
INSERT INTO `wp_posts` VALUES (983,5,'2011-04-03 16:24:37','2011-04-03 22:24:37','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\"><img class=\"alignnone size-full wp-image-855\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\" alt=\"\" width=\"425\" height=\"336\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The High Renaissance”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nRaphael’s School of Athens is a masterfully rendered fresco that was created as part of a larger project to re-decorate Pope Julius’s personal library in the Vatican. It is part of a set of four complementary works that wrap around the room, each designating a different division of learning. School of Athens was meant to represent Philosophy, the love of knowledge, in its original sense which in that day encompassed science and mathematics along with what we would consider philosophic inquiry today. <!--more-->A full rethinking of the “Great Man” portrait, Raphael depicted all of the major scholars and philosophers of antiquity in the same space, in vibrant color, interacting with others and laboring in their various arts. This had never been done; nor had so many secular figures been depicted as pillars of knowledge in the most religious of settings. The combination of advanced skill and advancing attitude represented in School of Athens make it a landmark work that should be preserved to enlighten future generations.\r\n\r\nWhen Julius became Pope one of his first goals was to remake the city of Rome architecturally. To do this he hired architect Donato Bramante, a man with whom he shared little regard for the sanctity of the city’s current appearance. Nothing was sacred, not even Constantine’s St. Peter’s basilica, which was demolished for rebuilding to the chagrin of much of the laity. Julius took power at a time when the church was flush with cash from taxes laid on new papal territories and from an alum mine that had been discovered on church owned land. So Julius embarked on a campaign that was only limited by his imagination (Graham Dixon 178-179).\r\n\r\nThis included a full reworking of his personal living situation at the Vatican. Unhappy with artifacts that had been left by his predecessor, Pope Julius moved his living quarters upstairs to an area that included a room that would come to be known as the Stanza della Segnatura, or Signature Room, due to the Pope’s practice of using it to sign important documents. The room’s primary purpose was to house Julius’s personal library, which was divided into four topics: theology, law, the arts, and philosophy (Hall 5-7). Each wall was to be decorated with a representational fresco that corresponded with the topic shelved below it.\r\n\r\nIncluding a group of texts by pagan philosophers within the walls of a church institution represented a dramatic shift in the Church’s attitude toward secular science, made possible by a recent revival of Classical humanism. When the Ottoman Turks overthrew Constantinople a few decades before, a huge number of Greeks came to Rome seeking safety. Their presence led to a re-emergence of the traditional idea of shared origins for Greek and Roman culture. Julius himself had attended a lecture in 1508 where Rome was described as the “New Athens”, charged with preserving the culture of the ancients (Rowland 103). When work was begun on School of Athens in 1509 this must have been fresh in his mind.\r\n\r\nFollowing the tradition for libraries of the day, the room was to be decorated in the “Great Man” style which depicted scholars of renown in solitary portraits (Hall 7-8).  One of the many artists who had been commissioned for the project was a painter known as Raphael, who had received a recommendation from his kinsman, Bramante (Graham-Dixon 181). Raphael surpassed the static expectations of the form and gave life to a complete re-interpretation that was like nothing ever seen before (Hall 9).\r\n\r\nWhen looking at School of Athens, the first thing sensed is a feeling of depth, that the figures are truly separated from front to back. I say “sensed” and not “noticed’ because the effect is so well done that is seems completely natural, like a legitimate three dimensional rendering. He heightens this effect by placing his characters in a hard to define setting that has been the subject of much speculation. The figures stand on two distinct platforms that are separated by a row of four steps, upon which other characters are also situated. Overhead, stretching into the background are three sequential barrel vaults split by open spaces that allow the bright sky to illuminate his figures. Supporting these vaults are hallways that also seem to stretch into the background that are carved with niches filled with statues. On either side of this hall is a pillared wall, each holding one of the only completely identifiable statues in the composition. On the left is Apollo, on the right Athena.\r\n\r\nThese figures were most likely chosen due to the influence of Egidio da Viterbo, Pope Julius’s favorite preacher. He had recently compared these two pagan deities to Christ, a fact that Julius was certainly aware of. The Neoplatonic tradition of the day ascribed Apollo’s association with light, music and healing with the nature of Christ. Athena, virginal goddess of wisdom, had a strong association with the Virgin Mary, who was the subject of Julius’s great devotion (Rowland 104-105).  In his essay on School of Athens titled “The Architectural Background”, Ralph Liebermann describes them as “…the Olympian deities most closely associated with poetry and music, on the one hand, and wisdom, on the other; they stand, male and female, for all the powers of the mind and the creative spirit and appropriately preside over the gathering of philosophers” (78).\r\n\r\nThe imaginary structure they inhabit is a perfect example of a common practice of the day, trying out architectural ideas in the much cheaper medium of pigment. Some see a resemblance to Bramante’s design for the renewed St. Peter’s (Lieberman 69-70). There may have been some influence, but the central part of the ceiling gives evidence that this was an unbuildable structure that ultimately only served to give Raphael a means to play with perspective. The glimpse we see after the first ceiling vault implies a windowed dome, however there is far too much light in the scene for a dome to be present. If there is no dome and only an open space, then there is no need for the wall with vertical windows that extends upward (Lieberman 72). These experimental elements, while impractical, still add form and balance to the overall composition. The imagined space is also revolutionary in its copious use of statuary as decoration. This had no precedent in the Roman world and has caused some to wonder where Raphael received the inspiration to decorate the room in this way (Lieberman 79).\r\n\r\nThe figures themselves continue to give evidence of Raphael’s exuberant creativity. The piece is centered on the figures of Plato and Aristotle, each holding a labeled copy of the influential works that caused them to be the two most contemplated philosophers of the day. In her essay titled “The Vatican Stanze”, Ingrid D. Rowland does an excellent job of describing the significance of this depiction.\r\n\r\n\"Plato’s Timaeus, labeled in Italian as “Timeo”, is the first place in ancient literature where God is described as one being with three natures: a foreshadowing of the Trinity. Holding this proto-Trinitarian work in one hand, Plato points meaningfully upward with one finger of the other, directing the viewer to look toward heaven and the dome of Raphael’s great  hall to find the three-in-one divinity to which the fresco, the stanze, and the papacy are dedicated. Aristotle holds his Ethics, labeled “Etica”, and sweeps his hand out into the viewer’s space; the insights indicated by Plato have their repercussion in right human behavior. Aristotle’s elaborate treatise will be distilled by Jesus into two rules: love God and love your neighbor. By their own actions, Raphael’s Plato and Aristotle embody these two basic principles.\"\r\n\r\nTo their left stands the green robed figure of Socrates, gesturing instruction to an animated figure who may be Alcibiades, late breaking interlocutor of Plato’s Symposium (Rowland 106). In the foreground directly beneath Socrates’ pupil kneels Pythagoras, surrounded by his eager pupils, working on his theory of the harmonic proportions of music. One of his pupils holds out an abacus, used to represent the notes and intervals as another furiously copies over Pythagoras’ shoulder (Bellori 49-50). To the side of the group stands a figure in yellow, holding a slate that shows the Greek diapason, or perfect chord (Rowland 106). Pythagoras’ involvement with music extended to his using it for therapeutic purposes, and led Raphael to feature him near Apollo, the god of music. Plato even equated Pythagoras’ harmonic proportions to understanding the human soul in the very work he holds in the painting, Timaeus (Hall 33-34).\r\n\r\nJust to our left of this group reclines a depiction of Heraclitus, who Raphael in his playfulness decided to give the features of Michelangelo, who was hard at work next door on the ceiling of the Sistine Chapel. Not only did he slip in a portrait of his compatriot but he also rendered it in Michelangelo’s own style, using his techniques in depicting flesh tones and musculature. Raphael did the same thing with his image of Plato, giving him the features of Leonardo da Vinci and using da Vinci’s own sfumato style on the figures that surround him (Rowland 107).\r\n\r\nFurther to the right, sprawled on the steps, is the totally aloof figure of Diogenes. Diogenes was described by Boethius as “reclining in the temple of wisdom”, so this is how Raphael chose to portray him (qtd. in Rowland 107).  Further to the right in the foreground Euclid the great geometer is depicted with the features of Bramante, Raphael’s shape manipulating architect kinsman (Fiero). The three figures nearest him represent the stages of grasping a complex topic, advancing in comprehension along with their visual height: learning the basics, understanding and sharing, and anticipating the final results (Hall 13). Further to the right are Ptolemy and Zoroaster, two of the greatest known astronomers of the day (Hall 34). And if you look all the way to the right, the 2nd character from the side of the arch is a self portrait of Raphael himself. The young painter was already sure enough of his ability to include his own image alongside the greatest minds known to western society.\r\n\r\nHis self assurance may be somewhat justified. After seeing Raphael’s work in School of Athens, Pope Julius was so impressed that he dismissed all the other artists that were working on the project and gave the entire commission to Raphael (Talvacchia 172). This is the highest praise an artist of the day could ask for, that the most powerful man of the empire was entrusting him with the adornment of his entire personal living quarters. The work was viewed and described by many contemporary critics, who all praised its Unione and Dolcezza, or softness and sweetness in shading and coloring (Bell 87-88).\r\n\r\nModern reviewer Janis Bell agrees with the opinion of the original critics. In addition to praising the shading, or chiaroscuro, she points out that Raphael had used all the hues available to fresco artists in keeping with the traditions of copiousness and variety in color. He takes this a step further, lightening and darkening individual colors to give the impression of an expanded palette. The exact innovation that Raphael used to achieve this effect is still not known. He also avoids repetition and juxtaposes colors “so that when hues are replayed, they always recur in another context” (Bell 92-93).\r\n\r\nA comparison with another “Great Man” painting shows just how much progress was made with School of Athens. Pietro Perugino’s Fortitude and Temperance is closer to the norm for these paintings. The six figures stand poised and separate with no indication of interaction. They all gaze piously downward, expressing little of their own personality. In School of Athens, the characters are full of life and animation, living parts of the room around them. The figures in Fortitude and Temperance all bear some type of implement, perhaps indicating a particular skill or attribute, but this is a far cry from Raphael’s achievement of breathing personality into his collection of scholars. The disparity of dress in Fortitude and Temperance also seems to indicate a possible difference in status, whereas in School of Athens everyone was similarly clothed in the Greek, scholarly tradition, creating a sense that status was secondary to the knowledge they represented. Though they differ widely in technique, both frescoes are very well rendered and obviously done by great artists. What Fortitude and Temperance is missing though is the divine touch of a true master that was evident in School of Athens.\r\n\r\nMy first reaction to School of Athens was an overwhelming sense of awe at the work that must have gone into such a fine, detailed rendering. Fresco seems like it would be a very tricky medium to work in so this only added to my respect for Raphael’s skill. Then, when I found out that this painting was commissioned by the Renaissance era church I was completely shocked, never having thought that a group of pagan philosophers would be given such a great honor by the clergy of that day. Overall, it is a very impressive work that was only made possible by the open mindedness of a newly tolerant church.\r\n\r\nSo for future generations, this work should illustrate that tolerance and consideration of foreign ideas can sometimes be the path to enlightenment. It represents that even in the murky depths of history there were scholars hard at work laying the foundation for the modern, enlightened society that we now enjoy. It also gives an example of the first time in western history that spirituality and science were not considered to be mutually exclusive. These are all important lessons that School of Athens can teach, which is why future generations should be able to access and learn from this Renaissance masterpiece.\r\n\r\n&nbsp;\r\n\r\nBibliography:\r\n\r\nBell, Janis. “Color and Chiaroscuro.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 85-113. Print.\r\n\r\nBellori, Giovanni Pietro. “The Image of the Ancient Gymnasium of Athens, or, Philosophy.”\r\nRaphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge University Press, 1997. 48-56. Print.\r\n\r\nFiero, Gloria K. “The High Renaissance.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill\r\nHigher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 29 March 2011\r\n\r\nGraham-Dixon, Andrew. Renaissance. Berkeley and Los Angeles: University of California Press,\r\n1999. Print.\r\n\r\nHall, Marcia. Introduction. Raphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge\r\nUniversity Press, 1997. 1-47. Print.\r\n\r\nLiebermann, Ralph E. “The Architectural Background.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 64-84. Print.\r\n\r\nRowland, Ingrid D. “The Vatican Stanze.” The Cambridge Companion to Raphael. Ed. Marcia B.\r\nHall. Cambridge: Cambridge University Press, 2005. 95-119. Print.\r\n\r\nTalvacchia, Bette. “Raphael’s Workshop and the Development of a Managerial Style.” The\r\nCambridge Companion to Raphael. Ed. Marcia B. Hall. Cambridge: Cambridge University Press, 2005. 167-185. Print.','Raphael\'s School of Athens','','inherit','open','open','','848-revision-10','','','2011-04-03 16:24:37','2011-04-03 22:24:37','',848,'http://jeanatacc.com/2011/?p=983',0,'revision','',0),(984,5,'2011-04-11 14:35:07','2011-04-11 20:35:07','','Fort and Temp','','inherit','open','open','','fort-and-temp','','','2011-04-11 14:35:07','2011-04-11 20:35:07','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp.jpg',0,'attachment','image/jpeg',0),(985,5,'2011-04-11 14:21:54','2011-04-11 20:21:54','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\"><img class=\"alignnone size-full wp-image-855\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\" alt=\"\" width=\"425\" height=\"336\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The High Renaissance”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nRaphael’s School of Athens is a masterfully rendered fresco that was created as part of a larger project to re-decorate Pope Julius’s personal library in the Vatican. It is part of a set of four complementary works that wrap around the room, each designating a different division of learning. School of Athens was meant to represent Philosophy, the love of knowledge, in its original sense which in that day encompassed science and mathematics along with what we would consider philosophic inquiry today. <!--more-->A full rethinking of the “Great Man” portrait, Raphael depicted all of the major scholars and philosophers of antiquity in the same space, in vibrant color, interacting with others and laboring in their various arts. This had never been done; nor had so many secular figures been depicted as pillars of knowledge in the most religious of settings. The combination of advanced skill and advancing attitude represented in School of Athens make it a landmark work that should be preserved to enlighten future generations.\r\n\r\nWhen Julius became Pope one of his first goals was to remake the city of Rome architecturally. To do this he hired architect Donato Bramante, a man with whom he shared little regard for the sanctity of the city’s current appearance. Nothing was sacred, not even Constantine’s St. Peter’s basilica, which was demolished for rebuilding to the chagrin of much of the laity. Julius took power at a time when the church was flush with cash from taxes laid on new papal territories and from an alum mine that had been discovered on church owned land. So Julius embarked on a campaign that was only limited by his imagination (Graham Dixon 178-179).\r\n\r\nThis included a full reworking of his personal living situation at the Vatican. Unhappy with artifacts that had been left by his predecessor, Pope Julius moved his living quarters upstairs to an area that included a room that would come to be known as the Stanza della Segnatura, or Signature Room, due to the Pope’s practice of using it to sign important documents. The room’s primary purpose was to house Julius’s personal library, which was divided into four topics: theology, law, the arts, and philosophy (Hall 5-7). Each wall was to be decorated with a representational fresco that corresponded with the topic shelved below it.\r\n\r\nIncluding a group of texts by pagan philosophers within the walls of a church institution represented a dramatic shift in the Church’s attitude toward secular science, made possible by a recent revival of Classical humanism. When the Ottoman Turks overthrew Constantinople a few decades before, a huge number of Greeks came to Rome seeking safety. Their presence led to a re-emergence of the traditional idea of shared origins for Greek and Roman culture. Julius himself had attended a lecture in 1508 where Rome was described as the “New Athens”, charged with preserving the culture of the ancients (Rowland 103). When work was begun on School of Athens in 1509 this must have been fresh in his mind.\r\n\r\nFollowing the tradition for libraries of the day, the room was to be decorated in the “Great Man” style which depicted scholars of renown in solitary portraits (Hall 7-8).  One of the many artists who had been commissioned for the project was a painter known as Raphael, who had received a recommendation from his kinsman, Bramante (Graham-Dixon 181). Raphael surpassed the static expectations of the form and gave life to a complete re-interpretation that was like nothing ever seen before (Hall 9).\r\n\r\nWhen looking at School of Athens, the first thing sensed is a feeling of depth, that the figures are truly separated from front to back. I say “sensed” and not “noticed’ because the effect is so well done that is seems completely natural, like a legitimate three dimensional rendering. He heightens this effect by placing his characters in a hard to define setting that has been the subject of much speculation. The figures stand on two distinct platforms that are separated by a row of four steps, upon which other characters are also situated. Overhead, stretching into the background are three sequential barrel vaults split by open spaces that allow the bright sky to illuminate his figures. Supporting these vaults are hallways that also seem to stretch into the background that are carved with niches filled with statues. On either side of this hall is a pillared wall, each holding one of the only completely identifiable statues in the composition. On the left is Apollo, on the right Athena.\r\n\r\nThese figures were most likely chosen due to the influence of Egidio da Viterbo, Pope Julius’s favorite preacher. He had recently compared these two pagan deities to Christ, a fact that Julius was certainly aware of. The Neoplatonic tradition of the day ascribed Apollo’s association with light, music and healing with the nature of Christ. Athena, virginal goddess of wisdom, had a strong association with the Virgin Mary, who was the subject of Julius’s great devotion (Rowland 104-105).  In his essay on School of Athens titled “The Architectural Background”, Ralph Liebermann describes them as “…the Olympian deities most closely associated with poetry and music, on the one hand, and wisdom, on the other; they stand, male and female, for all the powers of the mind and the creative spirit and appropriately preside over the gathering of philosophers” (78).\r\n\r\nThe imaginary structure they inhabit is a perfect example of a common practice of the day, trying out architectural ideas in the much cheaper medium of pigment. Some see a resemblance to Bramante’s design for the renewed St. Peter’s (Lieberman 69-70). There may have been some influence, but the central part of the ceiling gives evidence that this was an unbuildable structure that ultimately only served to give Raphael a means to play with perspective. The glimpse we see after the first ceiling vault implies a windowed dome, however there is far too much light in the scene for a dome to be present. If there is no dome and only an open space, then there is no need for the wall with vertical windows that extends upward (Lieberman 72). These experimental elements, while impractical, still add form and balance to the overall composition. The imagined space is also revolutionary in its copious use of statuary as decoration. This had no precedent in the Roman world and has caused some to wonder where Raphael received the inspiration to decorate the room in this way (Lieberman 79).\r\n\r\nThe figures themselves continue to give evidence of Raphael’s exuberant creativity. The piece is centered on the figures of Plato and Aristotle, each holding a labeled copy of the influential works that caused them to be the two most contemplated philosophers of the day. In her essay titled “The Vatican Stanze”, Ingrid D. Rowland does an excellent job of describing the significance of this depiction.\r\n\r\n\"Plato’s Timaeus, labeled in Italian as “Timeo”, is the first place in ancient literature where God is described as one being with three natures: a foreshadowing of the Trinity. Holding this proto-Trinitarian work in one hand, Plato points meaningfully upward with one finger of the other, directing the viewer to look toward heaven and the dome of Raphael’s great  hall to find the three-in-one divinity to which the fresco, the stanze, and the papacy are dedicated. Aristotle holds his Ethics, labeled “Etica”, and sweeps his hand out into the viewer’s space; the insights indicated by Plato have their repercussion in right human behavior. Aristotle’s elaborate treatise will be distilled by Jesus into two rules: love God and love your neighbor. By their own actions, Raphael’s Plato and Aristotle embody these two basic principles.\"\r\n\r\nTo the left stands the green robed figure of Socrates, gesturing instruction to an animated figure who may be Alcibiades, late breaking interlocutor of Plato’s Symposium (Rowland 106). In the foreground directly beneath Socrates’ pupil kneels Pythagoras, surrounded by his eager pupils, working on his theory of the harmonic proportions of music. One of his pupils holds out an abacus, used to represent the notes and intervals as another furiously copies over Pythagoras’ shoulder (Bellori 49-50). To the side of the group stands a figure in yellow, holding a slate that shows the Greek diapason, or perfect chord (Rowland 106). Pythagoras’ involvement with music extended to his using it for therapeutic purposes, and led Raphael to feature him near Apollo, the god of music. Plato even equated Pythagoras’ harmonic proportions to understanding the human soul in the very work he holds in the painting, Timaeus (Hall 33-34).\r\n\r\nJust to our right of this group reclines a depiction of Heraclitus, who Raphael in his playfulness decided to give the features of Michelangelo, who was hard at work next door on the ceiling of the Sistine Chapel. Not only did he slip in a portrait of his compatriot but he also rendered it in Michelangelo’s own style, using his techniques in depicting flesh tones and musculature. Raphael did the same thing with his image of Plato, giving him the features of Leonardo da Vinci and using da Vinci’s own sfumato style on the figures that surround him (Rowland 107).\r\n\r\nFurther to the right, sprawled on the steps, is the totally aloof figure of Diogenes. Diogenes was described by Boethius as “reclining in the temple of wisdom”, so this is how Raphael chose to portray him (qtd. in Rowland 107).  Further to the right in the foreground Euclid the great geometer is depicted with the features of Bramante, Raphael’s shape manipulating architect kinsman (Fiero). The three figures nearest him represent the stages of grasping a complex topic, advancing in comprehension along with their visual height: learning the basics, understanding and sharing, and anticipating the final results (Hall 13). Further to the right are Ptolemy and Zoroaster, two of the greatest known astronomers of the day (Hall 34). And if you look all the way to the right, the 2nd character from the side of the arch is a self portrait of Raphael himself. The young painter was already sure enough of his ability to include his own image alongside the greatest minds known to western society.\r\n\r\nHis self assurance may be somewhat justified. After seeing Raphael’s work in School of Athens, Pope Julius was so impressed that he dismissed all the other artists that were working on the project and gave the entire commission to Raphael (Talvacchia 172). This is the highest praise an artist of the day could ask for, that the most powerful man of the empire was entrusting him with the adornment of his entire personal living quarters. The work was viewed and described by many contemporary critics, who all praised its Unione and Dolcezza, or softness and sweetness in shading and coloring (Bell 87-88).\r\n\r\nModern reviewer Janis Bell agrees with the opinion of the original critics. In addition to praising the shading, or chiaroscuro, she points out that Raphael had used all the hues available to fresco artists in keeping with the traditions of copiousness and variety in color. He takes this a step further, lightening and darkening individual colors to give the impression of an expanded palette. The exact innovation that Raphael used to achieve this effect is still not known. He also avoids repetition and juxtaposes colors “so that when hues are replayed, they always recur in another context” (Bell 92-93).\r\n\r\nA comparison with another “Great Man” painting shows just how much progress was made with School of Athens. Pietro Perugino’s Fortitude and Temperance is closer to the norm for these paintings. The six figures stand poised and separate with no indication of interaction. They all gaze piously downward, expressing little of their own personality. In School of Athens, the characters are full of life and animation, living parts of the room around them. The figures in Fortitude and Temperance all bear some type of implement, perhaps indicating a particular skill or attribute, but this is a far cry from Raphael’s achievement of breathing personality into his collection of scholars. The disparity of dress in Fortitude and Temperance also seems to indicate a possible difference in status, whereas in School of Athens everyone was similarly clothed in the Greek, scholarly tradition, creating a sense that status was secondary to the knowledge they represented. Though they differ widely in technique, both frescoes are very well rendered and obviously done by great artists. What Fortitude and Temperance is missing though is the divine touch of a true master that was evident in School of Athens.\r\n\r\nMy first reaction to School of Athens was an overwhelming sense of awe at the work that must have gone into such a fine, detailed rendering. Fresco seems like it would be a very tricky medium to work in so this only added to my respect for Raphael’s skill. Then, when I found out that this painting was commissioned by the Renaissance era church I was completely shocked, never having thought that a group of pagan philosophers would be given such a great honor by the clergy of that day. Overall, it is a very impressive work that was only made possible by the open mindedness of a newly tolerant church.\r\n\r\nSo for future generations, this work should illustrate that tolerance and consideration of foreign ideas can sometimes be the path to enlightenment. It represents that even in the murky depths of history there were scholars hard at work laying the foundation for the modern, enlightened society that we now enjoy. It also gives an example of the first time in western history that spirituality and science were not considered to be mutually exclusive. These are all important lessons that School of Athens can teach, which is why future generations should be able to access and learn from this Renaissance masterpiece.\r\n\r\n&nbsp;\r\n\r\nBibliography:\r\n\r\nBell, Janis. “Color and Chiaroscuro.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 85-113. Print.\r\n\r\nBellori, Giovanni Pietro. “The Image of the Ancient Gymnasium of Athens, or, Philosophy.”\r\nRaphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge University Press, 1997. 48-56. Print.\r\n\r\nFiero, Gloria K. “The High Renaissance.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill\r\nHigher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 29 March 2011\r\n\r\nGraham-Dixon, Andrew. Renaissance. Berkeley and Los Angeles: University of California Press,\r\n1999. Print.\r\n\r\nHall, Marcia. Introduction. Raphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge\r\nUniversity Press, 1997. 1-47. Print.\r\n\r\nLiebermann, Ralph E. “The Architectural Background.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 64-84. Print.\r\n\r\nRowland, Ingrid D. “The Vatican Stanze.” The Cambridge Companion to Raphael. Ed. Marcia B.\r\nHall. Cambridge: Cambridge University Press, 2005. 95-119. Print.\r\n\r\nTalvacchia, Bette. “Raphael’s Workshop and the Development of a Managerial Style.” The\r\nCambridge Companion to Raphael. Ed. Marcia B. Hall. Cambridge: Cambridge University Press, 2005. 167-185. Print.','Raphael\'s School of Athens','','inherit','open','open','','848-revision-11','','','2011-04-11 14:21:54','2011-04-11 20:21:54','',848,'http://jeanatacc.com/2011/?p=985',0,'revision','',0),(986,5,'2011-04-11 14:37:24','2011-04-11 20:37:24','','Fort and Temp','','inherit','open','open','','fort-and-temp-2','','','2011-04-11 14:37:24','2011-04-11 20:37:24','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp1.jpg',0,'attachment','image/jpeg',0),(987,5,'2011-04-11 14:37:54','2011-04-11 20:37:54','','Fort and Temp','','inherit','open','open','','fort-and-temp-3','','','2011-04-11 14:37:54','2011-04-11 20:37:54','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp2.jpg',0,'attachment','image/jpeg',0),(988,5,'2011-04-11 14:40:07','2011-04-11 20:40:07','','Fort and Temp','','inherit','open','open','','fort-and-temp-4','','','2011-04-11 14:40:07','2011-04-11 20:40:07','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp3.jpg',0,'attachment','image/jpeg',0),(989,5,'2011-04-11 14:36:36','2011-04-11 20:36:36','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\"><img class=\"alignnone size-full wp-image-855\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\" alt=\"\" width=\"425\" height=\"336\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The High Renaissance”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nRaphael’s School of Athens is a masterfully rendered fresco that was created as part of a larger project to re-decorate Pope Julius’s personal library in the Vatican. It is part of a set of four complementary works that wrap around the room, each designating a different division of learning. School of Athens was meant to represent Philosophy, the love of knowledge, in its original sense which in that day encompassed science and mathematics along with what we would consider philosophic inquiry today. <!--more-->A full rethinking of the “Great Man” portrait, Raphael depicted all of the major scholars and philosophers of antiquity in the same space, in vibrant color, interacting with others and laboring in their various arts. This had never been done; nor had so many secular figures been depicted as pillars of knowledge in the most religious of settings. The combination of advanced skill and advancing attitude represented in School of Athens make it a landmark work that should be preserved to enlighten future generations.\r\n\r\nWhen Julius became Pope one of his first goals was to remake the city of Rome architecturally. To do this he hired architect Donato Bramante, a man with whom he shared little regard for the sanctity of the city’s current appearance. Nothing was sacred, not even Constantine’s St. Peter’s basilica, which was demolished for rebuilding to the chagrin of much of the laity. Julius took power at a time when the church was flush with cash from taxes laid on new papal territories and from an alum mine that had been discovered on church owned land. So Julius embarked on a campaign that was only limited by his imagination (Graham Dixon 178-179).\r\n\r\nThis included a full reworking of his personal living situation at the Vatican. Unhappy with artifacts that had been left by his predecessor, Pope Julius moved his living quarters upstairs to an area that included a room that would come to be known as the Stanza della Segnatura, or Signature Room, due to the Pope’s practice of using it to sign important documents. The room’s primary purpose was to house Julius’s personal library, which was divided into four topics: theology, law, the arts, and philosophy (Hall 5-7). Each wall was to be decorated with a representational fresco that corresponded with the topic shelved below it.\r\n\r\nIncluding a group of texts by pagan philosophers within the walls of a church institution represented a dramatic shift in the Church’s attitude toward secular science, made possible by a recent revival of Classical humanism. When the Ottoman Turks overthrew Constantinople a few decades before, a huge number of Greeks came to Rome seeking safety. Their presence led to a re-emergence of the traditional idea of shared origins for Greek and Roman culture. Julius himself had attended a lecture in 1508 where Rome was described as the “New Athens”, charged with preserving the culture of the ancients (Rowland 103). When work was begun on School of Athens in 1509 this must have been fresh in his mind.\r\n\r\nFollowing the tradition for libraries of the day, the room was to be decorated in the “Great Man” style which depicted scholars of renown in solitary portraits (Hall 7-8).  One of the many artists who had been commissioned for the project was a painter known as Raphael, who had received a recommendation from his kinsman, Bramante (Graham-Dixon 181). Raphael surpassed the static expectations of the form and gave life to a complete re-interpretation that was like nothing ever seen before (Hall 9).