found little favour in the moderate Dutch Republic of the 17th century. While Rembrandt’s chiaroscuro and Artus Quellinus’ sculptures can, indeed, be described as ‘baroque’, their work is less colourful and dynamic than that of ‘true’ Baroque artists, such as the Flemish master Peter Paul Rubens. In the 17th century princes and church authorities used Baroque art as a means of propaganda. Spectacular altarpieces were produced primarily in the southern Catholic countries. The intense emotions of the figures in these works of art were meant to kindle religious zeal among a broad public. Assignment 1: Essay Due Week 4 and worth 100 points Choose one (1) of the three (3) reading selections from the list of topic choices below. The focus is on brief but important primary source material written by major authors. Read the selections as identified with each topic below. Write a three to four (3-4) paragraph essay (250 words minimum) which analyzes the “surprise ending” of the reading selection. Topic Choices
https://youtu.be/BHihkRwisbE https://youtu.be/NTQcaJLyFEs
In this video, we will discuss Voltaire’s attack on philosophical speculation, and his support for a life based on practical concerns (Candide Analysis). My blog: orwell1627.wordpress.com Please help support this channel: https://www.paypal.com/cgi-bin/webscr... https://youtu.be/CoVXK7T16C8 Assignment 2: Project Paper Due Week 8 and worth 200 points The Project Paper focuses on a suggested topic related to art, architecture, history, music, or literature. The project will reflect your views and interpretation of the topic. This project is designed to help you stretch your mind and your abilities to be the creative, innovative, and critical thinker you already are! Assignment 3: Cultural Activity Report Due Week 10 and worth 100 points As a way of experiencing the Humanities beyond your classroom, computer, and textbook, you are asked to do a certain type of “cultural activity” that fits well with our course and then report on your experience. Your instructor will require you to propose an activity and get instructor approval before you do it and report on it (students should look for any instructions in that respect). Every effort should be made to ensure that this is a hands-on experience (not a virtual one), that this activity fits the HUM 112 class well, and that the activity is of sufficient quality for this university course. The two (2) key types of activities are a museum visit or a performance. Note: This must not be a report on the same activity (and certainly not the same report) as done for another class, like HUM 111. For instance, one might go to the same museum as done for HUM 111, but this HUM 112 report will focus on entirely different works and displays. PART FOUR EXCESS, INQUIRY, AND RESTRAINT 1600–1800 686 21 The Baroque in Italy: THE CHURCH AND ITS APPEAL 689 Baroque Style and the Counter-Reformation 691 Sculpture and Architecture: Bernini and His Followers 692 The Society of Jesus 695 San Carlo alle Quattro Fontane 700 The Drama of Painting: Caravaggio and the Caravaggisti 701 Master of Light and Dark: Caravaggio 701 Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women 703 Venice and Baroque Music 706 Giovanni Gabrieli and the Drama of Harmony 706 Claudio Monteverdi and the Birth of Opera 707 Arcangelo Corelli and the Sonata 708 Antonio Vivaldi and the Concerto 709 READINGS 21.1 from Teresa of Ávila,“Visions,” Chapter 29 of The Life of Teresa of Ávila (before 1567) 692 21.2a from Ignatius of Loyola, Spiritual Exercises, Fifth Exercise (1548) 696 21.2b from Ignatius of Loyola, Spiritual Exercises, Rules (1548) 696 21.3 John Donne, “Batter My Heart” (1618) 703 21.4 John Donne, “The Flea” (1633) 713 21.5 from Giulio Caccini, New Works of Music (1602) 707 FEATURES MATERIALS & TECHNIQUES The Facade from Renaissance to Baroque 697 CLOSER LOOK Andrea Pozzo’s Apotheosis of Saint Ignatius 698 CONTINUITY & CHANGE The End of Italian Ascendancy 711 22 The Secular Baroque in the North THE ART OF OBSERVATION 715 Calvinist Amsterdam: City of Contradictions 716 Gaining Independence from Spain 717 Tulipomania 718 The Dutch Reformed Church: Strict Doctrine and Whitewashed Spaces 719 The Science of Observation 720 Francis Bacon and the Empirical Method 720 René Descartes and the Deductive Method 721 Johannes Kepler, Galileo Galilei, and the Telescope 722 Antoni van Leeuwenhoek, Robert Hooke, and the Microscope 723 Dutch Vernacular Painting: Art of the Familiar 724 Still Life 724 Landscapes 725 Genre Scenes 726 Johannes Vermeer and the Domestic Scene 727 The Group Portrait 729 Rembrandt van Rijn and the Drama of Light 730 The Baroque Keyboard 734 Jan Pieterszoon Sweelinck’s Fantasias for the Organ 736 The North German School: Johann Sebastian Bach 737 READINGS 22.1 from Francis Bacon, Novum Organum Scientiarum (New Method of Science) (1620) 741 22.2 from René Descartes, Meditations (1641) 721 FEATURES CLOSER LOOK Rembrandt’s The Anatomy Lesson of Dr. Tulp 732 CONTINUITY & CHANGE The Art of the People and the Tastes of the Court 739 HUM112 Music Clips for Week 1
In this week's readings (chaps. 21-22),
there are several musical compositions mentioned. These (or decent
equivalents) can be found on YouTube. Watch and give them a listen.
Here below is some background and description of each--and the link to
the YouTube (and sometimes other helps).
The following three musical compositions are mentioned in the Week 1 readings, especially pp. 706-710 (in chap. 21).
1.A: Gabrieli, Canzona Duodecimi Toni (pp. 706-7) (=Canzona in the 12th Mode or Tone) selection for this at: https://www.youtube.com/watch?v=gXriKjAqnHA
Please
read pp. 706-7 for how Gabrieli achieved "surround sound" with this in
Venice's great St. Mark's cathedral when he composed this in the 1590s. Note how there are two groups of brass instrument musicians facing each other in the YouTube above.
Canzon duodecimi toni (Giovani Gabrieli)
Concert à Altkirch 19.12.2010 1.B Gabrieli: Ricercar a 4 del duodecimo tuono (pp. 706-707) selection for this at: http://www.youtube.com/watch?v=Cihvujvb_pQ
This
is simply a follow-up to illustrate Gabrieli's ideas in 1A above. The
Italian word "Ricercar" means to search out or pursue. But, it was used
as a label for an instrumental musical composition of the late 1500s and early 1600s that explored a certain tone or motif. In this case, it was Gabrieli's musical exploration of the 12th mode or tone, which was the key or tonic note "C" in his system.)
Andrea Gabrieli (1532/1533- 1585), Ricercar del duodecimo tuono, Ensemble Instrumental de Paris, Hollard Florian, Chef d'orchestre. Avec la peinture intitulée "Paysage avec des magiciens" de Girolamo Da Carpi (1501- 1556). https://youtu.be/Cihvujvb_pQ Monteverdi was the great pioneer of what we call "opera" today. The song title (Tu se' morta) means "You are dead". This selection is a recitativo from the opera called Orfeo, written in 1607. Seep. 708 for the meaning of this term and a description of this selection. The main character, Orpheus or Orfeo, has just learned of the death of his beloved Eurydice. The story comes out of ancient Greek myth and drama. Read p. 708 for more details on the story and this music. For the whole opera from a great production in Barcelona, Spain, see https://www.youtube.com/watch?v=3Ma4OelX45I . L'Orfeo Favola in musica by Claudio Monteverdi with La Capella Reial de Catalunya Conducted by Jordi Savall Stages by Gilbert Deflo Directed by Brian Large Singers: Zanasi, Figueras, Mingardo, Abete, Turk, Vargas, Bettini, Gran Teatre del Liceu Barcelona Recorded at Gran Teatre del Liceu Barcelona, Spain For Gran Teatre del Liceu Produced by HANS PETRI Directed by BRIAN LARGE © Opus An Arte 2002 ------------------------------------------------ Savall may be today's grand guru of the "historically aware" musical production scene, and conducts here a recent, indeed sumptuous production of this masterwork from Barcelona's Liceo opera house. The theatre was ravaged by a fire some years ago and has been recontructed magnificently. Savall makes use of his catalonian forces one frequently encounters in his recordings and they rise magnificently to the occasion, producing a scholarly and thoroughly convincing, from the philological perspective, rendering. His singers are a varied lot. Montserrat Figueras, Mrs Savall in real life, opens up the proceedings as a very convincing La Musica, if somewhat over-acted. The Orfeo, a singer I face up for the first time (Furio Zanasi), gives a beatifully vocalised Orfeo that is utterly wanting on the acting side, apparently being more concerned with an impeccable mastering of the work's vocal intricacies than in projecting his character on stage in a convincing manner; the "possente spirto" passage is precious, though. The Euridice is given nepotically to Savall and Figueras's young daughter Arianna, who is not very convincing as the unfortunate girl that prompts Orfeo's rescue excursion into hell. She has a likeable voice but has still to develop her skills; in my view, there are in the market far better candidates for the rфle Savall might have chosen. The jewel in the crown is the Messenger, soprano Sara Mingardo, ravishingly poignant when bringing the news of Euridice's death, her voice soaring all over the vast venue and superbly acted. The supporting rфles are well cast and sung, and the Act 1 dancers do their fare effectively. The production by flemish rйgisseur Gilbert Deflo is, as I said in the introductory sentences, luxurious and all-encompassing and resembles a similar one that Spanish TV (TVE) broadcast by satellite to the world in 2000 from Madrid's Royal Theatre that I don't recall if is also his; in Barcelona it surprises you from its very beginning as Savall's enters from the back of the stalls, period-dressed and deliberately walking towards the pit to impetuously launch the proceedings, with musicians in charge of the famous opening fanfare distributed in various places in the hall and balconies. https://youtu.be/3Ma4OelX45I
This selection is from the first concerto (see p. 710 for a definition of this) in a set of four concertos related to the theme of the four seasons. Vivaldi composed this in 1723. He also wrote a brief poetic sonnet at the start of this first concerto; read it on p. 710. That same page has a great description of this work. On pp. 709-710, read about the orphanage for young women that trained and developed very talented female musicians in Venice, who were probably the normal performers of this sort of music.
------------------------------------
The following musical compositions are mentioned in the Week 1 readings, especially pp. 734-8 (in chap. 22) .
First movement (chorus) from cantata BWV 78 From the protestant church Trogen in Switzerland Choir and Orchestra of the J. S. Bach Foundation Rudolf Lutz - conductor Johann Sebastian Bach - Cantata BWV 78 "Jesu, der du meine Seele" (Jesus, thou who this my spirit) Link to the DVD booklet: https://www.bach-streaming.ch/downloa... Subscribe to our channel: https://www.youtube.com/user/Bachstif... For further information on the Bach Foundation, go to: http://www.bachstiftung.ch The complete cantata, introductory workshop and reflection lecture (in German) is available at: http://www.bach-streaming.com Text: Jesu, der du meine Seele Hast durch deinen bittern Tod Aus des Teufels finstern Höhle Und der schweren Seelennot Kräftiglich herausgerissen Und mich solches lassen wissen Durch dein angenehmes Wort, Sei doch itzt, o Gott, mein Hort! https://youtu.be/cIWJOKmsgLs
Basel Radio Symphony Orchestra (Radio-sinfonieorchester Basel) Conductor - Matthias Bambert Trumpet - Marc Ullrich Flute - Beatrice Mathez Oboe - Peter Fuchs Violin - Bettina Boller https://youtu.be/o1BEDBsSDJw
Fugue in D minor (composed ca. 1740)
(p. 738); Clavier originally simply meant any instrument with claves or keys.
In the early 1700s, this could include the harpischord, the clavichord,
or the instrument that would eventually evolve into the modern piano.
J. S. Bach (1685-1750) lived in a period when he made much use of the
clavichord and eventually early forms of the piano.
