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revolts
The Florentine humanists had desired
freedom from the unreasonable restrictions of the Church and rejected the faith that was
embodied in it. Nature to them, once despised as corrupt, had now become an object of
worship. These pantheists equated religion with the natural world that had become was so
worthy of their enjoyment. The ideals they developed from this study of classical history
and moral philosophy conceived of a well-rounded man of universal accomplishments, with
strength of character in adversity, possession of luck's favor, and the ability to wield
power.
The Renaissance humanistic man had high
hopes for himself. He had replaced the person of God with the worship of self with the
definite expectation that he could accomplish what he saw as impossible under God's yoke.
Yet the final result was bondage to their own inadequacy.
Machiavelli (1469-1527) addressed
secular humanism as applied to politics. It was his intention to create a science of
statecraft based on classical learning. He advocated a completely secularized government,
ruling itself with no regard to social or individual morality; and likewise neither divine
or natural law.
It was Machiavelli's contention that in
this wicked and immoral world, moral rulers have only failed in their righteous
objectives. In contrast he contended that the building of the state requires the use of
force, fraud, and deceit to advance what he designated as the "common weal."
This philosophy put the welfare of the state as the primary objective of all endeavors.
Political action should be determined only in relation to its concern exclusively for the
state's security. Ultimately, human values are defined as those which guarantee the
preservation and growth of the state.
"You cannot legislate
morality" is the cry of a multitude of people in America today. They do not think it
is the government's business to regulate what people do in regards to ethical principles.
These same people will be quick to add that the church should be placed in a subjugated
role in regards to the workings of the state. Machiavelli promoted the states supremacy
over the church as these people do. And like the agents of class warfare today who promote
the Communist dream of a state that enforces complete equity for all Americans because
"that is best for everyone", Machiavelli exalted the notion of the "common
weal" which likewise puts the needs of the state above the individual. Therefore,
since the humanists of today agree with Machiavelli, they ought to examine the rest of his
philosophy in order to understand the breed of humanity that they belong to.
In his book "The Prince,"
Machiavelli described the ideal nature of his tyrannical autocrat. He should be both
feared and loved, but most of all feared. He can maintain an aura of goodness by
concentrating his cruelties in short periods. Among the atrocities that he should pursue
is the slaughter of his opponents. According to Machiavelli's reasoning, to merely
confiscate the property of the tyrant's antagonists would not be good enough, for their
heirs would still be in a position to receive it.
Machiavelli's authoritarian was seen to
be the absolute monarch who has learned to perform in the arena of power politics with
relentless zeal. So, the follower of Machiavelli is a welcomer of the spirit of the
antichrist. Those who desire to separate the church and the morality associated with it
from the workings of the state are in reality those who seek after tyranny. The ones who
seek after equal rights in the name of equal pay, equal benefits and equal wealth are
seeking a cruel dictator.
Eventually, Italy had the pleasure of
being ruled by Machiavelli's "Prince." Benito Mussolini (1883-1945) founded the
first political group to be called fascists in 1919. He gained his popularity by imploring
the Italian people to rebuild the glories of ancient Rome. . . And a true Roman Caesar he
was.
By 1922 the "Prince's" Facist
Party had become so powerful that it forced King Victor Emmanuel III to make Mussolini
head of the government. The reign of another "Roman" had begun in this highly
unsuccessful attempt to build Italy into a great empire. Ruling for almost twenty one
years, the "Prince" maitained his control using Machiavelli's proposed methods
of murder, exile, and the prison camp. After the collapse of Nazi Germany though, he fled
with his mistress, Clara Petacci, and some followers only to be discovered by the Italian
underground. They soon shot Mussolini along with Clara Petacci, the dictator's
Renaissance-styled "feminine inspiration". Then they hung the two of them by
their heels in Milan. This was the fate of Machiavelli's "Prince". . . And we
see the nature of the tyrannical despot who is the only logical conclusion in a society
that has chosen to accept the humanistic precepts of the Renaissance to govern itself
apart from moral absolutes.
One should not attempt to look at the
Renaissance without examining the arts. Indeed the revolution in Florence produced some of
the most magnificent works of beauty the world has ever witnessed. Yet these creations
reveal more than mere elegance. They lead our eyes into the very heart of these humanistic
thinkers. Giorgio Vasari wrote in the Lives of the Painters, Sculptures and Architects
that the "rebirth" of naturalism and classicism allowed the artists to ascend
over the post-Roman "barbarian" and Christian philosophies. The artists had been
"liberated" from what formerly kept them in bondage to explore an undiscovered
world that had been denied them for centuries.