\r\n\r\nWhen looking at School of Athens, the first thing sensed is a feeling of depth, that the figures are truly separated from front to back. I say “sensed” and not “noticed’ because the effect is so well done that is seems completely natural, like a legitimate three dimensional rendering. He heightens this effect by placing his characters in a hard to define setting that has been the subject of much speculation. The figures stand on two distinct platforms that are separated by a row of four steps, upon which other characters are also situated. Overhead, stretching into the background are three sequential barrel vaults split by open spaces that allow the bright sky to illuminate his figures. Supporting these vaults are hallways that also seem to stretch into the background that are carved with niches filled with statues. On either side of this hall is a pillared wall, each holding one of the only completely identifiable statues in the composition. On the left is Apollo, on the right Athena.\r\n\r\nThese figures were most likely chosen due to the influence of Egidio da Viterbo, Pope Julius’s favorite preacher. He had recently compared these two pagan deities to Christ, a fact that Julius was certainly aware of. The Neoplatonic tradition of the day ascribed Apollo’s association with light, music and healing with the nature of Christ. Athena, virginal goddess of wisdom, had a strong association with the Virgin Mary, who was the subject of Julius’s great devotion (Rowland 104-105).  In his essay on School of Athens titled “The Architectural Background”, Ralph Liebermann describes them as “…the Olympian deities most closely associated with poetry and music, on the one hand, and wisdom, on the other; they stand, male and female, for all the powers of the mind and the creative spirit and appropriately preside over the gathering of philosophers” (78).\r\n\r\nThe imaginary structure they inhabit is a perfect example of a common practice of the day, trying out architectural ideas in the much cheaper medium of pigment. Some see a resemblance to Bramante’s design for the renewed St. Peter’s (Lieberman 69-70). There may have been some influence, but the central part of the ceiling gives evidence that this was an unbuildable structure that ultimately only served to give Raphael a means to play with perspective. The glimpse we see after the first ceiling vault implies a windowed dome, however there is far too much light in the scene for a dome to be present. If there is no dome and only an open space, then there is no need for the wall with vertical windows that extends upward (Lieberman 72). These experimental elements, while impractical, still add form and balance to the overall composition. The imagined space is also revolutionary in its copious use of statuary as decoration. This had no precedent in the Roman world and has caused some to wonder where Raphael received the inspiration to decorate the room in this way (Lieberman 79).\r\n\r\nThe figures themselves continue to give evidence of Raphael’s exuberant creativity. The piece is centered on the figures of Plato and Aristotle, each holding a labeled copy of the influential works that caused them to be the two most contemplated philosophers of the day. In her essay titled “The Vatican Stanze”, Ingrid D. Rowland does an excellent job of describing the significance of this depiction.\r\n\r\n\"Plato’s Timaeus, labeled in Italian as “Timeo”, is the first place in ancient literature where God is described as one being with three natures: a foreshadowing of the Trinity. Holding this proto-Trinitarian work in one hand, Plato points meaningfully upward with one finger of the other, directing the viewer to look toward heaven and the dome of Raphael’s great  hall to find the three-in-one divinity to which the fresco, the stanze, and the papacy are dedicated. Aristotle holds his Ethics, labeled “Etica”, and sweeps his hand out into the viewer’s space; the insights indicated by Plato have their repercussion in right human behavior. Aristotle’s elaborate treatise will be distilled by Jesus into two rules: love God and love your neighbor. By their own actions, Raphael’s Plato and Aristotle embody these two basic principles.\"\r\n\r\nTo the left stands the green robed figure of Socrates, gesturing instruction to an animated figure who may be Alcibiades, late breaking interlocutor of Plato’s Symposium (Rowland 106). In the foreground directly beneath Socrates’ pupil kneels Pythagoras, surrounded by his eager pupils, working on his theory of the harmonic proportions of music. One of his pupils holds out an abacus, used to represent the notes and intervals as another furiously copies over Pythagoras’ shoulder (Bellori 49-50). To the side of the group stands a figure in yellow, holding a slate that shows the Greek diapason, or perfect chord (Rowland 106). Pythagoras’ involvement with music extended to his using it for therapeutic purposes, and led Raphael to feature him near Apollo, the god of music. Plato even equated Pythagoras’ harmonic proportions to understanding the human soul in the very work he holds in the painting, Timaeus (Hall 33-34).\r\n\r\nJust to our right of this group reclines a depiction of Heraclitus, who Raphael in his playfulness decided to give the features of Michelangelo, who was hard at work next door on the ceiling of the Sistine Chapel. Not only did he slip in a portrait of his compatriot but he also rendered it in Michelangelo’s own style, using his techniques in depicting flesh tones and musculature. Raphael did the same thing with his image of Plato, giving him the features of Leonardo da Vinci and using da Vinci’s own sfumato style on the figures that surround him (Rowland 107).\r\n\r\nFurther to the right, sprawled on the steps, is the totally aloof figure of Diogenes. Diogenes was described by Boethius as “reclining in the temple of wisdom”, so this is how Raphael chose to portray him (qtd. in Rowland 107).  Further to the right in the foreground Euclid the great geometer is depicted with the features of Bramante, Raphael’s shape manipulating architect kinsman (Fiero). The three figures nearest him represent the stages of grasping a complex topic, advancing in comprehension along with their visual height: learning the basics, understanding and sharing, and anticipating the final results (Hall 13). Further to the right are Ptolemy and Zoroaster, two of the greatest known astronomers of the day (Hall 34). And if you look all the way to the right, the 2nd character from the side of the arch is a self portrait of Raphael himself. The young painter was already sure enough of his ability to include his own image alongside the greatest minds known to western society.\r\n\r\nHis self assurance may be somewhat justified. After seeing Raphael’s work in School of Athens, Pope Julius was so impressed that he dismissed all the other artists that were working on the project and gave the entire commission to Raphael (Talvacchia 172). This is the highest praise an artist of the day could ask for, that the most powerful man of the empire was entrusting him with the adornment of his entire personal living quarters. The work was viewed and described by many contemporary critics, who all praised its Unione and Dolcezza, or softness and sweetness in shading and coloring (Bell 87-88).\r\n\r\nModern reviewer Janis Bell agrees with the opinion of the original critics. In addition to praising the shading, or chiaroscuro, she points out that Raphael had used all the hues available to fresco artists in keeping with the traditions of copiousness and variety in color. He takes this a step further, lightening and darkening individual colors to give the impression of an expanded palette. The exact innovation that Raphael used to achieve this effect is still not known. He also avoids repetition and juxtaposes colors “so that when hues are replayed, they always recur in another context” (Bell 92-93).\r\n\r\nA comparison with another “Great Man” painting shows just how much progress was made with School of Athens. Pietro Perugino’s Fortitude and Temperance is closer to the norm for these paintings. The six figures stand poised and separate with no indication of interaction. They all gaze piously downward, expressing little of their own personality. In School of Athens, the characters are full of life and animation, living parts of the room around them. The figures in Fortitude and Temperance all bear some type of implement, perhaps indicating a particular skill or attribute, but this is a far cry from Raphael’s achievement of breathing personality into his collection of scholars. The disparity of dress in Fortitude and Temperance also seems to indicate a possible difference in status, whereas in School of Athens everyone was similarly clothed in the Greek, scholarly tradition, creating a sense that status was secondary to the knowledge they represented. Though they differ widely in technique, both frescoes are very well rendered and obviously done by great artists. What Fortitude and Temperance is missing though is the divine touch of a true master that was evident in School of Athens.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp.jpg\"><img class=\"alignnone size-full wp-image-984\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp.jpg\" alt=\"\" width=\"640\" height=\"472\" /></a>\r\n\r\nSource: Classicartpaintings.com\r\n\r\nhttp://www.classicartpaintings.com/Painters-P/Pietro+Perugino+_1445-1523_/Perugino_Pietro_Fortitude_and_Temperance_with_Six_Antique_Heroes_1497.jpg.html\r\n\r\nMy first reaction to School of Athens was an overwhelming sense of awe at the work that must have gone into such a fine, detailed rendering. Fresco seems like it would be a very tricky medium to work in so this only added to my respect for Raphael’s skill. Then, when I found out that this painting was commissioned by the Renaissance era church I was completely shocked, never having thought that a group of pagan philosophers would be given such a great honor by the clergy of that day. Overall, it is a very impressive work that was only made possible by the open mindedness of a newly tolerant church.\r\n\r\nSo for future generations, this work should illustrate that tolerance and consideration of foreign ideas can sometimes be the path to enlightenment. It represents that even in the murky depths of history there were scholars hard at work laying the foundation for the modern, enlightened society that we now enjoy. It also gives an example of the first time in western history that spirituality and science were not considered to be mutually exclusive. These are all important lessons that School of Athens can teach, which is why future generations should be able to access and learn from this Renaissance masterpiece.\r\n\r\n&nbsp;\r\n\r\nBibliography:\r\n\r\nBell, Janis. “Color and Chiaroscuro.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 85-113. Print.\r\n\r\nBellori, Giovanni Pietro. “The Image of the Ancient Gymnasium of Athens, or, Philosophy.”\r\nRaphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge University Press, 1997. 48-56. Print.\r\n\r\nFiero, Gloria K. “The High Renaissance.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill\r\nHigher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 29 March 2011\r\n\r\nGraham-Dixon, Andrew. Renaissance. Berkeley and Los Angeles: University of California Press,\r\n1999. Print.\r\n\r\nHall, Marcia. Introduction. Raphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge\r\nUniversity Press, 1997. 1-47. Print.\r\n\r\nLiebermann, Ralph E. “The Architectural Background.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 64-84. Print.\r\n\r\nRowland, Ingrid D. “The Vatican Stanze.” The Cambridge Companion to Raphael. Ed. Marcia B.\r\nHall. Cambridge: Cambridge University Press, 2005. 95-119. Print.\r\n\r\nTalvacchia, Bette. “Raphael’s Workshop and the Development of a Managerial Style.” The\r\nCambridge Companion to Raphael. Ed. Marcia B. Hall. Cambridge: Cambridge University Press, 2005. 167-185. Print.','Raphael\'s School of Athens','','inherit','open','open','','848-revision-12','','','2011-04-11 14:36:36','2011-04-11 20:36:36','',848,'http://jeanatacc.com/2011/?p=989',0,'revision','',0),(990,5,'2011-04-11 14:41:47','2011-04-11 20:41:47','','Fort and Temp','','inherit','open','open','','fort-and-temp-5','','','2011-04-11 14:41:47','2011-04-11 20:41:47','',848,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp4.jpg',0,'attachment','image/jpeg',0),(991,5,'2011-04-11 14:40:32','2011-04-11 20:40:32','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\"><img class=\"alignnone size-full wp-image-855\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/School-of-Athens2.png\" alt=\"\" width=\"425\" height=\"336\" /></a>\r\n\r\nSource:  Gloria K. Fiero; “The High Renaissance”; The Humanistic Tradition Vol. 1 (2011):  N. pag.; Web.\r\n\r\nRaphael’s School of Athens is a masterfully rendered fresco that was created as part of a larger project to re-decorate Pope Julius’s personal library in the Vatican. It is part of a set of four complementary works that wrap around the room, each designating a different division of learning. School of Athens was meant to represent Philosophy, the love of knowledge, in its original sense which in that day encompassed science and mathematics along with what we would consider philosophic inquiry today. <!--more-->A full rethinking of the “Great Man” portrait, Raphael depicted all of the major scholars and philosophers of antiquity in the same space, in vibrant color, interacting with others and laboring in their various arts. This had never been done; nor had so many secular figures been depicted as pillars of knowledge in the most religious of settings. The combination of advanced skill and advancing attitude represented in School of Athens make it a landmark work that should be preserved to enlighten future generations.\r\n\r\nWhen Julius became Pope one of his first goals was to remake the city of Rome architecturally. To do this he hired architect Donato Bramante, a man with whom he shared little regard for the sanctity of the city’s current appearance. Nothing was sacred, not even Constantine’s St. Peter’s basilica, which was demolished for rebuilding to the chagrin of much of the laity. Julius took power at a time when the church was flush with cash from taxes laid on new papal territories and from an alum mine that had been discovered on church owned land. So Julius embarked on a campaign that was only limited by his imagination (Graham Dixon 178-179).\r\n\r\nThis included a full reworking of his personal living situation at the Vatican. Unhappy with artifacts that had been left by his predecessor, Pope Julius moved his living quarters upstairs to an area that included a room that would come to be known as the Stanza della Segnatura, or Signature Room, due to the Pope’s practice of using it to sign important documents. The room’s primary purpose was to house Julius’s personal library, which was divided into four topics: theology, law, the arts, and philosophy (Hall 5-7). Each wall was to be decorated with a representational fresco that corresponded with the topic shelved below it.\r\n\r\nIncluding a group of texts by pagan philosophers within the walls of a church institution represented a dramatic shift in the Church’s attitude toward secular science, made possible by a recent revival of Classical humanism. When the Ottoman Turks overthrew Constantinople a few decades before, a huge number of Greeks came to Rome seeking safety. Their presence led to a re-emergence of the traditional idea of shared origins for Greek and Roman culture. Julius himself had attended a lecture in 1508 where Rome was described as the “New Athens”, charged with preserving the culture of the ancients (Rowland 103). When work was begun on School of Athens in 1509 this must have been fresh in his mind.\r\n\r\nFollowing the tradition for libraries of the day, the room was to be decorated in the “Great Man” style which depicted scholars of renown in solitary portraits (Hall 7-8).  One of the many artists who had been commissioned for the project was a painter known as Raphael, who had received a recommendation from his kinsman, Bramante (Graham-Dixon 181). Raphael surpassed the static expectations of the form and gave life to a complete re-interpretation that was like nothing ever seen before (Hall 9).\r\n\r\nWhen looking at School of Athens, the first thing sensed is a feeling of depth, that the figures are truly separated from front to back. I say “sensed” and not “noticed’ because the effect is so well done that is seems completely natural, like a legitimate three dimensional rendering. He heightens this effect by placing his characters in a hard to define setting that has been the subject of much speculation. The figures stand on two distinct platforms that are separated by a row of four steps, upon which other characters are also situated. Overhead, stretching into the background are three sequential barrel vaults split by open spaces that allow the bright sky to illuminate his figures. Supporting these vaults are hallways that also seem to stretch into the background that are carved with niches filled with statues. On either side of this hall is a pillared wall, each holding one of the only completely identifiable statues in the composition. On the left is Apollo, on the right Athena.\r\n\r\nThese figures were most likely chosen due to the influence of Egidio da Viterbo, Pope Julius’s favorite preacher. He had recently compared these two pagan deities to Christ, a fact that Julius was certainly aware of. The Neoplatonic tradition of the day ascribed Apollo’s association with light, music and healing with the nature of Christ. Athena, virginal goddess of wisdom, had a strong association with the Virgin Mary, who was the subject of Julius’s great devotion (Rowland 104-105).  In his essay on School of Athens titled “The Architectural Background”, Ralph Liebermann describes them as “…the Olympian deities most closely associated with poetry and music, on the one hand, and wisdom, on the other; they stand, male and female, for all the powers of the mind and the creative spirit and appropriately preside over the gathering of philosophers” (78).\r\n\r\nThe imaginary structure they inhabit is a perfect example of a common practice of the day, trying out architectural ideas in the much cheaper medium of pigment. Some see a resemblance to Bramante’s design for the renewed St. Peter’s (Lieberman 69-70). There may have been some influence, but the central part of the ceiling gives evidence that this was an unbuildable structure that ultimately only served to give Raphael a means to play with perspective. The glimpse we see after the first ceiling vault implies a windowed dome, however there is far too much light in the scene for a dome to be present. If there is no dome and only an open space, then there is no need for the wall with vertical windows that extends upward (Lieberman 72). These experimental elements, while impractical, still add form and balance to the overall composition. The imagined space is also revolutionary in its copious use of statuary as decoration. This had no precedent in the Roman world and has caused some to wonder where Raphael received the inspiration to decorate the room in this way (Lieberman 79).\r\n\r\nThe figures themselves continue to give evidence of Raphael’s exuberant creativity. The piece is centered on the figures of Plato and Aristotle, each holding a labeled copy of the influential works that caused them to be the two most contemplated philosophers of the day. In her essay titled “The Vatican Stanze”, Ingrid D. Rowland does an excellent job of describing the significance of this depiction.\r\n\r\n\"Plato’s Timaeus, labeled in Italian as “Timeo”, is the first place in ancient literature where God is described as one being with three natures: a foreshadowing of the Trinity. Holding this proto-Trinitarian work in one hand, Plato points meaningfully upward with one finger of the other, directing the viewer to look toward heaven and the dome of Raphael’s great  hall to find the three-in-one divinity to which the fresco, the stanze, and the papacy are dedicated. Aristotle holds his Ethics, labeled “Etica”, and sweeps his hand out into the viewer’s space; the insights indicated by Plato have their repercussion in right human behavior. Aristotle’s elaborate treatise will be distilled by Jesus into two rules: love God and love your neighbor. By their own actions, Raphael’s Plato and Aristotle embody these two basic principles.\"\r\n\r\nTo the left stands the green robed figure of Socrates, gesturing instruction to an animated figure who may be Alcibiades, late breaking interlocutor of Plato’s Symposium (Rowland 106). In the foreground directly beneath Socrates’ pupil kneels Pythagoras, surrounded by his eager pupils, working on his theory of the harmonic proportions of music. One of his pupils holds out an abacus, used to represent the notes and intervals as another furiously copies over Pythagoras’ shoulder (Bellori 49-50). To the side of the group stands a figure in yellow, holding a slate that shows the Greek diapason, or perfect chord (Rowland 106). Pythagoras’ involvement with music extended to his using it for therapeutic purposes, and led Raphael to feature him near Apollo, the god of music. Plato even equated Pythagoras’ harmonic proportions to understanding the human soul in the very work he holds in the painting, Timaeus (Hall 33-34).\r\n\r\nJust to our right of this group reclines a depiction of Heraclitus, who Raphael in his playfulness decided to give the features of Michelangelo, who was hard at work next door on the ceiling of the Sistine Chapel. Not only did he slip in a portrait of his compatriot but he also rendered it in Michelangelo’s own style, using his techniques in depicting flesh tones and musculature. Raphael did the same thing with his image of Plato, giving him the features of Leonardo da Vinci and using da Vinci’s own sfumato style on the figures that surround him (Rowland 107).\r\n\r\nFurther to the right, sprawled on the steps, is the totally aloof figure of Diogenes. Diogenes was described by Boethius as “reclining in the temple of wisdom”, so this is how Raphael chose to portray him (qtd. in Rowland 107).  Further to the right in the foreground Euclid the great geometer is depicted with the features of Bramante, Raphael’s shape manipulating architect kinsman (Fiero). The three figures nearest him represent the stages of grasping a complex topic, advancing in comprehension along with their visual height: learning the basics, understanding and sharing, and anticipating the final results (Hall 13). Further to the right are Ptolemy and Zoroaster, two of the greatest known astronomers of the day (Hall 34). And if you look all the way to the right, the 2nd character from the side of the arch is a self portrait of Raphael himself. The young painter was already sure enough of his ability to include his own image alongside the greatest minds known to western society.\r\n\r\nHis self assurance may be somewhat justified. After seeing Raphael’s work in School of Athens, Pope Julius was so impressed that he dismissed all the other artists that were working on the project and gave the entire commission to Raphael (Talvacchia 172). This is the highest praise an artist of the day could ask for, that the most powerful man of the empire was entrusting him with the adornment of his entire personal living quarters. The work was viewed and described by many contemporary critics, who all praised its Unione and Dolcezza, or softness and sweetness in shading and coloring (Bell 87-88).\r\n\r\nModern reviewer Janis Bell agrees with the opinion of the original critics. In addition to praising the shading, or chiaroscuro, she points out that Raphael had used all the hues available to fresco artists in keeping with the traditions of copiousness and variety in color. He takes this a step further, lightening and darkening individual colors to give the impression of an expanded palette. The exact innovation that Raphael used to achieve this effect is still not known. He also avoids repetition and juxtaposes colors “so that when hues are replayed, they always recur in another context” (Bell 92-93).\r\n\r\nA comparison with another “Great Man” painting shows just how much progress was made with School of Athens. Pietro Perugino’s Fortitude and Temperance is closer to the norm for these paintings. The six figures stand poised and separate with no indication of interaction. They all gaze piously downward, expressing little of their own personality. In School of Athens, the characters are full of life and animation, living parts of the room around them. The figures in Fortitude and Temperance all bear some type of implement, perhaps indicating a particular skill or attribute, but this is a far cry from Raphael’s achievement of breathing personality into his collection of scholars. The disparity of dress in Fortitude and Temperance also seems to indicate a possible difference in status, whereas in School of Athens everyone was similarly clothed in the Greek, scholarly tradition, creating a sense that status was secondary to the knowledge they represented. Though they differ widely in technique, both frescoes are very well rendered and obviously done by great artists. What Fortitude and Temperance is missing though is the divine touch of a true master that was evident in School of Athens.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp3.jpg\"><img class=\"alignnone size-full wp-image-988\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Fort-and-Temp3.jpg\" alt=\"\" width=\"640\" height=\"472\" /></a>\r\n\r\nSource: Classicartpaintings.com\r\n\r\nhttp://www.classicartpaintings.com/Painters-P/Pietro+Perugino+_1445-1523_/Perugino_Pietro_Fortitude_and_Temperance_with_Six_Antique_Heroes_1497.jpg.html\r\n\r\nMy first reaction to School of Athens was an overwhelming sense of awe at the work that must have gone into such a fine, detailed rendering. Fresco seems like it would be a very tricky medium to work in so this only added to my respect for Raphael’s skill. Then, when I found out that this painting was commissioned by the Renaissance era church I was completely shocked, never having thought that a group of pagan philosophers would be given such a great honor by the clergy of that day. Overall, it is a very impressive work that was only made possible by the open mindedness of a newly tolerant church.\r\n\r\nSo for future generations, this work should illustrate that tolerance and consideration of foreign ideas can sometimes be the path to enlightenment. It represents that even in the murky depths of history there were scholars hard at work laying the foundation for the modern, enlightened society that we now enjoy. It also gives an example of the first time in western history that spirituality and science were not considered to be mutually exclusive. These are all important lessons that School of Athens can teach, which is why future generations should be able to access and learn from this Renaissance masterpiece.\r\n\r\n&nbsp;\r\n\r\nBibliography:\r\n\r\nBell, Janis. “Color and Chiaroscuro.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 85-113. Print.\r\n\r\nBellori, Giovanni Pietro. “The Image of the Ancient Gymnasium of Athens, or, Philosophy.”\r\nRaphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge University Press, 1997. 48-56. Print.\r\n\r\nFiero, Gloria K. “The High Renaissance.” The Humanistic Tradition Vol. 1. By Fiero. McGraw-Hill\r\nHigher Education, 2011. N. pag. McGraw Hill’s Connect. Web. 29 March 2011\r\n\r\nGraham-Dixon, Andrew. Renaissance. Berkeley and Los Angeles: University of California Press,\r\n1999. Print.\r\n\r\nHall, Marcia. Introduction. Raphael’s School of Athens. Ed. Marcia Hall. Cambridge: Cambridge\r\nUniversity Press, 1997. 1-47. Print.\r\n\r\nLiebermann, Ralph E. “The Architectural Background.” Raphael’s School of Athens. Ed. Marcia\r\nHall. Cambridge: Cambridge University Press, 1997. 64-84. Print.\r\n\r\nRowland, Ingrid D. “The Vatican Stanze.” The Cambridge Companion to Raphael. Ed. Marcia B.\r\nHall. Cambridge: Cambridge University Press, 2005. 95-119. Print.\r\n\r\nTalvacchia, Bette. “Raphael’s Workshop and the Development of a Managerial Style.” The\r\nCambridge Companion to Raphael. Ed. Marcia B. Hall. Cambridge: Cambridge University Press, 2005. 167-185. Print.','Raphael\'s School of Athens','','inherit','open','open','','848-revision-13','','','2011-04-11 14:40:32','2011-04-11 20:40:32','',848,'http://jeanatacc.com/2011/?p=991',0,'revision','',0),(993,12,'2011-04-11 14:51:00','2011-04-11 20:51:00','Botticelli: The Birth of Venus\r\n\r\n<img class=\"aligncenter\" src=\"http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\" alt=\"\" width=\"540\" height=\"342\" />\r\n<p style=\"text-align: center;\">http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg</p>\r\n<!--more-->\r\n\r\nSandro Botticelli was an Italian painter of the Florentine school during the early renaissance. It is said that it was Botticelli’s belief that “objects of physical beauty move the soul to desire unity with God, divine fount of beauty and truth (Fiero, Gloria K).” It is my belief that Botticelli was triumphant in creating the most breath taking painting ever created, The Birth of Venus. This painting is the definition of beauty and needs to be saved for our future generations.\r\n<div>\r\n\r\nThe Birth of Venus was commissioned by Lorenzo di Pierfrancesco de’Medici for the villa of Castello. In Previous eras, the painter had a specific story to tell on a specific spot; however, in Botticelli’s case, he was commissioned to paint whatever he desired. So, he chose to stay in the typical ‘closed’ renaissance style—meaning figures are shown in full. Because of this the story was critical, and had to be expressed in complete accuracy and detail (Bertsch, Cole).\r\n\r\nThe Birth of Venus was completed in 1485 on Canvas, which was fairly unusual for its time. Most artists used more expensive wooden panels, but this approach was not practical for the technique needed. Botticelli used a paint made of thin tempera, based on the use of diluted egg yolk (Johnson, Mary), which gives the paint an aspect of extraordinary transparency, allowing the magnificent highlights and softness used in the painting.\r\n\r\nThe story of this art starts off by first already knowing the myth of where Venus came from. During the middle ages, legends of the creations of the world and all its inhabitants were restricted to the stories of the Bible, all other beliefs were taken with a grain of salt. The Renaissance however brought the wisdom of the Greeks and considered the myths to be invaluable information of the past. The Greeks had thought that when the titan Cronus castrated his father, the god Uranus, his genitals fell into the sea—enabling the fertilization of Venus (Bertsch, Cole).\r\n\r\nFrom this story Botticelli depicts Venus being born from sea foam.  Standing naked on a pearlescent scallop shell, her right hand covers only her right breast, with long billowing hair to cover her pubic parts. Yet while looking at her, you start to wonder, “Have I seen this woman before?” Chances are you have. Botticelli never married; the popular view is that he suffered from unrequited love for Simonetta Vespucci, a married noblewoman that was coveted by many men. According to legend, she had served as the model for The Birth of Venus and reoccurs throughout his and others paintings, such as, Mars and Venus, La primavera, and Pallas Athena and the Centaur, to name a few (Niyazi, H).\r\n\r\nNow as to who accompanies her on this canvas is debatable. On her right are two beings, a man and a woman, flying above the sea, blowing Venus westward towards the shores of Paphos on the island of Cyprus. While everyone agrees that the man is the Greek god of the west wind, Zephyrus, the girl he is holding remains unclear. Some say she is Chloris, a Nymph that is associated with spring and flowers, and wife of Zephyrus.  Others say she is the titan goddess Aura, who is a divine personification of breezes.\r\n\r\nOn the shore, a woman in a flowery dress is awaiting Venus with a pink robe like garment, ready to cover her up. It is spectated that this woman is Pomona, the goddess of fruit trees and fecundity (Fiero, Gloria K). Many say she the Horai goddess of springtime due to the abundance of flowers and springtime like nature of the painting, however, it is popular belief that she is merely a visual representation of the city of Florence, receiving Venus as a welcomed gift from the Gods.\r\n\r\n</div>\r\n<div>\r\n\r\nNo matter who accompanies her, it is obvious that Venus is the center of attention, due to the fact that everything is angled towards her. The angle that the wind gods are positioned urges the eye to focus on Venus, as well as the way the robe seems ready to float onto her body. If separated from the rest of the painting and viewed solely, the movement of her body is enough evidence of her beauty and importance. Sculpted with very soft lines, the way her right foot dangles behind the other, and the way her arms move across her body, gives the impression of her innocence and elegance; separating her from the other figures. She is so beautiful that one tends to not even notice that Botticelli altered the nature of human anatomy. Venus has steep falling shoulders, and an unnaturally long neck —all to create a graceful harmonic outline (Bertsch, Cole). The uniqueness of this painting still receives wide scholarly attention even to this day.\r\n\r\nThis magnificent artwork wasn’t painted alone; it has a twin, La Primavera. Painted in 1482, before The Birth of Venus was created, it is meant to be placed in the same room. The two paintings together showed two parts of Venus.  In one, Venus has just been born, young and radiant, arriving on a shore where the fruit hasn’t yet been produced from the trees, and being welcomed by the world.  In the other, Venus is older and dressed in extravagant clothing, the trees are lush with flowers and fruit, and people are rejoicing. But, instead of being an object of beauty, she now represents love and marriage.  Even though both paintings are indeed breath taking, when placed side by side, you just can’t help but be drawn back to The Birth of Venus (Bowman, David).\r\n\r\nWe live in a world of death and violence; it constantly surrounds us. Without The Birth of Venus, how are we going to teach our children what the true meaning of love and beauty actually is? If we don’t preserve this gorgeous symbolic image of flawlessness, it would be stripping our society of all things that are incorrupt and harmonious, and that would be catastrophic.\r\n\r\n&nbsp;\r\n\r\nCitation\r\n\r\nBertsch, Cole. \"The Birth of Venus.\" <em>Sauk</em><em> </em><em>Valley</em><em> </em><em>Community College</em><em> - Home</em>. Colebott. Web. 04 Apr. 2011. &lt;http://www.svcc.edu/academics/classes/murray/Ezine/colebott.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nBowman, David. \"Birth of Venus and La Primavera Conjoined - Alternative View on Art, Architecture and Religion.\" <em>Alternative Information Newsletter - Alternative View on Art, Architecture and Religion</em>. 2008. Web. 10 Apr. 2011. &lt;http://www.aiwaz.net/article/Birth-of-Venus-and-La-Primavera-Conjoined/a115&gt;.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. \"Chapter 17. Renaissance Artists: Disciples of Nature, Masters of Invention Ca. 1400–1600.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B3.44+. Print.\r\n\r\n&nbsp;\r\n\r\nJohnson, Mary. \"Botticelli.\" <em>Gilford Multimedia: Since 1972 South Jersey\'s Oldest Existing Ad Agency</em>. Web. 07 Apr. 2011. &lt;http://www.sohoart.com/botticelli.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nNiyazi, H. \"Simonetta Vespucci: a Renaissance Muse?\" <em>Three Pipe Problem</em>. 26 Apr. 2010. Web. 07 Apr. 2011. &lt;http://www.3pipe.net/2010/04/simonetta-vespucci-real-life-muse-of.html&gt;.\r\n\r\n</div>','The Birth of Venus','','publish','open','open','','the-birth-of-venus','','','2011-05-08 13:34:16','2011-05-08 19:34:16','',0,'http://jeanatacc.com/2011/?p=993',0,'post','',8),(994,12,'2011-04-11 14:49:32','2011-04-11 20:49:32','Botticelli: The Birth of Venus\n\n<img class=\"alignnone\" src=\"http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\" alt=\"\" width=\"540\" height=\"342\" /><!--more-->\n\nSandro Botticelli was an Italian painter of the Florentine school during the early renaissance. It is said that it was Botticelli’s belief that “objects of physical beauty move the soul to desire unity with God, divine fount of beauty and truth (Fiero, Gloria K).” It is my belief that Botticelli was triumphant in creating the most breath taking painting ever created, The Birth of Venus. This painting is the definition of beauty and needs to be saved for our future generations.