The piano was invented by Cristofori in the early 1700s; it was
developed as a major advance on the clavichord. Pieces like the
"Well-Tempered Clavier" were probably played mostly on the clavichord by
Bach, though he clearly intended it as music for a variety of
instruments. Bach's work here is baroque music at its best. Read p. 738
carefully and give this a listen.
Prelude and Fugue No. 6 in D minor, BWV 875, from Bach's WTC Bk II, Gulda pianist, 3:12
Prelude and Fugue No. 6 in D minor, BWV 874, from second book of the Well-tempered Clavier by Johann Sebastian Bach. Played by Friedrich Gulda; recorded 1972, MPS-Tonstudio, Villingen, Germany. https://youtu.be/fbvTPW1_Yxw
Toccata & Fugue in d minor (BACH, J.S.), 9:56 Kurt Ison, Sydney Town Hall. Edited and produced by Christopher Hayles, 2002. https://youtu.be/_FXoyr_FyFw Week 1 Explore
Monteverdi and Vivaldi
Baroque Visual Arts
PART FOUR Excess, Inquiry, and Restraint 1600–1800  Jean-Antoine Watteau, The Embarkation from Cythera (detail). ca. 1718–19. Oil on canvas, 50¼" × 76⅛". (See Fig. 25.3 in Chapter 25.) Staatliche Museen, Schloss Charlottenburg, Berlin. For more than 200 years, from the late sixteenth century until the dawn of the nineteenth, the entrenched traditions of culture were challenged as never before. Not just in the West, but around the world, no era had been entangled in such a complex web of competing values. Indeed, it began with a civil war and ended with two revolutions. England, in the last half of the sixteenth century, was embroiled in conflict between Catholic and Protestant factions that led to civil war, the execution of a king, and abolition of monarchical authority. Two hundred years later, in the late eighteenth century, the American colonies would rebel against British control, and the French people against their king. The question of political power—who possessed the right to rule—dominated the age. In the centuries before, the papacy had exercised authority over all people. Now, the rulers of Europe emphatically asserted their divine right to rule with unquestioned authority over their own dominions. In contrast, the thinkers of the age increasingly came to believe that human beings were by their very nature free, equal, and independent, and that they were not required to surrender their own sovereignty to any ruler. In essence, these thinkers developed a secularized version of the contest between Catholicism and Protestantism that had defined the sixteenth century after the Reformation. Protestant churches had freed themselves from what they believed to be a tyrannical and extravagant papacy. In fact, many people found strong similarities between the extravagances of the European monarchies and the extravagance of Rome. Now, many believed, individuals should free themselves from the tyrannical and profligate rule of any government to which they did not freely choose to submit. At the beginning of the era, the Counter-Reformation was in full swing, and the Church, out to win back the hearts and minds of all whom the Reformation had drawn away, appealed not just to the intellect, but to the full range of human emotion and feeling. In Rome, it constructed theatrical, even monumental, spaces—not just churches, but avenues, fountains, and plazas—richly decorated in an exuberant style that we have come to call “the Baroque.” This dramatic and emotional style found expression in painting and music as well, and artistic virtuosity became the hallmark of this new Baroque style. The courts of Europe readily adapted the Baroque to their own ends. In France, Louis XIII never missed an opportunity to use art and architecture to impress his grandeur and power upon the French people (and the other courts of Europe). In the arts, the stylistic tensions of the French court were most fully expressed. The rational clarity and moral uprightness of the Classical contrasted with the emotional drama and flamboyant sensuality of the Baroque. In music, for example, we find both the clarity of the Classical symphony and the spectacle of Baroque opera. At the same time, scientific and philosophical investigation—the invention, for instance, of new tools of observation like the telescope and microscope—helped to sustain a newfound trust in the power of the rational mind to understand the world. When Isaac Newton demonstrated in 1687, to the satisfaction of just about everyone, that the universe was an intelligible system, well-ordered in its operations and guiding principles, it seemed possible that the operations of human society—the production and consumption of manufactured goods, the social organization of families and towns, the operations of national governments, to say nothing of its arts—might be governed by analogous universal laws. The pursuit of these laws is the defining characteristic of the eighteenth century, the period we have come to call the Enlightenment. Thus, the age developed into a contest between those who sought to establish a new social order forged by individual freedom and responsibility, and those whose taste favored a decorative and erotic excess—primarily the French court. But even the high-minded champions of freedom found themselves caught up in morally complex dilemmas. Americans championed liberty, but they also defended the institution of slavery. The French would overthrow their dissolute monarch, only to see their society descend into chaos, requiring, in the end, a return to imperial rule. And, when the Europeans encountered other cultures—for example in the South Pacific, China, and India—they tended to impose their own values on cultures that were, in many ways, not even remotely like their own. But if the balance of power fell heavily to the West, increasingly the dynamics of global encounter resulted in the exchange of ideas and values. Pre-Built Course Content
Otis Art History 21 - Italian Baroque, 6:24
Presented by Dr. Jeanne Willette, faculty at Otis College of Art and Design. THE CHURCH AND ITS APPEAL 689
THINKING AHEAD
21.1 Discuss how the Baroque style furthered the agenda of the Counter-Reformation, especially in sculpture and architecture. 21.2 Describe how the Baroque style manifests itself in painting. 21.3 Examine how the Baroque style developed musically in Venice. Baroque Style and the Counter-Reformation 691 How did the Baroque style further the agenda of the Counter-Reformation and what are its characteristic features in sculpture and architecture?
As early as the 1540s, the Catholic Church had begun a program of reform and renewal designed to mitigate the appeal of Protestantism that came to be known as the Counter-Reformation (see Chapter 20). The building and decoration programs that developed in response to this religious program gradually evolved into the style known as Baroque. During the Renaissance, composition had tended to be frontal, creating a visual space that moved away from the viewer in parallel planes, following the rules of scientific perspective. This produced a sense of calm and balance or symmetry. In the Baroque period, elements usually are placed on a diagonal and seem to swirl and flow into one another, producing a sense of action, excitement, and sensuality. Dramatic contrasts of light and dark often serve to create theatrical effects designed to move viewers and draw them into the emotional orbit of the composition. A profound, sometimes brutally direct, naturalism prevails, as well as a taste for increasingly elaborate and decorative effects, testifying to the Baroque artist’s technical skill and mastery of the media used.
In Rome, the patronage of the papal court at the Vatican was most responsible for creating the Baroque style. Pope Sixtus V (papacy 1585–90) inaugurated the renewal of the city. He cut long, straight avenues through it, linking the major pilgrimage churches to one another, and ordered a piazza—a space surrounded by buildings—to be opened in front of each church, decorating many of them with obelisks that had originally been brought to the city from Egypt by the ancient Roman emperors. In his brief reign, Sixtus also began to renovate the Vatican, completing the dome of Saint Peter’s Basilica, building numerous palaces throughout the city, and successfully reopening one of the city’s ancient aqueducts to stabilize the water supply. Over the course of the next century, subsequent popes followed his example with building and art programs of their own. The Catholic Church was a leading arts patron across much of Europe. The goal of much art in the Counter-Reformation, especially in the Rome of Bernini and the Flanders of Peter Paul Rubens, was to restore Catholicism's predominance and centrality. This was one of the drivers of the Baroque style that emerged across Europe in the late sixteenth century. In areas where Catholicism predominated, architecture[18] and painting,[19] and to a lesser extent music, reflected Counter-Reformation goals.[20] The Council of Trent proclaimed that architecture, painting and sculpture had a role in conveying Catholic theology. Any work that might arouse "carnal desire" was inadmissible in churches, while any depiction of Christ's suffering and explicit agony was desirable and proper. In an era when some Protestant reformers were destroying images of saints and whitewashing walls, Catholic reformers reaffirmed the importance of art, with special encouragement given to images of the Virgin Mary.[21] Art History Genres : What Is Baroque? 3:29 Baroque art took place after the Renaissance through the 17th and 18th century as a Catholic counter-reformation to draw people back into the church. Understand the style of baroque art with information from an art historian, critic and curator in this free video on art. Expert: Dr. Betty Ann Brown Contact: www.midmarchartspress.org Bio: Betty Ann Brown is an art historian, critic and curator. Filmmaker: Jared Drake
https://youtu.be/gxZIu4SEpz8
Sculpture and Architecture: Bernini and His Followers 692
The new interior space of Saint Peter’s Basilica inspired the same feelings of vastness and grandeur as did Carlo Maderno’s new facade. The crossing, under Michelangelo’s dome, was immense, and its huge size dwarfed the main altar. When Urban VIII (papacy 1623–44) became pope, he commissioned the young Bernini to design a cast bronze baldachino, or canopy, to help define the altar space (Fig. 21.4). Part architecture, part sculpture, Bernini’s baldachino consists of four twisted columns decorated with spiraling grooves and bronze vines. This undulating, spiraling, decorative effect symbolized the union of the Old and New Testaments, the vine of the Eucharist climbing the columns of the Temple of Solomon. Elements that combine both the Ionic and Corinthian orders top the columns. Figures of angels and putti stand along the entablature, which is decorated with tasseled panels of bronze that imitate cloth. Above the entablature, the baldachino rises crownlike to an orb, symbolizing the universe, and is topped by a cross, symbolizing the reign of Christ. In its immense size, its realization of an architectural plan in sculptural terms, and its synthesis of a wide variety of symbolic elements in a single form, the baldachino is uniquely Baroque in spirit.
Gian Lorenzo Bernini (Italian pronunciation: [ˈdʒan loˈrɛntso berˈniːni]; also Gianlorenzo or Giovanni Lorenzo; 7 December 1598 – 28 November 1680) was an Italian sculptor and architect.[1] A major figure in the world of architecture, he was the leading sculptor of his age, credited with creating the Baroque style of sculpture.[2]
As one scholar has commented, "What Shakespeare is to drama, Bernini
may be to sculpture: the first pan-European sculptor whose name is
instantaneously identifiable with a particular manner and vision, and
whose influence was inordinately powerful..."[3]
In addition, he was a painter (mostly small canvases in oil) and a man
of the theater: he wrote, directed and acted in plays (mostly Carnival
satires), also designing stage sets and theatrical machinery, as well as
a wide variety of decorative art objects including lamps, tables,
mirrors, and even coaches. As architect and city planner, he designed
both secular buildings and churches and chapels, as well as massive
works combining both architecture and sculpture, especially elaborate
public fountains and funerary monuments and a whole series of temporary
structures (in stucco and wood) for funerals and festivals.
Gianlorenzo Bernini, 5:30
Examples with the monks singing in the background.The Italian Baroque Sculptor, Painter and Architect Gianlorenzo Bernini and the Monks of St. Michael's. https://youtu.be/GX0KOPcMC3Y The Cornaro Chapel Probably nothing sums up the Baroque movement better than Bernini’s sculptural program for the Cornaro Chapel. Located in Carlo Maderno’s Church of Santa Maria della Vittoria in Rome (Fig. 21.5), it was a commission from the Cornaro family and executed by Bernini in the middle of the century, at about the same time as he was working on the colonnade for Saint Peter’s Square. Bernini’s theme is a pivotal moment in the life of Teresa of Ávila (1515–82), a Spanish nun, eventually made a saint, who at the age of 40 began to experience mystical religious visions (see Chapter 20). She was by no means the first woman to experience such visions—Hildegard of Bingen had recorded similar visions in her Scivias in the twelfth century (see Chapter 10). However, Teresa’s own converso background—her father was a Jew who had converted to Catholicism—adds another dimension to her faith. Teresa was steeped in the mystical tradition of the Jewish Kabbalah, the brand of mystical Jewish thought that seeks to attain the perfection of heaven while still living in this world by transcending the boundaries of time and space. Bernini illustrates the vision she describes in the following passage (Reading 21.1):
The Society of Jesus 695
As Bernini conceived it, the Baroque was a compromise between Mannerist exuberance and religious propriety. He fully supported the edicts of the Council of Trent, set up to reform the Catholic Church in response to the Protestant Reformation (see Chapter 20), and the teachings of the Society of Jesus, founded by the Spanish nobleman Ignatius of Loyola (1491–1556). From their headquarters at the Church of Il Gesù in Rome, the Jesuits, as they were known, led the Counter-Reformation and, as we will see later in the chapter, the influence of the Catholic Church worldwide. All agreed that the purpose of religious art was to teach and inspire the faithful, that it should always be intelligible and realistic, and that it should be an emotional stimulus to piety.
