Rowland and Partridge readings

     Ingrid Rowland tells a tale of Papal Curia as Roman civic economic revitalizer. A new Roma Caput Mundi, well, head of the church anyway. Petrarchan Humanist motivation, and church money go a long way. A rich (if not the richest) history to exploit, especially with regard to sacred sites, both pagan and Christian. The cities ancient ruins spoke directly to the humanists, with regard to the perfection of man, and the ancient, historically rich culture of the Roman Empire, and the papacy drew upon the old empire’s political structures. “Familiarity bred both contempt and veneration”, the cities ruins feeding both the limekilns and new architecture. Huge investments of church capitol facilitated physical and cultural construction, allowing humanist values and practices to thrive, cemented by Pope Nicholas V, who realized both in the Vatican library. Inevitable grandiose propaganda ensues, (in all areas of the arts) associating the papacy and the Roman church with the most ancient biblical traditions, and the most powerful and well-known Pontifex Maximus of ancient Rome. A grand vision indeed that faced challenges from without, and from the papacy of the 16^th century itself, but nevertheless continued to develop and thrive.

     Loren Partridge illuminates conflicting views of the papacy. On one hand an enlightened theological leader, on the other a wealth-seeking impious tyrant. It seems the Renaissance church did rely on its army and tax base, and as an institution indulged in financial “… nepotism, alienation, simony, pluralism, (and) absenteeism”, and sold forgiveness for a price etc. Not surprising the appearance of Martin Luther, who saw the papacy as the Antichrist. The Popes, also unsurprisingly viewed themselves as Christ on earth and any rationalization follows that self-conception (power corrupts after all). The protestant reformation viewed church practices as unnecessary, while the church drew upon Rome, and its history to justify its mandate, and in effect the status of pope as new emperor. Regardless of the evils of bureaucracy, the power and money of the papacy rebuilt Rome proper during the 15^th and 16^th centuries, becoming one of the largest cities (and a cultural powerhouse) in Europe by 1600. The church did attempt to rectify some of its more glaring inadequacies, enacted new ones, suffered attack from within and without, yet steadily “renewed itself”. These troubles were “accommodated” by the belief of the imminent second coming of Christ, and all of these “contradictions and tensions” are reflected in the art of the Roman Renaissance.

Architecture of Michelangelo Part 1 (from text)

     Michelangelo received the commission for the façade of the church of San Lorenzo from Pope Leo X at the end of 1516. The Medicean church had become even more a symbol of dynastic power with the head of the family a duke, and allied with the royal family of France. Michelangelo’s plans for the 2-story structure included 12 standing figure marble statues, 6 seated figures in bronze, and 15 reliefs. He intended the façade to be a “mirror of architecture and sculpture of all Italy”, and commenced to work for 3 years on the project. Michelangelo spent months quarrying the marble from within the boundaries of the Florentine republic, first at Carrara, then building a road through the mountains to reach Servezza. In 1520 the contract for the façade was annulled due to the death of Lorenzo Medici in May of the previous year, much to the consternation of Michelangelo, though Lorenzo’s death leads to the new commission of the Tomb Chapel of Lorenzo and Guiliano Medici. A wooden model of the façade built to Michelangelo’s specifications survives.

Martines' "Humanism..."

          Humanism was solely for and defined a municipal/administrative/aristocratic elite class. Possessing its own exclusive language, knowledge and values, this movement maintained and reinforced the power structure of government. This being said, what power structure will not re-enforce itself? This movement was based on education of a knowledge base of inherent value, and was valued as a “national” history as well. Like the technological advances of science, this knowledge is in itself amoral. Though, much like technology, this knowledge was used in a self-serving manner. The Humanist movement was born of power, justified by the power of its originators, and used to garner power for personal gain, and with eloquence/rhetoric as a “guiding aim”, what cannot be rationalized? (Especially when valued over philosophy) With these tools, Humanism “reshaped” society, and the ideal of (an elite) man; the use of these tools left no legitimate alternative. Of course the ideals of Humanism exemplify the pursuit of wealth, what power structure ever failed to do so? (While at the same times disdaining the plebes?) Poggio Bracciolini statement that those elites enjoying the justification and rewards of Humanism were “ …exceptions to the rule (of human life in general as) …toil, error, and stupidity.”, seems accurate.

          Good knowledge, used for greed and power over the majority. We got some nice art out of it though.

Flights of the Mind-reading

Leonardo da Vinci: Flights of the Mind

Part 3: Independence p. 131-161 (1477-1480)

          This 30-page section discusses the very early career of Leonardo, and begins by touching briefly upon Leonardo’s apprentice Paulo, and the influence of Benois’ Madonna and drawings. A description of the Medici assassination/attempted coup de tat backed by Pope Sixtus IV, the “April plot", resulting in castrated/hanged conspirators, namely Bandino: background for the famed “Hanged Man” drawing. “Zoroastro”, Tommaso Macini, a man of “magic and alchemy”, a decades-long associate of Leonardo is discussed. Z undertook multiple roles under Leonardo, including workshop employee. Leonardo’s early interest in the manipulation of natural resources is discussed, and some engineering designs for lifting weights, and channeling water (“liquid drill”/screw) are discussed. Particularly interesting is his “screw device for opening a prison”. Leonardo’s interest in poetry is illuminated: a Frederico da Montefeltro poem appears alongside artillery drawings by Leonardo (though he did not write poetry himself). Leonardo’s interest in music is discussed, namely his skill with the lyre, an early version of the violin. Leonardo constructed a silver, horse-skull lyre, and likely played “light, amorous, chordal music… typified by the Medici Carnival-song.”, perhaps not unlike ?

http://www.youtube.com/watch?v=ALgdG_b1dbg

Leonardo's long assoc. w/ Macini, and thoughts of jail-breaking point to a subversive character...?