\n<div>\n\nThe Birth of Venus was commissioned by Lorenzo di Pierfrancesco de’Medici for the villa of Castello. In Previous eras, the painter had a specific story to tell on a specific spot; however, in Botticelli’s case, he was commissioned to paint whatever he desired. So, he chose to stay in the typical ‘closed’ renaissance style—meaning figures are shown in full. Because of this the story was critical, and had to be expressed in complete accuracy and detail (Bertsch, Cole).\n\nThe Birth of Venus was completed in 1485 on Canvas, which was fairly unusual for its time. Most artists used more expensive wooden panels, but this approach was not practical for the technique needed. Botticelli used a paint made of thin tempera, based on the use of diluted egg yolk (Johnson, Mary), which gives the paint an aspect of extraordinary transparency, allowing the magnificent highlights and softness used in the painting.\n\nThe story of this art starts off by first already knowing the myth of where Venus came from. During the middle ages, legends of the creations of the world and all its inhabitants were restricted to the stories of the Bible, all other beliefs were taken with a grain of salt. The Renaissance however brought the wisdom of the Greeks and considered the myths to be invaluable information of the past. The Greeks had thought that when the titan Cronus castrated his father, the god Uranus, his genitals fell into the sea—enabling the fertilization of Venus (Bertsch, Cole).\n\nFrom this story Botticelli depicts Venus being born from sea foam.  Standing naked on a pearlescent scallop shell, her right hand covers only her right breast, with long billowing hair to cover her pubic parts. Yet while looking at her, you start to wonder, “Have I seen this woman before?” Chances are you have. Botticelli never married; the popular view is that he suffered from unrequited love for Simonetta Vespucci, a married noblewoman that was coveted by many men. According to legend, she had served as the model for The Birth of Venus and reoccurs throughout his and others paintings, such as, Mars and Venus, La primavera, and Pallas Athena and the Centaur, to name a few (Niyazi, H).\n\nNow as to who accompanies her on this canvas is debatable. On her right are two beings, a man and a woman, flying above the sea, blowing Venus westward towards the shores of Paphos on the island of Cyprus. While everyone agrees that the man is the Greek god of the west wind, Zephyrus, the girl he is holding remains unclear. Some say she is Chloris, a Nymph that is associated with spring and flowers, and wife of Zephyrus.  Others say she is the titan goddess Aura, who is a divine personification of breezes.\n\nOn the shore, a woman in a flowery dress is awaiting Venus with a pink robe like garment, ready to cover her up. It is spectated that this woman is Pomona, the goddess of fruit trees and fecundity (Fiero, Gloria K). Many say she the Horai goddess of springtime due to the abundance of flowers and springtime like nature of the painting, however, it is popular belief that she is merely a visual representation of the city of Florence, receiving Venus as a welcomed gift from the Gods.\n\n</div>\n<div>\n\nNo matter who accompanies her, it is obvious that Venus is the center of attention, due to the fact that everything is angled towards her. The angle that the wind gods are positioned urges the eye to focus on Venus, as well as the way the robe seems ready to float onto her body. If separated from the rest of the painting and viewed solely, the movement of her body is enough evidence of her beauty and importance. Sculpted with very soft lines, the way her right foot dangles behind the other, and the way her arms move across her body, gives the impression of her innocence and elegance; separating her from the other figures. She is so beautiful that one tends to not even notice that Botticelli altered the nature of human anatomy. Venus has steep falling shoulders, and an unnaturally long neck —all to create a graceful harmonic outline (Bertsch, Cole). The uniqueness of this painting still receives wide scholarly attention even to this day.\n\nThis magnificent artwork wasn’t painted alone; it has a twin, La Primavera. Painted in 1482, before The Birth of Venus was created, it is meant to be placed in the same room. The two paintings together showed two parts of Venus.  In one, Venus has just been born, young and radiant, arriving on a shore where the fruit hasn’t yet been produced from the trees, and being welcomed by the world.  In the other, Venus is older and dressed in extravagant clothing, the trees are lush with flowers and fruit, and people are rejoicing. But, instead of being an object of beauty, she now represents love and marriage.  Even though both paintings are indeed breath taking, when placed side by side, you just can’t help but be drawn back to The Birth of Venus (Bowman, David).\n\nWe live in a world of death and violence; it constantly surrounds us. Without The Birth of Venus, how are we going to teach our children what the true meaning of love and beauty actually is? If we don’t preserve this gorgeous symbolic image of flawlessness, it would be stripping our society of all things that are incorrupt and harmonious, and that would be catastrophic.\n\n&nbsp;\n\nCitation\n\nBertsch, Cole. \"The Birth of Venus.\" <em>Sauk</em><em> </em><em>Valley</em><em> </em><em>Community College</em><em> - Home</em>. Colebott. Web. 04 Apr. 2011. &lt;http://www.svcc.edu/academics/classes/murray/Ezine/colebott.htm&gt;.\n\n&nbsp;\n\nBowman, David. \"Birth of Venus and La Primavera Conjoined - Alternative View on Art, Architecture and Religion.\" <em>Alternative Information Newsletter - Alternative View on Art, Architecture and Religion</em>. 2008. Web. 10 Apr. 2011. &lt;http://www.aiwaz.net/article/Birth-of-Venus-and-La-Primavera-Conjoined/a115&gt;.\n\n&nbsp;\n\nFiero, Gloria K. \"Chapter 17. Renaissance Artists: Disciples of Nature, Masters of Invention Ca. 1400–1600.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B3.44+. Print.\n\n&nbsp;\n\nJohnson, Mary. \"Botticelli.\" <em>Gilford Multimedia: Since 1972 South Jersey\'s Oldest Existing Ad Agency</em>. Web. 07 Apr. 2011. &lt;http://www.sohoart.com/botticelli.htm&gt;.\n\n&nbsp;\n\nNiyazi, H. \"Simonetta Vespucci: a Renaissance Muse?\" <em>Three Pipe Problem</em>. 26 Apr. 2010. Web. 07 Apr. 2011. &lt;http://www.3pipe.net/2010/04/simonetta-vespucci-real-life-muse-of.html&gt;.\n\n</div>','The Birth of Venus','','inherit','open','open','','993-revision','','','2011-04-11 14:49:32','2011-04-11 20:49:32','',993,'http://jeanatacc.com/2011/?p=994',0,'revision','',0),(995,12,'2011-04-11 14:50:32','2011-04-11 20:50:32','Botticelli: The Birth of Venus\n\n<img class=\"alignnone\" src=\"http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\" alt=\"\" width=\"540\" height=\"342\" /><!--more-->\n\nSandro Botticelli was an Italian painter of the Florentine school during the early renaissance. It is said that it was Botticelli’s belief that “objects of physical beauty move the soul to desire unity with God, divine fount of beauty and truth (Fiero, Gloria K).” It is my belief that Botticelli was triumphant in creating the most breath taking painting ever created, The Birth of Venus. This painting is the definition of beauty and needs to be saved for our future generations.\n<div>\n\nThe Birth of Venus was commissioned by Lorenzo di Pierfrancesco de’Medici for the villa of Castello. In Previous eras, the painter had a specific story to tell on a specific spot; however, in Botticelli’s case, he was commissioned to paint whatever he desired. So, he chose to stay in the typical ‘closed’ renaissance style—meaning figures are shown in full. Because of this the story was critical, and had to be expressed in complete accuracy and detail (Bertsch, Cole).\n\nThe Birth of Venus was completed in 1485 on Canvas, which was fairly unusual for its time. Most artists used more expensive wooden panels, but this approach was not practical for the technique needed. Botticelli used a paint made of thin tempera, based on the use of diluted egg yolk (Johnson, Mary), which gives the paint an aspect of extraordinary transparency, allowing the magnificent highlights and softness used in the painting.\n\nThe story of this art starts off by first already knowing the myth of where Venus came from. During the middle ages, legends of the creations of the world and all its inhabitants were restricted to the stories of the Bible, all other beliefs were taken with a grain of salt. The Renaissance however brought the wisdom of the Greeks and considered the myths to be invaluable information of the past. The Greeks had thought that when the titan Cronus castrated his father, the god Uranus, his genitals fell into the sea—enabling the fertilization of Venus (Bertsch, Cole).\n\nFrom this story Botticelli depicts Venus being born from sea foam.  Standing naked on a pearlescent scallop shell, her right hand covers only her right breast, with long billowing hair to cover her pubic parts. Yet while looking at her, you start to wonder, “Have I seen this woman before?” Chances are you have. Botticelli never married; the popular view is that he suffered from unrequited love for Simonetta Vespucci, a married noblewoman that was coveted by many men. According to legend, she had served as the model for The Birth of Venus and reoccurs throughout his and others paintings, such as, Mars and Venus, La primavera, and Pallas Athena and the Centaur, to name a few (Niyazi, H).\n\nNow as to who accompanies her on this canvas is debatable. On her right are two beings, a man and a woman, flying above the sea, blowing Venus westward towards the shores of Paphos on the island of Cyprus. While everyone agrees that the man is the Greek god of the west wind, Zephyrus, the girl he is holding remains unclear. Some say she is Chloris, a Nymph that is associated with spring and flowers, and wife of Zephyrus.  Others say she is the titan goddess Aura, who is a divine personification of breezes.\n\nOn the shore, a woman in a flowery dress is awaiting Venus with a pink robe like garment, ready to cover her up. It is spectated that this woman is Pomona, the goddess of fruit trees and fecundity (Fiero, Gloria K). Many say she the Horai goddess of springtime due to the abundance of flowers and springtime like nature of the painting, however, it is popular belief that she is merely a visual representation of the city of Florence, receiving Venus as a welcomed gift from the Gods.\n\n</div>\n<div>\n\nNo matter who accompanies her, it is obvious that Venus is the center of attention, due to the fact that everything is angled towards her. The angle that the wind gods are positioned urges the eye to focus on Venus, as well as the way the robe seems ready to float onto her body. If separated from the rest of the painting and viewed solely, the movement of her body is enough evidence of her beauty and importance. Sculpted with very soft lines, the way her right foot dangles behind the other, and the way her arms move across her body, gives the impression of her innocence and elegance; separating her from the other figures. She is so beautiful that one tends to not even notice that Botticelli altered the nature of human anatomy. Venus has steep falling shoulders, and an unnaturally long neck —all to create a graceful harmonic outline (Bertsch, Cole). The uniqueness of this painting still receives wide scholarly attention even to this day.\n\nThis magnificent artwork wasn’t painted alone; it has a twin, La Primavera. Painted in 1482, before The Birth of Venus was created, it is meant to be placed in the same room. The two paintings together showed two parts of Venus.  In one, Venus has just been born, young and radiant, arriving on a shore where the fruit hasn’t yet been produced from the trees, and being welcomed by the world.  In the other, Venus is older and dressed in extravagant clothing, the trees are lush with flowers and fruit, and people are rejoicing. But, instead of being an object of beauty, she now represents love and marriage.  Even though both paintings are indeed breath taking, when placed side by side, you just can’t help but be drawn back to The Birth of Venus (Bowman, David).\n\nWe live in a world of death and violence; it constantly surrounds us. Without The Birth of Venus, how are we going to teach our children what the true meaning of love and beauty actually is? If we don’t preserve this gorgeous symbolic image of flawlessness, it would be stripping our society of all things that are incorrupt and harmonious, and that would be catastrophic.\n\n&nbsp;\n\nCitation\n\nBertsch, Cole. \"The Birth of Venus.\" <em>Sauk</em><em> </em><em>Valley</em><em> </em><em>Community College</em><em> - Home</em>. Colebott. Web. 04 Apr. 2011. &lt;http://www.svcc.edu/academics/classes/murray/Ezine/colebott.htm&gt;.\n\n&nbsp;\n\nBowman, David. \"Birth of Venus and La Primavera Conjoined - Alternative View on Art, Architecture and Religion.\" <em>Alternative Information Newsletter - Alternative View on Art, Architecture and Religion</em>. 2008. Web. 10 Apr. 2011. &lt;http://www.aiwaz.net/article/Birth-of-Venus-and-La-Primavera-Conjoined/a115&gt;.\n\n&nbsp;\n\nFiero, Gloria K. \"Chapter 17. Renaissance Artists: Disciples of Nature, Masters of Invention Ca. 1400–1600.\" <em>The Humanistic Tradition</em>. 6th ed. Vol. 1. Boston: McGraw-Hill, 2011. B3.44+. Print.\n\n&nbsp;\n\nJohnson, Mary. \"Botticelli.\" <em>Gilford Multimedia: Since 1972 South Jersey\'s Oldest Existing Ad Agency</em>. Web. 07 Apr. 2011. &lt;http://www.sohoart.com/botticelli.htm&gt;.\n\n&nbsp;\n\nNiyazi, H. \"Simonetta Vespucci: a Renaissance Muse?\" <em>Three Pipe Problem</em>. 26 Apr. 2010. Web. 07 Apr. 2011. &lt;http://www.3pipe.net/2010/04/simonetta-vespucci-real-life-muse-of.html&gt;.\n\n&nbsp;\n\nImage: http://www.gwennseemel.com/images/blog09/BotticelliBirthVenus.jpg\n\n</div>','The Birth of Venus','','inherit','open','open','','993-revision-2','','','2011-04-11 14:50:32','2011-04-11 20:50:32','',993,'http://jeanatacc.com/2011/?p=995',0,'revision','',0),(1039,7,'2011-05-06 09:42:34','2011-05-06 15:42:34','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<div class=\"mceTemp mceIEcenter\">\r\n<dl>\r\n<dt><strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong></dt>\r\n<dd>Library of Congress North Reading Room mural<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 8.0pt\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n</dd>\r\n</dl>\r\n</div>\r\n<p>&nbsp;</p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong></p>\r\n<p><strong><em> </em></strong><strong> </strong></p>\r\n<p>The debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]--></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<div class=\"mceTemp\">\r\n<dl>\r\n<dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a></dt>\r\n<dd>Woodcut from William Caxton\'s second edition of the Canterbury Tales printed in 1483  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><a href=\"http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png\"><span style=\"font-size: 8.0pt\">http://www.newworldencyclopedia.org/entry/Image:Canterbury_Tales.png</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n</dd>\r\n</dl>\r\n</div>\r\n<p><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (Geoffrey Chaucer).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<div class=\"mceTemp\">\r\n<dl>\r\n<dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a></dt>\r\n<dd>Portrait of Chaucer <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><span><a href=\"http://www.qwiki.com/q/#%21/English_literature\"><span style=\"font-size: 10.0pt;line-height: 115%\">http://www.qwiki.com/q/#!/English_li</span><span style=\"font-size: 9.0pt;line-height: 115%\">terature</span></a></span></dd>\r\n</dl>\r\n</div>\r\n<p><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p>&nbsp;</p>\r\n<p><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12.0pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span>Equitan</span></em><span>, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<p><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]--></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(Geoffrey Chaucer).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n<div class=\"mceTemp\">\r\n<dl>\r\n<dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a></dt>\r\n<dd>Manuscript page from The Canterbury Tales  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><a href=\"http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/\"><span style=\"font-size: 8.0pt\">http://www.gradesaver.com/the-canterbury-tales/study-guide/section27/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n</dd>\r\n</dl>\r\n</div>\r\n<p>For instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span></p>\r\n<p>&nbsp;</p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n<div class=\"mceTemp\">\r\n<dl>\r\n<dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a></dt>\r\n<dd>Detail of manuscript Dante\'s Comedy  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><span><a href=\"http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd\"><span style=\"font-size: 12.0pt;line-height: 115%;color: windowtext\">http://taggedwiki.zubiaga.org/new_content/0688f94ef1b127852a6c67092d43fdfd</span></a></span> </dd>\r\n</dl>\r\n</div>\r\n<p>Dante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<p><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(</span></span><span>Gāius</span><span style=\"font-size: 12.0pt;line-height: 200%\"><span class=\"huge\"> </span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n<p>&nbsp;</p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n<div class=\"mceTemp mceIEcenter\">\r\n<dl>\r\n<dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></dt>\r\n<dd>Library of Congress North Reading Room mural  <!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n</dd>\r\n</dl>\r\n</div>\r\n<p>&nbsp;</p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<p><span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span></p>\r\n<p><span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n<p><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]--></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n</div>\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: normal\"><span style=\"font-size: 8.0pt\"><span> </span></span><a href=\"http://loc.gov/pictures/resource/highsm.03162/\"><span style=\"font-size: 8.0pt;color: windowtext\">http://loc.gov/pictures/resource/highsm.03162/</span></a><span style=\"font-size: 8.0pt\"> </span></p>\r\n</div>\r\n','The Canterbury Tales','','inherit','open','open','','892-autosave','','','2011-05-06 09:42:34','2011-05-06 15:42:34','',892,'http://jeanatacc.com/2011/?p=1039',0,'revision','',0),(996,4,'2011-04-11 17:15:42','2011-04-11 23:15:42','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece.<!--more--> Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\r\n<p style=\"text-align: center;\"><a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\"><img class=\"aligncenter\" src=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\" alt=\"\" width=\"473\" height=\"261\" /></a></p>\r\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\r\n<p style=\"text-align: center;\"><a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\"><img class=\"aligncenter\" src=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\" alt=\"\" width=\"480\" height=\"321\" /></a></p>\r\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center;\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','publish','open','open','','leonardos-the-last-supper','','','2011-04-16 19:57:47','2011-04-17 01:57:47','',0,'http://jeanatacc.com/2011/?p=996',0,'post','',5),(997,4,'2011-04-11 17:15:40','2011-04-11 23:15:40','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\n\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium. (<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\n\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\n\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican. (<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\n\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\n\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\n\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\n\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\n\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\n\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\n\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision','','','2011-04-11 17:15:40','2011-04-11 23:15:40','',996,'http://jeanatacc.com/2011/?p=997',0,'revision','',0),(998,1,'2011-04-16 19:58:49','2011-04-17 01:58:49','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece.<!--more--> Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\n\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\n<p style=\"text-align: center;\"><a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\"><img class=\"aligncenter\" src=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\" alt=\"\" width=\"473\" height=\"261\" /></a></p>\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\n\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\n\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\n<p style=\"text-align: center;\"><a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\"><img class=\"aligncenter\" src=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\" alt=\"\" width=\"480\" height=\"321\" /></a></p>\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\n\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\n\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\n\n&nbsp;\n<p style=\"text-align: center;\">Works Cited</p>\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\n\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\n\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\n\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\n\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\n\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-autosave','','','2011-04-16 19:58:49','2011-04-17 01:58:49','',996,'http://jeanatacc.com/2011/?p=998',0,'revision','',0),(999,4,'2011-04-11 17:15:42','2011-04-11 23:15:42','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium. (<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican. (<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision-2','','','2011-04-11 17:15:42','2011-04-11 23:15:42','',996,'http://jeanatacc.com/2011/?p=999',0,'revision','',0),(1000,4,'2011-04-11 17:19:41','2011-04-11 23:19:41','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\r\n\r\n<img src=\"//B534F74C-D794-4583-A6B3-1C75495D31F3/lastsuppertongerlocopyz.jpg\" alt=\"lastsuppertongerlocopyz.jpg\" />\r\n\r\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\r\n\r\n<img src=\"//A47654AE-7F8D-417E-BFB3-2E4DADC49FA8/RAF001_L.jpg\" alt=\"RAF001_L.jpg\" />\r\n\r\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision-3','','','2011-04-11 17:19:41','2011-04-11 23:19:41','',996,'http://jeanatacc.com/2011/?p=1000',0,'revision','',0),(1001,4,'2011-04-11 17:23:51','2011-04-11 23:23:51','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\r\n\r\n<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\"><img class=\"aligncenter\" src=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\" alt=\"\" width=\"789\" height=\"435\" /></a>\r\n\r\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\r\n\r\n<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\"><img class=\"aligncenter\" src=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\" alt=\"\" width=\"800\" height=\"535\" /></a>\r\n\r\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision-4','','','2011-04-11 17:23:51','2011-04-11 23:23:51','',996,'http://jeanatacc.com/2011/?p=1001',0,'revision','',0),(1002,4,'2011-04-11 17:24:38','2011-04-11 23:24:38','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\r\n<p style=\"text-align: center\"><a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\"><img class=\"aligncenter\" src=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\" alt=\"\" width=\"473\" height=\"261\" /></a></p>\r\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\r\n<p style=\"text-align: center\"><a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\"><img class=\"aligncenter\" src=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\" alt=\"\" width=\"480\" height=\"321\" /></a></p>\r\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision-5','','','2011-04-11 17:24:38','2011-04-11 23:24:38','',996,'http://jeanatacc.com/2011/?p=1002',0,'revision','',0),(1004,26,'2011-04-11 20:01:41','2011-04-12 02:01:41','<p style=\"text-align: left;\">The Tempietto was Donato Bramante\'s small commemorative martyrium. (Hurl) It was built in a courtyard of the San Pietro in Montorio. This masterpiece rests upon the area of St. Peter\'s crucifixion. It is centered on the posthole that held the cross upon which St. Peter was killed. This is a very holy site of Christianity. It is believed that St. Peter requested to be crucified upside down, because he didn\'t think himself worthy of dying as the same way as Jesus Christ. I believe that this building should be admired and taken with us into the future for the sheer perfection of proportions and architecture wonder of the High Italian Renaissance.<!--more--></p>\r\n<p style=\"text-align: left;\">The use of this building was not for use, instead it was created as a symbolic memorial to the religious significance of this particular location in Christian history. It\'s circular design symbolic of divine perfection. Bramante sought a harmony with its proportions to exemplify this symbolism. He was influenced by,</p>\r\n<p style=\"text-align: left;\">\"Roman\'s taste of gravity and majesty\" (Hartt 529)</p>\r\n<p style=\"text-align: left;\">This can also be seen in Bramante\'s designs for Santa Maria della Pace.</p>\r\n<p style=\"text-align: left;\">During this era, most artists were commissioned by wealthy or influential patrons. The Tempietto was commission by Ferdinand and Isabella of Spain. Pope Julius II was a patron during the High Renaissance also, commissioning Michelangelo to paint the ceiling of the Sistine Chapel and Raphael to do the Vatican. (Campbell, viii) This was a time during history that people reveled in creating art to glorify religion. This can be seen in painting, architecture and sculpture\'s motifs of this time period.</p>\r\n<p style=\"text-align: left;\">With that said, artists of the Italian Renaissance were greatly inspired by the ancient world. The populace reveled in the discovery and significance of ancient monuments &amp; works. This would give them tidbits of insight and knowledge of the past. A huge percent of artistic inspiration came from the desire to reconcile their Christian beliefs with the ideas of pagan humanity. This was seen in many works, including Bramante\'s Tempietto.</p>\r\n<p style=\"text-align: left;\">\"The human dignity &amp; critical reasoning that was found in the ancient writings played an important role in the transformation of the art &amp; society of the Italian Renaissance.\"(Hartt, 37)</p>\r\n<p style=\"text-align: left;\">\"ideals of art and architecture became unified in the acceptance of classical antiquity and in the belief that humanity was a measure of the universe\" (Columbia Encyclopedia)</p>\r\n<p style=\"text-align: left;\">The Tempietto and St. Peter\'s Basilica have a few things in common. They both maintain histories of being built on Christian holy sites related to the apostle St. Peter. The question of how they should be proportioned was answered by Vitruvius. His theory of proportions of the human body were applied to the basic circle and square designs found in architecture.(Honours 444) When St. Peter\'s Basilica was ordered to be redone, these buildings were built on designs created by Donato Bramante. (Vatican, 2) Bramante started on the St. Peter\'s Basilica design, but it was finished by Michelangelo. Michelangelo established his design in correspondence to Bramante\'s original design concept.</p>\r\n<p style=\"text-align: left;\">The obvious difference of the two is the massive contrast of size. The Tempietto was a small sculpture of a building, standing a height of 13 meters and having a diameter of 8 meters, the attention to detail is what makes this building able to contend with bigger buildings being designed during the High Renaissance. St. Peter\'s Basilica is drastically bigger then Bramante\'s Tempietto, being hailed as the tallest dome in the world.</p>\r\n<p style=\"text-align: left;\"><a href=\"http://www.youtube.com/watch?v=ksYywbKG7L8&amp;feature=related\">Tempietto Tour on YouTube</a></p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">Even with its small size, Bramante\'s Tempietto is still cherished today. It is a not to miss gem hidden in the cloister of San Pietro of Montorio. It is considered to be a prime example of the High Renaissance architecture. (Lonely Planet)</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">\"classically inspired design (a circular interior surrounded by a columned peristyle and topped by a proportionally perfect dome) beautifully captured the Renaissance zeitgeist\"  (Lonely Planet)</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">Personally, the story behind the building is more inspiring to me then it\'s impressive classical design. I am more interested in thereason behind the circular design being a symbol of divine power. I am from the Christian faith, so it\'s history of being created as a remembrance of St. Peter\'s martyred location is especially touching. I am reminded through its beauty of the detail, what God is capable of through us all.</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>\r\n<p style=\"text-align: left;\">Bibliography</p>\r\n<p style=\"text-align: left;\">Campbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford UP, 2004. Print.</p>\r\n<p style=\"text-align: left;\">Hartt, F., and C. Wilkins. History of Italian Renaissance. Print</p>\r\n<p style=\"text-align: left;\">\"Saint Peter\'s Basilica\" Vatican CityState -History. 10 Dec. 2010. Web. 11 Apr. 2011.</p>\r\n<p style=\"text-align: left;\">&lt;http://www.vaticanstate.va/EN/Monuments/Saint_Peters_Basilica/History--p--2.htm&gt;.</p>\r\n<p style=\"text-align: left;\">Honour, Hugh, and John Fleming. The Visual Arts: a History. New York: Abrams, 1995. Print.</p>\r\n<p style=\"text-align: left;\">\"Bramante, Donato\" A Dictionary of Architecture and Landscape.    Architecture. 2000. JAMES STEVENS CURL</p>\r\n<p style=\"text-align: left;\">&nbsp;</p>','Bramante\'s Tempietto','','publish','open','open','','bramantes-tempietto','','','2011-04-16 19:56:41','2011-04-17 01:56:41','',0,'http://jeanatacc.com/2011/?p=1004',0,'post','',11),(1005,23,'2011-04-11 20:03:08','2011-04-12 02:03:08','Good morning again, fine people. We reconvene today to discuss the task of preservation items. We have been meeting on these topics for some time now. Secretary, please note for the record that the date is in the year 2100 A.D. The earth is still uninhabitable. There have been some advancements in relation to inhabitability, but none significant enough to warrant launching exploration teams back to Earth. Our children will need inspirational items to focus on.  The third item I want to submit to the review committee is the Franco-Flemish composer Guillame Dufay. <!--more-->He was the author of the piece entitled Missa L’ homme arme’. I submit this piece due to the fact that Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. “Dufay was the first to explore combining two or more cantus firmi into one mass.”( Oxford Music Online- Cantus Firmus) The works by Guillame Dufay should be preserved because they represent the change from “ Gregorian chant as the backbone of compositions to using popular songs of the day.” ( Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career) Netlibrary Ebook. “ Polyphony was to become , over the next few centuries, one of the most intricately artistic achievements in all of sacred art.” ( Brown)\r\n\r\nGuillame Dufay’s Missa L’homme arme’ was composed in 1453. This date coincides with the fall of Constantinople. For the Missa L’homme arme’ Dufay “ followed the common practice of borrowing melodies from popular folk tunes. In it , he employed the best known of all fifteenth- century  folk songs, “ the armed man” as the cantus firmus for all sections of the piece.”(Fiero)  Cantus firmus were widely used in Latin masses. A Cantus Firmus is a pre-exisiting melody used as a basis of a new polyphonic composition. A polyphonic composition is something that consists of two or more independent melodic voices. During the Renaissance, music was composed by amateurs and professionals alike. The printing press had been invented, so publishing works of music became prevalent. During the renaissance, music was an essential ingredient in gatherings, celebrations and festivals.  Music is still a very important part of our lives through time. Even today, we celebrate the beginning of life with music. We also mourn our deceased at ceremonies that include music. While Italian visual artists lead the field, the French and Franco- Flemish composers were way ahead of their time. The reason Dufay’s piece carries such significance is because pieces were written based on it up to three centuries later.\r\n\r\n“ Like renaissance art, renaissance music was increasingly secular in subject matter and function.” (Fiero) Dufay’s piece was the first to depart away from this. Missa L’homme arme’ translates into the Mass of the Armed Man. Weapons had recently been invented that would enable individuals to carry them. Masses were an important part of life, not only for religious reasons , but for social and political reasons as well. The fact that a Mass was dedicated to an armed man or a soldier showed the significance of fighting for ones beliefs.\r\n\r\n“During both the Middle Ages and the Renaissance a clear line existed between music’s role as a branch of the sciences on the one hand and musical composition and performance on the other. “ ( Bleiberg) . Dufay’s Missa L’homme arme’ is of importance because this piece helps define the new era of having mutliple voices in one piece of music. He was a pioneer of composing. Today more than 200 pieces of his work still remain.\r\n\r\n“ According to executors of Dufay’s will, his homeland was the town of Brusells.  His name was originally spelled Du_Fayt. The earliest mention of Dufay is in 1409 where he is listed as Willemet. He was taught by two people in Cambrai. Dufay became a residentiary canon of the cathedral in 1408. He caught the attention of the cathedral authorities early on. His instruction in music and grammar followed the rigid curriculum common to most French cathedral schools in the late Middle Ages.  Dufay became a canon in 1436. In 1437 it is mentioned that he obtained a Bachelor of Law degree by papal decree. As a canon of St. Donation, he had trouble with the chapter over the collection of his revenues. in 1447 he resigned at St. Donation and was installed as canon of Ste. Waudru in Mons.” (Bloxam)\r\n\r\nA composer who competed with Dufay during his time was Josquin Des Prez.  Dufay and Des Prez were similar in that they both “ unified each polyphonic Mass around a single musical theme.” (Fiero) “Des Prez was different than Dufay in that his compositions contrived complex designs in which melody and harmony were distributed symmetrically and with geometric clarity. “ (Fiero) Des Prez motets are thought to represent his work the best. Dufay’s cantus firmus are his best pieces.\r\n\r\nAnother composer in the time of Dufay was Adrian Willaert. Willaert also had legal training similar to Dufay. Willaert was famous for his motets. Willaert’s works didn’t include any cantus firmus like Dufay’s. Unlike Dufay, Des Prez’ technical innovations “include a closer relationship between words and music and the use of imitation ( repetition by one voice of a melody sung by another voice). “( Encyclopedia of World Biography , Vol 16 2nd ed. Detroit: Gale,2004. P287-288, Willaert) Des Prez was similar to Dufay in that he was sought after by churches throughout Europe.\r\n\r\nToday Dufay’s works are studied by musical scholars as well a just the general public interested in musical history and how modern day music evolved from the days of the Gregorian chants.  