The Society of Jesus (Latin: Societas Iesu, S.J., SJ or SI) is a male religious congregation of the Catholic Church. The members are called Jesuits. The society is engaged in evangelization and apostolic ministry in 112 nations on six continents. Jesuits work in education (founding schools, colleges, universities and seminaries), intellectual research, and cultural pursuits. Jesuits also give retreats, minister in hospitals and parishes, and promote social justice and ecumenical dialogue. Ignatius of Loyola founded the society after being wounded in battle and experiencing a religious conversion. He composed the Spiritual Exercises to help others follow the teachings of Jesus Christ. In 1534, Ignatius and six other young men, including Francis Xavier and Peter Faber, gathered and professed vows of poverty, chastity, and later obedience, including a special vow of obedience to the Pope in matters of mission direction and assignment. Ignatius's plan of the order's organization was approved by Pope Paul III in 1540 by a bull containing the "Formula of the Institute". Ignatius was a nobleman who had a military background, and the members of the society were supposed to accept orders anywhere in the world, where they might be required to live in extreme conditions. Accordingly, the opening lines of the founding document declared that the Society was founded for "whoever desires to serve as a soldier of God[1] (Spanish: "todo el que quiera militar para Dios"),[2] to strive especially for the defense and propagation of the faith and for the progress of souls in Christian life and doctrine."[3] Jesuits are thus sometimes referred to colloquially as "God's Soldiers",[4] "God's Marines", or "the Company", references to Ignatius' history as a soldier and the society's commitment to accepting orders anywhere and to endure any conditions.[5] The Society participated in the Counter-Reformation and, later, in the implementation of the Second Vatican Council. The Society of Jesus is consecrated under the patronage of Madonna Della Strada, a title of the Blessed Virgin Mary, and it is led by a Superior General, currently Adolfo Nicolás.[6][7] The headquarters of the society, its General Curia, is in Rome.[8] The historic curia of St. Ignatius is now part of the Collegio del Gesù attached to the Church of the Gesù, the Jesuit Mother Church. In 2013, Jorge Mario Bergoglio became the first Jesuit Pope, taking the name Pope Francis. Society of Jesus: largest Catholic order in the world, 1:19 ROME REPORTS, www.romereports.com, is an independent international TV News Agency based in Rome covering the activity of the Pope, the life of the Vatican and current social, cultural and religious debates. Reporting on the Catholic Church requires proximity to the source, in-depth knowledge of the Institution, and a high standard of creativity and technical excellence. As few broadcasters have a permanent correspondent in Rome, ROME REPORTS is geared to inform the public and meet the needs of television broadcasting companies around the world through daily news packages, weekly newsprograms and documentaries. https://youtu.be/miBRHyOkrx8
San Carlo alle Quattro Fontane 700
The church of San Carlo alle Quattro Fontane (Saint Charles at the Four Fountains), also called San Carlino, is a Roman Catholic church in Rome, Italy. The church was designed by the architect Francesco Borromini and it was his first independent commission. It is an iconic masterpiece of Baroque architecture, built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians, an order dedicated to the freeing of Christian slaves. He received the commission in 1634, under the patronage of Cardinal Francesco Barberini, whose palace was across the road. However, this financial backing did not last and subsequently the building project suffered various financial difficulties.[1] It is one of at least three churches in Rome dedicated to San Carlo, including San Carlo ai Catinari and San Carlo al Corso. Borromini: San Carlo Alle Quattro Fontane, Roma, 2:33 Views with background music. https://youtu.be/VlHkOH0FSzA The Drama of Painting: Caravaggio and the Caravaggisti 701 Michelangelo Merisi (Michael Angelo Merigi or Amerighi) da Caravaggio (Italian pronunciation: [karaˈvaddʒo]; 29 September 1571 in Caravaggio – 18 July? 1610) was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 (1595?) and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on Baroque painting.[1][2][3] Master of Light and Dark: Caravaggio 701
THE DRAMA OF PAINTING: CARAVAGGIO AND THE CARAVAGGISTI
What characterizes Baroque painting? One of the characteristics of San Carlo alle Quattro Fontane is the play of light and dark that its irregular walls and geometries create. Ever since the Middle Ages, when Abbot Suger of Saint-Denis, Paris, had insisted on the power of light to heighten spiritual feeling in the congregation, particularly through the use of stained glass, light had played an important role in church architecture (see Chapter 12). Bernini used it to great effect in his Ecstasy of Saint Teresa (see Fig. 21.6), and Baroque painters, seeking to intensify the viewer’s experience of their paintings, sought to manipulate light and dark to great advantage as well. The acknowledged master of light and dark, and perhaps the most influential painter of his day, was Michelangelo Merisi, known as Caravaggio (1571–1610) after the town in northern Italy where he was born. His work inspired many followers, who were called the Caravaggisti. Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women 703
Caravaggio had a profound influence on other artists of the seventeenth century. Two of these were women. Like her sixteenth-century Bolognese predecessor, Lavinia Fontana (see Chapter 20), Elisabetta Sirani (1638–65) was the daughter of a painter.
Venice and Baroque Music 706 How did Baroque music develop in Venice? In the sixteenth century, the Council of Trent had recognized the power of music to convey moral and spiritual ideals. “The whole plan of singing,” it wrote in an edict issued in 1552, should be constituted not to give empty pleasure to the ear, but in such a way that the words be clearly understood by all, and thus the hearts of the listeners be drawn to the desire of heavenly harmonies, in the contemplation of the joys of the blessed. … They shall also banish from church all music that contains, whether in the singing or in the organ playing, things that are lascivious or impure. In other words, the Council rejected the use of secular music, which by definition it deemed lascivious and impure, as a model for sacred compositions. Renaissance composers such as Guillaume Dufay and Josquin des Prez (see Chapters 14 and 15) had routinely used secular music in composing their masses, and Protestants had adapted the chorales of their liturgy from existing melodies, both religious and secular. The division between secular and religious music was far less pronounced in Venice, a city that had traditionally chafed at papal authority. As a result, Venetian composers felt freer to experiment and work in a variety of forms, so much so that in the seventeenth century, the city became the center of musical innovation and practice in Europe.
The city of Venice in Italy has played an important role in the development of the music of Italy. The Venetian state – i.e., the medieval Maritime Republic of Venice
– was often popularly called the "Republic of Music", and an anonymous
Frenchman of the 17th century is said to have remarked that "In every
home, someone is playing a musical instrument or singing. There is music
everywhere."[72]
During the 16th century, Venice became one of the most important musical centers of Europe, marked by a characteristic style of composition (the Venetian school) and the development of the Venetian polychoral style under composers such as Adrian Willaert, who worked at St Mark's Basilica. Venice was the early center of music printing; Ottaviano Petrucci began publishing music almost as soon as this technology was available, and his publishing enterprise helped to attract composers from all over Europe, especially from France and Flanders. By the end of the century, Venice was famous for the splendor of its music, as exemplified in the "colossal style" of Andrea and Giovanni Gabrieli, which used multiple choruses and instrumental groups. Venice was also the home of many famous composers during the baroque period, such as Antonio Vivaldi, Ippolito Ciera, Giovanni Picchi, and Girolamo Dalla Casa, to name but a few. Giovanni Gabrieli and the Drama of Harmony 706 Venice earned its place at the center of the musical world largely through the efforts of Giovanni Gabrieli (1556–1612), the principal organist at Saint Mark’s Cathedral. Gabrieli composed many secular madrigals, but he also responded to the Counter-Reformation’s edict to make church music more emotionally engaging. To do this, he expanded on the polychoral style that Adrian Willaert had developed at Saint Mark’s in the mid-1500s (see Chapter 15). Gabrieli located contrasting bodies of sound in different areas of the cathedral’s interior, which already had two organs, one on each side of the chancel (the space containing the altar and seats for the clergy and choir). Playing them against one another, he was able to produce effects of stunning sonority. Four choirs—perhaps a boys’ choir, a women’s ensemble, basses and baritones, and tenors in another group—sang from separate balconies above the nave. Positioned in the alcoves were brass instruments, including trombones and cornetts. (A cornett was a hybrid wind instrument, combining a brass mouthpiece with woodwind finger technique. The nineteenth-century band instrument has a similar name but is spelled with a single “t.”) Both the trombone and the cornett were staples of Venetian street processions. And the street processions of the Venetian confraternities or scuole (see Chapter 15) were in many ways responsible for the development of instrumental music in Venice. By 1570, there were approximately 40 street processions a year, with each of the six confraternities participating. Each scuola was accompanied through the streets by singers, bagpipes, shawms (a double reed instrument similar to a bagpipe, but without the bag), drums, recorders, viols, flutes, and pifarri, or ensembles of wind instruments often composed of cornetts and trombones (two or three of each) (Fig. 21.18). The Venetian love for these ensembles quickly led to their adaptation from secular ceremonies to religious ones (many of the scuole processions were associated with religious feast days in the first place). Claudio Monteverdi and the Birth of Opera 707 A year after Gabrieli’s death, Claudio Monteverdi (1567–1643) was appointed musical director at Saint Mark’s in Venice. A violinist, Monteverdi had been the music director at the court of Mantua. In Venice, Monteverdi proposed a new relation of text (words) and music. Where traditionalists favored the subservience of text to music—“Harmony is the ruler of the text,” proclaimed Giovanni Artusi, the most ardent defendant of the conservative position—Monteverdi proclaimed just the opposite: “Harmony is the mistress of the text!” Monteverdi’s position led him to master a new, text-based musical form, the opera, a term that is the plural of the word opus, or “work.” Operas are works consisting of many smaller works. (The term opus is used, incidentally, to catalog the musical compositions of a given composer, usually abbreviated op., so that “op. 8” would mean the eighth work or works published in the composer’s repertoire.) The form itself was first developed by a group known as the Camerata of Florence (camerata means “club” or “society”), a group dedicated to discovering the style of singing used by the ancient Greeks in their drama, which had united poetry and music but was known only through written accounts. The group’s discussions stimulated the composer Giulio Caccini to write New Works of Music. Here, he describes what the Camerata considered the ancient Greek ideal of music (Reading 21.5): Arcangelo Corelli and the Sonata 708 Arcangelo Corelli (/kɔːˈrɛli/;[1] 17 February 1653 – 8 January 1713) was an Italian violinist and composer of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony.[2] Antonio Vivaldi and the Concerto 709 READINGS 21.1 from Teresa of Ávila,“Visions,” Chapter 29 of The Life of Teresa of Ávila (before 1567) 692 Biography of Saint Teresa of Avila, 3:46 A short biography of Saint Teresa of Avila. Some basic facts about Teresa de Avila: - Born on 28 March 1515 in Gotarrendura, Ávila, Crown of Castile (today Spain) - Died on 4 October 1582 (aged 67) in Alba de Tormes, Salamanca, Spain - Venerated in: Roman Catholic Church, Lutheran Church and Anglican Communion - Beatified on: 24 April 1614, Rome by Pope Paul V - Canonized 12 March 1622, Rome by Pope Gregory XV - Major shrine Convent of the Annunciation, Alba de Tormes, Spain - Feast celebrated on 15 October - Attributes: Habit of the Discalced Carmelites, Book and Quill, arrow-pierced heart - Patronage: Bodily ills; headaches; chess; lacemakers; laceworkers; loss of parents; people in need of grace; people in religious orders; people ridiculed for their piety; Požega, Croatia; sick people; sickness; Spain. All images are taken from the public domain Music soudtrack from Incompetech: http://incompetech.com/music/royalty-... https://youtu.be/Vn4v6atYpq8 21.2a from Ignatius of Loyola, Spiritual Exercises, Fifth Exercise (1548) 696 FIFTH EXERCISEIT IS A MEDITATION ON HELLIt contains in it, after the Preparatory Prayer and two Preludes, five Points and one Colloquy:Prayer. Let the Preparatory Prayer be the usual one. First Prelude. The first Prelude is the composition, which is here to see with the sight of the imagination the length, breadth and depth of Hell. Second Prelude. The second, to ask for what I want: it will be here to ask for interior sense of the pain which the damned suffer, in order that, if, through my faults, I should forget the love of the Eternal Lord, at least the fear of the pains may help me not to come into sin. First Point. The first Point will be to see with the sight of the imagination the great fires, and the souls as in bodies of fire. Second Point. The second, to hear with the ears wailings, howlings, cries, blasphemies against Christ our Lord and against all His Saints. Third Point. The third, to smell with the smell smoke, sulphur, dregs and putrid things. Fourth Point. The fourth, to taste with the taste bitter things, like tears, sadness and the worm of conscience. Fifth Point. The fifth, to touch with the touch; that is to say, how the fires touch and burn the souls. Colloquy. Making a Colloquy to Christ our Lord, I will bring to memory the souls that are in Hell, some because they did not believe the Coming, others because, believing, they did not act according to His Commandments; making three divisions: First, Second, and Third Divisions. The first, before the Coming; the second, during His life; the third, after His life in this world; and with this I will give Him thanks that He has not let me fall into any of these divisions, ending my life. Likewise, I will consider how up to now He has always had so great pity and mercy on me. I will end with an OUR FATHER. Note. The first Exercise will be made at midnight; the second immediately on rising in the morning; the third, before or after Mass; in any case, before dinner; the fourth at the hour of Vespers; the fifth, an hour before supper. This arrangement of hours, more or less, I always mean in all the four Weeks, according as his age, disposition and physical condition help the person who is exercising himself to make five Exercises or fewer. ADDITIONSTO MAKE THE EXERCISES BETTER AND TO FIND BETTER WHAT ONE DESIRESFirst Addition. The first Addition is, after going to bed, just when I want to go asleep, to think, for the space of a HAIL MARY, of the hour that I have to rise and for what, making a resume of the Exercise which I have to make.Second Addition. The second: When I wake up, not giving place to any other thought, to turn my attention immediately to what I am going to contemplate in the first Exercise, at midnight, bringing myself to confusion for my so many sins, setting examples, as, for instance, if a knight found himself before his king and all his court, ashamed and confused at having much offended him, from whom he had first received many gifts and many favors: in the same way, in the second Exercise, making myself a great sinner and in chains; that is to say going to appear bound as in chains before the Supreme Eternal Judge; taking for an example how prisoners in chains and already deserving death, appear before their temporal judge. And I will dress with these thoughts or with others, according to the subject matter. Third Addition. The third: A step or two before the place where I have to contemplate or meditate, I will put myself standing for the space of an OUR FATHER, my intellect raised on high, considering how God our Lord is looking at me, etc.; and will make an act of reverence or humility. Fourth Addition. The fourth: To enter on the contemplation now on my knees, now prostrate on the earth, now lying face upwards, now seated, now standing, always intent on seeking what I want. We will attend to two things. The first is, that if I find what I want kneeling, I will not pass on; and if prostrate, likewise, etc. The second; in the Point in which I find what I want, there I will rest, without being anxious to pass on, until I content myself. Fifth Addition. The fifth: After finishing the Exercise, I will, during the space of a quarter of an hour, seated or walking leisurely, look how it went with me in the Contemplation or Meditation; and if badly, I will look for the cause from which it proceeds, and having so seen it, will be sorry, in order to correct myself in future; and if well, I will give thanks to God our Lord, and will do in like manner another time. Sixth Addition. The sixth: Not to want to think on things of pleasure or joy, such as heavenly glory, the Resurrection, etc. Because whatever consideration of joy and gladness hinders our feeling pain and grief and shedding tears for our sins: but to keep before me that I want to grieve and feel pain, bringing to memory rather Death and Judgment. Seventh Addition. The seventh: For the same end, to deprive myself of all light, closing the blinds and doors while I am in the room, if it be not to recite prayers, to read and eat. Eighth Addition. The eighth: Not to laugh nor say a thing provocative of laughter. Ninth Addition. The ninth: To restrain my sight, except in receiving or dismissing the person with whom I have spoken. Tenth Addition. The tenth Addition is penance. This is divided into interior and exterior. The interior is to grieve for one's sins, with a firm purpose of not committing them nor any others. The exterior, or fruit of the first, is chastisement for the sins committed, and is chiefly taken in three ways. First Way. The first is as to eating. That is to say, when we leave off the superfluous, it is not penance, but temperance. It is penance when we leave off from the suitable; and the more and more, the greater and better -- provided that the person does not injure himself, and that no notable illness follows. Second Way. The second, as to the manner of sleeping. Here too it is not penance to leave off the superfluous of delicate or soft things, but it is penance when one leaves off from the suitable in the manner: and the more and more, the better -- provided that the person does not injure himself and no notable illness follows. Besides, let not anything of the suitable sleep be left off, unless in order to come to the mean, if one has a bad habit of sleeping too much. Third Way. The third, to chastise the flesh, that is, giving it sensible pain, which is given by wearing haircloth or cords or iron chains next to the flesh, by scourging or wounding oneself, and by other kinds of austerity. Note. What appears most suitable and most secure with regard to penance is that the pain should be sensible in the flesh and not enter within the bones, so that it give pain and not illness. For this it appears to be more suitable to scourge oneself with thin cords, which give pain exteriorly, rather than in another way which would cause notable illness within. First Note. The first Note is that the exterior penances are done chiefly for three ends: First, as satisfaction for the sins committed; Second, to conquer oneself -- that is, to make sensuality obey reason and all inferior parts be more subject to the superior; Third, to seek and find some grace or gift which the person wants and desires; as, for instance, if he desires to have interior contrition for his sins, or to weep much over them, or over the pains and sufferings which Christ our Lord suffered in His Passion, or to settle some doubt in which the person finds himself. Second Note. The second: It is to be noted that the first and second Addition have to be made for the Exercises of midnight and at daybreak, but not for those which will be made at other times; and the fourth Addition will never be made in church in the presence of others, but in private, as at home, etc. Third Note. The third: When the person who is exercising himself does not yet find what he desires -- as tears, consolations, etc., -- it often helps for him to make a change in food, in sleep and in other ways of doing penance, so that he change himself, doing penance two or three days, and two or three others not. For it suits some to do more penance and others less, and we often omit doing penance from sensual love and from an erroneous judgment that the human system will not be able to bear it without notable illness; and sometimes, on the contrary, we do too much, thinking that the body can bear it; and as God our Lord knows our nature infinitely better, often in such changes He gives each one to perceive what is suitable for him. Fourth Note. The fourth: Let the Particular Examen be made to rid oneself of defects and negligences on the Exercises and Additions. And so in the SECOND, THIRD AND FOURTH WEEKS. Who was St. Ignatius? Marquette University, 2:31 The story behind the founder of the Jesuit order, Ignatius of Loyola. As told by Stephanie Russell, Executive Director of Marquette University's Office of Mission and Identity. https://youtu.be/r14Y_eRrHLg 21.2b from Ignatius of Loyola, Spiritual Exercises, Rules (1548) 696 21.3 John Donne, “Batter My Heart” (1618) 703 John Donne (/ˈdʌn/ DUN) (22 January 1572[1] – 31 March 1631) was an English poet and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poems, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of English society and he met that knowledge with sharp criticism. Another important theme in Donne's poetry is the idea of true religion, something that he spent much time considering and about which he often theorized. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[2] 21.4 John Donne, “The Flea” (1633) 713 21.5 from Giulio Caccini, New Works of Music (1602) 707 FEATURES MATERIALS & TECHNIQUES The Facade from Renaissance to Baroque 697 CLOSER LOOK Andrea Pozzo’s Apotheosis of Saint Ignatius 698 CONTINUITY & CHANGE The End of Italian Ascendancy 711 22 The Secular Baroque in the North THE ART OF OBSERVATION 715 Calvinist Amsterdam: City of Contradictions 716 Calvinism (also called the Reformed tradition, Reformed Christianity, Reformed Protestantism or the Reformed faith) is a major branch of Protestantism that follows the theological tradition and forms of Christian practice of John Calvin and other Reformation-era theologians. Calvinists broke with the Roman Catholic Church but differed with Lutherans on the real presence of Christ in the Eucharist, theories of worship, and the use of God's law for believers, among other things.[1][2] Calvinism can be a misleading term because the religious tradition it denotes is and has always been diverse, with a wide range of influences rather than a single founder. The movement was first called Calvinism by Lutherans who opposed it, and many within the tradition would prefer to use the word Reformed.[3][4] Since the Arminian controversy, the Reformed tradition — as a branch of Protestantism distinguished from Lutheranism — divided into separate groups, Arminians and Calvinists.[a][5][6] Reformed churches may exercise several forms of ecclesiastical polity, but most are presbyterian or congregationalist with some being episcopalian. While the Reformed theological tradition addresses all of the traditional topics of Christian theology, the word Calvinism is sometimes used to refer to particular Calvinist views on soteriology and predestination, which are summarized in part by the Five Points of Calvinism. Some have also argued that Calvinism as a whole stresses the sovereignty or rule of God in all things including salvation. Early influential Reformed theologians include John Calvin, Ulrich Zwingli, Martin Bucer, Heinrich Bullinger, Peter Martyr Vermigli, Theodore Beza, and John Knox. In the twentieth century Abraham Kuyper, Herman Bavinck, B. B. Warfield, Karl Barth, Martyn Lloyd-Jones, Cornelius Van Til and Gordon Clark were influential, while contemporary Reformed theologians include J. I. Packer, R. C. Sproul, Timothy J. Keller, John Piper, and Michael Horton. The biggest Reformed association is the World Communion of Reformed Churches with more than 80 million members in 211 member denominations around the world.[7][8] There are more conservative Reformed federations like the World Reformed Fellowship and the International Conference of Reformed Churches, as well as independent churches. Calvinism Explained, 2:31 https://youtu.be/FJBiReXrmGc Gaining Independence from Spain 717 In the 16th century, England and the Netherlands had been close allies against the ambitions of the Habsburgs. They cooperated in fighting the Spanish Armada. England supported the Dutch in the Eighty Years' War by sending money and troops. There was a permanent English representative in the Dutch government to ensure coordination of the joint war effort. The separate peace in 1604 between England and Spain strained this relationship. The weakening of Spanish power at the end of the Thirty Years' War in 1648 also meant that many colonial possessions of the Portuguese and some of the Spanish empire and their mineral resources were effectively up for grabs. The ensuing rush for empire brought the former allies into conflict. Also the Dutch, having made peace with Spain, quickly replaced the English as dominant traders with the Iberian peninsula, adding to an English resentment about Dutch trade that had steadily grown since 1590. Wars II- Dutch Revolt & England vs Spain, 6:42 Dutch Revolt, William of Orange, Spanish Armada https://youtu.be/kF8d8TWsYNo Tulipomania 718 Capitalism, arising in the West with a modern banking system as opposed to the Middle East hindered by Islamic sharia law, produced great wealth and raised the fortunes of many ordinary persons. However, there are periods of boom and bust and the tulip collapse is the first classic example of a bust in capitalism. Tulip mania or tulipomania (Dutch names include: tulpenmanie, tulpomanie, tulpenwoede, tulpengekte and bollengekte) was a period in the Dutch Golden Age during which contract prices for bulbs of the recently introduced tulip reached extraordinarily high levels and then suddenly collapsed.[2] At the peak of tulip mania, in March 1637, some single tulip bulbs sold for more than 10 times the annual income of a skilled craftsman. It is generally considered the first recorded speculative bubble (or economic bubble),[3] although some researchers have noted that the Kipper- und Wipperzeit episode in 1619–22, a Europe-wide chain of debasement of the metal content of coins to fund warfare, featured mania-like similarities to a bubble.[4] The term "tulip mania" is now often used metaphorically to refer to any large economic bubble when asset prices deviate from intrinsic values.[5] The 1637 event was popularized in 1841 by the book Extraordinary Popular Delusions and the Madness of Crowds, written by British journalist Charles Mackay. According to Mackay, at one point 12 acres (5 ha) of land were offered for a Semper Augustus bulb.[6] Mackay claims that many such investors were ruined by the fall in prices, and Dutch commerce suffered a severe shock. Although Mackay's book is a classic, his account is contested. Many modern scholars feel that the mania was not as extraordinary as Mackay described and argue that not enough price data are available to prove that a tulip bulb bubble actually occurred.