The first break from the formalism of
the church can be found in the works of the Gothic Realists. These men developed out of
the new forms of literature, methods of philosophy, and views of theology and art forms
that embraced pure "naturalism." Realistic detail was their primary objective as
the artists of the period attempted to paint the world as it really was. In addition, they
desired to depict man in all his humanity.
Jan Van Eyck (1370?-1440) painted in the
brand new medium of oils which allowed him to create literal photographic pieces. This
Flemish painter mastered the use of light and air, placing a strong emphasis on nature, to
become the first landscape artist of the Renaissance. This artist had not departed from
God. Yet the attempt in his art was to return to the meaning of man in the real world.
In his painting The Adoration of the
Lamb, the rich, the poor people from all classes and backgrounds arrive before the
Lamb who is not dead, but standing upright and alive on the altar as a substitute,
sacrificed for the sins of man, and risen from the dead. Van Eych realized that the
problem of the church in the Middle Ages had nothing to do with the true and Living God of
the Bible. Rather it was the denial of direct access to this Creator that diminished the
value of man and forbid his approach to the creation. With a direct relation to God
restored, man now had the freedom to discover who he is in Christ, while unveiling the
glory established by God in the universe.
Before Giotto (1267?-1337), the painting
in Florence was flat and without depth. Mary and Christ were not depicted as real people
but rather symbols carried over from the Byzantine age. Giotto though, was the first in Italy
to put nature in its proper place and paint people as they really were. He abandoned the
old abstract symbolism to portray the genuine emotions of joy, sorrow, hope, and despair.
His characters even assumed expressive postures to display various emotions, though they
never seemed to have their feet quite fastened to the earth. At this point, giving nature
its rightful place was appropriate because God made the world which makes creation very
important. The positive side of Thomas Aquinas's thinking was beginning to be felt.
At the end of his lifetime Giotto
designed the Campanile, the bell tower next to the cathedral in Florence, demonstrating
the versatility that personified the well rounded Renaissance ideal man. Little is known
about the architects who designed the spacious Romanesque and Gothic cathedrals of the
High Middle Ages. Now in the Renaissance man has been elevated as an artist and is
recognized for his achievements.
Brunelleschi (1377-1446) dramatically
altered architecture going away from the Medieval Gothic style back to the classical. This
form of scientific naturalism and Roman classicism that prevailed in Italy at the time
resulted from the artist's scrutiny of the old Roman ruins. Indeed the architects of the
age were the first to return to the classic forms. Then, since the artists at the time, in
order to fit into the Renaissance model, were not specialized into one particular craft,
it was easy for this classical form to creep into first sculpture and then painting.
Brunelleschi merged science with
classicism. He studied in Rome, whose ruins represented a museum of the ancient
architecture. It was this that he modeled his style after. His work on the FoundingHospital,
begun in 1421, is the first Renaissance building. From there he proceeded to remodel Florence
with his round columns and arches, pilasters, and domes.
Brunelleschi's dome of the cathedral in Florence
goes beyond any dome previously designed, including the Pantheon in ancient Rome. This
wonder became a model for Michelangelo's dome of St. Peter's. It was such a great feat of
engineering that architects and engineers today are still at a loss to understand just
what makes it hold together.
He was also recognized as the master of
space, and influenced the painters and sculptors of his day by making space important in
their artistic endeavors. The important thing to realize though is that man was in the
center of all this space.
Donatello (d 1446) transmitted this
Roman classicism to sculpture. His bronze statue of David was designed to stand alone in a
garden. This picture of perfection was a combination of grace, reserve, mathematically
proportioned, and naturalistic. The flawlessness of this piece portrayed David as the
chosen one to kill Goliath on account of natural perfection rather than Godliness. The
dignity and greatness of man was rearing its defiant head.
The nature of the humanistic world
considers the man of inordinate physical stature as the one who is praiseworthy. But
the Lord said to Samuel, "Do not consider his appearance or his height, for I have
rejected him. The Lord does not look at the things man looks at. Man looks at the outward
appearance, but the Lord looks at the heart. . . So he asked Jesse, "Are these all
the sons you have?" "There still is the youngest," Jesse answered,
"but he is tending the sheep." Samuel said, "Send for him; we will not sit
down until he arrives." So he sent and had him brought in. He was ruddy, with a fine
appearance and handsome features. Then the Lord said, "Rise and anoint him: he is the
one." So Samuel took the horn of oil and anointed him in the presence of his
brothers, and from that day the Spirit of the Lord came upon David in power. (I Sam
16:7,11-13a niv) This is the true David of history. This is the David of the Bible rather
than the exaltations of humanists.