Dufay is held as a genius of his time. He is compared to many other composers during his era. He stands above the rest in that the Missa L’ homme arme’ was the first of its kind. It became the model that was used by composers well into three centuries later. Dufay’s works mark what has come to be known as renaissance music.\r\n“The author of the song, an ingenious poet and composer, describes in a semi-dramatic , semi-narrative form what he heard in a late medieval town: the warning sound of the watchmen’s horn from the tower as a hostile army is approaching from across the plains- L’homme arme’” ( Planchart)\r\nThis would apply even in today’s world as news spreads about wars throughout the lands.\r\n\r\nWorks cited :\r\n\r\nPlanchart, Alejandro e. The Origins and Early History of L\'homme arme\'. Berkeley, CA: University of California Press, 2003. Print.\r\nPlanchart, Alejandro e. “ Dufay Guillaume” Grove Music Online. Oxford Music Online. 28\r\nMar .2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268\r\n“Music and the Renaissance.” Arts and Humanities Through the Eras. Ed.Edward I. Bleiberg, et al. Vol. 4 : Renaissance Europe 1300-1600. Detroit: Gale,2005. 173-176. Gale Virtual Reference Library.  Web. 29 Mar. 2011.\r\nM. Jennifer Bloxam. “ Cantus Firmus.” Grove Music Online. Oxford Music Online. 28 Mar. 2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/04795\r\n\"Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career.\" chicago institute for career research 11 (2005): 6. netlibrary.com. Web. 5 Apr. 2011.\r\n“Josquin des Prez.\" Encyclopedia of World Biography. 2nd ed. Vol. 8. Detroit: Gale, 2004. 361-363. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\"Adrian Willaert.\" Encyclopedia of World Biography. 2nd ed. Vol. 16. Detroit: Gale, 2004. 287-288. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\nFiero, Gloria K. The Humanistic Tradition. 6th ed. New York: McGraw Hill, 2011. 75-76. Print.','BEWARE THE ARMED MAN','','publish','open','open','','beware-the-armed-man','','','2011-05-09 11:05:43','2011-05-09 17:05:43','',0,'http://jeanatacc.com/2011/?p=1005',0,'post','',7),(1006,23,'2011-04-11 19:56:02','2011-04-12 01:56:02','Good morning again, fine people. We reconvene today to discuss the task of preservation items. We have been meeting on these topics for some time now. Secretary, please note for the record that the date is in the year 2100 A.D. The earth is still uninhabitable. There have been some advancements in relation to inhabitability, but none significant enough to warrant launching exploration teams back to Earth. Our children will need inspirational items to focus on.  The third item I want to submit to the review committee is the Franco-Flemish composer Guillame Dufay. He was the author of the piece entitled Missa L’ homme arme’. I submit this piece due to the fact that Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. “Dufay was the first to explore combining two or more cantus firmi into one mass.”( Oxford Music Online- Cantus Firmus) The works by Guillame Dufay should be preserved because they represent the change from “ Gregorian chant as the backbone of compositions to using popular songs of the day.” ( Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career) Netlibrary Ebook. “ Polyphony was to become , over the next few centuries, one of the most intricately artistic achievements in all of sacred art.” ( Brown)\n\nGuillame Dufay’s Missa L’homme arme’ was composed in 1453. This date coincides with the fall of Constantinople. For the Missa L’homme arme’ Dufay “ followed the common practice of borrowing melodies from popular folk tunes. In it , he employed the best known of all fifteenth- century  folk songs, “ the armed man” as the cantus firmus for all sections of the piece.”(Fiero)  Cantus firmus were widely used in Latin masses. A Cantus Firmus is a pre-exisiting melody used as a basis of a new polyphonic composition. A polyphonic composition is something that consists of two or more independent melodic voices. During the Renaissance, music was composed by amateurs and professionals alike. The printing press had been invented, so publishing works of music became prevalent. During the renaissance, music was an essential ingredient in gatherings, celebrations and festivals.  Music is still a very important part of our lives through time. Even today, we celebrate the beginning of life with music. We also mourn our deceased at ceremonies that include music. While Italian visual artists lead the field, the French and Franco- Flemish composers were way ahead of their time. The reason Dufay’s piece carries such significance is because pieces were written based on it up to three centuries later.\n\n“ Like renaissance art, renaissance music was increasingly secular in subject matter and function.” (Fiero) Dufay’s piece was the first to depart away from this. Missa L’homme arme’ translates into the Mass of the Armed Man. Weapons had recently been invented that would enable individuals to carry them. Masses were an important part of life, not only for religious reasons , but for social and political reasons as well. The fact that a Mass was dedicated to an armed man or a soldier showed the significance of fighting for ones beliefs.  \n\n“During both the Middle Ages and the Renaissance a clear line existed between music’s role as a branch of the sciences on the one hand and musical composition and performance on the other. “ ( Bleiberg) . Dufay’s Missa L’homme arme’ is of importance because this piece helps define the new era of having mutliple voices in one piece of music. He was a pioneer of composing. Today more than 200 pieces of his work still remain. \n\n“ According to executors of Dufay’s will, his homeland was the town of Brusells.  His name was originally spelled Du_Fayt. The earliest mention of Dufay is in 1409 where he is listed as Willemet. He was taught by two people in Cambrai. Dufay became a residentiary canon of the cathedral in 1408. He caught the attention of the cathedral authorities early on. His instruction in music and grammar followed the rigid curriculum common to most French cathedral schools in the late Middle Ages.  Dufay became a canon in 1436. In 1437 it is mentioned that he obtained a Bachelor of Law degree by papal decree. As a canon of St. Donation, he had trouble with the chapter over the collection of his revenues. in 1447 he resigned at St. Donation and was installed as canon of Ste. Waudru in Mons.” (Bloxam)\n\nA composer who competed with Dufay during his time was Josquin Des Prez.  Dufay and Des Prez were similar in that they both “ unified each polyphonic Mass around a single musical theme.” (Fiero) “Des Prez was different than Dufay in that his compositions contrived complex designs in which melody and harmony were distributed symmetrically and with geometric clarity. “ (Fiero) Des Prez motets are thought to represent his work the best. Dufay’s cantus firmus are his best pieces. \n\nAnother composer in the time of Dufay was Adrian Willaert. Willaert also had legal training similar to Dufay. Willaert was famous for his motets. Willaert’s works didn’t include any cantus firmus like Dufay’s. Unlike Dufay, Des Prez’ technical innovations “include a closer relationship between words and music and the use of imitation ( repetition by one voice of a melody sung by another voice). “( Encyclopedia of World Biography , Vol 16 2nd ed. Detroit: Gale,2004. P287-288, Willaert) Des Prez was similar to Dufay in that he was sought after by churches throughout Europe. \n\nToday Dufay’s works are studied by musical scholars as well a just the general public interested in musical history and how modern day music evolved from the days of the Gregorian chants.  Dufay is held as a genius of his time. He is compared to many other composers during his era. He stands above the rest in that the Missa L’ homme arme’ was the first of its kind. It became the model that was used by composers well into three centuries later. Dufay’s works mark what has come to be known as renaissance music.\n“The author of the song, an ingenious poet and composer, describes in a semi-dramatic , semi-narrative form what he heard in a late medieval town: the warning sound of the watchmen’s horn from the tower as a hostile army is approaching from across the plains- L’homme arme’” ( Planchart)\nThis would apply even in today’s world as news spreads about wars throughout the lands.\n\n\nWorks cited :\n\nPlanchart, Alejandro e. The Origins and Early History of L\'homme arme\'. Berkeley, CA: University of California Press, 2003. Print.\nPlanchart, Alejandro e. “ Dufay Guillaume” Grove Music Online. Oxford Music Online. 28                                   \nMar .2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268\n“Music and the Renaissance.” Arts and Humanities Through the Eras. Ed.Edward I. Bleiberg, et al. Vol. 4 : Renaissance Europe 1300-1600. Detroit: Gale,2005. 173-176. Gale Virtual Reference Library.  Web. 29 Mar. 2011.\nM. Jennifer Bloxam. “ Cantus Firmus.” Grove Music Online. Oxford Music Online. 28 Mar. 2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/04795\n\"Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career.\" chicago institute for career research 11 (2005): 6. netlibrary.com. Web. 5 Apr. 2011. \n“Josquin des Prez.\" Encyclopedia of World Biography. 2nd ed. Vol. 8. Detroit: Gale, 2004. 361-363. Gale Virtual Reference Library. Web. 3 Apr. 2011.\n\"Adrian Willaert.\" Encyclopedia of World Biography. 2nd ed. Vol. 16. Detroit: Gale, 2004. 287-288. Gale Virtual Reference Library. Web. 3 Apr. 2011.\nFiero, Gloria K. The Humanistic Tradition. 6th ed. New York: McGraw Hill, 2011. 75-76. Print. \n\n\n\n\n\n \n','BEWARE THE ARMED MAN','','inherit','open','open','','1005-revision','','','2011-04-11 19:56:02','2011-04-12 01:56:02','',1005,'http://jeanatacc.com/2011/?p=1006',0,'revision','',0),(1007,26,'2011-04-11 19:53:51','2011-04-12 01:53:51','Bramante\'s Tempietto\n\nRome\n\nDonato Bramante\n\n1500 C.E.\n\nKris Cooley\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">The Tempietto was Donato Bramante\'s small commemorative martyrium. (Hurl) It was built in a courtyard of the San Pietro in Montorio. This masterpiece rests upon the area of St. Peter\'s crucifixion. It is centered on the posthole that held the cross upon which St. Peter was killed. This is a very holy site of Christianity. It is believed that St. Peter requested to be crucified upside down, because he didn\'t think himself worthy of dying as the same way as Jesus Christ. I believe that this building should be admired and taken with us into the future for the sheer perfection of proportions and architecture wonder of the High Italian Renaissance.</p>\n&nbsp;\n\nThe use of this building was not for use, instead it was created as a symbolic memorial to the religious significance of this particular location in Christian history. It\'s circular design symbolic of divine perfection. Bramante sought a harmony with its proportions to exemplify this symbolism. He was influenced by,\n\n&nbsp;\n\n\"Roman\'s taste of gravity and majesty\" (Hartt 529)\n\n&nbsp;\n\nThis can also be seen in Bramante\'s designs for Santa Maria della Pace.\n\n&nbsp;\n\nDuring this era, most artists were commissioned by wealthy or influential patrons. The Tempietto was commission by Ferdinand and Isabella of Spain. Pope Julius II was a patron during the High Renaissance also, commissioning Michelangelo to paint the ceiling of the Sistine Chapel and Raphael to do the Vatican. (Campbell, viii) This was a time during history that people reveled in creating art to glorify religion. This can be seen in painting, architecture and sculpture\'s motifs\n\nof this time period.\n\n&nbsp;\n\nWith that said, artists of the Italian Renaissance were greatly inspired by the ancient world. The populace reveled in the discovery and significance of ancient monuments &amp; works. This would give them tidbits of insight and knowledge of the past. A huge percent of artistic inspiration came from the desire to reconcile their Christian beliefs with the ideas of pagan humanity. This was seen in many works, including Bramante\'s Tempietto.\n\n&nbsp;\n\n\"The human dignity &amp; critical reasoning that was found in the ancient writings played an important role in the transformation of the art &amp; society of the Italian Renaissance.\"(Hartt, 37)\n\n&nbsp;\n\n\"ideals of art and architecture became unified in the acceptance of classical antiquity and in the belief that humanity was a measure of the universe\" (Columbia Encyclopedia)\n\n&nbsp;\n\nThe Tempietto and St. Peter\'s Basilica have a few things in common. They both maintain histories of being built on Christian holy sites related to the apostle St. Peter. The question of how they should be proportioned was answered by Vitruvius. His theory of proportions of the human body were applied to the basic circle and square designs found in architecture.(Honours 444) When St. Peter\'s Basilica was ordered to be redone, these buildings were built on designs created by Donato Bramante. (Vatican, 2) Bramante started on the St. Peter\'s Basilica design, but it was finished by Michelangelo. Michelangelo established his design in correspondence to Bramante\'s original design concept.\n\n&nbsp;\n\nThe obvious difference of the two is the massive contrast of size. The Tempietto was a small sculpture of a building, standing a height of 13 meters and having a diameter of 8 meters, the attention to detail is what makes this building able to contend with bigger buildings being designed during the High Renaissance. St. Peter\'s Basilica is drastically bigger then Bramante\'s Tempietto, being hailed as the tallest dome in the world.\n\n&nbsp;\n\nEven with its small size, Bramante\'s Tempietto is still cherished today. It is a not to miss gem hidden in the cloister of San Pietro of Montorio. It is considered to be a prime example of the High Renaissance architecture.\n\n&nbsp;\n\n\"classically inspired design (a circular interior surrounded by a\n\ncolumned peristyle and topped by a proportionally perfect dome)\n\nbeautifully captured the Renaissance zeitgeist\"  (Lonely Planet)\n\n&nbsp;\n\nPersonally, the story behind the building is more inspiring to me then it\'s impressive classical design. I am more interested in thereason behind the circular design being a symbol of divine power. I am from the Christian faith, so it\'s history of being created as a remembrance of St. Peter\'s martyred location is especially touching. I am reminded through its beauty of the detail, what God is capable of through us all.\n\n&nbsp;\n\nBibliography\n\n&nbsp;\n\nCampbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford UP, 2004. Print.\n\n&nbsp;\n\nHartt, F., and C. Wilkins. History of Italian Renaissance. Print\n\n&nbsp;\n\n\"Saint Peter\'s Basilica\" Vatican CityState -History. 10 Dec. 2010. Web. 11 Apr. 2011.\n\n&lt;http://www.vaticanstate.va/EN/Monuments/Saint_Peters_Basilica/History--p--2.htm&gt;.\n\n&nbsp;\n\nHonour, Hugh, and John Fleming. The Visual Arts: a History. New York: Abrams, 1995. Print.\n\n&nbsp;\n\n\"Bramante, Donato\" A Dictionary of Architecture and Landscape.    Architecture. 2000. JAMES STEVENS CURL\n\n&nbsp;','Bramante\'s Tempietto','','inherit','open','open','','1004-revision','','','2011-04-11 19:53:51','2011-04-12 01:53:51','',1004,'http://jeanatacc.com/2011/?p=1007',0,'revision','',0),(1008,26,'2011-04-11 19:59:51','2011-04-12 01:59:51','Bramante\'s Tempietto\n\nRome\n\nDonato Bramante\n\n1500 C.E.\n\nKris Cooley\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">The Tempietto was Donato Bramante\'s small commemorative martyrium. (Hurl) It was built in a courtyard of the San Pietro in Montorio. This masterpiece rests upon the area of St. Peter\'s crucifixion. It is centered on the posthole that held the cross upon which St. Peter was killed. This is a very holy site of Christianity. It is believed that St. Peter requested to be crucified upside down, because he didn\'t think himself worthy of dying as the same way as Jesus Christ. I believe that this building should be admired and taken with us into the future for the sheer perfection of proportions and architecture wonder of the High Italian Renaissance.</p>\n&nbsp;\n\nThe use of this building was not for use, instead it was created as a symbolic memorial to the religious significance of this particular location in Christian history. It\'s circular design symbolic of divine perfection. Bramante sought a harmony with its proportions to exemplify this symbolism. He was influenced by,\n\n&nbsp;\n\n\"Roman\'s taste of gravity and majesty\" (Hartt 529)\n\n&nbsp;\n\nThis can also be seen in Bramante\'s designs for Santa Maria della Pace.\n\n&nbsp;\n\nDuring this era, most artists were commissioned by wealthy or influential patrons. The Tempietto was commission by Ferdinand and Isabella of Spain. Pope Julius II was a patron during the High Renaissance also, commissioning Michelangelo to paint the ceiling of the Sistine Chapel and Raphael to do the Vatican. (Campbell, viii) This was a time during history that people reveled in creating art to glorify religion. This can be seen in painting, architecture and sculpture\'s motifs\n\nof this time period.\n\n&nbsp;\n\nWith that said, artists of the Italian Renaissance were greatly inspired by the ancient world. The populace reveled in the discovery and significance of ancient monuments &amp; works. This would give them tidbits of insight and knowledge of the past. A huge percent of artistic inspiration came from the desire to reconcile their Christian beliefs with the ideas of pagan humanity. This was seen in many works, including Bramante\'s Tempietto.\n\n&nbsp;\n\n\"The human dignity &amp; critical reasoning that was found in the ancient writings played an important role in the transformation of the art &amp; society of the Italian Renaissance.\"(Hartt, 37)\n\n&nbsp;\n\n\"ideals of art and architecture became unified in the acceptance of classical antiquity and in the belief that humanity was a measure of the universe\" (Columbia Encyclopedia)\n\n&nbsp;\n\nThe Tempietto and St. Peter\'s Basilica have a few things in common. They both maintain histories of being built on Christian holy sites related to the apostle St. Peter. The question of how they should be proportioned was answered by Vitruvius. His theory of proportions of the human body were applied to the basic circle and square designs found in architecture.(Honours 444) When St. Peter\'s Basilica was ordered to be redone, these buildings were built on designs created by Donato Bramante. (Vatican, 2) Bramante started on the St. Peter\'s Basilica design, but it was finished by Michelangelo. Michelangelo established his design in correspondence to Bramante\'s original design concept.\n\n&nbsp;\n\nThe obvious difference of the two is the massive contrast of size. The Tempietto was a small sculpture of a building, standing a height of 13 meters and having a diameter of 8 meters, the attention to detail is what makes this building able to contend with bigger buildings being designed during the High Renaissance. St. Peter\'s Basilica is drastically bigger then Bramante\'s Tempietto, being hailed as the tallest dome in the world.\n\n&nbsp;\n\n<a href=\"http://www.youtube.com/watch?v=ksYywbKG7L8&amp;feature=related\">Tempietto Tour on YouTube</a>\n\n&nbsp;\n\nEven with its small size, Bramante\'s Tempietto is still cherished today. It is a not to miss gem hidden in the cloister of San Pietro of Montorio. It is considered to be a prime example of the High Renaissance architecture. (Lonely Planet)\n\n&nbsp;\n\n\"classically inspired design (a circular interior surrounded by a columned peristyle and topped by a proportionally perfect dome) beautifully captured the Renaissance zeitgeist\"  (Lonely Planet)\n\n&nbsp;\n\nPersonally, the story behind the building is more inspiring to me then it\'s impressive classical design. I am more interested in thereason behind the circular design being a symbol of divine power. I am from the Christian faith, so it\'s history of being created as a remembrance of St. Peter\'s martyred location is especially touching. I am reminded through its beauty of the detail, what God is capable of through us all.\n\n&nbsp;\n\nBibliography\n\n&nbsp;\n\nCampbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford UP, 2004. Print.\n\n&nbsp;\n\nHartt, F., and C. Wilkins. History of Italian Renaissance. Print\n\n&nbsp;\n\n\"Saint Peter\'s Basilica\" Vatican CityState -History. 10 Dec. 2010. Web. 11 Apr. 2011.\n\n&lt;http://www.vaticanstate.va/EN/Monuments/Saint_Peters_Basilica/History--p--2.htm&gt;.\n\n&nbsp;\n\nHonour, Hugh, and John Fleming. The Visual Arts: a History. New York: Abrams, 1995. Print.\n\n&nbsp;\n\n\"Bramante, Donato\" A Dictionary of Architecture and Landscape.    Architecture. 2000. JAMES STEVENS CURL\n\n&nbsp;','Bramante\'s Tempietto','','inherit','open','open','','1004-revision-2','','','2011-04-11 19:59:51','2011-04-12 01:59:51','',1004,'http://jeanatacc.com/2011/?p=1008',0,'revision','',0),(1009,26,'2011-04-11 20:00:48','2011-04-12 02:00:48','Bramante\'s Tempietto\r\n\r\nRome\r\n\r\nDonato Bramante\r\n\r\n1500 C.E.\r\n\r\nKris Cooley\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">The Tempietto was Donato Bramante\'s small commemorative martyrium. (Hurl) It was built in a courtyard of the San Pietro in Montorio. This masterpiece rests upon the area of St. Peter\'s crucifixion. It is centered on the posthole that held the cross upon which St. Peter was killed. This is a very holy site of Christianity. It is believed that St. Peter requested to be crucified upside down, because he didn\'t think himself worthy of dying as the same way as Jesus Christ. I believe that this building should be admired and taken with us into the future for the sheer perfection of proportions and architecture wonder of the High Italian Renaissance.</p>\r\n<p style=\"text-align: center\">The use of this building was not for use, instead it was created as a symbolic memorial to the religious significance of this particular location in Christian history. It\'s circular design symbolic of divine perfection. Bramante sought a harmony with its proportions to exemplify this symbolism. He was influenced by,</p>\r\n<p style=\"text-align: center\">\"Roman\'s taste of gravity and majesty\" (Hartt 529)</p>\r\n<p style=\"text-align: center\">This can also be seen in Bramante\'s designs for Santa Maria della Pace.</p>\r\n<p style=\"text-align: center\">During this era, most artists were commissioned by wealthy or influential patrons. The Tempietto was commission by Ferdinand and Isabella of Spain. Pope Julius II was a patron during the High Renaissance also, commissioning Michelangelo to paint the ceiling of the Sistine Chapel and Raphael to do the Vatican. (Campbell, viii) This was a time during history that people reveled in creating art to glorify religion. This can be seen in painting, architecture and sculpture\'s motifs of this time period.</p>\r\n<p style=\"text-align: center\">With that said, artists of the Italian Renaissance were greatly inspired by the ancient world. The populace reveled in the discovery and significance of ancient monuments &amp; works. This would give them tidbits of insight and knowledge of the past. A huge percent of artistic inspiration came from the desire to reconcile their Christian beliefs with the ideas of pagan humanity. This was seen in many works, including Bramante\'s Tempietto.</p>\r\n<p style=\"text-align: center\">\"The human dignity &amp; critical reasoning that was found in the ancient writings played an important role in the transformation of the art &amp; society of the Italian Renaissance.\"(Hartt, 37)</p>\r\n<p style=\"text-align: center\">\"ideals of art and architecture became unified in the acceptance of classical antiquity and in the belief that humanity was a measure of the universe\" (Columbia Encyclopedia)</p>\r\n<p style=\"text-align: center\">The Tempietto and St. Peter\'s Basilica have a few things in common. They both maintain histories of being built on Christian holy sites related to the apostle St. Peter. The question of how they should be proportioned was answered by Vitruvius. His theory of proportions of the human body were applied to the basic circle and square designs found in architecture.(Honours 444) When St. Peter\'s Basilica was ordered to be redone, these buildings were built on designs created by Donato Bramante. (Vatican, 2) Bramante started on the St. Peter\'s Basilica design, but it was finished by Michelangelo. Michelangelo established his design in correspondence to Bramante\'s original design concept.</p>\r\n<p style=\"text-align: center\">The obvious difference of the two is the massive contrast of size. The Tempietto was a small sculpture of a building, standing a height of 13 meters and having a diameter of 8 meters, the attention to detail is what makes this building able to contend with bigger buildings being designed during the High Renaissance. St. Peter\'s Basilica is drastically bigger then Bramante\'s Tempietto, being hailed as the tallest dome in the world.</p>\r\n<p style=\"text-align: center\"><a href=\"http://www.youtube.com/watch?v=ksYywbKG7L8&amp;feature=related\">Tempietto Tour on YouTube</a></p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Even with its small size, Bramante\'s Tempietto is still cherished today. It is a not to miss gem hidden in the cloister of San Pietro of Montorio. It is considered to be a prime example of the High Renaissance architecture. (Lonely Planet)</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">\"classically inspired design (a circular interior surrounded by a columned peristyle and topped by a proportionally perfect dome) beautifully captured the Renaissance zeitgeist\"  (Lonely Planet)</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Personally, the story behind the building is more inspiring to me then it\'s impressive classical design. I am more interested in thereason behind the circular design being a symbol of divine power. I am from the Christian faith, so it\'s history of being created as a remembrance of St. Peter\'s martyred location is especially touching. I am reminded through its beauty of the detail, what God is capable of through us all.</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Bibliography</p>\r\n<p style=\"text-align: center\">Campbell, Gordon. Renaissance Art and Architecture. Oxford: Oxford UP, 2004. Print.</p>\r\n<p style=\"text-align: center\">Hartt, F., and C. Wilkins. History of Italian Renaissance. Print</p>\r\n<p style=\"text-align: center\">\"Saint Peter\'s Basilica\" Vatican CityState -History. 10 Dec. 2010. Web. 11 Apr. 2011.</p>\r\n<p style=\"text-align: center\">&lt;http://www.vaticanstate.va/EN/Monuments/Saint_Peters_Basilica/History--p--2.htm&gt;.</p>\r\n<p style=\"text-align: center\">Honour, Hugh, and John Fleming. The Visual Arts: a History. New York: Abrams, 1995. Print.</p>\r\n<p style=\"text-align: center\">\"Bramante, Donato\" A Dictionary of Architecture and Landscape.    Architecture. 2000. JAMES STEVENS CURL</p>\r\n<p style=\"text-align: center\">&nbsp;</p>','Bramante\'s Tempietto','','inherit','open','open','','1004-revision-3','','','2011-04-11 20:00:48','2011-04-12 02:00:48','',1004,'http://jeanatacc.com/2011/?p=1009',0,'revision','',0),(1010,23,'2011-04-11 19:56:17','2011-04-12 01:56:17','Good morning again, fine people. We reconvene today to discuss the task of preservation items. We have been meeting on these topics for some time now. Secretary, please note for the record that the date is in the year 2100 A.D. The earth is still uninhabitable. There have been some advancements in relation to inhabitability, but none significant enough to warrant launching exploration teams back to Earth. Our children will need inspirational items to focus on.  The third item I want to submit to the review committee is the Franco-Flemish composer Guillame Dufay. He was the author of the piece entitled Missa L’ homme arme’. I submit this piece due to the fact that Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. “Dufay was the first to explore combining two or more cantus firmi into one mass.”( Oxford Music Online- Cantus Firmus) The works by Guillame Dufay should be preserved because they represent the change from “ Gregorian chant as the backbone of compositions to using popular songs of the day.” ( Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career) Netlibrary Ebook. “ Polyphony was to become , over the next few centuries, one of the most intricately artistic achievements in all of sacred art.” ( Brown)\r\n\r\nGuillame Dufay’s Missa L’homme arme’ was composed in 1453. This date coincides with the fall of Constantinople. For the Missa L’homme arme’ Dufay “ followed the common practice of borrowing melodies from popular folk tunes. In it , he employed the best known of all fifteenth- century  folk songs, “ the armed man” as the cantus firmus for all sections of the piece.”(Fiero)  Cantus firmus were widely used in Latin masses. A Cantus Firmus is a pre-exisiting melody used as a basis of a new polyphonic composition. A polyphonic composition is something that consists of two or more independent melodic voices. During the Renaissance, music was composed by amateurs and professionals alike. The printing press had been invented, so publishing works of music became prevalent. During the renaissance, music was an essential ingredient in gatherings, celebrations and festivals.  Music is still a very important part of our lives through time. Even today, we celebrate the beginning of life with music. We also mourn our deceased at ceremonies that include music. While Italian visual artists lead the field, the French and Franco- Flemish composers were way ahead of their time. The reason Dufay’s piece carries such significance is because pieces were written based on it up to three centuries later.\r\n\r\n“ Like renaissance art, renaissance music was increasingly secular in subject matter and function.” (Fiero) Dufay’s piece was the first to depart away from this. Missa L’homme arme’ translates into the Mass of the Armed Man. Weapons had recently been invented that would enable individuals to carry them. Masses were an important part of life, not only for religious reasons , but for social and political reasons as well. The fact that a Mass was dedicated to an armed man or a soldier showed the significance of fighting for ones beliefs.  \r\n\r\n“During both the Middle Ages and the Renaissance a clear line existed between music’s role as a branch of the sciences on the one hand and musical composition and performance on the other. “ ( Bleiberg) . Dufay’s Missa L’homme arme’ is of importance because this piece helps define the new era of having mutliple voices in one piece of music. He was a pioneer of composing. Today more than 200 pieces of his work still remain. \r\n\r\n“ According to executors of Dufay’s will, his homeland was the town of Brusells.  His name was originally spelled Du_Fayt. The earliest mention of Dufay is in 1409 where he is listed as Willemet. He was taught by two people in Cambrai. Dufay became a residentiary canon of the cathedral in 1408. He caught the attention of the cathedral authorities early on. His instruction in music and grammar followed the rigid curriculum common to most French cathedral schools in the late Middle Ages.  Dufay became a canon in 1436. In 1437 it is mentioned that he obtained a Bachelor of Law degree by papal decree. As a canon of St. Donation, he had trouble with the chapter over the collection of his revenues. in 1447 he resigned at St. Donation and was installed as canon of Ste. Waudru in Mons.” (Bloxam)\r\n\r\nA composer who competed with Dufay during his time was Josquin Des Prez.  Dufay and Des Prez were similar in that they both “ unified each polyphonic Mass around a single musical theme.” (Fiero) “Des Prez was different than Dufay in that his compositions contrived complex designs in which melody and harmony were distributed symmetrically and with geometric clarity. “ (Fiero) Des Prez motets are thought to represent his work the best. Dufay’s cantus firmus are his best pieces. \r\n\r\nAnother composer in the time of Dufay was Adrian Willaert. Willaert also had legal training similar to Dufay. Willaert was famous for his motets. Willaert’s works didn’t include any cantus firmus like Dufay’s. Unlike Dufay, Des Prez’ technical innovations “include a closer relationship between words and music and the use of imitation ( repetition by one voice of a melody sung by another voice). “( Encyclopedia of World Biography , Vol 16 2nd ed. Detroit: Gale,2004. P287-288, Willaert) Des Prez was similar to Dufay in that he was sought after by churches throughout Europe. \r\n\r\nToday Dufay’s works are studied by musical scholars as well a just the general public interested in musical history and how modern day music evolved from the days of the Gregorian chants.  Dufay is held as a genius of his time. He is compared to many other composers during his era. He stands above the rest in that the Missa L’ homme arme’ was the first of its kind. It became the model that was used by composers well into three centuries later. Dufay’s works mark what has come to be known as renaissance music.\r\n“The author of the song, an ingenious poet and composer, describes in a semi-dramatic , semi-narrative form what he heard in a late medieval town: the warning sound of the watchmen’s horn from the tower as a hostile army is approaching from across the plains- L’homme arme’” ( Planchart)\r\nThis would apply even in today’s world as news spreads about wars throughout the lands.\r\n\r\n\r\nWorks cited :\r\n\r\nPlanchart, Alejandro e. The Origins and Early History of L\'homme arme\'. Berkeley, CA: University of California Press, 2003. Print.\r\nPlanchart, Alejandro e. “ Dufay Guillaume” Grove Music Online. Oxford Music Online. 28                                   \r\nMar .2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268\r\n“Music and the Renaissance.” Arts and Humanities Through the Eras. Ed.Edward I. Bleiberg, et al. Vol. 4 : Renaissance Europe 1300-1600. Detroit: Gale,2005. 173-176. Gale Virtual Reference Library.  Web. 29 Mar. 2011.\r\nM. Jennifer Bloxam. “ Cantus Firmus.” Grove Music Online. Oxford Music Online. 28 Mar. 2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/04795\r\n\"Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career.\" chicago institute for career research 11 (2005): 6. netlibrary.com. Web. 5 Apr. 2011. \r\n“Josquin des Prez.\" Encyclopedia of World Biography. 2nd ed. Vol. 8. Detroit: Gale, 2004. 361-363. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\"Adrian Willaert.\" Encyclopedia of World Biography. 2nd ed. Vol. 16. Detroit: Gale, 2004. 287-288. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\nFiero, Gloria K. The Humanistic Tradition. 6th ed. New York: McGraw Hill, 2011. 75-76. Print. \r\n\r\n\r\n\r\n\r\n\r\n \r\n','BEWARE THE ARMED MAN','','inherit','open','open','','1005-revision-2','','','2011-04-11 19:56:17','2011-04-12 01:56:17','',1005,'http://jeanatacc.com/2011/?p=1010',0,'revision','',0),(1012,33,'2011-04-11 21:44:55','2011-04-12 03:44:55','In 1428, Masaccio’s Holy Trinity and the virgin Mary and St. John was created. The painting was the first successful depiction in painting of the new concept era(World Book Encyclopedia). Even though the painting is influenced by Brunelleschi’s mathematical laws and Donatello, it is the beginning of the Renaissance awakening and introduced humanism and line perspective to spiritual paintings of its time (Matthews).<!--more-->\r\n\r\nThe painting creates such an illusion of space and distance which were drawn from the life around him. He was a well praised artist for the most part and his work was never doubted, in fact it was influential. When the painting was done, the Renaissance era was just beginning.\r\n\r\nThe work was typical because at the time most artist created paintings based off of spiritual entities. It was unusual because it was the only painting for awhile that touched base with humanism and the feelings around Masaccio. The feelings glowed off of the paper and each part told a smaller portion of a greater story. The work was delighting during its prime because no one had experienced the beauty of Masaccio’s art and it was received as a breakthrough for a more modern art.\r\n\r\nToday it is viewed as shaping the future for our present artistic styles and we view the different styles of art. I love the was Masaccio created his edition of the Holy Trinity and the virgin Mary and St. John. Compared to other paintings it is more appealing to the eye and is influential and unique.