[7][8] Research is difficult because of the limited economic data from the 1630s—much of which come from biased and very speculative sources.[9][10] Some modern economists have proposed rational explanations, rather than a speculative mania, for the rise and fall in prices. For example, other flowers, such as the hyacinth, also had high initial prices at the time of their introduction, which immediately fell. The high asset prices may also have been driven by expectations of a parliamentary decree that contracts could be voided for a small cost—thus lowering the risk to buyers.  Tulipomania, 2:03 In which John takes you to Amsterdam to discuss the tulip mania that overtook the Netherlands in the 17th century, culminating with the famed flower bubble of 1636 and 1637, the original irrational exuberance. (Or was it irrational?) Buy ATLAS by Katrina Vandenberg now: http://amzn.to/gV8LBS You will not regret it. HERE ARE A LOT OF LINKS TO NERDFIGHTASTIC THINGS: Shirts and Stuff: http://dftba.com/artist/30/Vlogbrothers Hank's Music: http://dftba.com/artist/15/Hank-Green John's Books: http://amzn.to/j3LYqo ====================== Hank's Twitter: http://www.twitter.com/hankgreen Hank's Facebook: http://www.facebook.com/hankimon Hank's tumblr: http://edwardspoonhands.tumblr.com John's Twitter: http://www.twitter.com/realjohngreen John's Facebook: http://www.facebook.com/johngreenfans John's tumblr: http://fishingboatproceeds.tumblr.com ====================== Other Channels Crash Course: http://www.youtube.com/crashcourse SciShow: http://www.youtube.com/scishow Gaming: http://www.youtube.com/hankgames VidCon: http://www.youtube.com/vidcon Hank's Channel: http://www.youtube.com/hankschannel Truth or Fail: http://www.youtube.com/truthorfail ====================== Nerdfighteria http://effyeahnerdfighters.com/ http://effyeahnerdfighters.com/nftumblrs http://reddit.com/r/nerdfighters http://nerdfighteria.info/ A Bunny (\(\ ( - -) ((') (') https://youtu.be/M3sKEnya1z4 The Dutch Reformed Church: Strict Doctrine and Whitewashed Spaces 719 The Dutch Reformed Church (in Dutch: Nederlandse Hervormde Kerk or NHK) was a Reformed Christian denomination in the Netherlands, which later spread to the United States, South Africa, Indonesia, Sri Lanka, Brazil, and various other world regions through the Dutch colonization. It developed during the Protestant Reformation, being shaped theologically by John Calvin and other major Reformed theologians. It was founded in the 1570s and lasted until 2004, the year it merged with the Reformed Churches in the Netherlands and the Evangelical Lutheran Church in the Kingdom of the Netherlands to form the Protestant Church in the Netherlands. At the time of the merger, the Church had 2 million members organised in 1,350 congregations.[citation needed] A minority of members of the Church chose not to participate in the merger. These former members re-organised as the Restored Reformed Church. It was one of the many local churches reconstituted across Europe during the Protestant Reformation in the 16th century. While the Dutch Reformed Church was based in the Netherlands, other churches holding similar theological views were founded in England, Scotland, Switzerland, Germany, France, and Hungary. The theology and practice of the Dutch Reformed Church, and its sister churches in the countries named, were based on the teachings of John Calvin and other leading figures of the Reformed faith at the time. What Was the False Doctrine of the Dutch Reformed Church? 1:11 https://youtu.be/5AkcBhsnc9E The Science of Observation 720 The scientific method requires observations of nature to formulate and test hypotheses.[1] It consists of these steps:[2][3]
The Limits of Science, 2:54 Discovered on an archaeological dig near Stonehenge, it is the world's oldest educational film and it is called The Limits of Science. Enjoy! https://youtu.be/IQJ4VBq4n3U Observation - Science Trick, 4:20 Science is about making deductions based upon observations - in these experiments I use hidden information for a seemingly impossible task. https://youtu.be/x0ElnSEgJW0 Francis Bacon and the Empirical Method 720 Empirical evidence, also known as sense experience, is a collective term for the knowledge or source of knowledge acquired by means of the senses, particularly by observation and experimentation.[1] The term comes from the Greek word for experience, ἐμπειρία (empeiría). After Immanuel Kant, it is common in philosophy to call the knowledge thus gained a posteriori knowledge. This is contrasted with a priori knowledge, the knowledge accessible from pure reason alone. Empirical and Non-empirical Methods, 2:46 https://youtu.be/gyX42MMyZyg René Descartes and the Deductive Method 721 René Descartes (/ˈdeɪˌkɑːrt/;[8] French: [ʁəne dekaʁt]; Latinized: Renatus Cartesius; adjectival form: "Cartesian";[9] 31 March 1596 – 11 February 1650) was a French philosopher, mathematician, and scientist. Dubbed the father of modern western philosophy, much of subsequent Western philosophy is a response to his writings,[10][11] which are studied closely to this day. He spent about 20 years of his life in the Dutch Republic. Descartes's Meditations on First Philosophy continues to be a standard text at most university philosophy departments. Descartes's influence in mathematics is equally apparent; the Cartesian coordinate system — allowing reference to a point in space as a set of numbers, and allowing algebraic equations to be expressed as geometric shapes in a two- or three-dimensional coordinate system (and conversely, shapes to be described as equations) — was named after him. He is credited as the father of analytical geometry, the bridge between algebra and geometry, used in the discovery of infinitesimal calculus and analysis. Descartes was also one of the key figures in the scientific revolution. Descartes refused to accept the authority of previous philosophers, and refused to trust his own senses. He frequently set his views apart from those of his predecessors. In the opening section of the Passions of the Soul, a treatise on the early modern version of what are now commonly called emotions, Descartes goes so far as to assert that he will write on this topic "as if no one had written on these matters before". Many elements of his philosophy have precedents in late Aristotelianism, the revived Stoicism of the 16th century, or in earlier philosophers like Augustine. In his natural philosophy, he differs from the schools on two major points: First, he rejects the splitting of corporeal substance into matter and form; second, he rejects any appeal to final ends—divine or natural—in explaining natural phenomena.[12] In his theology, he insists on the absolute freedom of God's act of creation. Descartes laid the foundation for 17th-century continental rationalism, later advocated by Baruch Spinoza and Gottfried Leibniz, and opposed by the empiricist school of thought consisting of Hobbes, Locke, Berkeley, and Hume. Leibniz, Spinoza[13] and Descartes were all well-versed in mathematics as well as philosophy, and Descartes and Leibniz contributed greatly to science as well. His best known philosophical statement is "Cogito ergo sum" (French: Je pense, donc je suis; I think, therefore I am), found in part IV of Discourse on the Method (1637; written in French but with inclusion of "Cogito ergo sum") and §7 of part I of Principles of Philosophy (1644; written in Latin).[14] Cartesianism is the name given to the philosophical and scientific system of René Descartes and its subsequent development by other seventeenth century thinkers, most notably Nicolas Malebranche and Baruch Spinoza.[1] Descartes is often regarded as the first thinker to emphasize the use of reason to develop the natural sciences.[2] For him, the philosophy was a thinking system that embodied all knowledge, and expressed it in this way:[3] Cartesians view the mind as being wholly separate from the corporeal body. Sensation and the perception of reality are thought to be the source of untruth and illusions, with the only reliable truths to be had in the existence of a metaphysical mind. Such a mind can perhaps interact with a physical body, but it does not exist in the body, nor even in the same physical plane as the body. The question of how mind and body interact would be a persistent difficulty for Descartes and his followers, with different Cartesians providing different answers.[4] Descartes in his Passions of the Soul and The Description of the Human Body suggested that the body works like a machine, that it has material properties. The mind (or soul), on the other hand, was described as a nonmaterial and does not follow the laws of nature. Descartes argued that the mind interacts with the body at the pineal gland. This form of dualism or duality proposes that the mind controls the body, but that the body can also influence the otherwise rational mind, such as when people act out of passion. Most of the previous accounts of the relationship between mind and body had been uni-directional. Descartes suggested that the pineal gland is "the seat of the soul" for several reasons. First, the soul is unitary, and unlike many areas of the brain the pineal gland appeared to be unitary (though subsequent microscopic inspection has revealed it is formed of two hemispheres). Second, Descartes observed that the pineal gland was located near the ventricles. He believed the cerebrospinal fluid of the ventricles acted through the nerves to control the body, and that the pineal gland influenced this process. Sensations delivered by the nerves to the pineal, he believed, caused it to vibrate in some sympathetic manner, which in turn gave rise to the emotions and caused the body to act.[31] Cartesian dualism set the agenda for philosophical discussion of the mind–body problem for many years after Descartes' death.[49] In present-day discussions on the practice of animal vivisection, it is normal to consider Descartes as an advocate of this practice, as a result of his dualistic philosophy. Some of the sources say that Descartes denied the animals could feel pain, and therefore could be used without concern.[50] Other sources consider that Descartes denied that animals had reason or intelligence, but did not lack sensations or perceptions, but these could be explained mechanistically.[51] Three Minute Philosophy: Rene Descartes, 3:56 https://youtu.be/BHihkRwisbE Johannes Kepler, Galileo Galilei, and the Telescope 722 Johannes Kepler (German: [ˈkɛplɐ]; December 27, 1571 – November 15, 1630) was a German mathematician, astronomer, and astrologer. A key figure in the 17th century scientific revolution, he is best known for his laws of planetary motion, based on his works Astronomia nova, Harmonices Mundi, and Epitome of Copernican Astronomy. These works also provided one of the foundations for Isaac Newton's theory of universal gravitation. During his career, Kepler was a mathematics teacher at a seminary school in Graz, Austria, where he became an associate of Prince Hans Ulrich von Eggenberg. Later he became an assistant to astronomer Tycho Brahe, and eventually the imperial mathematician to Emperor Rudolf II and his two successors Matthias and Ferdinand II. He was also a mathematics teacher in Linz, Austria, and an adviser to General Wallenstein. Additionally, he did fundamental work in the field of optics, invented an improved version of the refracting telescope (the Keplerian Telescope), and mentioned the telescopic discoveries of his contemporary Galileo Galilei. Kepler lived in an era when there was no clear distinction between astronomy and astrology, but there was a strong division between astronomy (a branch of mathematics within the liberal arts) and physics (a branch of natural philosophy). Kepler also incorporated religious arguments and reasoning into his work, motivated by the religious conviction and belief that God had created the world according to an intelligible plan that is accessible through the natural light of reason.[1] Kepler described his new astronomy as "celestial physics",[2] as "an excursion into Aristotle's Metaphysics",[3] and as "a supplement to Aristotle's On the Heavens",[4] transforming the ancient tradition of physical cosmology by treating astronomy as part of a universal mathematical physics.[5] Galileo Galilei (Italian pronunciation: [ɡaliˈlɛːo ɡaliˈlɛi]; 15 February 1564[3] – 8 January 1642), was an Italian astronomer, physicist, engineer, philosopher, and mathematician who played a major role in the scientific revolution during the Renaissance. Galileo has been called the "father of observational astronomy",[4] the "father of modern physics",[5][6] and the "father of science".[7] His contributions to observational astronomy include the telescopic confirmation of the phases of Venus, the discovery of the four largest satellites of Jupiter (named the Galilean moons in his honour), and the observation and analysis of sunspots. Galileo also worked in applied science and technology, inventing an improved military compass and other instruments. Galileo's championing of heliocentrism and Copernicanism was controversial within his lifetime, when most subscribed to either geocentrism or the Tychonic system.[8] He met with opposition from astronomers, who doubted heliocentrism due to the absence of an observed stellar parallax.[8] The matter was investigated by the Roman Inquisition in 1615, and they concluded that it could only be supported as a possibility, not as an established fact.[8][9] Galileo later defended his views in Dialogue Concerning the Two Chief World Systems, which appeared to attack Pope Urban VIII and thus alienated him and the Jesuits, who had both supported Galileo up until this point.[8] He was tried by the Inquisition, found "vehemently suspect of heresy", forced to recant, and spent the rest of his life under house arrest.[10][11] It was while Galileo was under house arrest that he wrote one of his most well known works, Two New Sciences. Here he summarized the work he had done some forty years earlier, on the two sciences now called kinematics and strength of materials.