Masaccio (1401-1428) has been recognized
as the father of Renaissance painting. In order to give his work a true-to-life quality,
he made extensive studies of life to produce virtual photographic images. He was the first
to use central perspective and bring light into his paintings from the appropriate
direction. This emphasis on realism represented man's new appreciation of the real world
in which he anticipated that he would fulfill a consequential role.
In these artists we see what was
personified in Italian realism, with its selective striving for the ideal form. Fusing
realism with classical balance, harmony, proportion and decorum, the perfection and beauty
of these artistic works depicted the high hope that permeated the Renaissance. For them it
was a promising future for men who had discovered themselves and their potential.
At this point, art had the potential to
go in two directions. It was good that man had, after the darkness of the Middle Ages,
rediscovered God's creation and his own potentiality as he interfaced with it. There could
have been a continued emphasis of real people living in a real world understanding their
worth on the basis of God who created it all. However after Masaccio, the future of
Western man was cast in cement as man turned his back on God, with the express purpose of
exploring himself and his own potentiality apart from his Creator and Savior.
At the peak of classical realism, art
had come to the conclusion that the enjoyment life was a more divine principle than the
contemplation of death and salvation. The struggle of man finding himself himself replaced
the conflict of heaven and hell as the chief concern of the humanist artist. Man became
the measure of all things; his dignity, perfection, and fame replaced metaphysical
principles as the measuring rod of all values.
This important shift brought the
Florentines into the High Renaissance that most of us are familiar with. Man made himself
into a god as he was idealized to be greater than even himself. By the second half of the
16th century the artists began to draw more on classical literature than contemporary
life. Greco-Roman gods, heros, battles, and myths were perpetuated by the painters
Mantegna and Piero de Cosimo. The stature of the Greek and Roman pagan gods had become the
model for a humanity, that was seeking more than greatness. . . but immortality itself.
When I was a young boy, my dad repeated
a joke over and over again for any ear that would have the patience to listen. There is
nothing that he enjoys more than entertainment; and a good gag is the way he has attained
that possession. With every eye attentive to his deportment he would vivaciously blurt out
with a countenance filled with animation, "When I was young I looked like a Greek
God. Now I just look like a Greek!"
Without knowing it he had detailed the
dilemma of the Renaissance humanists. They had looked intensely at the gods the ancients
had devised through their own humanistic will, hoping they would become gods as well
through the resolve of their commitment to themselves. In fact, they became no more than
the Greeks who were fattened on the sustenance of their own deceit.
"The Red Virgin" by
Fouquet is a prime example of this shift towards humanism in art. The image of a lady amid
the overall color of red that dominated the picture was intended to represent the Virgin
Mary. In fact, the subject was the king's mistress who was painted with one breast fully
exposed and revealed for the eyes of the entire world. Up to this point, the Madonna was
considered extraordinary high and holy. But now with the king's mistress painted as Mary,
all that was sacred in regards to her had been removed.
This sacrilegious effort was an obvious
affront to religion, intended to tear down the conventional treasures of the Christian
heritage of the West. Those in contemporary America who profess themselves to be so vogue
and innovative in their pursuit to tear down all that is Christian in our society can look
back to Florence to find the authors of their beliefs.
The artist Botticelli was strongly
influenced by Neoplatonism. His painting Allegory of Spring and Birth of
Venus manifested his departure from realism to mysticism. This return to the symbolic
was not a reversion to the religious themes of the Middle Ages, but to the classical pagan
traditions. This art form depicted hierarchies of spirits, types of souls and forms of
love that could hardly be considered Christian.
Michael Levey in A History of Western
Art, wrote concerning Botticelli's humanistic depiction of Venus: "Perfect
harmony reigned throughout the composition, symbolized in the weightless pose an poise of
the goddess, effortlessly sure of sustaining her balance in the rhythm of propulsion. This
is a morally serious picture, in which pagan mythology is treated with the earnestness
previously reserved for Christian subjects."
So, the humanist of the Renaissance
attempted to bring to paganism the reality and believability that had been once reserved
only for the Christian faith that he was now rejecting. The painters of the time sought to
bring realness to myth in order that myth would become believable.