\r\n\r\nThis work should be remembered not only for the contributions it has made to the educational world of art and how he used space perspective, distance and mathematical angles to create linear illusions but to the satisfactory world.\r\n\r\nMasaccio was born December 21, 1401 Tommaso di Giovanni di Simone Guidi. He received the name Masaccio when he was sixteen. His father died when he was five and his mother died just before he was a young adult (Matthews).\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nAiken, Jane “The Perspective Construction of Masaccio’s Trinity Fresco Medieval Astronomical Graphics, p. 171-187, 1995\r\n\r\nMatthews. The Western Humantities.Second Edition.Mayfield Publishing Co. 1950\r\n\r\nWorld Book Encylcopedia. World Book Inc. 1993. Volume 13\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Influences of Masaccio','','publish','open','open','','influences-of-massacio','','','2011-05-09 11:20:55','2011-05-09 17:20:55','',0,'http://jeanatacc.com/2011/?p=1012',0,'post','',6),(1013,33,'2011-04-11 21:44:15','2011-04-12 03:44:15','In 1428, Masaccio’s Holy Trinity and the virgin Mary and St. John was created. The painting was the first successful depiction in painting of the new concept era(World Book Encyclopedia). Even though the painting is influenced by Brunelleschi’s mathematical laws and Donatello, it is the beginning of the Renaissance awakening and introduced humanism and line perspective to spiritual paintings of its time (Matthews).\n\nThe painting creates such an illusion of space and distance which were drawn from the life around him. He was a well praised artist for the most part and his work was never doubted, in fact it was influential. When the painting was done, the Renaissance era was just beginning.\n\nThe work was typical because at the time most artist created paintings based off of spiritual entities. It was unusual because it was the only painting for awhile that touched base with humanism and the feelings around Masaccio. The feelings glowed off of the paper and each part told a smaller portion of a greater story. The work was delighting during its prime because no one had experienced the beauty of Masaccio’s art and it was received as a breakthrough for a more modern art.\n\nToday it is viewed as shaping the future for our present artistic styles and we view the different styles of art. I love the was Masaccio created his edition of the Holy Trinity and the virgin Mary and St. John. Compared to other paintings it is more appealing to the eye and is influential and unique.\n\nThis work should be remembered not only for the contributions it has made to the educational world of art and how he used space perspective, distance and mathematical angles to create linear illusions but to the satisfactory world.\n\nMasaccio was born December 21, 1401 Tommaso di Giovanni di Simone Guidi. He received the name Masaccio when he was sixteen. His father died when he was five and his mother died just before he was a young adult (Matthews).\n\n　\n\n　\n\nWorks Cited\n\nAiken, Jane “The Perspective Construction of Masaccio’s Trinity Fresco Medieval Astronomical Graphics, p. 171-187, 1995\n\nMatthews. The Western Humantities.Second Edition.Mayfield Publishing Co. 1950\n\nWorld Book Encylcopedia. World Book Inc. 1993. Volume 13\n\n　\n\n　','Influences of Massacio','','inherit','open','open','','1012-revision','','','2011-04-11 21:44:15','2011-04-12 03:44:15','',1012,'http://jeanatacc.com/2011/?p=1013',0,'revision','',0),(1014,33,'2011-04-11 21:45:59','2011-04-12 03:45:59','In 1428, Masaccio’s Holy Trinity and the virgin Mary and St. John was created. The painting was the first successful depiction in painting of the new concept era(World Book Encyclopedia). Even though the painting is influenced by Brunelleschi’s mathematical laws and Donatello, it is the beginning of the Renaissance awakening and introduced humanism and line perspective to spiritual paintings of its time (Matthews).\n\nThe painting creates such an illusion of space and distance which were drawn from the life around him. He was a well praised artist for the most part and his work was never doubted, in fact it was influential. When the painting was done, the Renaissance era was just beginning.\n\nThe work was typical because at the time most artist created paintings based off of spiritual entities. It was unusual because it was the only painting for awhile that touched base with humanism and the feelings around Masaccio. The feelings glowed off of the paper and each part told a smaller portion of a greater story. The work was delighting during its prime because no one had experienced the beauty of Masaccio’s art and it was received as a breakthrough for a more modern art.\n\nToday it is viewed as shaping the future for our present artistic styles and we view the different styles of art. I love the was Masaccio created his edition of the Holy Trinity and the virgin Mary and St. John. Compared to other paintings it is more appealing to the eye and is influential and unique.\n\nThis work should be remembered not only for the contributions it has made to the educational world of art and how he used space perspective, distance and mathematical angles to create linear illusions but to the satisfactory world.\n\nMasaccio was born December 21, 1401 Tommaso di Giovanni di Simone Guidi. He received the name Masaccio when he was sixteen. His father died when he was five and his mother died just before he was a young adult (Matthews).\n\n　\n\n　\n\nWorks Cited\n\nAiken, Jane “The Perspective Construction of Masaccio’s Trinity Fresco Medieval Astronomical Graphics, p. 171-187, 1995\n\nMatthews. The Western Humantities.Second Edition.Mayfield Publishing Co. 1950\n\nWorld Book Encylcopedia. World Book Inc. 1993. Volume 13\n\n　\n\n　','Influences of Massacio','','inherit','open','open','','1012-autosave','','','2011-04-11 21:45:59','2011-04-12 03:45:59','',1012,'http://jeanatacc.com/2011/?p=1014',0,'revision','',0),(1018,17,'2011-04-11 22:01:29','2011-04-12 04:01:29','Tintoretto’s Last Supper is a painting located in the Church of San Giorgio Maggiore in Venice Italy.  It was painted in 1592-1594 by Tintoretto and depicts Jesus’s last supper with his 12 disciples.  Commissioned by the Church of San Giorgio Maggiore, studio needed the help of his coworkers to produce works in the requested amount of time.  This is one of the few he painted entirely himself.  As churches attempted to attract visitors, they commissioned the production of many paintings and bought relics.  Tintoretto’s Last Supper is one of many paintings commissioned with the intent of attracting tourism.<!--more-->\r\n\r\nTintoretto’s Last Supper is typical of its era because it was a painting commissioned by a church depicting a biblical scene.  The Last Supper was a popular topic at the time.  Da Vinci’s is the most well known and was painted about 40 years before the Tintoretto.  The way the table is set up provides a linear perspective of everyone just as Michelangelo’s last supper does.  This work also incorporates beings of a greater and lesser meaning.  For example, the angels float near the ceiling like ghosts and the servers are left in the dark serving Jesus and his disciples.  This work is typical of its time period because it was commissioned by a church and the medium is oil based paint – the most common type of paint.  Tintoretto was a Venetian renaissance school member.  This is characterized by extensive use of light and color for vivid energetic paintings.\r\n\r\nTintoretto’s final Last Supper was well received but instantly received comparisons and even criticism from art critics who had visited the Santa Marie Monastery in Milan and seen the Da Vinci version.  Tintoretto wasn’t well liked in the art world.  The way he went about his work made him a mercenary of art.  He was notorious for trying to save money for himself by using the least amount of materials possible.  This probably hurt the reviews he received from other artists.  He was, however, commissioned to paint many of these last supper works. They became more evolved as he continued painting them but many of this Last Supper’s predecessors are now lost.  Nevertheless it is easy to see that a great deal of practice was necessary to achieve the impressive use of shadow and light to achieve the illusion of motion found in his work.\r\n\r\nAt the time, churches were competing for tourism.  They tried to pick up new visitors by advertising the housing of valuable relics and commissioning extravagant works of art.  The paying of indulgences to churches to save a soul from hell or purgatory became common practice in the Catholic religion.  While it was a result of greed and corruption in the church, these indulgences fueled the commissioning of many well-known works of art.  This is one example, among countless others, of a church attempting to attract visitors who would pay indulgences.  It was not until Martin Luther wrote and publicized his 95 Theses criticizing the Catholic church for its corruption, that a real movement began to end the sale of indulgences, and unfortunately the rapid advances made in the art world.\r\n\r\nPeople probably compared it to Michelangelo’s last supper as soon as they knew the subject matter.  It was painted about 40 years after the Michelangelo version, so it’s only natural that it was compared to its predecessor.  Those with an extensive knowledge of art at the time would have been the only ones able to compare it to the Da Vinci because without media to spread the images of both, people would not have been able to easily view both and compare them.  There are various similarities and striking differences in the styles of Da Vinci and Tintoretto.  To the casual observer (like myself) the Tintoretto is darker and more elaborate than the relatively bright and open Da Vinci piece.  The way Tintoretto manipulated light and shadow to emphasize motion contrasts with the work Da Vinci put into the apostles’ body language to show their motion. They both portray the 12 apostles and isolate Judas from the bunch.  Da Vinci separates Judas by not including him in the conversations between apostles.  He is somewhat separated physically, but it’s easy to see how he isn’t being included in their conversation.  Tintoretto takes this isolation even further by fully separating Judas physically and spiritually. Tintoretto positioned him on the opposite side of the table as Jesus and the other apostles, and abstained from putting a halo of light around Judas’s head.  It is clear that Judas has been singled out from the others, I had to google which figure he was because he is so obscure.  It’s interesting to see the same scene depicted in two completely different styles.  I feel like I know the artists better after seeing their takes on a biblical scene.\r\n\r\nPeople today are likely to appreciate Tintoretto’s last supper for its own artistic merits because they are familiar with the Da Vinci version.  Unfortunately, the Da Vinci is so well known that it’s hard to see the Tintoretto as unique.  Because they depict the same event and the artists had different styles, the first thing one wants to do upon seeing the Tintoretto is compare it the Da Vinci.  However, there are interesting aspects to the Tintoretto that connoisseurs of art may notice and appreciate.  For example, the Venetian renaissance school of which Tintoretto was a member, taught the use of light and color to portray events with motion and deep space.  The many variations in color light and texture are foreshadowers to impressionism.  Impressionism is unique for its emphasis on the accurate depiction of light in its changing qualities and its inclusion of motion as a crucial element.  While most people today aren’t familiar enough with styles of art to recognize the similarities between this and other impressionism works, it is definitely there.\r\n\r\nPersonally, I think it’s pretty dark. Da Vinci’s Last Supper is well lit and inviting.  The Tintoretto allows for Jesus and his disciples to appear enlightened by including light sparingly.  The effect is dark and I’m impressed by the effort Tintoretto put into the secondary characters that don’t necessarily need to be elaborated on.  He put serious time and effort into their activities to ensure that they appeared human in contrast to the angels milling around the ceiling.  I also am impressed by how detailed each aspect of the painting is.  Individual paint strokes of similar colors were needed to create the effect of light on clothing.  He also used this painstakingly detailed method of painting to produce texture in his work.  The thought and detail required to produce such an effect definitely warrants recognition.  If the work were entirely dark or light, the effect of such shading and implementation of light would be wasted.  However this piece, with its angels halos and lamp, has multiple of light sources.  He uses all of these to the fullest, creating a dynamic event.  The disciples are all having animated conversations and the illusion of their movement is magnified my Tintoretto’s mastery of light and color.  The angels pressing down from the heavens bring a whole new side to the work.  They appear to be made of light but are too light and vaporous to be human.  The rest of the spectators in the room are very human, they can barely believe what’s going on. Tintoretto spared no attention to detail.\r\n\r\nWhile Tintoretto’s Last Supper is overshadowed by that of Da Vinci, it should be recognized for its unique use of shadow and color to emphasize motion.  His style of art was a precursor to impressionism, a style of art we have been exposed to.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nGurley, Robert. \"A Comparison of Da Vinci and Tintoretto\'s Last Supper Paintings.\" Suite\r\n\r\n101 (2010): 1. Web. 9 Apr 2011. &lt;http://www.suite101.com/content/a-comparison-of-da-vinci-and-tintorettos-last-supper-paintings-a276625&gt;.\r\n\r\nNichols, Tom. Tintoretto: Tradition and Identity. 1st. 1. London: Reaktion, 1999. 200-256. Print.\r\n\r\nUnkown, . \"Tintoretto - The Last Supper.\" Old and Sold (1900): 1. Web. 11 Apr 2011.\r\n\r\n&lt;http://www.oldandsold.com/articles12/paintings-66.shtml&gt;.\r\n\r\n&nbsp;\r\n\r\n<!--more-->','Tintoretto\'s Last Supper','','publish','open','open','','tintorettos-last-supper','','','2011-04-16 19:51:06','2011-04-17 01:51:06','',0,'http://jeanatacc.com/2011/?p=1018',0,'post','',6),(1019,17,'2011-04-11 22:01:19','2011-04-12 04:01:19','Tintoretto’s Last Supper is a painting located in the Church of San Giorgio Maggiore in Venice Italy.  It was painted in 1592-1594 by Tintoretto and depicts Jesus’s last supper with his 12 disciples.  Commissioned by the Church of San Giorgio Maggiore, studio needed the help of his coworkers to produce works in the requested amount of time.  This is one of the few he painted entirely himself.  As churches attempted to attract visitors, they commissioned the production of many paintings and bought relics.  Tintoretto’s Last Supper is one of many paintings commissioned with the intent of attracting tourism.<!--more-->\n\nTintoretto’s Last Supper is typical of its era because it was a painting commissioned by a church depicting a biblical scene.  The Last Supper was a popular topic at the time.  Da Vinci’s is the most well known and was painted about 40 years before the Tintoretto.  The way the table is set up provides a linear perspective of everyone just as Michelangelo’s last supper does.  This work also incorporates beings of a greater and lesser meaning.  For example, the angels float near the ceiling like ghosts and the servers are left in the dark serving Jesus and his disciples.  This work is typical of its time period because it was commissioned by a church and the medium is oil based paint – the most common type of paint.  Tintoretto was a Venetian renaissance school member.  This is characterized by extensive use of light and color for vivid energetic paintings.\n\nTintoretto’s final Last Supper was well received but instantly received comparisons and even criticism from art critics who had visited the Santa Marie Monastery in Milan and seen the Da Vinci version.  Tintoretto wasn’t well liked in the art world.  The way he went about his work made him a mercenary of art.  He was notorious for trying to save money for himself by using the least amount of materials possible.  This probably hurt the reviews he received from other artists.  He was, however, commissioned to paint many of these last supper works. They became more evolved as he continued painting them but many of this Last Supper’s predecessors are now lost.  Nevertheless it is easy to see that a great deal of practice was necessary to achieve the impressive use of shadow and light to achieve the illusion of motion found in his work.\n\nAt the time, churches were competing for tourism.  They tried to pick up new visitors by advertising the housing of valuable relics and commissioning extravagant works of art.  The paying of indulgences to churches to save a soul from hell or purgatory became common practice in the Catholic religion.  While it was a result of greed and corruption in the church, these indulgences fueled the commissioning of many well-known works of art.  This is one example, among countless others, of a church attempting to attract visitors who would pay indulgences.  It was not until Martin Luther wrote and publicized his 95 Theses criticizing the Catholic church for its corruption, that a real movement began to end the sale of indulgences, and unfortunately the rapid advances made in the art world.\n\nPeople probably compared it to Michelangelo’s last supper as soon as they knew the subject matter.  It was painted about 40 years after the Michelangelo version, so it’s only natural that it was compared to its predecessor.  Those with an extensive knowledge of art at the time would have been the only ones able to compare it to the Da Vinci because without media to spread the images of both, people would not have been able to easily view both and compare them.  There are various similarities and striking differences in the styles of Da Vinci and Tintoretto.  To the casual observer (like myself) the Tintoretto is darker and more elaborate than the relatively bright and open Da Vinci piece.  The way Tintoretto manipulated light and shadow to emphasize motion contrasts with the work Da Vinci put into the apostles’ body language to show their motion. They both portray the 12 apostles and isolate Judas from the bunch.  Da Vinci separates Judas by not including him in the conversations between apostles.  He is somewhat separated physically, but it’s easy to see how he isn’t being included in their conversation.  Tintoretto takes this isolation even further by fully separating Judas physically and spiritually. Tintoretto positioned him on the opposite side of the table as Jesus and the other apostles, and abstained from putting a halo of light around Judas’s head.  It is clear that Judas has been singled out from the others, I had to google which figure he was because he is so obscure.  It’s interesting to see the same scene depicted in two completely different styles.  I feel like I know the artists better after seeing their takes on a biblical scene.\n\nPeople today are likely to appreciate Tintoretto’s last supper for its own artistic merits because they are familiar with the Da Vinci version.  Unfortunately, the Da Vinci is so well known that it’s hard to see the Tintoretto as unique.  Because they depict the same event and the artists had different styles, the first thing one wants to do upon seeing the Tintoretto is compare it the Da Vinci.  However, there are interesting aspects to the Tintoretto that connoisseurs of art may notice and appreciate.  For example, the Venetian renaissance school of which Tintoretto was a member, taught the use of light and color to portray events with motion and deep space.  The many variations in color light and texture are foreshadowers to impressionism.  Impressionism is unique for its emphasis on the accurate depiction of light in its changing qualities and its inclusion of motion as a crucial element.  While most people today aren’t familiar enough with styles of art to recognize the similarities between this and other impressionism works, it is definitely there.\n\nPersonally, I think it’s pretty dark. Da Vinci’s Last Supper is well lit and inviting.  The Tintoretto allows for Jesus and his disciples to appear enlightened by including light sparingly.  The effect is dark and I’m impressed by the effort Tintoretto put into the secondary characters that don’t necessarily need to be elaborated on.  He put serious time and effort into their activities to ensure that they appeared human in contrast to the angels milling around the ceiling.  I also am impressed by how detailed each aspect of the painting is.  Individual paint strokes of similar colors were needed to create the effect of light on clothing.  He also used this painstakingly detailed method of painting to produce texture in his work.  The thought and detail required to produce such an effect definitely warrants recognition.  If the work were entirely dark or light, the effect of such shading and implementation of light would be wasted.  However this piece, with its angels halos and lamp, has multiple of light sources.  He uses all of these to the fullest, creating a dynamic event.  The disciples are all having animated conversations and the illusion of their movement is magnified my Tintoretto’s mastery of light and color.  The angels pressing down from the heavens bring a whole new side to the work.  They appear to be made of light but are too light and vaporous to be human.  The rest of the spectators in the room are very human, they can barely believe what’s going on. Tintoretto spared no attention to detail.\n\nWhile Tintoretto’s Last Supper is overshadowed by that of Da Vinci, it should be recognized for its unique use of shadow and color to emphasize motion.  His style of art was a precursor to impressionism, a style of art we have been exposed to.\n\n&nbsp;\n\nWorks Cited\n\nGurley, Robert. \"A Comparison of Da Vinci and Tintoretto\'s Last Supper Paintings.\" Suite\n\n101 (2010): 1. Web. 9 Apr 2011. &lt;http://www.suite101.com/content/a-comparison-of-da-vinci-and-tintorettos-last-supper-paintings-a276625&gt;.\n\nNichols, Tom. Tintoretto: Tradition and Identity. 1st. 1. London: Reaktion, 1999. 200-256. Print.\n\nUnkown, . \"Tintoretto - The Last Supper.\" Old and Sold (1900): 1. Web. 11 Apr 2011.\n\n&lt;http://www.oldandsold.com/articles12/paintings-66.shtml&gt;.\n\n&nbsp;\n\n<!--more-->','Tintoretto\'s Last Supper','','inherit','open','open','','1018-revision','','','2011-04-11 22:01:19','2011-04-12 04:01:19','',1018,'http://jeanatacc.com/2011/?p=1019',0,'revision','',0),(1023,35,'2011-04-11 22:21:01','2011-04-12 04:21:01','','pietaMichelangelo','','inherit','open','open','','pietamichelangelo','','','2011-04-11 22:21:01','2011-04-12 04:21:01','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/pietaMichelangelo.jpg',0,'attachment','image/jpeg',0),(1024,35,'2011-04-11 22:25:31','2011-04-12 04:25:31','','pietaMichelangelo','','inherit','open','open','','pietamichelangelo-2','','','2011-04-11 22:25:31','2011-04-12 04:25:31','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/pietaMichelangelo1.jpg',0,'attachment','image/jpeg',0),(1026,35,'2011-04-11 22:30:41','2011-04-12 04:30:41','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/pietaMichelangelo2.jpg\"><img class=\"size-full wp-image-1027 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/pietaMichelangelo2.jpg\" alt=\"\" width=\"324\" height=\"319\" /></a> <a href=\"http://www.davidmacd.com/images/europe/100_4681_pieta.jpg\">http://www.davidmacd.com/images/europe/100_4681_pieta.jpg</a></p>\r\nMichelangelo Buonarroti was one of the most prominent artists of the High Renaissance era. He produced such notable works throughout his long life as painting the ceiling of the Sistine Chapel and contributing his architectural design skills to build St. Peter’s Basilica. Although he was considered a genius in painting, architecture, and even writing poems, he considered himself a sculptor over all creative endeavors. One of his early and most famous sculptures was the Vatican <em>Pieta</em>. Many artist have created their own adaptations of the Pieta in a variety of mediums over the centuries, however Michelangelo’s Vatican <em>Pieta</em> is the most significant interpretation ever produced and is arguably the most prominent Christian image of all time.<!--more--> For those reasons and more Michelangelo’s <em>Pieta</em> should be preserved for future generations.\r\n\r\n&nbsp;\r\n\r\nCompleted in 1499 when Michelangelo was in his mid twenties, the <em>Pieta</em>, which was commissioned by the French cardinal Jean Villiers, is located in St. Peter’s Basilica in Vatican City, Rome. In its most basic description the Pieta depicts the Virgin Mary holding her son Jesus in her lap following his death on the cross. Pieta in translation means “pity” in Italian, you can visually see the emotion in the mothers face in Michelangelo’s remarkable sculpture. It took him only two years to complete this masterpiece and used only one block of marble to create. The statue size of the two forms is larger than life, and according to Michelangelo-gallery website if the Virgin Mary were to stand up she would be around 6 feet 6 inches. Although the piece is unique from other sculptures of the 15<sup>th</sup> century for its lack of proper proportions, Michelangelo used his knowledge of anatomy to perfectly unite this statue with classical form and pyramidal composition.\r\n\r\n&nbsp;\r\n\r\nDuring the High Renaissance, Italy was in its “greatest artistic achievement and productivity”, according to the <em>Arts and Humanities Through the Eras </em>article titled <em>The High Renaissance in Italy </em>written by Edward I. Bleiberg<em>. </em>Artists were very prominent people in Italian society and their work was being commissioned by powerful individuals such as kings and popes. The art of this era was also contributed and influenced by the Neoplatonic philosophy ideals spreading through Florence, which is were Michelangelo was born and raised before residing in Rome. He was one of the first artists to use the neoplatonism ideals in his artwork. Bleiberg declares that “Neoplatonism taught that creativity was a sign of humankind\'s creation in God\'s likeness […] the artists of the High Renaissance came to be influenced by these ideas. Michelangelo, a student of Neoplatonism in his youth, was particularly quick to point to his achievements in sculpture and painting as the products of divine inspiration. Many patrons agreed, and the notion of the artist as a figure filled with an almost superhuman ability to create became one of the underlying themes of the age (Bleiberg 392).\r\n\r\n&nbsp;\r\n\r\nAlthough the high renaissance was significant to the arts, its political outlook was full of tension. During this time the larger powers of Italy were conquering the smaller territories and by the beginning of the 16<sup>th</sup> century there were 5 main powers controlling the nation:  Milan, Florence, the papacy, Venice, and Naples. This created strife between the 5 main leaders because none were dominant enough to prevail over another. This eventually led to French domination and the Italian Wars. Bleiberg writes that “lack of political unity, as well as diplomatic treachery, left open the door for outside invasion. In 1494, France became the first major European power to seek conquests in Italy, and this French invasion touched off a long series of conflicts that became known as the Italian Wars (1494–1530). Eventually every major European power became involved in these wars, as European dynasties tried to press ancient feudal claims to rule parts of Italy.” This concludes that while Italy was making great cultural advancements, also occurring was a period of warfare.\r\n\r\n&nbsp;\r\n\r\nIn 1370 an unknown German artist illustrated their version of the Pieta titled <em>The Röttgen Pietà</em>. This rendition is very different than Michelangelo’s divine creation. The mid 14<sup>th</sup> century sculpture portrayed the suffering of the moment that mother is grieving her tortured child. According to Fiero, author of <em>The Humanistic Tradition </em>this era was influenced by realism and raw emotion which is definitely captured in the <em>Röttgen Pietà. </em>Fiero describes the artist’s details as “a traumatic moment between a despairing Mother and her Son, whose broken torso and elongated arms are as rigid as the wood from which they were carved. This votive sculpture captures the torment of Christ\'s martyrdom with fierce energy” (Fiero B3 14). Obvious differences in the two pietas are that the <em>Röttgen Pietà </em>was created out of wood and was only 89 cm in height, it would be easier for Michelangelo to incorporate more detail into his beautifully sculpted over sized marble creation. According to the book <em>The Illustrated History of Art </em>by David Piper the Vatican <em>Pieta </em>had a “flawless finish and classicism” and although there is much detail to the anatomy of the two figures, there are minimal wounds to Jesus’ body because Michelangelo wanted to embrace the peace and love of the moment felt by Mary and show the subtle emotion of the instant (Piper 132). In contrast the <em>Röttgen Pietà </em>is illustrated with Jesus’ face in agony and wants to portray the pain and sorrow felt by the anguished mother. One last difference is the creator <em>Röttgen Pietà </em>is unknown, unlike Michelangelo’s <em>Pieta</em> that can never be mistaken as work by another sculptor since this in one of the only pieces he ever signed.\r\n\r\n&nbsp;\r\n\r\nThe Vatican Pieta was Michelangelo’s first important commission; the success of this piece helped him become one of the most significant artists of the High Renaissance. According to Bleiberg’s article it “was immediately recognized for its extreme delicacy and accomplished technique” (Bleiberg 392). His sculpture was to exquisite that influenced many artists that followed, according to the Michelangelo-gallery website “The sculpture was so beautiful that it inspired Giorgio Vasari, an Italian painter and biographer, to comment, “It would be impossible for any craftsman or sculptor no matter how brilliant ever to surpass the grace or design of this work, or try to cut and polish the marble with the skill that Michelangelo displayed.”\r\n\r\n&nbsp;\r\n\r\nToday Michelangelo’s <em>Pieta</em> is revered as one of the most famous and adored divine sculptures today. Some say its only competition is another sculpture by Michelangelo which is his David. Fiero declares that “Michelangelo\'s <em>Pietà</em> transformed the late medieval devotional image into a monumental statement on the meaning of Christian sacrifice” (Fiero B3 14). Piper declares that “Christian emotion never has been more perfectly united with classical form. Michelangelo never reached such flawless finish again” (Piper 132). Nonetheless, Michelangelo’s Pieta is truly a masterpiece and a supreme example of romantic art.\r\n\r\nMichelangelo’s <em>Pieta</em> is meaningful to me because how classical it is in nature. I agree with other admirers that it has a peaceful and meditative quality to it. I love how realistic and detailed he created the clothing, its drapes beautifully from the two forms. I also think it inspires raw emotion to the viewer, religious or not, Michelangelo captures the moment and relationship of mother and son. It potently illustrates a mother in morning.\r\n\r\n&nbsp;\r\n\r\nMichelangelo’s <em>Pieta </em>should be preserved for future generations not only because it is one the most famous Christian images/sculptures ever created but also because it chronicles the beginning of Michelangelo Buonarroti’s career as one of the most influential artists of all time and the history of the high renaissance era. It is also unique because it is one of the only pieces he ever signed. This piece has also proven as being a testament to the Christian faith and illustrates the grievances between mother and child in a godly manner.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nBibliography\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.17-23 eBook. (Fiero B1. 17-23).\r\n\r\nMichelangelo Buonarroti.\" <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. <em>Gale Virtual Reference Library</em>. Web. 01 Apr. 2011.\r\n\r\nDocument URL\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\n&nbsp;\r\n\r\nMichelangelo Buonarroti 1475–1564 Italian Artist.\" <em>Renaissance: An Encyclopedia for Students</em>. Ed. Paul F. Grendler. Vol. 3. New York: Charles Scribner\'s Sons, 2004. 73-76. <em>Gale Virtual Reference Library</em>. Web. 11 Apr. 2011.\r\n\r\nDocument URL\r\nhttp://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3409200302&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\nMichelangelo Buonarroti.\" <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 11. Detroit: Gale, 2004. 2-5. <em>Gale Virtual Reference Library</em>. Web. 01 Apr. 2011.\r\n\r\nDocument URL\r\nhttp://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3404704445&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\n&nbsp;\r\n\r\n\"Pieta - Michelangelo\'s Pieta Sculpture.\" <em>Michelangelo Buonarotti Paintings and Biography</em>. 2011. Web. 05 Apr. 2011. &lt;http://www.michelangelo-gallery.com/pieta.aspx&gt;.\r\n\r\n&nbsp;\r\n\r\n\" Piper, David, and Philip Rawson. <em>The Illustrated History of Art</em>. London: Bounty, 2004. Print. Pg 132-135.\r\n\r\n&nbsp;\r\n\r\nThe High Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 386-398. <em>Gale Virtual Reference Library</em>. Web. 05 Apr. 2011.\r\n\r\nDocument URL\r\nhttp://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?&amp;id=GALE%7CCX3427400767&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Michelangelo\'s Pieta','','publish','open','open','','michelangelos-pieta-2','','','2011-04-16 19:51:59','2011-04-17 01:51:59','',0,'http://jeanatacc.com/2011/?p=1026',0,'post','',9),(1027,35,'2011-04-11 22:29:42','2011-04-12 04:29:42','','pietaMichelangelo','','inherit','open','open','','pietamichelangelo-3','','','2011-04-11 22:29:42','2011-04-12 04:29:42','',1026,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/pietaMichelangelo2.jpg',0,'attachment','image/jpeg',0),(1028,35,'2011-04-11 22:28:43','2011-04-12 04:28:43','','Michelangelo\'s Pieta','','inherit','open','open','','1026-revision','','','2011-04-11 22:28:43','2011-04-12 04:28:43','',1026,'http://jeanatacc.com/2011/?p=1028',0,'revision','',0),(1029,27,'2011-04-12 07:48:17','2011-04-12 13:48:17','The Tale of Genji is considered to be the worlds earliest known novel, and was written by Murasaki Shikibu sometime around the year 1000. The story follows Genji, an illegitimate son of the current emperor, and his many sexual conquests, and love interests from his early adulthood, to his death. The book was written to entertain japanese nobles, so many examples of metaphors and inflected language were used throughout the novel. <!--more-->Complex grammar and long drawn out sentences were often used due to the poetic nature of the japanese court at the time. In fact, royal men and women often spoke to each other in poems, or modified versions of [what were at the time] classical poems that had been adapted to the current situation, much as we change our modern colloquialisms for satire, or increased conversational context. Unfortunately, the original was written in formal japanese, which has different pronunciation patterns, rhyme schemes and grammatical properties than english, thus the poetry does not translate very well.\r\n\r\nPersonally, the story of the novel struck me as uninteresting, but its circumstances and brilliant imagery help to carry the plot. Marasuki had an amazing gift for description “In the northeast quarter there was a cool natural spring and the plan had the summer sun in mind. In the forward parts of the garden the wind through thickets of Chinese bamboo would be cool in the summer, and the trees were deep and mysterious as mountain groves. There was a hedge of mayflower, and there were oranges to remind the lady of days long gone. There were wild carnations and roses and gentians and a few spring and autumn flowers.” (Shikibu) When I read through the story, I realized I was more interested in the writer\'s characterization of the scenes, than the actual plot itself.  