[12][13] A telescope is an instrument that aids in the observation of remote objects by collecting electromagnetic radiation (such as visible light). The first known practical telescopes were invented in the Netherlands at the beginning of the 17th century, using glass lenses. They found use in terrestrial applications and astronomy. Within a few decades, the reflecting telescope was invented, which used mirrors. In the 20th century many new types of telescopes were invented, including radio telescopes in the 1930s and infrared telescopes in the 1960s. The word telescope now refers to a wide range of instruments detecting different regions of the electromagnetic spectrum, and in some cases other types of detectors. The word "telescope" (from the Ancient Greek τῆλε, tele "far" and σκοπεῖν, skopein "to look or see"; τηλεσκόπος, teleskopos "far-seeing") was coined in 1611 by the Greek mathematician Giovanni Demisiani for one of Galileo Galilei's instruments presented at a banquet at the Accademia dei Lincei.[1][2][3] In the Starry Messenger, Galileo had used the term "perspicillum". How the universe is revealed by Telescopes: from Galileo to Hubble, 3:25 Richard takes you through a history of telescopes, and what they have progressively told us about the universe. In 1610 by Galileo, who is credited with having pioneered modern astronomy, discovered the four moons of Jupiter with his very basic telescope. In his eye those moons were mere pin pricks. Today, the latest advanced telescopes in Space reveal the true beauty and intricate detail of that universe around us. Captured using cutting edge telescopes and cameras that can detect infrared, ultraviolet and X-rays, these pictures provide views that would be impossible to see with the human eye, especially that of Galileo. Those pictures feature in a new exhibition, Visions of the Universie, at Royal Observatory in Greenwich that aims to show how astronomical imaging has transformed our understanding of our place in the vastness of space Among those to be on display are photographs taken by probes from the far side of the ringed planet Saturn, along with pictures of Galileo's moons orbiting Jupiter, now with pinpoint detail! With thanks to Marek Kukula at the Royal Observatory. Images courtesy of Nasa & ESA. https://youtu.be/gcl5tQON0D8 Antoni van Leeuwenhoek, Robert Hooke, and the Microscope 723 Antonie Philips van Leeuwenhoek[note 1] (/ˈleɪvənhʊk/, Dutch: [ɑnˈtoːni vɑn ˈleːuə(n)ˌɦuk] (  listen); October 24, 1632 – August 26, 1723) was a Dutch tradesman and scientist. He is commonly known as "the Father of Microbiology", and considered to be the first microbiologist. He is best known for his work on the improvement of the microscope and for his contributions towards the establishment of microbiology.Raised in Delft, Netherlands, Van Leeuwenhoek worked as a draper in his youth, and founded his own shop in 1654. He made a name for himself in municipal politics, and eventually developed an interest in lensmaking. Using his handcrafted microscopes, he was the first to observe and describe microorganisms, which he originally referred to as animalcules (from Latin animalculum = "tiny animal"). Most of the "animalcules" are now referred to as unicellular organisms, though he observed multicellular organisms in pond water. He was also the first to document microscopic observations of muscle fibers, bacteria, spermatozoa, and blood flow in capillaries. Van Leeuwenhoek did not author any books; his discoveries came to light through correspondence with the Royal Society, which published his letters. Robert Hooke FRS (/hʊk/; 28 July [O.S. 18 July] 1635 – 3 March 1703) was an English natural philosopher, architect and polymath. His adult life comprised three distinct periods: as a scientific inquirer lacking money; achieving great wealth and standing through his reputation for hard work and scrupulous honesty following the great fire of 1666, but eventually becoming ill and party to jealous intellectual disputes. These issues may have contributed to his relative historical obscurity. He was at one time simultaneously the curator of experiments of the Royal Society and a member of its council, Gresham Professor of Geometry and a Surveyor to the City of London after the Great Fire of London, in which capacity he appears to have performed more than half of all the surveys after the fire. He was also an important architect of his time – though few of his buildings now survive and some of those are generally misattributed – and was instrumental in devising a set of planning controls for London whose influence remains today. Allan Chapman has characterised him as "England's Leonardo".[1] Robert Gunther's Early Science in Oxford, a history of science in Oxford during the Protectorate, Restoration and Age of Enlightenment, devotes five of its fourteen volumes to Hooke. Hooke studied at Wadham College during the Protectorate where he became one of a tightly knit group of ardent Royalists led by John Wilkins. Here he was employed as an assistant to Thomas Willis and to Robert Boyle, for whom he built the vacuum pumps used in Boyle's gas law experiments. He built some of the earliest Gregorian telescopes and observed the rotations of Mars and Jupiter. In 1665 he inspired the use of microscopes for scientific exploration with his book, Micrographia. Based on his microscopic observations of fossils, Hooke was an early proponent of biological evolution.[2][3] He investigated the phenomenon of refraction, deducing the wave theory of light, and was the first to suggest that matter expands when heated and that air is made of small particles separated by relatively large distances. He performed pioneering work in the field of surveying and map-making and was involved in the work that led to the first modern plan-form map, though his plan for London on a grid system was rejected in favour of rebuilding along the existing routes. He also came near to an experimental proof that gravity follows an inverse square law, and hypothesised that such a relation governs the motions of the planets, an idea which was subsequently developed by Isaac Newton.[4] Much of Hooke's scientific work was conducted in his capacity as curator of experiments of the Royal Society, a post he held from 1662, or as part of the household of Robert Boyle. A microscope (from the Ancient Greek: μικρός, mikrós, "small" and σκοπεῖν, skopeîn, "to look" or "see") is an instrument used to see objects that are too small for the naked eye. The science of investigating small objects using such an instrument is called microscopy. Microscopic means invisible to the eye unless aided by a microscope. There are many types of microscopes. The most common (and the first to be invented) is the optical microscope, which uses light to image the sample. Other major types of microscopes are the electron microscope (both the transmission electron microscope and the scanning electron microscope), the ultramicroscope, and the various types of scanning probe microscope. Cell Theory, 3:32 https://youtu.be/dscY_2QQbKU Dutch Vernacular Painting: Art of the Familiar 724 The Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history generally spanning the 17th century,[1] during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence. The new Dutch Republic was the most prosperous nation in Europe, and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south, and the upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art needed to reinvent itself entirely, a task in which it was very largely successful. Although Dutch painting of the Golden Age comes in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting. Still Life 724  Pieter Claesz, Vanitas (1630) Landscapes 725  Esaias van de Velde, Winter Landscape (1623) Genre Scenes 726 Johannes Vermeer and the Domestic Scene 727 Johannes, Jan or Johan Vermeer (/vərˈmɪər/;[3] Dutch: [joːˈɦɑnəs jɑn vərˈmeːr]; 1632 – December 1675) was a Dutch painter who specialized in domestic interior scenes of middle-class life. Vermeer was a moderately successful provincial genre painter in his lifetime. He evidently was not wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings.[4] Vermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work.[5] Vermeer painted mostly domestic interior scenes. "Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women."[6] He was recognized during his lifetime in Delft and The Hague, but his modest celebrity gave way to obscurity after his death. He was barely mentioned in Arnold Houbraken's major source book on 17th-century Dutch painting (Grand Theatre of Dutch Painters and Women Artists), and was thus omitted from subsequent surveys of Dutch art for nearly two centuries.[7][8] In the 19th century, Vermeer was rediscovered by Gustav Friedrich Waagen and Théophile Thoré-Bürger, who published an essay attributing 66 pictures to him, although only 34 paintings are universally attributed to him today.[2] Since that time, Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age. The Group Portrait 729  The Meagre Company, an Amsterdam militia group portrait or schutterstuk by Frans Hals and Pieter Codde (1633-37) Rembrandt van Rijn and the Drama of Light 730 Rembrandt Harmenszoon van Rijn (/ˈrɛmbrænt, -brɑːnt/;[2] Dutch: [ˈrɛmbrɑnt ˈɦɑrmə(n)soːn vɑn ˈrɛin] ( listen); 15 July 1606[1] – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch history.[3] His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting.Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high,[4] and for twenty years he taught many important Dutch painters.[5] Rembrandt's greatest creative triumphs are exemplified most notably in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.[3] In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.[6] Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."[7]  Self-Portrait with Beret and Turned-Up Collar (1659), National Gallery of Art, Washington, D.C. The Storm on the Sea of Galilee, 1633. The painting is still missing after the robbery from the Isabella Stewart Gardner Museum in 1990. The Baroque Keyboard 734 Jan Pieterszoon Sweelinck’s Fantasias for the Organ 736 The North German School: Johann Sebastian Bach 737 Johann Sebastian Bach - Mini Biography, 3:06 Watch a video biography about Johann Sebastian Bach, from his early years growing up in a family of musicians to his composing sacred music for churches. Learn more about Johann Sebastian Bach: http://bit.ly/17peATS Watch more Johann Sebastian Bach video:http://bit.ly/14HzS0h Raised in a family of musicians, Johann Sebastian Bach played the harpsichord and organ from an early age. Deeply religious, he composed sacred music to be played in churches. https://youtu.be/TvyLebqTtW4 READINGS 22.1 from Francis Bacon, Novum Organum Scientiarum (New Method of Science) (1620) 741 22.2 from René Descartes, Meditations (1641) 721 Meditations on First Philosophy (subtitled In which the existence of God and the immortality of the soul are demonstrated) is a philosophical treatise by René Descartes first published in 1641 (in Latin). The French translation (by the Duke of Luynes with Descartes' supervision) was published in 1647 as Méditations Metaphysiques. The original Latin title is Meditationes de prima philosophia, in qua Dei existentia et animæ immortalitas demonstratur. The title may contain a misreading by the printer, mistaking animae immortalitas for animae immaterialitas, as suspected already by A. Baillet.[2] The book is made up of six meditations, in which Descartes first discards all belief in things that are not absolutely certain, and then tries to establish what can be known for sure. He wrote the meditations as if he had meditated for six days: each meditation refers to the last one as "yesterday" (In fact, Descartes began work on the Meditations in 1639.[3]) One of the most influential philosophical texts ever written, it is widely read to this day.[4] The Meditations consist of the presentation of Descartes' metaphysical system in its most detailed level and in the expanding of Descartes' philosophical system, which he first introduced in the fourth part of his Discourse on Method (1637). Descartes' metaphysical thought is also found in the Principles of Philosophy (1644), which the author intended to be a philosophy guidebook. Meditation I: Concerning Those Things That Can Be Called into DoubtSummaryThe First Meditation, subtitled "What can be called into doubt", opens with the Meditator reflecting on the number of falsehoods he has believed during his life and on the subsequent faultiness of the body of knowledge he has built up from these falsehoods. He has resolved to sweep away all he thinks he knows and to start again from the foundations, building up his knowledge once more on more certain grounds. He has seated himself alone, by the fire, free of all worries so that he can demolish his former opinions with care.The Meditator reasons that he need only find some reason to doubt his present opinions in order to prompt him to seek sturdier foundations for knowledge. Rather than doubt every one of his opinions individually, he reasons that he might cast them all into doubt if he can doubt the foundations and basic principles on which the opinions are founded. Everything that the Meditator has accepted as most true he has come to learn from or through his senses. He acknowledges that sometimes the senses can deceive, but only with respect to objects that are very small or far away, and that our sensory knowledge on the whole is quite sturdy. The Meditator acknowledges that insane people might be more deceived, but that he is clearly not one of them and needn't worry himself about that. However, the Meditator realizes that he is often convinced when he is dreaming that he is sensing real objects. He feels certain that he is awake and sitting by the fire, but reflects that often he has dreamed this very sort of thing and been wholly convinced by it. Though his present sensations may be dream images, he suggests that even dream images are drawn from waking experience, much like paintings in that respect. Even when a painter creates an imaginary creature, like a mermaid, the composite parts are drawn from real things—women and fish, in the case of a mermaid. And even when a painter creates something entirely new, at least the colors in the painting are drawn from real experience. Thus, the Meditator concludes, though he can doubt composite