Today in the arts, the humanist is still
using his craft to make fantasy into reality before people's eyes. Hollywood is re-writing
history in her movies -- and it is so real that it becomes fact in people's minds. She
portrays her humanistic concepts of evolution and morality with every special effect,
graphic and computer manipulation, camera angle and charisma she can muster up so that her
belief system hits the senses in a manner that leaves the recipient helpless to resist.
Again art has drifted from the portrayal of God to the agenda of humanism.
The artists of the High Renaissance who
followed Botticelli no longer considered themselves recorders of external nature. They saw
themselves as creative geniuses inspired by some divine spirit. Michelangelo for example,
believed that throughout the ages, a sculptural image has always been hidden in the block
of marble that rested at the end of his chisel. This figure though, could only be unveiled
by divine inspiration from God. This ideal classical form that was "revealed" by
Michelangelo emphasized grandeur, perfection of form, and self-assurance working together
in greater-than-life proportions.
The monarchs of Rome, Northern Italy,
and France were intrigued by this concept. As a result, they came to the Renaissance
artists to be immortalized in their art for the purpose of their own glorification.
Through this recognition, the artists were deified as well.
Michelangelo is the great artistic
master of the High Renaissance in Florence, Italy. His works, such as the magnificent
display in the Sistine Chapel, have been an inspiration to many Christians in their
pursuit after God. The Final Judgment at the altar of this glorious chapel takes
one's breath away.
However, one must realize that this
distinguished artist, who created so much religious art, was in fact a humanist. The hands
of God and Adam reaching towards each other on the roof of the chapel in the Vatican are
not an indication of who this man was in his early life. For Michelangelo, his pursuit
wasn't after God but rather himself. In the Academy in Florence, Michelangelo's great room
depicts men on either side "tearing themselves out of the rock." In so doing
they make the humanistic statement that man will tear himself out of the rock of nature to
free himself from it to victoriously make himself transcendent.
At the end of the room stands the
infamous statue of David who was far from the Biblical David that this artist was well
aware of. The statue of David is Michelangelo's most classical work. It is a pristine
example of the ideal classical form that the artists of this era sought to emulate.
But goodness, David isn't even
circumcised! He was depicting a man who was no longer subject to the LAW of God. This
idealistic and romantic statue states the hope of humanism in the oversized and powerful
hands that could have overpowered the giant with sheer strength. Standing relaxed and
serene, this enormous figure could certainly slay a giant without the help of divine
intervention, typifying the high hopes of the Renaissance man.
In Florence after the overthrow of the
Medicis, a more genuine republic was formed in 1494. Michelangelo's statue of David was
positioned at the time outside city hall, standing high as a exterminator of any tyrant
who might come against the freedom of the people. The humanists in Florence were looking
towards their proud selves with confidence towards the future as represented by David.
Of this imposing statue Michael Levy in A
History of Western Art wrote: "Not blood but some divine ichor flows in the veins
of this vast figure, totally nude and aggressive in nudity, a positive Goliath beside
Donatello's David -- an impossibly heroic, magnificent statue which forbids any
identification with mankind, despite all the suggestions of muscle and sinew carved in
marble. Nor does this David require any miraculous help from God: it is he who is a
god."
Michelangelo's hope and tranquility was
severely shaken by a religious and political crisis in 1527. At that time Rome was sacked,
and Italy was conquered by the Emperor. Indeed, Michelangelo's statue of David could not
defend his or Florence's freedom. So, as his optimistic world crumbled around him the art
that he produced changed dramatically. Searching for some sense of reality, he drifted
from classical realism to subjective and imitative mannerism to Baroque.
It appears though that when Michelangelo
lost himself he found God. In his later years he came in touch with Vittoria Colonna
(1490-1547) who had been influenced by reformation thought. Many feel that at that point
of his life Michelangelo found himself leaning on the Rock rather than attempting to pry
his way out of it.
His later work certainly displayed a
remarkable change in emphasis. In contrast to the earlier humanism, as displayed in the
sculpture of David, his last work Pietas was a statue of Mary holding the
dead Christ in her arms. In the Pieta in the cathedral in Florence this eminent artist put
his own face on Nicodemus (or Joseph of Arimathea). In these last two works,
Michelangelo's humanistic pride was virtually absent. Could it be that he was seeing
himself in his own work asking Jesus how he might be born again?