The text is somewhere around 800-840 pages long [depending on your translation], and It would seem around 60 percent of that writing is further description of the landscapes, faces, and feelings of the scene. The writing style exemplifies detail over characters, and seems to show the authors intense intimacy with nature and her everyday environment.\r\n\r\nGenji, as he is referred to in the book, is not the protagonist\'s true name, nor are any of the names throughout the text accurate, for it was considered rude to use a person\'s name during the Heian period of Japanese society. The author uses mainly titles or locations to distinguish between characters, for instance “Genji”, a Genji is traditionally a general term to describe someone of middle class and rank, which was customary, as his mother was not of noble descent. Other examples include, “The Lady of Rokujo” with Rokujo being a village, or “Yugiri” who was the mayor of a religious settlement called Yugiri. The practice of name omission for purposes of honor and respect, may seem foreign, but was quite common in japan for over three hundred years. The only name that is confirmed to be genuine, is that of Murasaki herself, who is also a character in the book. In the author\'s personal diary, she expresses that the Genji character was based on the current minister of the left at the time, a man who the women of the court considered very handsome.\r\n\r\nThe Tale of Genji does not exactly follow the common perceptions of what we, in modern times would consider a novel. The book was episodic, and was the compiled result of a number of years and different versions with multiple authors. In most modern cases, authors write a book with the intention of publishing it as a single work, whereas Marasuki wrote different episodes of the story at different times. The Genji is portrayed as a righteous man, who can do no wrong; this one dimensional character development has been all but eliminated in contemporary narratives. The writer\'s high level of obligation and fealty Marasuki had for her audience prevented her from portraying the upper class as anything but the most honest of men. Contemporary authors tend to create characters with flaws, and obvious shortcomings, that give each role in the story depth. For instance, Chuck Palahniuk\'s book “Haunted” focuses on a group of writers deceptively trapped inside a mansion. The characters share stories from their pasts, each telling a more gruesome or depraved story than the last. Throughout this  sometimes overly revealing process, the group reveals their innermost weaknesses, feelings, and fears. Exploration of a character\'s darker side was simply not customary in the time period in which the book was written. In modern times, the tale of Genji can be credited with providing for us a link to earlier peoples\' development of language and the art of writing. Countless stories were handed down by word of mouth before the work was written, but this collection proves important because it is as far as we know, the oldest manuscript in existence.\r\n\r\nWorks Cited\r\n\r\nMurasaki, Shikibu, and Arthur Waley. The Tale of Genji. Tokyo: Tuttle Pub., 2010. Print.\r\n\r\nPalahniuk, Chuck. Haunted. New York: Anchor, 2006. Print.','The Tale of Genji','','publish','open','open','','the-tale-of-genji','','','2011-04-16 19:49:55','2011-04-17 01:49:55','',0,'http://jeanatacc.com/2011/?p=1029',0,'post','',10),(1030,27,'2011-04-12 07:46:46','2011-04-12 13:46:46','','Auto Draft','','inherit','open','open','','1029-revision','','','2011-04-12 07:46:46','2011-04-12 13:46:46','',1029,'http://jeanatacc.com/2011/?p=1030',0,'revision','',0),(1033,29,'2011-04-12 20:25:31','2011-04-13 02:25:31','<p style=\"text-align: center;\">&nbsp;</p>\r\n<p style=\"text-align: center;\"><a href=\"http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg\"><img class=\"aligncenter\" src=\"http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg\" alt=\"\" width=\"230\" height=\"382\" /></a></p>\r\n<a href=\"http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg\">http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg</a>\r\n\r\nSir Thomas More was born in England in 1478 and worked as chancellor to King Henry VIII during the king\'s controversial break with the Catholic church. More was a Christian man who relied heavily on his own conscience. He stood up for religious tolerance and Christian charity. He was \"unwilling to compromise his conviction as a Roman Catholic\" (Fiero, 19) and by opposing the actions of the king, was executed for treason in 1535. <!--more-->Although More worked for the kind most of his life, he had a constant struggle on whether to remain loyal to the king and continue to join his services, or to remain a philosopher. When More wrote his most famous piece: Utopia (1516) the first literary description of a \"perfect\" or ideal state since \"Republic\" by Plato. More centered this story around Europe\'s statecraft and current state of society and titled it Utopia, meaning in Greek both \"good place\" and \"no place\" (Fiero, 19). More created a society where everything was equal (except to slaves) and where all citizens were equally responsible for social justice. The Utopians in the made-up society are not Christians, but stand by the Christian morals of charity and morality. More wrote \"Utopia\" in the form of a critique (on European state at the time) and as a political satire. In Utopian society, wives serve their husbands, and children serve their parents. Cities are divided equally into four separate parts and there is a marketplace in the center of each. At the marketplace, people bring their crops or tools they make and lay them out for people from their cities to come take back to their houses. The fathers of each family take what is necessary for their family’s survival and need not pay anything in return. In \"Utopia,\" there is no such thing as greed and people do not want things because excess is not part of their vocabulary. People do not need money, because there is no denial for anything- there is plenty of everything to go around. The Utopians hoard a vast array of metals that they take from foreign trade and use them for the military or for anything else they need. \" They have no inducements to do this, since they are sure they shall always be supplied\" (Fiero, 19). People have no need for gold or silver or anything of \"value\" because they don\'t find it necessary to live. \"The folly of men has enhanced the value of gold and silver, because of their scarcity. Whereas, on the contrary, it is their opinion that nature as an indulgent parent, has freely given us all the best things in great abundance\" (Fiero, 19). In other words, to the Utopians things in vain are worthless. If something like gold or diamonds is attained, it is because someone in society has come across it by accident- and in this case they adorn their children with these treasures. The goods given to their children will \"glory\" them while they are children and when they are older they will understand that \"none but children use such baubles, they of their own accords, without being being bid by their parents lay them aside\" (Fiero, 19). One of the last main points More puts in his \"Utopia\" is that war is brutal and is extremely unnecessary and should be avoided at all cost. More says that \"nothing is more inglorious than glory attained by war\" (Fiero, 19) and that no matter what if a truce is made- it will never be broken. The Utopian society takes truces so seriously that nothing can make them break it. The Utopians will not burn an enemy’s crops, kill their horses or kill any man- unless he is a spy.\r\n\r\n<!--more-->\r\n\r\nDuring this time in England, Henry VIII was the reigning king and was not the most successful at his job. There was turmoil throughout the country- there was the very rich and there were MANY poor, which contributed quite a bit to More\'s philosophical theories. King Henry VIII was blowing away England\'s money and didn\'t do a great job in supporting all of society. The wealthy English were entranced by money and things of high \"value\" and were concerned with minute issues and not the big picture. Farmers were losing their land and were forced to move, which caused a decline in harvested crops which made prices skyrocket. This made the poor poorer and the land available was now in the hands of fewer people. This made people desperate in order to keep their families alive- so they resorted to stealing in order to survive. \"By enclosing land, members of the upper class in England created a socioeconomic as well as physical division between the classes\" (Park, 1). In other words, England was not a happy place-which makes it easy to understand why More wrote \"Utopia\" and imagined a place completely opposite to the hellish landscape around him. (This is also the King who created his OWN church because the one he was loyal to for his entire life wouldn\'t grant him a divorce; who would want to work under this type of person?) The characters in \"Utopia\" are said to represent actual historical figures during More\'s time period. More, Giles and Morton (the main characters in the story) all correspond to the biological history of More\'s life. Peter Giles was a Humanist thinker and Cardinal John Morton was the former Chancellor of England. Although the characters in the story are not exact copies of the real people, More used these names and personalities to represent actual happenings and beliefs he had. Hythloday, the character in the story who meets the three characters discussed before, informs them about a place he had traveled to before called \"Utopia.\" He explains how no matter how good a policy or idea is (such a Utopia) it will always seem crazy to another person who sees the world differently. In the story Hythloday specifically says that the Utopian view is superior to the Europeans even though citizens of Europe would think differently. He goes on to say that he would like to see Utopian practices put into place in Europe but feels it may never happen (this is the real Sir Thomas More making it apparent that the feelings of the characters in his stories are his and that they should be taken seriously in the real world).\r\n\r\n\"Utopia\" is definitely not a typical work of its era. More\'s thought were completely out of the ordinary for the average person during his time. Sure, many philosophers (like Plato) thought like him, but the common man wouldn\'t think of writing a critique on the country they live in- not without thinking of dying for treason first! His thoughts were so before his time that many disagreed with his opinions. \"Utopia\" was radical in its day- More\'s view on \"idealistic revolution\" (Gerard, 1) is still controversial today. Even though the world has progressed (somewhat) towards this utopian-like place, many issues addressed in \"Utopia\" are still not fixed today (war for instance). More was critical of the world he lived in, economic order was constantly changing and More believed a lot of the changes were evil. He wrote \"Utopia\" to suggest some solutions to the problems Europe was having. More\'s differed from philosophers like Plato\'s writing, because More gave to everyone in his scenario. More shows the difference between his own corrupt society and compares it to his idealistic universe. Plato, in his “Republic” talks about how idealism deals with separation of the mind and matter. He explains that someone might get ahead and be virtuous by the benefits of both the individual and the society they live in. Like more, Plato built an idealist society where people worked together to achieve a virtuous environment. Like Plato, more also feels that an educated society is a stronger society.\r\n\r\nPeople today still feel that \"Utopia\" is important, it is studied in many schools and is important enough to discuss with any age group. The word \"Utopia\" still holds true with the meaning More originally gave it- when we use utopia in a sentence people think of a \"paradise\" or \"wonderland\" type place. Not only does More offers a critique on European society, he offers a critique on every society. NO society is perfect; each can constantly work towards this \"utopian\" type place. \"Utopia\" works as a model to a society, and this is no doubt a timeless idea. More also makes comments on being a Christian and reveals that the coming of Christ is the only way to achieve perfection. The morals set up in \"Utopia\" are timeless and will continue to be looked at for ages. \"He became a martyr for religious convictions that few others shared, and for that he was beautified.\" (Sparknotes, 1).\r\n\r\nPersonally, I like the ideals in \"Utopia,\" it has a nice message and I truly wish we could all live in a world where everything was equal. My favorite part of More\'s argument is that war is unnecessary and that wealth is too. I found it so fascinating that he thought about these sorts of things so early in time. He was so ahead of the curve on equality and freedom- it\'s mind-blowing. The only part I disagree with is that Utopians still had slaves. If More was a Christian, why didn\'t he feel that everyone was equal? Either way, \"Utopia\" should be preserved and should be continually taught throughout the rest of time. \"Utopia\" can reach many generations and can speak to anyone who has a heart. More\'s words are thought out and his story is in-depth, but it is easy to understand. His morals and ideals placed inside \"Utopia\" are ones that everyone seeks. Peace and harmony reside on Utopia, and this is something we all wish to live in. I love the geographic context of the actual Utopian island, it is a deserted island where the country can choose to interact with the rest of the world or not. I believe this is how the United States should act, we should chose our battles wisely and think twice (or a million times!) about the price and necessity of war. \"Utopia\" is not only an entertaining read, it is truly inspiring.\r\n\r\nWorks Cited\r\n\r\nEncyclopedia of Philosophy: Sir Thomas More. Pg 390\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nGerard, W.B., and Eric Sterling. \"Sir thomas More\'s Utopia and the transformation of England from absolute monarchy to egalitarian society.\" Contemporary Justice Review 8.1 (2005): 75-89. Academic Search Complete. EBSCO. WEB. 12 Apr.2011.\r\n\r\n<a href=\"/search~S1?/aMore,+Thomas,+Sir,+Saint,+1478-1535/amore+thomas+sir+saint+1478+1535/-3,-1,0,B/browse\">More, Thomas, Sir, Saint, 1478-1535.</a> Title Utopia : a revised translation, backgrounds, criticism / Sir Thomas More ; translated and edited by Robert  M. Adams. Imprint New York : W.W. Norton, c1992. Edition 2nd ed.\r\n\r\nPark, James W., and L. W. \"The Utopian Economics of Sir Thomas More. \"American\r\n\r\nJournal of Economics &amp; Sociology 30.3 (1971): 275-288. Business Source\r\n\r\nComplete. EBSCO. Web. 12 Apr 2011.\r\n\r\nUtopia: Spark Notes, 2011.','Sir Thomas More\'s Utopia','','publish','open','open','','sir-thomas-mores-utopia','','','2011-04-16 19:50:39','2011-04-17 01:50:39','',0,'http://jeanatacc.com/2011/?p=1033',0,'post','',13),(1034,29,'2011-04-12 20:19:44','2011-04-13 02:19:44','','more','\"Sir Thomas More\" Fiero: The Humanistic Tradition','inherit','open','open','','more','','','2011-04-12 20:19:44','2011-04-13 02:19:44','',1033,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/more.png',0,'attachment','image/png',0),(1035,29,'2011-04-12 20:25:21','2011-04-13 02:25:21',' \n\nSir Thomas More was born in England in 1478 and worked as chancellor to King Henry VIII during the king\'s controversial break with the Catholic church. More was a Christian man who relied heavily on his own conscience. He stood up for religious tolerance and Christian charity. He was \"unwilling to compromise his conviction as a Roman Catholic\" (Fiero, 19) and by opposing the actions of the king, was executed for treason in 1535. Although More worked for the kind most of his life, he had a constant struggle on whether to remain loyal to the king and continue to join his services, or to remain a philosopher. When More wrote his most famous piece: Utopia (1516) the first literary description of a \"perfect\" or ideal state since \"Republic\" by Plato. More centered this story around Europe\'s statecraft and current state of society and titled it Utopia, meaning in Greek both \"good place\" and \"no place\" (Fiero, 19). More created a society where everything was equal (except to slaves) and where all citizens were equally responsible for social justice. The Utopians in the made-up society are not Christians, but stand by the Christian morals of charity and morality. More wrote \"Utopia\" in the form of a critique (on European state at the time) and as a political satire. In Utopian society, wives serve their husbands, and children serve their parents. Cities are divided equally into four separate parts and there is a marketplace in the center of each. At the marketplace, people bring their crops or tools they make and lay them out for people from their cities to come take back to their houses. The fathers of each family take what is necessary for their family’s survival and need not pay anything in return. In \"Utopia,\" there is no such thing as greed and people do not want things because excess is not part of their vocabulary. People do not need money, because there is no denial for anything- there is plenty of everything to go around. The Utopians hoard a vast array of metals that they take from foreign trade and use them for the military or for anything else they need. \" They have no inducements to do this, since they are sure they shall always be supplied\" (Fiero, 19). People have no need for gold or silver or anything of \"value\" because they don\'t find it necessary to live. \"The folly of men has enhanced the value of gold and silver, because of their scarcity. Whereas, on the contrary, it is their opinion that nature as an indulgent parent, has freely given us all the best things in great abundance\" (Fiero, 19). In other words, to the Utopians things in vain are worthless. If something like gold or diamonds is attained, it is because someone in society has come across it by accident- and in this case they adorn their children with these treasures. The goods given to their children will \"glory\" them while they are children and when they are older they will understand that \"none but children use such baubles, they of their own accords, without being being bid by their parents lay them aside\" (Fiero, 19). One of the last main points More puts in his \"Utopia\" is that war is brutal and is extremely unnecessary and should be avoided at all cost. More says that \"nothing is more inglorious than glory attained by war\" (Fiero, 19) and that no matter what if a truce is made- it will never be broken. The Utopian society takes truces so seriously that nothing can make them break it. The Utopians will not burn an enemy’s crops, kill their horses or kill any man- unless he is a spy.\n\n<!--more-->\n\nDuring this time in England, Henry VIII was the reigning king and was not the most successful at his job. There was turmoil throughout the country- there was the very rich and there were MANY poor, which contributed quite a bit to More\'s philosophical theories. King Henry VIII was blowing away England\'s money and didn\'t do a great job in supporting all of society. The wealthy English were entranced by money and things of high \"value\" and were concerned with minute issues and not the big picture. Farmers were losing their land and were forced to move, which caused a decline in harvested crops which made prices skyrocket. This made the poor poorer and the land available was now in the hands of fewer people. This made people desperate in order to keep their families alive- so they resorted to stealing in order to survive. \"By enclosing land, members of the upper class in England created a socioeconomic as well as physical division between the classes\" (Park, 1). In other words, England was not a happy place-which makes it easy to understand why More wrote \"Utopia\" and imagined a place completely opposite to the hellish landscape around him. (This is also the King who created his OWN church because the one he was loyal to for his entire life wouldn\'t grant him a divorce; who would want to work under this type of person?) The characters in \"Utopia\" are said to represent actual historical figures during More\'s time period. More, Giles and Morton (the main characters in the story) all correspond to the biological history of More\'s life. Peter Giles was a Humanist thinker and Cardinal John Morton was the former Chancellor of England. Although the characters in the story are not exact copies of the real people, More used these names and personalities to represent actual happenings and beliefs he had. Hythloday, the character in the story who meets the three characters discussed before, informs them about a place he had traveled to before called \"Utopia.\" He explains how no matter how good a policy or idea is (such a Utopia) it will always seem crazy to another person who sees the world differently. In the story Hythloday specifically says that the Utopian view is superior to the Europeans even though citizens of Europe would think differently. He goes on to say that he would like to see Utopian practices put into place in Europe but feels it may never happen (this is the real Sir Thomas More making it apparent that the feelings of the characters in his stories are his and that they should be taken seriously in the real world).\n\n\"Utopia\" is definitely not a typical work of its era. More\'s thought were completely out of the ordinary for the average person during his time. Sure, many philosophers (like Plato) thought like him, but the common man wouldn\'t think of writing a critique on the country they live in- not without thinking of dying for treason first! His thoughts were so before his time that many disagreed with his opinions. \"Utopia\" was radical in its day- More\'s view on \"idealistic revolution\" (Gerard, 1) is still controversial today. Even though the world has progressed (somewhat) towards this utopian-like place, many issues addressed in \"Utopia\" are still not fixed today (war for instance). More was critical of the world he lived in, economic order was constantly changing and More believed a lot of the changes were evil. He wrote \"Utopia\" to suggest some solutions to the problems Europe was having. More\'s differed from philosophers like Plato\'s writing, because More gave to everyone in his scenario. More shows the difference between his own corrupt society and compares it to his idealistic universe. Plato, in his “Republic” talks about how idealism deals with separation of the mind and matter. He explains that someone might get ahead and be virtuous by the benefits of both the individual and the society they live in. Like more, Plato built an idealist society where people worked together to achieve a virtuous environment. Like Plato, more also feels that an educated society is a stronger society.\n\n  People today still feel that \"Utopia\" is important, it is studied in many schools and is important enough to discuss with any age group. The word \"Utopia\" still holds true with the meaning More originally gave it- when we use utopia in a sentence people think of a \"paradise\" or \"wonderland\" type place. Not only does More offers a critique on European society, he offers a critique on every society. NO society is perfect; each can constantly work towards this \"utopian\" type place. \"Utopia\" works as a model to a society, and this is no doubt a timeless idea. More also makes comments on being a Christian and reveals that the coming of Christ is the only way to achieve perfection. The morals set up in \"Utopia\" are timeless and will continue to be looked at for ages. \"He became a martyr for religious convictions that few others shared, and for that he was beautified.\" (Sparknotes, 1).\n\nPersonally, I like the ideals in \"Utopia,\" it has a nice message and I truly wish we could all live in a world where everything was equal. My favorite part of More\'s argument is that war is unnecessary and that wealth is too. I found it so fascinating that he thought about these sorts of things so early in time. He was so ahead of the curve on equality and freedom- it\'s mind-blowing. The only part I disagree with is that Utopians still had slaves. If More was a Christian, why didn\'t he feel that everyone was equal? Either way, \"Utopia\" should be preserved and should be continually taught throughout the rest of time. \"Utopia\" can reach many generations and can speak to anyone who has a heart. More\'s words are thought out and his story is in-depth, but it is easy to understand. His morals and ideals placed inside \"Utopia\" are ones that everyone seeks. Peace and harmony reside on Utopia, and this is something we all wish to live in. I love the geographic context of the actual Utopian island, it is a deserted island where the country can choose to interact with the rest of the world or not. I believe this is how the United States should act, we should chose our battles wisely and think twice (or a million times!) about the price and necessity of war. \"Utopia\" is not only an entertaining read, it is truly inspiring.\n\nWorks Cited\n\nEncyclopedia of Philosophy: Sir Thomas More. Pg 390\n\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\nGerard, W.B., and Eric Sterling. \"Sir thomas More\'s Utopia and the transformation of England from absolute monarchy to egalitarian society.\" Contemporary Justice Review 8.1 (2005): 75-89. Academic Search Complete. EBSCO. WEB. 12 Apr.2011.\n\n<a href=\"/search~S1?/aMore,+Thomas,+Sir,+Saint,+1478-1535/amore+thomas+sir+saint+1478+1535/-3,-1,0,B/browse\">More, Thomas, Sir, Saint, 1478-1535.</a> Title Utopia : a revised translation, backgrounds, criticism / Sir Thomas More ; translated and edited by Robert  M. Adams. Imprint New York : W.W. Norton, c1992. Edition 2nd ed.\n\nPark, James W., and L. W. \"The Utopian Economics of Sir Thomas More. \"American\n\n    Journal of Economics &amp; Sociology 30.3 (1971): 275-288. Business Source\n\n            Complete. EBSCO. Web. 12 Apr 2011.\n\n Utopia: Spark Notes, 2011.','Sir Thomas More\'s Utopia','','inherit','open','open','','1033-revision','','','2011-04-12 20:25:21','2011-04-13 02:25:21','',1033,'http://jeanatacc.com/2011/?p=1035',0,'revision','',0),(1036,29,'2011-04-12 20:25:31','2011-04-13 02:25:31',' \r\n\r\nSir Thomas More was born in England in 1478 and worked as chancellor to King Henry VIII during the king\'s controversial break with the Catholic church. More was a Christian man who relied heavily on his own conscience. He stood up for religious tolerance and Christian charity. He was \"unwilling to compromise his conviction as a Roman Catholic\" (Fiero, 19) and by opposing the actions of the king, was executed for treason in 1535. Although More worked for the kind most of his life, he had a constant struggle on whether to remain loyal to the king and continue to join his services, or to remain a philosopher. When More wrote his most famous piece: Utopia (1516) the first literary description of a \"perfect\" or ideal state since \"Republic\" by Plato. More centered this story around Europe\'s statecraft and current state of society and titled it Utopia, meaning in Greek both \"good place\" and \"no place\" (Fiero, 19). More created a society where everything was equal (except to slaves) and where all citizens were equally responsible for social justice. The Utopians in the made-up society are not Christians, but stand by the Christian morals of charity and morality. More wrote \"Utopia\" in the form of a critique (on European state at the time) and as a political satire. In Utopian society, wives serve their husbands, and children serve their parents. Cities are divided equally into four separate parts and there is a marketplace in the center of each. At the marketplace, people bring their crops or tools they make and lay them out for people from their cities to come take back to their houses. The fathers of each family take what is necessary for their family’s survival and need not pay anything in return. In \"Utopia,\" there is no such thing as greed and people do not want things because excess is not part of their vocabulary. People do not need money, because there is no denial for anything- there is plenty of everything to go around. The Utopians hoard a vast array of metals that they take from foreign trade and use them for the military or for anything else they need. \" They have no inducements to do this, since they are sure they shall always be supplied\" (Fiero, 19). People have no need for gold or silver or anything of \"value\" because they don\'t find it necessary to live. \"The folly of men has enhanced the value of gold and silver, because of their scarcity. Whereas, on the contrary, it is their opinion that nature as an indulgent parent, has freely given us all the best things in great abundance\" (Fiero, 19). In other words, to the Utopians things in vain are worthless. If something like gold or diamonds is attained, it is because someone in society has come across it by accident- and in this case they adorn their children with these treasures. The goods given to their children will \"glory\" them while they are children and when they are older they will understand that \"none but children use such baubles, they of their own accords, without being being bid by their parents lay them aside\" (Fiero, 19). One of the last main points More puts in his \"Utopia\" is that war is brutal and is extremely unnecessary and should be avoided at all cost. More says that \"nothing is more inglorious than glory attained by war\" (Fiero, 19) and that no matter what if a truce is made- it will never be broken. The Utopian society takes truces so seriously that nothing can make them break it. The Utopians will not burn an enemy’s crops, kill their horses or kill any man- unless he is a spy.\r\n\r\n<!--more-->\r\n\r\nDuring this time in England, Henry VIII was the reigning king and was not the most successful at his job. There was turmoil throughout the country- there was the very rich and there were MANY poor, which contributed quite a bit to More\'s philosophical theories. King Henry VIII was blowing away England\'s money and didn\'t do a great job in supporting all of society. The wealthy English were entranced by money and things of high \"value\" and were concerned with minute issues and not the big picture. Farmers were losing their land and were forced to move, which caused a decline in harvested crops which made prices skyrocket. This made the poor poorer and the land available was now in the hands of fewer people. This made people desperate in order to keep their families alive- so they resorted to stealing in order to survive. \"By enclosing land, members of the upper class in England created a socioeconomic as well as physical division between the classes\" (Park, 1). In other words, England was not a happy place-which makes it easy to understand why More wrote \"Utopia\" and imagined a place completely opposite to the hellish landscape around him. (This is also the King who created his OWN church because the one he was loyal to for his entire life wouldn\'t grant him a divorce; who would want to work under this type of person?) The characters in \"Utopia\" are said to represent actual historical figures during More\'s time period. More, Giles and Morton (the main characters in the story) all correspond to the biological history of More\'s life. Peter Giles was a Humanist thinker and Cardinal John Morton was the former Chancellor of England. Although the characters in the story are not exact copies of the real people, More used these names and personalities to represent actual happenings and beliefs he had. Hythloday, the character in the story who meets the three characters discussed before, informs them about a place he had traveled to before called \"Utopia.\" He explains how no matter how good a policy or idea is (such a Utopia) it will always seem crazy to another person who sees the world differently. In the story Hythloday specifically says that the Utopian view is superior to the Europeans even though citizens of Europe would think differently. He goes on to say that he would like to see Utopian practices put into place in Europe but feels it may never happen (this is the real Sir Thomas More making it apparent that the feelings of the characters in his stories are his and that they should be taken seriously in the real world).\r\n\r\n\"Utopia\" is definitely not a typical work of its era. More\'s thought were completely out of the ordinary for the average person during his time. Sure, many philosophers (like Plato) thought like him, but the common man wouldn\'t think of writing a critique on the country they live in- not without thinking of dying for treason first! His thoughts were so before his time that many disagreed with his opinions. \"Utopia\" was radical in its day- More\'s view on \"idealistic revolution\" (Gerard, 1) is still controversial today. Even though the world has progressed (somewhat) towards this utopian-like place, many issues addressed in \"Utopia\" are still not fixed today (war for instance). More was critical of the world he lived in, economic order was constantly changing and More believed a lot of the changes were evil. He wrote \"Utopia\" to suggest some solutions to the problems Europe was having. More\'s differed from philosophers like Plato\'s writing, because More gave to everyone in his scenario. More shows the difference between his own corrupt society and compares it to his idealistic universe. Plato, in his “Republic” talks about how idealism deals with separation of the mind and matter. He explains that someone might get ahead and be virtuous by the benefits of both the individual and the society they live in. Like more, Plato built an idealist society where people worked together to achieve a virtuous environment. Like Plato, more also feels that an educated society is a stronger society.\r\n\r\n  People today still feel that \"Utopia\" is important, it is studied in many schools and is important enough to discuss with any age group. The word \"Utopia\" still holds true with the meaning More originally gave it- when we use utopia in a sentence people think of a \"paradise\" or \"wonderland\" type place. Not only does More offers a critique on European society, he offers a critique on every society. NO society is perfect; each can constantly work towards this \"utopian\" type place. \"Utopia\" works as a model to a society, and this is no doubt a timeless idea. More also makes comments on being a Christian and reveals that the coming of Christ is the only way to achieve perfection. The morals set up in \"Utopia\" are timeless and will continue to be looked at for ages. \"He became a martyr for religious convictions that few others shared, and for that he was beautified.\" (Sparknotes, 1).\r\n\r\nPersonally, I like the ideals in \"Utopia,\" it has a nice message and I truly wish we could all live in a world where everything was equal. My favorite part of More\'s argument is that war is unnecessary and that wealth is too. I found it so fascinating that he thought about these sorts of things so early in time. He was so ahead of the curve on equality and freedom- it\'s mind-blowing. The only part I disagree with is that Utopians still had slaves. If More was a Christian, why didn\'t he feel that everyone was equal? Either way, \"Utopia\" should be preserved and should be continually taught throughout the rest of time. \"Utopia\" can reach many generations and can speak to anyone who has a heart. More\'s words are thought out and his story is in-depth, but it is easy to understand. His morals and ideals placed inside \"Utopia\" are ones that everyone seeks. Peace and harmony reside on Utopia, and this is something we all wish to live in. I love the geographic context of the actual Utopian island, it is a deserted island where the country can choose to interact with the rest of the world or not. I believe this is how the United States should act, we should chose our battles wisely and think twice (or a million times!) about the price and necessity of war. \"Utopia\" is not only an entertaining read, it is truly inspiring.\r\n\r\nWorks Cited\r\n\r\nEncyclopedia of Philosophy: Sir Thomas More. Pg 390\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nGerard, W.B., and Eric Sterling. \"Sir thomas More\'s Utopia and the transformation of England from absolute monarchy to egalitarian society.