things, he cannot doubt the simple and universal parts from which they are constructed like shape, quantity, size, time, etc. While we can doubt studies based on composite things, like medicine, astronomy, or physics, he concludes that we cannot doubt studies based on simple things, like arithmetic and geometry. On further reflection, the Meditator realizes that even simple things can be doubted. Omnipotent God could make even our conception of mathematics false. One might argue that God is supremely good and would not lead him to believe falsely all these things. But by this reasoning we should think that God would not deceive him with regard to anything, and yet this is clearly not true. If we suppose there is no God, then there is even greater likelihood of being deceived, since our imperfect senses would not have been created by a perfect being. The Meditator finds it almost impossible to keep his habitual opinions and assumptions out of his head, try as he might. He resolves to pretend that these opinions are totally false and imaginary in order to counterbalance his habitual way of thinking. He supposes that not God, but some evil demon has committed itself to deceiving him so that everything he thinks he knows is false. By doubting everything, he can at least be sure not to be misled into falsehood by this demon. FEATURES CLOSER LOOK Rembrandt’s The Anatomy Lesson of Dr. Tulp 732 CONTINUITY & CHANGE The Art of the People and the Tastes of the Court 739 Revolution and Enlightenment, 1550–1800 The Scientific Revolution gave rise to a intellectual movement—the Enlightenment. Enlightenment thought provided the philosophical foundations for the American Revolution. Britain lost its colonies in North America to the newly formed United States, while Spain and Portugal held onto their profitable Latin American colonies. The Scientific Revolution Sixteenth-century Europeans began to question the scientific assumptions of the ancient authorities and to develop new theories about the universe. Nicholas Copernicus, Johannes Kepler, and Galileo Galilei revolutionized astronomy. Copernicus claimed that the sun, not the earth, was at the center of the universe—an idea considered heresy by the Catholic Church. Equally revolutionary were Isaac Newton's explanations of gravity and the movement of the planets. There were breakthroughs in medicine and chemistry, and numerous women contributed to the body of scientific research. The new view of the universe affected Western philosophy. The Frenchman Rene Descartes, the first rationalist, declared that matter could be independently investigated by reason. Francis Bacon, an English philosopher, developed the scientific method—a system for collecting and analyzing evidence. The Enlightenment The Scientific Revolution gave rise to the Enlightenment, an eighteenth-century movement that stressed the role of philosophy and reason in improving society. Enlightenment intellectuals, known as philosophes, were chiefly social reformers from the nobility and the middle class. They often met in the salons of the upper classes to discuss the ideas of such giants as Montesquieu, Voltaire, and Diderot. In the economic sphere, Adam Smith put forth the doctrine of laissez-faire economics. The later Enlightenment produced social thinkers such as Jean-Jacques Rousseau and an early advocate of women's rights, Mary Wollstonecraft. Salon gatherings, along with the growth of book and magazine publishing, helped spread Enlightenment ideas among a broad audience. Most Europeans were still Christians. However, the desire for a more spiritual experience inspired new religious movements, such as the Methodism of John Wesley. The Impact of the Enlightenment The Enlightenment influenced both art and politics. The baroque and neoclassical styles of art endured, while a more delicate style, called rococo, emerged. The works of Bach, Handel, Haydn, and Mozart represented one of the greatest periods in European music. Novels attracted a middle-class audience. The Enlightenment interested the absolutist rulers of Europe. However, only one, Joseph II of Austria, attempted far-reaching reforms based on Enlightenment ideas; they were largely a failure. The reforms of Catherine the Great of Russia and Frederick the Great of Prussia were far more limited. Territorial disputes in Europe and in the colonial empires of Britain and France produced the War of Austrian Succession, followed by the Seven Years' War. In the end, France lost India and most of North America, and Britain emerged as the world's greatest colonial power. Colonial Empires and the American Revolution In the sixteenth century, Portugal came to control Brazil, while Spain established an empire in the Western Hemisphere that included parts of North America and most of Latin America. Portugal and Spain held onto their Latin American colonies for over 300 years. During that time, they profited richly by exporting Latin American gold, silver, and other natural resources and farm products. Spanish and Portuguese officials and Christian missionaries played important roles in Latin American societies. In North America, British control over its colonies began to unravel over issues of taxation. Multiple crises led the Americans to declare their independence in 1776 and to fight Britain until its defeat in 1783. The Articles of Confederation that formed the United States were soon replaced with a Constitution, which created a stronger central government. The Bill of Rights added important freedoms derived from the natural rights expressed by the philosophes. Lecture The Scientific Revolution In What Went Wrong?, Bernard Lewis writes of the key role of the Middle East in the rise of science in the Middle Ages, before things went wrong: And then, approximately from the end of the Middle Ages, there was a dramatic change. In Europe, the scientific movement advanced enormously in the era of the Renaissance, the Discoveries, the technological revolution, and the vast changes, both intellectual and material, that preceded, accompanied, and followed them. In the Muslim world, independent inquiry virtually came to an end, and science was for the most part reduced to the veneration of a corpus of approved knowledge. There were some practical innovations — thus, for example, incubators were invented in Egypt, vaccination against smallpox in Turkey. These were, however, not seen as belonging to the realm of science, but as practical devices, and we know of them primarily from Western travelers. Another example of the widening gap may be seen in the fate of the great observatory built in Galata, in Istanbul, in 1577. This was due to the initiative of Taqi al-Din (ca. 1526-1585), a major figure in Muslim scientific history and the author of several books on astronomy, optics, and mechanical clocks. Born in Syria or Egypt (the sources differ), he studied in Cairo, and after a career as jurist and theologian he went to Istanbul, where in 1571 he was appointed munejjim-bash, astronomer (and astrologer) in chief to the Sultan Selim II. A few years later her persuaded the Sultan Murad III to allow him to build an observatory, comparable in its technical equipment and its specialist personnel with that of his celebrated contemporary, the Danish astronomer Tycho Brahe. But there the comparison ends. Tycho Brahe's observatory and the work accomplished in it opened the way to a vast new development of astronomical science. Taqi al-Din's observatory was razed to the ground by a squad of Janissaries, by order of the sultan, on the recommendation of Chief Mufti. This observatory had many predecessors in the lands of Islam; it had no successors until the age of modernization. The relationship between Christendom and Islam in the sciences was now reversed. Those who had been disciples now became teachers; those who had been masters became pupils, often reluctant and resentful pupils. They were willing enough to accept the products of infidel science in warfare and medicine, where they could make the difference between victory and defeat, between life and death. But the underlying philosophy and the sociopolitical context of these scientific achievements proved more difficult to accept or even recognize. The Scientific Revolution Objectives * Explain how new discoveries in astronomy changed the way people viewed the universe. * Understand the new scientific method and how it developed. * Analyze the contributions that Newton and other scientists made to the Scientific Revolution. Terms, People, and Places Nicolaus Copernicus heliocentric Tycho Brahe Johannes Kepler Galileo Francis Bacon René Descartes scientific method hypothesis Robert Boyle Isaac Newton gravity calculus In 1609, Italian astronomer Galileo Galilei heard of a new Dutch invention, the telescope. It was designed to help people see distant enemy ships. Galileo was interested for another reason—he wondered what would happen if he trained a telescope on the night sky. So he built his own telescope for this purpose. When he pointed it at the sky, he was amazed. The new telescope allowed him to see mountains on the moon, fiery spots on the sun, and four moons circling the planet Jupiter. “I did discover many particulars in Heaven that had been unseen and unheard of until this our age,” he later wrote. Learn Focus Question How did discoveries in science lead to a new way of thinking for Europeans? The Renaissance and the Reformation facilitated the breakdown of the medieval worldview. In the mid-1500s, a profound shift in scientific thinking brought about the final break with Europe’s medieval past. Called the Scientific Revolution, this movement pointed toward a future shaped by a new way of thinking about the physical universe. At the heart of the Scientific Revolution was the assumption that mathematical laws governed nature and the universe. The physical world, therefore, could be known, managed, and shaped by people. Baroque pp http://d2put5v53bx5fk.cloudfront.net/powerpoints/book/185/chapter/27/section/169/4b4714259f/the-baroque-period.pptx?1422978721 Baroque and Roll https://m.youtube.com/watch?v=pkxr_clpUXc
Lecture 1 The Baroque in Italy
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Lecture 2 The Art of Observation (Northern artistry)
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MUSIC FOLDER
In this week's readings (chaps. 21-22), there are several musical compositions mentioned. These (or decent equivalents) can be found on YouTube. Watch and give them a listen. Here below is some background and description of each--and the link to the YouTube (and sometimes other helps).
The following three musical compositions are mentioned in the Week 1 readings, especially pp. 706-710 (in chap. 21).
Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.
Music and styleThough Gabrieli composed in many of the forms current at the time, he preferred sacred vocal and instrumental music. All of his secular vocal music is relatively early; he never wrote lighter forms, such as dances; and late in his career he concentrated on sacred vocal and instrumental music that exploited sonority for maximum effect. Among the innovations credited to him – and while he was not always the first, he was the most famous to do these things – were the use of dynamics; the use of specifically notated instrumentation (as in the famous Sonata pian' e forte); and the use of massive forces arrayed in multiple, spatially separated groups, an idea which was to be the genesis of the Baroque concertato style, and which spread quickly to northern Europe, both by the report of visitors to Venice and by Gabrieli's students, which included Hans Leo Hassler and Heinrich Schütz.Like composers before and after him, he would use the unusual layout of the San Marco church, with its two choir lofts facing each other, to create striking spatial effects. Most of his pieces are written so that a choir or instrumental group will first be heard on one side, followed by a response from the musicians on the other side; often there was a third group situated on a stage near the main altar in the center of the church. While this polychoral style had been extant for decades (Adrian Willaert may have made use of it first, at least in Venice) Gabrieli pioneered the use of carefully specified groups of instruments and singers, with precise directions for instrumentation, and in more than two groups. The acoustics were and are such in the church that instruments, correctly positioned, could be heard with perfect clarity at distant points. Thus instrumentation which looks strange on paper, for instance a single string player set against a large group of brass instruments, can be made to sound, in San Marco, in perfect balance. A fine example of these techniques can be seen in the scoring of In Ecclesiis. Gabrieli's first motets were published alongside his uncle Andrea's compositions in his 1587 volume of Concerti. These pieces show much influence of his uncle's style in the use of dialogue and echo effects. There are low and high choirs and the difference between their pitches is marked by the use of instrumental accompaniment. The motets published in Giovanni's 1597 Sacrae Symphoniae seem to move away from this technique of close antiphony towards a model in which musical material is not simply echoed, but developed by successive choral entries. Some motets, such as Omnes Gentes developed the model almost to its limits. In these motets, instruments are an integral part of the performance, and only the choirs marked "Capella" are to be performed by singers for each part. There seems to be a distinct change in Gabrieli's style after 1605, the year of publication of Monteverdi's Quinto libro di madrigali, and Gabrieli's compositions are in a much more homophonic style as a result. There are sections purely for instruments – called "Sinfonia" – and small sections for soloists singing florid lines, accompanied simply by a basso continuo. "Alleluia" refrains provide refrains within the structure, forming rondo patterns in the motets, with close dialogue between choirs and soloists. In particular, one of his best-known pieces, In Ecclesiis, is a showcase of such polychoral techniques, making use of four separate groups of instrumental and singing performers, underpinned by the omnipresent organ and continuo.