Equal to Michelangelo towered the
chemist, musician, architect, anatomist, botanist mechanical engineer, and artist Leonardo
da Vinci (1452-1519). He could do anything and do it well, which expressed what the true
Renaissance man in his effort to exalt the potential of man was all about. Da Vinci is
recognized as being the first modern mathematician, seeking to conform his thinking to
rational mathematical laws. Yet it was his contention that man, on the basis of himself,
could never come to a realization of the meaning of life through this medium.
Painting was a mere second in relation
to his other endeavors. Above this expression was da Vinci's work in military and civil
engineering, anatomy, physiology, botany, geology, and mechanics. In spite of this
accentuation in his life, da Vinci determined that possibly the sensitive artist might
paint his way to a discovery that would uncover "the soul" of what reality was
all about. It was his intent to create a canvas that was like a transparent window pane
with nature on the other side.
His realism was reflected in his
statement: "That picture is most praiseworthy which most resembles the thing to be
imitated." So, da Vinci's realism in painting focused itself on finding his pure
ideal in the world around him. It was in this that he hoped to find what the nature of
reality was all about.
However, da Vinci's adherence to pure
imitation was very selective, as he carefully choose subjects of ideal beauty from the
environment around him in the attempt find his glorified ideal. Now we are only left to
peer into the mysterious eyes of his Mona Lisa only to wonder what she was really
thinking. In the end though he failed to paint meaning for man on this thin humanistic
basis.
The power of this Renaissance painter
over the mind of his contemporaries can not be overestimated. Michael Levey wrote: ".
. .the memorable image of the Mona Lisa, where the mystery is not only in the
woman but in that melting background, an unvisited country of sunken, ribbon-like rivers
winding among inaccessible crystalline peaks -- an eternity no less disturbing than its
sitter's expression. Leonardo's imaginings would cast their spell over many great
sixteenth-century artists including Raphael, being felt by Giorgione and Correggio -- both
magician-like painters whose art would aim in turn at casting a spell over the
spectator."
Raphael's portrait of Baldassare
Castiglione demonstrated the Renaissance man's deification of nature. Levey wrote of
this painting of this famous author: "Probably no comparable subtle and complex
portrait of a man had ever before been painted. It owes a good deal to its spiritual
mother, Leonardo's Mona Lisa, but what is there veiled mystery has become confident
clarity in Raphael's handling. The result is certainly natural-seeming, but it goes beyond
nature. That particular step shows the direction of the new sixteenth-century art, more
varied, graceful and finished than nature itself."
The humanist of the Renaissance was
certain that starting with himself he could solve every problem concerning meaning for
man's existence. First he looked to Aristotle who had insisted that man could discover
significance through the power of his own rational behavior as it interfaced with the
empirical world about him. He failed in his pursuit as did his humanistic followers in the
Renaissance. Eventually these later thinkers gave up on Aquinas' attempt to synthesize
Christianity with Aristotle; turning their attention to Plato who emphasized the universal
in his recognition of a higher LAW. They likewise failed in their effort to merge Plato's
teachings with Christianity.
In spite of their emphasis on the
importance of man, the Renaissance idealists failed improve the state of the individual
living in society. Throughout the period, commerce stagnated at a lower level than the
dreaded Middle Ages. The rise of commercial towns caused a revolution against the Middle
Age rural, chivalric, manorial, and ecclesiastically oriented society that they sought to
rebel against. However, the aristocracy was able to maintain its social dominance, as open
rebellion in every town seldom resulted in urban independence or prosperity. The effect of
the Renaissance peasant revolts did institute some legal improvements in venues where town
life remained active. But the benefits of these revolts were virtually negated by new
taxes, court fees, requisitions for civil and military purposes that were only added to
the traditional burdens to church and manoral lords.
This period of hope for mankind didn't
have any reality surrounding it in the real world. This enthusiastic mental awakening did
little for the state of the common man, which historically has been the fate of any
movement that has attempted to institute improvements on a Godless humanistic base.
History has proved time and time again that when man attempts to lift himself up he is
ultimately abased. For everyone who exalts himself will be humbled, and he who humbles
himself will be exalted. (Luke 1411 niv)
Leonardo discovered where this complete
faith in man would eventually lead. Not able to bring forth understanding of the universe
in either mathematics or art, Leonardo da Vinci was brought to the French court before
King Francis I (1494-1547) an old and despondent man. So early in its modern inception
humanism had already displayed itself in the agony of frustration, disillusion, failure,
and defeat. There is nowhere for humanism to go but down.
Don Wigton
is a graduate of the prestigious music department at CSULB where he studied under Frank
Pooler, lyricist of Merry Christmas Darling, and sang in Poolers world renown
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The book Holy
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