\" Contemporary Justice Review 8.1 (2005): 75-89. Academic Search Complete. EBSCO. WEB. 12 Apr.2011.\r\n\r\n<a href=\"/search~S1?/aMore,+Thomas,+Sir,+Saint,+1478-1535/amore+thomas+sir+saint+1478+1535/-3,-1,0,B/browse\">More, Thomas, Sir, Saint, 1478-1535.</a> Title Utopia : a revised translation, backgrounds, criticism / Sir Thomas More ; translated and edited by Robert  M. Adams. Imprint New York : W.W. Norton, c1992. Edition 2nd ed.\r\n\r\nPark, James W., and L. W. \"The Utopian Economics of Sir Thomas More. \"American\r\n\r\n    Journal of Economics &amp; Sociology 30.3 (1971): 275-288. Business Source\r\n\r\n            Complete. EBSCO. Web. 12 Apr 2011.\r\n\r\n Utopia: Spark Notes, 2011.','Sir Thomas More\'s Utopia','','inherit','open','open','','1033-revision-2','','','2011-04-12 20:25:31','2011-04-13 02:25:31','',1033,'http://jeanatacc.com/2011/?p=1036',0,'revision','',0),(1037,29,'2011-04-12 20:28:49','2011-04-13 02:28:49','<p style=\"text-align: center\"> <a href=\"http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg\"><img class=\"aligncenter\" src=\"http://saints.sqpn.com/wp-content/gallery/saint-thomas-more/saint-thomas-more-01.jpg\" alt=\"\" width=\"300\" height=\"500\" /></a></p>\r\nSir Thomas More was born in England in 1478 and worked as chancellor to King Henry VIII during the king\'s controversial break with the Catholic church. More was a Christian man who relied heavily on his own conscience. He stood up for religious tolerance and Christian charity. He was \"unwilling to compromise his conviction as a Roman Catholic\" (Fiero, 19) and by opposing the actions of the king, was executed for treason in 1535. Although More worked for the kind most of his life, he had a constant struggle on whether to remain loyal to the king and continue to join his services, or to remain a philosopher. When More wrote his most famous piece: Utopia (1516) the first literary description of a \"perfect\" or ideal state since \"Republic\" by Plato. More centered this story around Europe\'s statecraft and current state of society and titled it Utopia, meaning in Greek both \"good place\" and \"no place\" (Fiero, 19). More created a society where everything was equal (except to slaves) and where all citizens were equally responsible for social justice. The Utopians in the made-up society are not Christians, but stand by the Christian morals of charity and morality. More wrote \"Utopia\" in the form of a critique (on European state at the time) and as a political satire. In Utopian society, wives serve their husbands, and children serve their parents. Cities are divided equally into four separate parts and there is a marketplace in the center of each. At the marketplace, people bring their crops or tools they make and lay them out for people from their cities to come take back to their houses. The fathers of each family take what is necessary for their family’s survival and need not pay anything in return. In \"Utopia,\" there is no such thing as greed and people do not want things because excess is not part of their vocabulary. People do not need money, because there is no denial for anything- there is plenty of everything to go around. The Utopians hoard a vast array of metals that they take from foreign trade and use them for the military or for anything else they need. \" They have no inducements to do this, since they are sure they shall always be supplied\" (Fiero, 19). People have no need for gold or silver or anything of \"value\" because they don\'t find it necessary to live. \"The folly of men has enhanced the value of gold and silver, because of their scarcity. Whereas, on the contrary, it is their opinion that nature as an indulgent parent, has freely given us all the best things in great abundance\" (Fiero, 19). In other words, to the Utopians things in vain are worthless. If something like gold or diamonds is attained, it is because someone in society has come across it by accident- and in this case they adorn their children with these treasures. The goods given to their children will \"glory\" them while they are children and when they are older they will understand that \"none but children use such baubles, they of their own accords, without being being bid by their parents lay them aside\" (Fiero, 19). One of the last main points More puts in his \"Utopia\" is that war is brutal and is extremely unnecessary and should be avoided at all cost. More says that \"nothing is more inglorious than glory attained by war\" (Fiero, 19) and that no matter what if a truce is made- it will never be broken. The Utopian society takes truces so seriously that nothing can make them break it. The Utopians will not burn an enemy’s crops, kill their horses or kill any man- unless he is a spy.\r\n\r\n<!--more-->\r\n\r\nDuring this time in England, Henry VIII was the reigning king and was not the most successful at his job. There was turmoil throughout the country- there was the very rich and there were MANY poor, which contributed quite a bit to More\'s philosophical theories. King Henry VIII was blowing away England\'s money and didn\'t do a great job in supporting all of society. The wealthy English were entranced by money and things of high \"value\" and were concerned with minute issues and not the big picture. Farmers were losing their land and were forced to move, which caused a decline in harvested crops which made prices skyrocket. This made the poor poorer and the land available was now in the hands of fewer people. This made people desperate in order to keep their families alive- so they resorted to stealing in order to survive. \"By enclosing land, members of the upper class in England created a socioeconomic as well as physical division between the classes\" (Park, 1). In other words, England was not a happy place-which makes it easy to understand why More wrote \"Utopia\" and imagined a place completely opposite to the hellish landscape around him. (This is also the King who created his OWN church because the one he was loyal to for his entire life wouldn\'t grant him a divorce; who would want to work under this type of person?) The characters in \"Utopia\" are said to represent actual historical figures during More\'s time period. More, Giles and Morton (the main characters in the story) all correspond to the biological history of More\'s life. Peter Giles was a Humanist thinker and Cardinal John Morton was the former Chancellor of England. Although the characters in the story are not exact copies of the real people, More used these names and personalities to represent actual happenings and beliefs he had. Hythloday, the character in the story who meets the three characters discussed before, informs them about a place he had traveled to before called \"Utopia.\" He explains how no matter how good a policy or idea is (such a Utopia) it will always seem crazy to another person who sees the world differently. In the story Hythloday specifically says that the Utopian view is superior to the Europeans even though citizens of Europe would think differently. He goes on to say that he would like to see Utopian practices put into place in Europe but feels it may never happen (this is the real Sir Thomas More making it apparent that the feelings of the characters in his stories are his and that they should be taken seriously in the real world).\r\n\r\n\"Utopia\" is definitely not a typical work of its era. More\'s thought were completely out of the ordinary for the average person during his time. Sure, many philosophers (like Plato) thought like him, but the common man wouldn\'t think of writing a critique on the country they live in- not without thinking of dying for treason first! His thoughts were so before his time that many disagreed with his opinions. \"Utopia\" was radical in its day- More\'s view on \"idealistic revolution\" (Gerard, 1) is still controversial today. Even though the world has progressed (somewhat) towards this utopian-like place, many issues addressed in \"Utopia\" are still not fixed today (war for instance). More was critical of the world he lived in, economic order was constantly changing and More believed a lot of the changes were evil. He wrote \"Utopia\" to suggest some solutions to the problems Europe was having. More\'s differed from philosophers like Plato\'s writing, because More gave to everyone in his scenario. More shows the difference between his own corrupt society and compares it to his idealistic universe. Plato, in his “Republic” talks about how idealism deals with separation of the mind and matter. He explains that someone might get ahead and be virtuous by the benefits of both the individual and the society they live in. Like more, Plato built an idealist society where people worked together to achieve a virtuous environment. Like Plato, more also feels that an educated society is a stronger society.\r\n\r\n  People today still feel that \"Utopia\" is important, it is studied in many schools and is important enough to discuss with any age group. The word \"Utopia\" still holds true with the meaning More originally gave it- when we use utopia in a sentence people think of a \"paradise\" or \"wonderland\" type place. Not only does More offers a critique on European society, he offers a critique on every society. NO society is perfect; each can constantly work towards this \"utopian\" type place. \"Utopia\" works as a model to a society, and this is no doubt a timeless idea. More also makes comments on being a Christian and reveals that the coming of Christ is the only way to achieve perfection. The morals set up in \"Utopia\" are timeless and will continue to be looked at for ages. \"He became a martyr for religious convictions that few others shared, and for that he was beautified.\" (Sparknotes, 1).\r\n\r\nPersonally, I like the ideals in \"Utopia,\" it has a nice message and I truly wish we could all live in a world where everything was equal. My favorite part of More\'s argument is that war is unnecessary and that wealth is too. I found it so fascinating that he thought about these sorts of things so early in time. He was so ahead of the curve on equality and freedom- it\'s mind-blowing. The only part I disagree with is that Utopians still had slaves. If More was a Christian, why didn\'t he feel that everyone was equal? Either way, \"Utopia\" should be preserved and should be continually taught throughout the rest of time. \"Utopia\" can reach many generations and can speak to anyone who has a heart. More\'s words are thought out and his story is in-depth, but it is easy to understand. His morals and ideals placed inside \"Utopia\" are ones that everyone seeks. Peace and harmony reside on Utopia, and this is something we all wish to live in. I love the geographic context of the actual Utopian island, it is a deserted island where the country can choose to interact with the rest of the world or not. I believe this is how the United States should act, we should chose our battles wisely and think twice (or a million times!) about the price and necessity of war. \"Utopia\" is not only an entertaining read, it is truly inspiring.\r\n\r\nWorks Cited\r\n\r\nEncyclopedia of Philosophy: Sir Thomas More. Pg 390\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nGerard, W.B., and Eric Sterling. \"Sir thomas More\'s Utopia and the transformation of England from absolute monarchy to egalitarian society.\" Contemporary Justice Review 8.1 (2005): 75-89. Academic Search Complete. EBSCO. WEB. 12 Apr.2011.\r\n\r\n<a href=\"/search~S1?/aMore,+Thomas,+Sir,+Saint,+1478-1535/amore+thomas+sir+saint+1478+1535/-3,-1,0,B/browse\">More, Thomas, Sir, Saint, 1478-1535.</a> Title Utopia : a revised translation, backgrounds, criticism / Sir Thomas More ; translated and edited by Robert  M. Adams. Imprint New York : W.W. Norton, c1992. Edition 2nd ed.\r\n\r\nPark, James W., and L. W. \"The Utopian Economics of Sir Thomas More. \"American\r\n\r\n    Journal of Economics &amp; Sociology 30.3 (1971): 275-288. Business Source\r\n\r\n            Complete. EBSCO. Web. 12 Apr 2011.\r\n\r\n Utopia: Spark Notes, 2011.','Sir Thomas More\'s Utopia','','inherit','open','open','','1033-revision-3','','','2011-04-12 20:28:49','2011-04-13 02:28:49','',1033,'http://jeanatacc.com/2011/?p=1037',0,'revision','',0),(1038,7,'2011-04-11 13:06:10','2011-04-11 19:06:10','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Library of Congress North Reading Room mural\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong>[/caption]\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_894\" align=\"alignright\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (---GC).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Portrait of Chaucer\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a>[/caption]\r\n\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12.0pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span>Equitan</span></em><span>, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(--- GC).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n\r\n[caption id=\"attachment_900\" align=\"alignright\" width=\"300\" caption=\"Manuscript page from The Canterbury Tales\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a>[/caption]\r\n\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_899\" align=\"alignright\" width=\"198\" caption=\"Detail of manuscript Dante&#039;s Comedy \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a>[/caption]\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(---G</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Library of Congress North Reading Room mural\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-11','','','2011-04-11 13:06:10','2011-04-11 19:06:10','',892,'http://jeanatacc.com/2011/?p=1038',0,'revision','',0),(1040,7,'2011-04-12 20:46:06','2011-04-13 02:46:06','<p style=\"text-align: center\"><strong><em> </em></strong></p>\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Library of Congress North Reading Room mural\"]<strong><em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a></em></strong>[/caption]\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong>\r\n\r\n<strong><em> </em></strong><strong> </strong>\r\n\r\nThe debate and speculations surrounding the meaning, content, sequential arrangement, language, and completeness continue to haunt Geoffrey Chaucer’s <em>The Canterbury Tales</em>, written between 1387 and 1400. It is a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Yet this enduring classic tale reflects the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of the advice, “Things are not always as they seem…” (Gāius).<!--more--><!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_894\" align=\"alignright\" width=\"300\" caption=\"Woodcut from William Caxton&#039;s second edition of the Canterbury Tales printed in 1483\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales.png\"><img class=\"size-medium wp-image-894\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Canterbury_Tales-300x256.png\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The host of the Tabard assumes the role of “master of ceremonies” and oversees the competition. There are twenty-four narratives divulged by the pilgrims in succinct, theatrical scenes. Chaucer included characters from various backgrounds: \"</span><span style=\"font-size: 12.0pt;line-height: 200%\">knight, prioress, monk; merchant, man of law, Franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others<span>” (Geoffrey Chaucer). He also chose a broad range of literary genres: allegorical tale, racy fabliau or bawdy comedy told in verse, alchemical account, saint’s life, courtly romance, beast fable, medieval sermon and in some cases a mix of more than one of these styles. Chaucer presents significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against the spiritual aspirations. In each scene, an animated argument or debate act as a “link” and typically to include at least one of the fellow pilgrims and possibly even the master of ceremonies.<span> </span>Though considered incomplete, <em>The Canterbury Tales </em>remains a cohesive work and not simply an assortment of incomplete remnants. The synthesis of these tales in the multifaceted descriptions and stories of the pilgrims is evident in it’s the “structure, the sketches, the links, and the tales” (---GC).</span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_896\" align=\"alignright\" width=\"200\" caption=\"Portrait of Chaucer\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\"><img class=\"size-full wp-image-896\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/older-Chaucer.jpg\" alt=\"\" width=\"200\" height=\"252\" /></a>[/caption]\r\n\r\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\r\n\r\n&nbsp;\r\n\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">It was an unstable and chaotic time in English history that served as the backdrop for the period of history when this important work was penned and a time of technological advancements in the literary genre.<span> </span><em>The Canterbury Tales</em> are among the first works of English literature to mention the use of paper as a medium, which was a fairly new development and allowed for distribution on a broad scale.<span> </span>The Western Schism mired down the</span><span style=\"font-size: 12.0pt;line-height: 200%\"> Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for Chaucer as many of his close friends were executed. These complex and tumultuous political events forced Chaucer to move to Kent; further R. T. Lenaghan stated in his 1970 lecture, “The ‘General Prologue’ is often called a picture of its age and, frequently in the next breath, a satire,”<span> </span>though some scholars caution against “…confusing the distinction between literature and history…”(Lenaghan). <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In his 2007 thesis, Michael Erik Bigley argues the quality of a musical expression both in lyrical and narrative text in <em>The Canterbury Tales.</em> Noting Louise Fradenberg argument that <em>The Canterbury Tales</em> taken as a whole exemplifies the limits of ideology and even Chaucer’s consciousness of these ideological limitations” (Fradenburg).<span> </span>Bigley states that, “…instead of a vehicle for the expression of an ideology, the means by which an entire range of ideologies are exposed for ethical critique” (Bigley).</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of Chaucer’s work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. Chaucer’s protagonists, on the other hand, are of differing backgrounds and most were simply middle class; reflecting Chaucer’s own situation. We also note a difference in the subject matter of the tales told in each work, the delivery of the tale, and the personalities. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">A striking contrast is evident between Chaucer’s “spicy yarn” in the Prologue description of the </span><span>Wife of Bath with the her comically bawdy portrayal and Chaucer’s </span><span style=\"font-size: 12.0pt;line-height: 200%\">suggestion of Alison, the Miller’s wife, in the Millers Tale when compared to a work by Marie de France, </span><em><span>Equitan</span></em><span>, which contains a relatively mildly and tame descriptive, yet racy (for the time) account of the appearance of the heroine of the story, “…passing tender of body sweet of vesture,… with a fragrant mouth, and a dainty nose…”<span> </span>Marie de France, of the Norman English court gave an account that was appropriate and stereotypical of the time. Chaucer, though taking inspiration from his contemporaries, pushed the boundaries of acceptability and catered to a less formal audience (de France).</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Chaucer makes use of vibrant and colorful descriptions to introduce each pilgrim’s character in the form of a “General Prologue;” thereby, providing his reader detail never before used in literature.</span><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><em><span style=\"font-size: 12.0pt;line-height: 200%\">The Canterbury Tales</span></em><span style=\"font-size: 12.0pt;line-height: 200%\"> are assumed to have been quite popular during the time it was written and after Chaucer’s death. <span> </span>Eighty-three known manuscripts of this work from the late medieval times to early Renaissance period represents a number far exceeding any other vernacular literary text, surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Countering Tatlock’s essay, George Loomis summarizes his own thoughts as follows, “I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment” (Loomis).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Dolores Warwick Frese discusses in <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading</em>, Chaucer efforts as having compiled an innovative and intricate relationship within the Canterbury Tales and asserts that this masterwork is Chaucer’s final literary effort (Frese).</span></p>\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">The authors’ personal reaction to The Canterbury tales after researching and reading only <em>The Knights Tale</em> leaves me eager to read more and study the meanings or morals found within each tale. Reading the original vernacular copy of Chaucer’s creation is not advised; however, it is quite interesting to read a translated version and then reference the original. <span> </span>Chaucer’s use of irony and his inclusion of so many different forms of literature of the day, from <span>bawdy comedy told in verse to alchemical account; from saint’s life to courtly romance</span> as with The Knights Tale is also a very intriguing component of this work and seems to challenge me to read on. The most meaningful aspects of this work, in the authors’ humble opinion, are its enduring appeal and broad-based audience. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.” <span> </span><span>(--- GC).<span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\">Comparing Dante Alighiere’s epic poem <em>The Divine Comedy,</em> written between 1308 and 1321, and Chaucer’s The Canterbury Tales, written primarily in the poetic form with two tales in prose between </span><span style=\"font-size: 12pt;line-height: 200%\">1387 and 1400, we find similarities and differences.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\r\n\r\n\r\n[caption id=\"attachment_900\" align=\"alignright\" width=\"300\" caption=\"Manuscript page from The Canterbury Tales\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg.jpg\"><img class=\"size-medium wp-image-900\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1226626964.415016.pjpeg-300x185.jpg\" alt=\"\" width=\"300\" height=\"185\" /></a>[/caption]\r\n\r\nFor instance, contempt for the Church is one characteristic exhibited by both Chaucer and Dante in their respective works. Chaucer colored his religious characters as dishonest, shady, and immoral while Dante demonstrates his disdain by simply inserts assorted Popes and Church hierarchy in their appropriate place in Hell. We also see a similarity in the energy of each work. The images expressed in Dante’s <em>Divine Comedy</em> are those of which nightmares and converts are made. Chaucer is more compassionate toward his reader with his engaging, though sometimes provocative work. His use of irony, comedy, <span style=\"font-size: 12pt;line-height: 200%\">and parody, estates satire, and romance provides a rich diverse piece of literature while, demonstrating that there is no “Everyman;” each soul is different and nothing is as it seems. </span>\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\r\n\r\n\r\n[caption id=\"attachment_899\" align=\"alignright\" width=\"198\" caption=\"Detail of manuscript Dante&#039;s Comedy \"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit.jpg\"><img class=\"size-medium wp-image-899\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/250px-MS_Trivulziano_1080_incipit-198x300.jpg\" alt=\"\" width=\"198\" height=\"300\" /></a>[/caption]\r\n\r\nDante describes the journey through Hell in stages, providing a <span style=\"font-size: 12pt;line-height: 200%\">substance and importance to the journey itself while Chaucer pays little attention to the pilgrimage itself.</span>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> Dante casts himself in the role of the narrator in the style of an epic poem with many supporting characters as aids in telling his tale. After metaphorically losing his way from the right path, Dante carries his journey into the depths of Hell, representing mankind or “Everyman” much as Christian in </span><span style=\"font-size: 12pt;line-height: 200%\">Bunyan’s <em>Pilgrim’s Progress.</em></span><span style=\"font-size: 12pt;line-height: 200%\"> <span> </span>Chaucer, on the other hand, makes use of various literary styles, “which range from moral tales and beast fables to <em>fabliaux</em> of the most risqué and bawdy sort,” using various </span><span style=\"font-size: 12pt;line-height: 200%\">protagonists</span><span style=\"font-size: 12pt;line-height: 200%\"> from different walks of life and the unknown “naïve” as the story tellers (</span><span style=\"font-size: 12pt;line-height: 200%\">Fiero</span><span style=\"font-size: 12pt;line-height: 200%\">). </span><span style=\"font-size: 12pt;line-height: 200%\">Each of the tales in Chaucer’s work is delivered by a third-person; a person who seemingly has a keen awareness of the goings on within the story and the tale is told from that person’s perspective. In this way, Chaucer allows the reader not only the ability to know the actions of the characters but also to “hear” their thoughts. <span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">In the most ironic twist within <em>The Canterbury Tales </em>is that, after delivering twenty-three stories, Chaucer composes a retraction and begs forgiveness for his sins including having written <em>The Canterbury Tales.</em></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\r\n<!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] -->\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">The absolute necessities for survival are food, water, air to breathe and shelter; therefore, it is understood that these things must already be present for the survival of those we hope will one day discover this time capsule. After these necessities, what is it that we find most valuable for our surviving decedents?<span> </span>Money, jewels, status, and power: none of these things are of importance without knowledge and understanding. <em>The Canterbury Tales</em> re</span><span>presents “a literary cross-section of late medieval society” and is as relevant today and in the future as it was in the 14<sup>th</sup> century. (</span><span style=\"font-size: 12.0pt;line-height: 200%\">Fiero</span><span>) The characters type casted from different classes and ranks of late medieval society in these narratives were, nonetheless, individuals with their own shortcoming, strengths, </span><span style=\"font-size: 12.0pt;line-height: 200%\">faults, and assets. Pluck a group of individuals from various professions, classes and/or socio-economic backgrounds from our world today or that world we hope will discover our time capsule, and the stories are dynamically the same as found in <em>The Canterbury Tales</em>. These works are vital for the future of our survivors as a not only a master work of literature but a work that carries with it a sophisticated example of rhetorical forms, linguistic styles, diversity, and history. Perhaps, the single thread weaving through the entire work is a quote from another great storyteller or fabulist, Phaedrus of Rome, offers that single thread weaving through all of The Canterbury Tales: “<span class=\"huge\">Things are not always as they seem; the first appearance deceives many”(---G</span>).<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\r\n\r\n\r\n[caption id=\"attachment_893\" align=\"aligncenter\" width=\"300\" caption=\"Library of Congress North Reading Room mural\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith.jpeg\"><img class=\"size-medium wp-image-893\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/1380px-Canterbury-west-Winter-Highsmith-300x35.jpg\" alt=\"\" width=\"300\" height=\"35\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Gāius Iūlius.<span> </span><em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href=\"http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html\"><span style=\"color: windowtext\">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</span></a></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Cooper, Helen. <a href=\"http://www.gradesaver.com/the-canterbury-tales/\"><em><span style=\"color: windowtext;text-decoration: none\">The Canterbury Tales</span></em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>Lenghan, “R.T. Chaucer’s General Prologue as History and Literature.” <em>Comparative Studies in Society and History.</em> Cambridge University Press, New York. 1970. Vol. 12, No. 1, January 1970. Pages 73-82.</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>de France, Maria. <em>Equitan. </em>THE TEMPLE PRESS AT LETCHWORTH IN GREAT BRITAIN.<span> </span><span>Translated by Eugene Mason, 1911. </span>Produced by Juliet Sutherland, Bradley Norton and PG Distributed Proofreaders. March 3, 2004. <a href=\"http://www.gutenberg.org/files/11417/11417-h/11417-h.htm\"><span style=\"color: windowtext\">http://www.gutenberg.org/files/11417/11417-h/11417-h.htm</span></a>. </span></p>\r\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\r\n\r\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Bigley, Michael Erik. <em>MUSICALITY, SUBJECTIVITY, AND THE <span>CANTERBURY TALES. </span></em>The University of Montana. Missoula, MT. May 2007. Pg. 80 </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;line-height: normal\"><span>Loomis, Roger S.<em> <span>Was Chaucer A Laodicean?</span> </em></span><em><span>Chaucer Criticism- The Canterbury Tales,<strong> </strong></span></em><em><span>An Anthology.</span></em><span> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. </span><span>Notre Dame (South Bend), IN. <span> </span>1960. Pg 291</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 0in 0in 0.0001pt 0.25in;line-height: normal\"><span>Frese, Dolores Warwick. <em>An Ars Legendi for Chaucers’ Canterbury Tales: Re-constructive Reading. </em>Gainesville University Press of Florida. 1991</span></p>\r\n<p class=\"meanings-body\" style=\"margin-left: 0.25in\"><span>\"Geoffrey Chaucer.\" 2011. Biography.com. 27 Mar 2011, 10:46 <a href=\"http://www.biography.com/articles/Geoffrey-Chaucer-9245691\"><span style=\"color: windowtext\">http://www.biography.com/articles/Geoffrey-Chaucer-9245691</span></a>. </span></p>\r\n\r\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\r\n\r\n<!--[if !mso]&gt; &lt;!  v\\:* {behavior:url(#default#VML);} o\\:* {behavior:url(#default#VML);} w\\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} --> <!--[endif] --><!--[if gte mso 9]&gt;     &lt;![endif]--><!--[if gte mso 9]&gt;  Normal 0 false    false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif] --><!--[if gte mso 9]&gt;  &lt;![endif]--><!--[if gte mso 9]&gt;   &lt;![endif]-->\r\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Though no surviving manuscripts in Chaucer’s own hand exist, there are eighty-three originally circulated hand-copied manuscripts that still in existence. Of these, fifty-five are complete manuscripts and twenty-eight are fragments.<span> </span>The first printed copies were produced sometime in the early fifteenth century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\">Written in Middle English by “the first finder of our language,” Geoffrey Chaucer, <em>The Canterbury Tales</em><span> is collections of narratives, portraying twenty-eight pilgrims, strangers all, who agree to engage in a storytelling challenge as they journey to and from the shrine of </span>Thomas à Becket in Canterbury, Kent (Cooper).<span> </span><span>An agreement is struck at the Tabard Inn in Southwark which is located across the Thames from London (Geoffrey Chaucer). <span> </span></span></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\r\n\r\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-12','','','2011-04-12 20:46:06','2011-04-13 02:46:06','',892,'http://jeanatacc.com/2011/?p=1040',0,'revision','',0),(1041,9,'2011-04-12 22:01:52','2011-04-13 04:01:52','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\n\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<div style=\"text-align: left\">\n\n<!--more-->\n<p style=\"text-align: center\">Works Cited</p>\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\n\nI used this to describe Michelangelo’s David to help me compare.\n\n&nbsp;\n\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\n\nI used this reference to describe the sculpture and introduce Donatello.\n\n&nbsp;\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\n\nI used this book to describe the historical context of the Early Renaissance.\n\n&nbsp;\n\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\n\nI used this to compare Michelangelo and Donatello’s Davids.\n\n&nbsp;\n\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\n\nI used this to talk about the views of then and now along with the biblical reference.\n\n&nbsp;\n\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\n\n&lt;http://www.statue.com/statue-of-david.html&gt;.\n\nI also used this to compare Michelangelo’s David to Donatello’s.\n\n&nbsp;\n\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\n\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\n\nI used this reference to help me describe the historical context of the time period.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">&nbsp;</p>\n\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-13','','','2011-04-12 22:01:52','2011-04-13 04:01:52','',805,'http://jeanatacc.com/2011/?p=1041',0,'revision','',0),(1042,9,'2011-04-12 22:02:13','2011-04-13 04:02:13','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-14','','','2011-04-12 22:02:13','2011-04-13 04:02:13','',805,'http://jeanatacc.com/2011/?p=1042',0,'revision','',0),(1043,9,'2011-04-12 22:02:20','2011-04-13 04:02:20','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-15','','','2011-04-12 22:02:20','2011-04-13 04:02:20','',805,'http://jeanatacc.com/2011/?p=1043',0,'revision','',0),(1045,9,'2011-04-12 22:04:35','2011-04-13 04:04:35','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\n\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<div style=\"text-align: left\">\n\n<!--more-->\n<p style=\"text-align: center\">Works Cited</p>\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\n\nI used this to describe Michelangelo’s David to help me compare.\n\n&nbsp;\n\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\n\nI used this reference to describe the sculpture and introduce Donatello.\n\n&nbsp;\n\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\n\nI used this book to describe the historical context of the Early Renaissance.\n\n&nbsp;\n\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\n\nI used this to compare Michelangelo and Donatello’s Davids.\n\n&nbsp;\n\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\n\nI used this to talk about the views of then and now along with the biblical reference.\n\n&nbsp;\n\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\n\n&lt;http://www.statue.com/statue-of-david.html&gt;.\n\nI also used this to compare Michelangelo’s David to Donatello’s.\n\n&nbsp;\n\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\n\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\n\nI used this reference to help me describe the historical context of the time period.\n\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-16','','','2011-04-12 22:04:35','2011-04-13 04:04:35','',805,'http://jeanatacc.com/2011/?p=1045',0,'revision','',0),(1046,9,'2011-04-13 11:16:04','2011-04-13 17:16:04','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\nDuring this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.\r\n\r\n“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.\r\n\r\nDonatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).\r\n\r\nDonatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-17','','','2011-04-13 11:16:04','2011-04-13 17:16:04','',805,'http://jeanatacc.com/2011/?p=1046',0,'revision','',0),(1047,9,'2011-04-13 11:16:08','2011-04-13 17:16:08','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\nDuring this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.