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1.A: Gabrieli, Canzona Duodecimi Toni (pp. 706-7) (=Canzona in the 12th Mode or Tone) selection for this at: https://www.youtube.com/watch?v=gXriKjAqnHA
Please read pp. 706-7 for how Gabrieli achieved "surround sound" with this in Venice's great St. Mark's cathedral when he composed this in the 1590s. Note how there are two groups of brass instrument musicians facing each other in the YouTube above.
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1.B Gabrieli: Ricercar a 4 del duodecimo tuono(pp. 706-707) selection for this at: http://www.youtube.com/watch?v=Cihvujvb_pQ
This is simply a follow-up to illustrate Gabrieli's ideas in 1A above. The Italian word "Ricercar" means to search out or pursue. But, it was used as a label for an instrumental musical composition of the late 1500s and early 1600s that explored a certain tone or motif. In this case, it was Gabrieli's musical exploration of the 12th mode or tone, which was the key or tonic note "C" in his system.)
Claudio Giovanni Antonio Monteverdi (Italian: [ˈklaudjo monteˈverdi]; 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest.Monteverdi's work, often regarded as revolutionary, marked the change from the Renaissance style of music to that of the Baroque period. He developed two styles of composition – the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Monteverdi wrote one of the earliest operas, L'Orfeo, a novel work that is the earliest surviving opera still regularly performed. He was recognized as an inventive composer and enjoyed considerable fame in his life.
Claudio Monteverdi was born in 1567 in Cremona, Lombardy. His father was Baldassare Monteverdi, a doctor, apothecary and amateur surgeon. He was the oldest of five children. During his childhood, he was taught by Marc'Antonio Ingegneri, the maestro di cappella at the Cathedral of Cremona. The Maestro’s job was to conduct important worship services in accordance with the liturgy of the Catholic Church. Monteverdi learned about music as a member of the cathedral choir. He also studied at the University of Cremona. His first music was written for publication, including some motets and sacred madrigals, in 1582 and 1583. His first five publications were: Sacrae cantiunculae, 1582 (a collection of miniature motets); Madrigali Spirituali, 1583 (a volume of which only the bass partbook is extant); Canzonette a tre voci, 1584 (a collection of three-voice canzonettes); and the five-part madrigals Book I, 1587, and Book II, 1590. He worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, then as music director. In 1602, he was working as the court conductor and Vincenzo appointed him master of music on the death of Benedetto Pallavicino.
In 1599 Monteverdi married the court singer Claudia Cattaneo, who died in September 1607. They had two sons (Francesco and Massimilino) and a daughter (Leonora). Another daughter died shortly after birth. In 1610 he moved to Rome, arriving in secret, hoping to present his music to Pope Paul V. His Vespers were printed the same year, but his planned meeting with the Pope never took place.In 1612 Vincenzo died and was succeeded by his eldest son Francessco. Heavily in debt, due to the profligacy of his father, Francesco sacked Monteverdi and he spent a year in Mantua without any paid employment. His 1607 his opera L'Orfeo was dedicated to Francesco. The title page of the opera bears the dedication "Al serenissimo signor D. Francesco Gonzaga, Prencipe di Mantoua, & di Monferato, &c." By 1613, he had moved to San Marco in Venice where, as conductor, he quickly restored the musical standard of both the choir and the instrumentalists. The musical standard had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo. The managers of the basilica were relieved to have such a distinguished musician in charge, as the music had been declining since the death of Giovanni Croce in 1609. In 1632, he became a priest. During the last years of his life, when he was often ill, he composed his two last masterpieces: Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera L'incoronazione di Poppea (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero. L'incoronazione especially is considered a culminating point of Monteverdi's work. It contains tragic, romantic, and comic scenes (a new development in opera), a more realistic portrayal of the characters, and warmer melodies than previously heard. It requires a smaller orchestra, and has a less prominent role for the choir. For a long period of time, Monteverdi's operas were merely regarded as a historical or musical interest. Since the 1960s, The Coronation of Poppea has re-entered the repertoire of major opera companies worldwide. Monteverdi died, aged 76, in Venice on 29 November 1643 and was buried at the church of the Frari
2:58
Monteverdi was the great pioneer of what we call "opera" today. The song title (Tu se' morta) means "You are dead". This selection is a recitativo from the opera called Orfeo, written in 1607. Seep. 708 for the meaning of this term and a description of this selection. The main character, Orpheus or Orfeo, has just learned of the death of his beloved Eurydice. The story comes out of ancient Greek myth and drama. Read p. 708 for more details on the story and this music.
2:00:01
For the whole opera from a great production in Barcelona, Spain, see https://www.youtube.com/watch?v=3Ma4OelX45I .
9:42
This selection is from the first concerto (see p. 710 for a definition of this) in a set of four concertos related to the theme of the four seasons. Vivaldi composed this in 1723. He also wrote a brief poetic sonnet at the start of this first concerto; read it on p. 710. That same page has a great description of this work. On pp. 709-710, read about the orphanage for young women that trained and developed very talented female musicians in Venice, who were probably the normal performers of this sort of music.
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The following musical compositions are mentioned in the Week 1 readings, especially pp. 734-8 (in chap. 22) .
5:23
Fugue in D minor (composed ca. 1740)k, 3:13
(p. 738); Clavier originally simply meant any instrument with claves or keys. In the early 1700s, this could include the harpischord, the clavichord, or the instrument that would eventually evolve into the modern piano. J. S. Bach (1685-1750) lived in a period when he made much use of the clavichord and eventually early forms of the piano. The piano was invented by Cristofori in the early 1700s; it was developed as a major advance on the clavichord. Pieces like the "Well-Tempered Clavier" were probably played mostly on the clavichord by Bach, though he clearly intended it as music for a variety of instruments. Bach's work here is baroque music at its best. Read p. 738 carefully and give this a listen.
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Italian Baroque videoExplore Activity Monteverdi and Vivaldi Chapter 21 (pp. 707-710), Baroque music and composers; review the Week 1 “Music Folder” Monteverdi’s Orfeo http://www.youtube.com/watch?v=8ll_u870PG8 (lyrics with translation: http://introtomusicdeanza.wordpress.com/class-resources/examples-baroque/) Vivaldi’s "Spring" from Vivaldi: A Man For All Seasons at http://www.npr.org/2011/07/18/104868631/vivaldi-a-man-for-all-seasons and http://www.youtube.com/watch?v=aFHPRi0ZeXE (background and lyric translation at http://www.baroquemusic.org/vivaldiseasons.html) Baroque Visual Arts Chapter 21 (pp. 689-691; 701-703) and Chapter 22 (pp. 715-720; 726-735); Baroque style and its characteristics; Baroque in the north Baroque samples at https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/beginners-guide-baroque1/a/baroque-art-in-europe-an-introduction; (also see http://www.artinthepicture.com/styles/Baroque/ and click on the names of the artists to see their works) Examples of Baroque paintings from the Rijksmuseum in Amsterdam at https://www.rijksmuseum.nl/en/explore-the-collection/styles/baroque (click on images; go full-screen; click “i” for info on the artist and date and painting) DISCUSSION
"Baroque Style" Please respond to one (1) of the following, using sources under the Explore heading as the basis of your response:
Monteverdi and Vivaldi
REFERENCES Lord of the Flies (2/11) Movie CLIP - Whoever Holds the Conch Gets to Speak (1990) HD, 2:26 https://youtu.be/ipkF3xkP63M https://www.youtube.com/watch?v=ipkF3xkP63M Lord of the Flies movie clips: http://j.mp/1IjNfIC BUY THE MOVIE: http://j.mp/1cb9ti0 Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr CLIP DESC
What is the canzona's dominant rhythm? |
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What is a defining characteristic of Baroque art?Attention to viewers' emotional experience of a work
- What is the meaning of the Portuguese term barroco, from which "Baroque" likely derived?Misshapen pearl
- Why is Vivaldi's The Four Seasons known as program music?Its purely instrumental music is connected to a story or idea
- What Greek myth inspired Monteverdi's first opera?Orpheus and Eurydice
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From where did Europe receive the first load of tulip bulbs?Turkey
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What requirement did the Dutch state place on people in public service?Be a member of the Dutch Reformed Church
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Of what does a vanitas painting remind the viewer?To focus on the spiritual, not the material
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What distinguished Bach's cantatas from the simple melodies of the Lutheran chorales on which they were based?Addition of counterpoint
What might the pearls In Vermeer's Woman with a Pearl Necklace represent?
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PART FOUR EXCESS, INQUIRY, AND RESTRAINT
1600–1800 686
21 The Baroque in Italy:
THE CHURCH AND ITS APPEAL 689
Baroque Style and the Counter-Reformation 691
Sculpture and Architecture: Bernini and His Followers 692
The Society of Jesus 695
San Carlo alle Quattro Fontane 700
The Drama of Painting: Caravaggio and the Caravaggisti 701
Master of Light and Dark: Caravaggio 701
Elisabetta Sirani and Artemisia Gentileschi: Caravaggisti Women 703
Venice and Baroque Music 706
Giovanni Gabrieli and the Drama of Harmony 706
Claudio Monteverdi and the Birth of Opera 707
Arcangelo Corelli and the Sonata 708
Antonio Vivaldi and the Concerto 709
READINGS
21.1 from Teresa of Ávila,“Visions,” Chapter 29 of The Life of Teresa of Ávila (before 1567) 692
21.2a from Ignatius of Loyola, Spiritual Exercises, Fifth Exercise (1548) 696
21.2b from Ignatius of Loyola, Spiritual Exercises, Rules (1548) 696
21.3 John Donne, “Batter My Heart” (1618) 703
21.4 John Donne, “The Flea” (1633) 713
21.5 from Giulio Caccini, New Works of Music (1602) 707
FEATURES
MATERIALS & TECHNIQUES The Facade from Renaissance to Baroque 697
CLOSER LOOK Andrea Pozzo’s Apotheosis of Saint Ignatius 698
CONTINUITY & CHANGE The End of Italian Ascendancy 711
22 The Secular Baroque in the North
THE ART OF OBSERVATION 715
Calvinist Amsterdam: City of Contradictions 716
Gaining Independence from Spain 717
Tulipomania 718
The Dutch Reformed Church: Strict Doctrine and Whitewashed Spaces 719
The Science of Observation 720
Francis Bacon and the Empirical Method 720
René Descartes and the Deductive Method 721
Johannes Kepler, Galileo Galilei, and the Telescope 722
Antoni van Leeuwenhoek, Robert Hooke, and the Microscope 723
Dutch Vernacular Painting: Art of the Familiar 724
Still Life 724
Landscapes 725
Genre Scenes 726
Johannes Vermeer and the Domestic Scene 727
The Group Portrait 729
Rembrandt van Rijn and the Drama of Light 730
The Baroque Keyboard 734
Jan Pieterszoon Sweelinck’s Fantasias for the Organ 736
The North German School: Johann Sebastian Bach 737
READINGS
22.1 from Francis Bacon, Novum Organum Scientiarum (New Method of Science) (1620) 741
22.2 from René Descartes, Meditations (1641) 721
FEATURES
CLOSER LOOK Rembrandt’s The Anatomy Lesson of Dr. Tulp 732
CONTINUITY & CHANGE The Art of the People and the Tastes of the Court 739