\r\n\r\n“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.\r\n\r\nDonatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).\r\n\r\nDonatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-18','','','2011-04-13 11:16:08','2011-04-13 17:16:08','',805,'http://jeanatacc.com/2011/?p=1047',0,'revision','',0),(1048,9,'2011-04-13 16:57:32','2011-04-13 22:57:32','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\nDuring this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.\r\n\r\n“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.\r\n\r\nDonatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).\r\n\r\nDonatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  “It’s as if the result of his heroic triumph, he has become aware of his body’s beauty and strength.”  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.\r\n\r\nDespite its typicality of its era, Donatello’s David was considered very innovative as it was the “first large-scale, free-standing nude statue of the Renaissance” (Donatello).  During this time, free-standing figures were generally used in architecture.  David provides a subtle independence in Renaissance art and therefore reintroduced to art history that of independent focus on a sculpture.  Donatello’s passion for classical art influenced his bronze creation that he had reclaimed from the ancient world.  A large-scale bronze casting was very unusual for the people of his time, for bronze figures were not seen since antiquity (Harris).\r\n\r\nDonatello also introduced a new style to his rebirth of humanism in his bronze David that was very unusual for his time.  This style had both stepped on toes during its time and called for the attention to this today.  Fiero suggests that Donatello illustrates his rejection of the view of a sinful human body, and instead exalted the body, thus created a nude sculpture.  He viewed “the body as the seat of pleasure” (Fiero).  He adds a sensual visual for his time and has sparked questions of a message of homosexuality for the David.  Such a feminine stance for a male figure was unheard of during the Renaissance, especially since Christianity continued to be increasingly popular among people.  Whether people rejected his innovation and unusual style, Donatello’s David had influenced other great artists to try their own innovative styles and spark questions just like Donatello.\r\n\r\nDuring the Early Renaissance, many people considered paintings and sculptures high class art especially since the wealthy or religious institutions commissioned them.  As the bronze David portrayed a biblical hero that depicted a young boy, an underdog, who withstood attacks from the enemy, so too do the Florentines believe that they were the underdog who were victorious.  They considered Donatello’s David as the symbol of the Republic of Florence because of God’s favor in both him and the city of Florence who were constantly attacked by Milan.  Like David, they believed that they were only victorious with the help of God (Harris).  This illustrates the strength of the Christian church to influence such beliefs throughout history.\r\n\r\nDuring this time, despite its religious framework, many people were appalled that Donatello would create such a figure whose nudity and poise suggest homo-eroticism as a feather from Goliath’s helmet winds up the side of David’s thigh (Harris).  This sparked controversy during the fifteenth-century as the church was very influential in society.  It continues to be discussed today along with the artist’s own sexuality.\r\n\r\nWith the provocative pose of a nude, adolescent boy, people today are less ashamed and self-conscious of this then-innovative art form.  Throughout the years, people have gradually accepted the beauty of the human body as it was reintroduced during the Renaissance.  Some may even go far enough to expose their body in public!   In Smarthistory, Dr. Beth Harris and Dr. Steven Zucker had expressed their modern views about Donatello’s David which can be generalized to the way it is viewed today.  Dr. Zucker expresses that “It feels so much more intimate and so much less public.”   He goes on to argue with Harris that instead of looking proud after his victory over Goliath, David instead looks thoughtful and contemplative as if coming to terms with the events that had just taken place.  He does not deny the fact he shows the slightest hint of pride, but more so of Donatello portraying a sort of increasing wisdom of the young boy.  Harris states that the relaxed contrapposto illustrates confidence holding onto the sword that beheads Goliath, especially with the head of the giant resting on the victory wreath.  These arguments are continuously debated on today.  However, we will never know what the artist portrays in such a beautiful, seductive piece of biblical artwork.\r\n\r\nTo me, I believe this artwork deserves attention, because of its innovative strive to question human sexuality as well as provide both learned and unlearned a look into the Christian teachings.  Two contradictory pieces had ultimately led to an effective piece of artwork that had and still captures the attention of artists today.  I believe it’s necessary for people to acknowledge the importance of such historical piece of art, especially since its beginnings date back to the Early Renaissance where we associate some of the greatest minds to have ever lived.\r\n\r\nDonatello’s David is such an interesting sculpture that although started off private in the courtyard of a powerful family, has gained world-wide fame.  I believe that without the push of the Rebirth of Humanism and the passion for antiquity, much of today’s beliefs would still be as strict and expressions would be limited.  I believe that Donatello successfully broke away from the traditional view of the body full of sin, and thus has influenced many people during its time to express themselves in a new light.  I feel this statue would be essential for future generations to acknowledge the freely expressed views of a true artist.\r\n\r\nAs previously mentioned, Donatello’s David has been overshadowed by Michelangelo’s David built almost a century later.  It’s impossible to overlook Michelangelo’s David which is almost fifteen feet tall!      Unlike Donatello, Michelangelo had sculpted this biblical hero in marble and was meant to be placed in the Cathedral of Florence, rather than a private courtyard.  Of course, Donatello took the spotlight as his bronze David was the first free-standing nude since antiquity, but Michelangelo had been the first to sculpt the first free-standing nude figure in public!  Also unlike Donatello, Michelangelo illustrated David just moments before the fight with Goliath.  Instead Michelangelo presents us with an intensity and look into his quickly acquiring power before the battle (Statue).  Finnan suggested in his comparison of the Davids of Donatello, Verrochio and Michelangelo, that Michelangelo’s David was unusual, because it did not include the head of Goliath considering it was before the beheading.\r\n\r\nOne of the differences that should be acknowledged is the way each artist puts emphasis on his message.  Donatello, for instance, places beauty and sexuality at a higher level of importance as we can see in the well-known contrapposto of his David.  Michelangelo instead focuses more on the character traits of David as he includes his slingshot rather than the head of Goliath.  “The slingshot he carries over his shoulder is almost invisible, emphasizing that David’s victory was one of cleverness, not sheer force” (Bloem).  The physicality is less spotlighted and instead gives the audience a view of the mental state David is in before he engages with Goliath.\r\n\r\nDespite his many differences, we can also find similarities in both Davids.  Of course we have the obvious similarities of the nudity and the contrapposto that both have portrayed and are easily apparent.  In addition to the obvious, just like much of what was brought out of the Renaissance, both sculptures were presented in Florence.  This indicates the influence of antiquity as it was revived during the Early Renaissance.  Both also show a sort of self-awareness, whether physical or mental.  This self-awareness indicates a realization of David’s strength to overcome the giant.\r\n\r\nConsidering its influences to other Davids as well as other various artists, Donatello’s David had visually expressed something more in his art rather than that of pure illustration.  His David had been used for political and religious teachings as well gaining the title of the symbol of the Republic of Florence.  Donatello’s David is beautiful and eccentric and should be saved for future generations, because its unique sexual capacity that evokes questions of the biblical hero to this day.  It will be beneficial for future generations to view the art as a piece of history that influenced much of what they see in art and in society today.\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-19','','','2011-04-13 16:57:32','2011-04-13 22:57:32','',805,'http://jeanatacc.com/2011/?p=1048',0,'revision','',0),(1049,9,'2011-04-13 16:57:37','2011-04-13 22:57:37','<p style=\"text-align: center\"><strong><img class=\"aligncenter\" src=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\" alt=\"\" width=\"216\" height=\"404\" /></strong><a href=\"http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg\">http://www.southallegheny.org/webpages/jbradley/photos/1102243/DavidDonatello.jpg</a></p>\r\nSensuous and beautiful, Donatello’s Bronze David had contributed to the rebirth of Humanism during the Renaissance.  Although seemingly overshadowed by Michelangelo’s David, Donatello had undoubtedly prepared the way.  There have been many questions regarding the historical and psychological background for this innovative piece of art in history including David’s beginnings and the message Donatello portrayed in the unique contrapposto.   Donato di Niccolo Bardi, or Donatello, was a brilliant artist whose artistic values were respected and most greatly interpreted by his David, as it was the first, free-standing nude statue of the Renaissance.  Drawing attention to multiple aspects of Humanism into his time and further influencing other great artists, Donatello’s bronze David should be considered favorable to historical art and thus saved for future generations to view and acknowledge.<!--more-->\r\n\r\nDonatello had bronze casted and magnificently sculpted with immense detail the well known biblical figure of David.  Many are familiar with the story of David and Goliath from the Old Testament.  As the subject of the sculpture, the story ended with a victorious David as the hero of Israel, where we will find later also symbolizes the modern belief of the Florentine people.  David is acclaimed for his bravery and his faith in God to defeat the giant.  Just moments before killing Goliath with a stone from his sling, David said to him, “You come to me with sword, spear, and javelin, but I come to you in the name of the LORD Almighty—the God of the armies of Israel, whom you have defied” (Harris).  David is sculpted after the death of the monster as he stands confident and relaxed—a style Donatello reintroduced from the Greeks.  Encyclopedia Britannica denotes that this contrapposto, as viewed by the bronze David, provides the viewer a calm resonance of the sculpture as the body rests on one leg, suggesting life.  David has implied both life and death, yet continues to further allude to something beyond that of biblical symbolism.  Donatello’s David nudity and feminine stance implies a certain question of sexuality and is thus questioned to this day.\r\n\r\nDuring this period of Renaissance, Italy flourished with art and an emphasis on “naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces” (“The Early”).  “The Early Renaissance” explains much of the historical context of this original piece of art by Donatello.  The Renaissance included many of history’s greatest artists as they centered their paintings and sculptures on the beauty of mankind.  The Renaissance reintroduced the values of antiquity and the arts were greatly praised by all social classes.  However, these magnificent creations were specifically made for the wealthy and powerful patrons along with religious institutions who had commissioned them (“The Early”).  Paintings and sculptures were mainly used for propaganda, immortalization, and also as a visual textbook.  These uses were vital for the recognition of man and ultimately a possible historical reference to the future.\r\n\r\n“The Early Renaissance” explains that art was effective for expressing political ideals and a useful tool for propaganda.  Also, by commissioning self-portraits, patrons were able to immortalize themselves, an example of the new attention and self-love for humankind and body that resonated during the Renaissance.  “In a world of widespread illiteracy,” images provided historical teachings for Christians as religion continued to grow and deepen the piety of the era.  This was important for religious institutions as the images conveyed ideas that both unlearned and learned could gain from.  Much of the artwork was effective as the intensity and detail of paintings used in churches evoked emotional appeal to its audience.\r\n\r\nDonatello’s David fit it’s time period well as it is a great example of the image of human scale in art form.  Donatello, along with other artists during the Renaissance, was very passionate about studying and reproducing the classical styles of antiquity.  He was successful in producing the first nude statue who poised a contrapposto like that of the Greeks.  Also, Italy continues to be well known for its association with the first and greatest artists of the Renaissance.  The bronze David was one of the many beautiful creations produced in Italy, and of course was also presented in Florence, “the incubator” for all of the Renaissance innovations (“The Early).\r\n\r\nDonatello had portrayed his David in such a feminine pose, as if confident in himself and his body.  “It’s as if the result of his heroic triumph, he has become aware of his body’s beauty and strength.”  This can be related to admiration of thyself, which was a dominant theme along with interests in human proportions (“Statue”).  Also, during the Early Renaissance, since there existed a deepening piety in Europe and the religious institutions used their power to commission paintings and sculptures to portray Christian teachings, Donatello had sculpted his depiction of the biblical hero, David.  However, his David was commissioned by a wealthy patron and was placed in the courtyard of Medici Palace.  Having been commissioned by a powerful patron, makes David culturally fit for its time.\r\n\r\nDespite its typicality of its era, Donatello’s David was considered very innovative as it was the “first large-scale, free-standing nude statue of the Renaissance” (Donatello).  During this time, free-standing figures were generally used in architecture.  David provides a subtle independence in Renaissance art and therefore reintroduced to art history that of independent focus on a sculpture.  Donatello’s passion for classical art influenced his bronze creation that he had reclaimed from the ancient world.  A large-scale bronze casting was very unusual for the people of his time, for bronze figures were not seen since antiquity (Harris).\r\n\r\nDonatello also introduced a new style to his rebirth of humanism in his bronze David that was very unusual for his time.  This style had both stepped on toes during its time and called for the attention to this today.  Fiero suggests that Donatello illustrates his rejection of the view of a sinful human body, and instead exalted the body, thus created a nude sculpture.  He viewed “the body as the seat of pleasure” (Fiero).  He adds a sensual visual for his time and has sparked questions of a message of homosexuality for the David.  Such a feminine stance for a male figure was unheard of during the Renaissance, especially since Christianity continued to be increasingly popular among people.  Whether people rejected his innovation and unusual style, Donatello’s David had influenced other great artists to try their own innovative styles and spark questions just like Donatello.\r\n\r\nDuring the Early Renaissance, many people considered paintings and sculptures high class art especially since the wealthy or religious institutions commissioned them.  As the bronze David portrayed a biblical hero that depicted a young boy, an underdog, who withstood attacks from the enemy, so too do the Florentines believe that they were the underdog who were victorious.  They considered Donatello’s David as the symbol of the Republic of Florence because of God’s favor in both him and the city of Florence who were constantly attacked by Milan.  Like David, they believed that they were only victorious with the help of God (Harris).  This illustrates the strength of the Christian church to influence such beliefs throughout history.\r\n\r\nDuring this time, despite its religious framework, many people were appalled that Donatello would create such a figure whose nudity and poise suggest homo-eroticism as a feather from Goliath’s helmet winds up the side of David’s thigh (Harris).  This sparked controversy during the fifteenth-century as the church was very influential in society.  It continues to be discussed today along with the artist’s own sexuality.\r\n\r\nWith the provocative pose of a nude, adolescent boy, people today are less ashamed and self-conscious of this then-innovative art form.  Throughout the years, people have gradually accepted the beauty of the human body as it was reintroduced during the Renaissance.  Some may even go far enough to expose their body in public!   In Smarthistory, Dr. Beth Harris and Dr. Steven Zucker had expressed their modern views about Donatello’s David which can be generalized to the way it is viewed today.  Dr. Zucker expresses that “It feels so much more intimate and so much less public.”   He goes on to argue with Harris that instead of looking proud after his victory over Goliath, David instead looks thoughtful and contemplative as if coming to terms with the events that had just taken place.  He does not deny the fact he shows the slightest hint of pride, but more so of Donatello portraying a sort of increasing wisdom of the young boy.  Harris states that the relaxed contrapposto illustrates confidence holding onto the sword that beheads Goliath, especially with the head of the giant resting on the victory wreath.  These arguments are continuously debated on today.  However, we will never know what the artist portrays in such a beautiful, seductive piece of biblical artwork.\r\n\r\nTo me, I believe this artwork deserves attention, because of its innovative strive to question human sexuality as well as provide both learned and unlearned a look into the Christian teachings.  Two contradictory pieces had ultimately led to an effective piece of artwork that had and still captures the attention of artists today.  I believe it’s necessary for people to acknowledge the importance of such historical piece of art, especially since its beginnings date back to the Early Renaissance where we associate some of the greatest minds to have ever lived.\r\n\r\nDonatello’s David is such an interesting sculpture that although started off private in the courtyard of a powerful family, has gained world-wide fame.  I believe that without the push of the Rebirth of Humanism and the passion for antiquity, much of today’s beliefs would still be as strict and expressions would be limited.  I believe that Donatello successfully broke away from the traditional view of the body full of sin, and thus has influenced many people during its time to express themselves in a new light.  I feel this statue would be essential for future generations to acknowledge the freely expressed views of a true artist.\r\n\r\nAs previously mentioned, Donatello’s David has been overshadowed by Michelangelo’s David built almost a century later.  It’s impossible to overlook Michelangelo’s David which is almost fifteen feet tall!      Unlike Donatello, Michelangelo had sculpted this biblical hero in marble and was meant to be placed in the Cathedral of Florence, rather than a private courtyard.  Of course, Donatello took the spotlight as his bronze David was the first free-standing nude since antiquity, but Michelangelo had been the first to sculpt the first free-standing nude figure in public!  Also unlike Donatello, Michelangelo illustrated David just moments before the fight with Goliath.  Instead Michelangelo presents us with an intensity and look into his quickly acquiring power before the battle (Statue).  Finnan suggested in his comparison of the Davids of Donatello, Verrochio and Michelangelo, that Michelangelo’s David was unusual, because it did not include the head of Goliath considering it was before the beheading.\r\n\r\nOne of the differences that should be acknowledged is the way each artist puts emphasis on his message.  Donatello, for instance, places beauty and sexuality at a higher level of importance as we can see in the well-known contrapposto of his David.  Michelangelo instead focuses more on the character traits of David as he includes his slingshot rather than the head of Goliath.  “The slingshot he carries over his shoulder is almost invisible, emphasizing that David’s victory was one of cleverness, not sheer force” (Bloem).  The physicality is less spotlighted and instead gives the audience a view of the mental state David is in before he engages with Goliath.\r\n\r\nDespite his many differences, we can also find similarities in both Davids.  Of course we have the obvious similarities of the nudity and the contrapposto that both have portrayed and are easily apparent.  In addition to the obvious, just like much of what was brought out of the Renaissance, both sculptures were presented in Florence.  This indicates the influence of antiquity as it was revived during the Early Renaissance.  Both also show a sort of self-awareness, whether physical or mental.  This self-awareness indicates a realization of David’s strength to overcome the giant.\r\n\r\nConsidering its influences to other Davids as well as other various artists, Donatello’s David had visually expressed something more in his art rather than that of pure illustration.  His David had been used for political and religious teachings as well gaining the title of the symbol of the Republic of Florence.  Donatello’s David is beautiful and eccentric and should be saved for future generations, because its unique sexual capacity that evokes questions of the biblical hero to this day.  It will be beneficial for future generations to view the art as a piece of history that influenced much of what they see in art and in society today.\r\n<div style=\"text-align: left\">\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\nBloem, Roderick.  “Michelangelo’s David.”  University of Colorado, Boulder.  Web.  08 April 2011.  &lt;http://vlsi.colorado.edu/~rbloem/david.html&gt;.\r\n\r\nI used this to describe Michelangelo’s David to help me compare.\r\n\r\n&nbsp;\r\n\r\n\"Donatello.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. 08 Apr. 2011.  &lt;http://www.britannica.com.lsproxy.austincc.edu&gt;.\r\n\r\nI used this reference to describe the sculpture and introduce Donatello.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nI used this book to describe the historical context of the Early Renaissance.\r\n\r\n&nbsp;\r\n\r\nFinnan, Vincent.  “The Three Davids: Donatello, Verocchio, and Michelangelo.”  <em>Italian Renaissance Art.Com. </em>Italian Renaissance Art.com 2008-2010.  Web.  08 Apr. 2011.  &lt;http://www.italian-renaissance-art.com/Three-Davids.html&gt;.\r\n\r\nI used this to compare Michelangelo and Donatello’s Davids.\r\n\r\n&nbsp;\r\n\r\nHarris, Beth and Stephen Zucker.  “Donatello’s David.”  <em>SmARThistory. </em>Web.  08 Apr. 2011.  &lt;www.smarthistory.org/Donatello.html&gt;.\r\n\r\nI used this to talk about the views of then and now along with the biblical reference.\r\n\r\n&nbsp;\r\n\r\n“Statue of David by Michelangelo.”  <em>Statue.com. </em> 2011.  Web.  08 Apr. 2011.\r\n\r\n&lt;http://www.statue.com/statue-of-david.html&gt;.\r\n\r\nI also used this to compare Michelangelo’s David to Donatello’s.\r\n\r\n&nbsp;\r\n\r\n\"The Early Renaissance in Italy.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600. Detroit: Gale, 2005. 363-376. <em>Gale Virtual Reference Library</em>. Web. 27 Mar. 2011.\r\n\r\n&lt;<span style=\"text-decoration: underline\">http://go.galegroup.com.lsproxy.austincc.edu</span>&gt;.\r\n\r\nI used this reference to help me describe the historical context of the time period.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-20','','','2011-04-13 16:57:37','2011-04-13 22:57:37','',805,'http://jeanatacc.com/2011/?p=1049',0,'revision','',0),(1065,1,'2011-04-12 07:48:17','2011-04-12 13:48:17','The Tale of Genji is considered to be the worlds earliest known novel, and was written by Murasaki Shikibu sometime around the year 1000. The story follows Genji, an illegitimate son of the current emperor, and his many sexual conquests, and love interests from his early adulthood, to his death. The book was written to entertain japanese nobles, so many examples of metaphors and inflected language were used throughout the novel. Complex grammar and long drawn out sentences were often used due to the poetic nature of the japanese court at the time. In fact, royal men and women often spoke to each other in poems, or modified versions of [what were at the time] classical poems that had been adapted to the current situation, much as we change our modern colloquialisms for satire, or increased conversational context. Unfortunately, the original was written in formal japanese, which has different pronunciation patterns, rhyme schemes and grammatical properties than english, thus the poetry does not translate very well. \n\nPersonally, the story of the novel struck me as uninteresting, but its circumstances and brilliant imagery help to carry the plot. Marasuki had an amazing gift for description “In the northeast quarter there was a cool natural spring and the plan had the summer sun in mind. In the forward parts of the garden the wind through thickets of Chinese bamboo would be cool in the summer, and the trees were deep and mysterious as mountain groves. There was a hedge of mayflower, and there were oranges to remind the lady of days long gone. There were wild carnations and roses and gentians and a few spring and autumn flowers.” (Shikibu) When I read through the story, I realized I was more interested in the writer\'s characterization of the scenes, than the actual plot itself.  The text is somewhere around 800-840 pages long [depending on your translation], and It would seem around 60 percent of that writing is further description of the landscapes, faces, and feelings of the scene. The writing style exemplifies detail over characters, and seems to show the authors intense intimacy with nature and her everyday environment.\n\nGenji, as he is referred to in the book, is not the protagonist\'s true name, nor are any of the names throughout the text accurate, for it was considered rude to use a person\'s name during the Heian period of Japanese society. The author uses mainly titles or locations to distinguish between characters, for instance “Genji”, a Genji is traditionally a general term to describe someone of middle class and rank, which was customary, as his mother was not of noble descent. Other examples include, “The Lady of Rokujo” with Rokujo being a village, or “Yugiri” who was the mayor of a religious settlement called Yugiri. The practice of name omission for purposes of honor and respect, may seem foreign, but was quite common in japan for over three hundred years. The only name that is confirmed to be genuine, is that of Murasaki herself, who is also a character in the book. In the author\'s personal diary, she expresses that the Genji character was based on the current minister of the left at the time, a man who the women of the court considered very handsome.\n\nThe Tale of Genji does not exactly follow the common perceptions of what we, in modern times would consider a novel. The book was episodic, and was the compiled result of a number of years and different versions with multiple authors. In most modern cases, authors write a book with the intention of publishing it as a single work, whereas Marasuki wrote different episodes of the story at different times. The Genji is portrayed as a righteous man, who can do no wrong; this one dimensional character development has been all but eliminated in contemporary narratives. The writer\'s high level of obligation and fealty Marasuki had for her audience prevented her from portraying the upper class as anything but the most honest of men. Contemporary authors tend to create characters with flaws, and obvious shortcomings, that give each role in the story depth. For instance, Chuck Palahniuk\'s book “Haunted” focuses on a group of writers deceptively trapped inside a mansion. The characters share stories from their pasts, each telling a more gruesome or depraved story than the last. Throughout this  sometimes overly revealing process, the group reveals their innermost weaknesses, feelings, and fears. Exploration of a character\'s darker side was simply not customary in the time period in which the book was written. In modern times, the tale of Genji can be credited with providing for us a link to earlier peoples\' development of language and the art of writing. Countless stories were handed down by word of mouth before the work was written, but this collection proves important because it is as far as we know, the oldest manuscript in existence. \n\n\n\nWorks Cited\n\nMurasaki, Shikibu, and Arthur Waley. The Tale of Genji. Tokyo: Tuttle Pub., 2010. Print.\n\nPalahniuk, Chuck. Haunted. New York: Anchor, 2006. Print.','The Tale of Genji','','inherit','open','open','','1029-revision-2','','','2011-04-12 07:48:17','2011-04-12 13:48:17','',1029,'http://jeanatacc.com/2011/?p=1065',0,'revision','',0),(1071,1,'2011-05-09 11:06:45','2011-05-09 17:06:45','Good morning again, fine people. We reconvene today to discuss the task of preservation items. We have been meeting on these topics for some time now. Secretary, please note for the record that the date is in the year 2100 A.D. The earth is still uninhabitable. There have been some advancements in relation to inhabitability, but none significant enough to warrant launching exploration teams back to Earth. Our children will need inspirational items to focus on.  The third item I want to submit to the review committee is the Franco-Flemish composer Guillame Dufay. <!--more-->He was the author of the piece entitled Missa L’ homme arme’. I submit this piece due to the fact that Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. “Dufay was the first to explore combining two or more cantus firmi into one mass.”( Oxford Music Online- Cantus Firmus) The works by Guillame Dufay should be preserved because they represent the change from “ Gregorian chant as the backbone of compositions to using popular songs of the day.” ( Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career) Netlibrary Ebook. “ Polyphony was to become , over the next few centuries, one of the most intricately artistic achievements in all of sacred art.” ( Brown)\n\nGuillame Dufay’s Missa L’homme arme’ was composed in 1453. This date coincides with the fall of Constantinople. For the Missa L’homme arme’ Dufay “ followed the common practice of borrowing melodies from popular folk tunes. In it , he employed the best known of all fifteenth- century  folk songs, “ the armed man” as the cantus firmus for all sections of the piece.”(Fiero)  Cantus firmus were widely used in Latin masses. A Cantus Firmus is a pre-exisiting melody used as a basis of a new polyphonic composition. A polyphonic composition is something that consists of two or more independent melodic voices. During the Renaissance, music was composed by amateurs and professionals alike. The printing press had been invented, so publishing works of music became prevalent. During the renaissance, music was an essential ingredient in gatherings, celebrations and festivals.  Music is still a very important part of our lives through time. Even today, we celebrate the beginning of life with music. We also mourn our deceased at ceremonies that include music. While Italian visual artists lead the field, the French and Franco- Flemish composers were way ahead of their time. The reason Dufay’s piece carries such significance is because pieces were written based on it up to three centuries later.\n\n“ Like renaissance art, renaissance music was increasingly secular in subject matter and function.” (Fiero) Dufay’s piece was the first to depart away from this. Missa L’homme arme’ translates into the Mass of the Armed Man. Weapons had recently been invented that would enable individuals to carry them. Masses were an important part of life, not only for religious reasons , but for social and political reasons as well. The fact that a Mass was dedicated to an armed man or a soldier showed the significance of fighting for ones beliefs.\n\n“During both the Middle Ages and the Renaissance a clear line existed between music’s role as a branch of the sciences on the one hand and musical composition and performance on the other. “ ( Bleiberg) . Dufay’s Missa L’homme arme’ is of importance because this piece helps define the new era of having mutliple voices in one piece of music. He was a pioneer of composing. Today more than 200 pieces of his work still remain.\n\n“ According to executors of Dufay’s will, his homeland was the town of Brusells.  His name was originally spelled Du_Fayt. The earliest mention of Dufay is in 1409 where he is listed as Willemet. He was taught by two people in Cambrai. Dufay became a residentiary canon of the cathedral in 1408. He caught the attention of the cathedral authorities early on. His instruction in music and grammar followed the rigid curriculum common to most French cathedral schools in the late Middle Ages.  Dufay became a canon in 1436. In 1437 it is mentioned that he obtained a Bachelor of Law degree by papal decree. As a canon of St. Donation, he had trouble with the chapter over the collection of his revenues. in 1447 he resigned at St. Donation and was installed as canon of Ste. Waudru in Mons.” (Bloxam)\n\nA composer who competed with Dufay during his time was Josquin Des Prez.  Dufay and Des Prez were similar in that they both “ unified each polyphonic Mass around a single musical theme.” (Fiero) “Des Prez was different than Dufay in that his compositions contrived complex designs in which melody and harmony were distributed symmetrically and with geometric clarity. “ (Fiero) Des Prez motets are thought to represent his work the best. Dufay’s cantus firmus are his best pieces.\n\nAnother composer in the time of Dufay was Adrian Willaert. Willaert also had legal training similar to Dufay. Willaert was famous for his motets. Willaert’s works didn’t include any cantus firmus like Dufay’s. Unlike Dufay, Des Prez’ technical innovations “include a closer relationship between words and music and the use of imitation ( repetition by one voice of a melody sung by another voice). “( Encyclopedia of World Biography , Vol 16 2nd ed. Detroit: Gale,2004. P287-288, Willaert) Des Prez was similar to Dufay in that he was sought after by churches throughout Europe.\n\nToday Dufay’s works are studied by musical scholars as well a just the general public interested in musical history and how modern day music evolved from the days of the Gregorian chants.  Dufay is held as a genius of his time. He is compared to many other composers during his era. He stands above the rest in that the Missa L’ homme arme’ was the first of its kind. It became the model that was used by composers well into three centuries later. Dufay’s works mark what has come to be known as renaissance music.\n“The author of the song, an ingenious poet and composer, describes in a semi-dramatic , semi-narrative form what he heard in a late medieval town: the warning sound of the watchmen’s horn from the tower as a hostile army is approaching from across the plains- L’homme arme’” ( Planchart)\nThis would apply even in today’s world as news spreads about wars throughout the lands.\n\nWorks cited :\n\nPlanchart, Alejandro e. The Origins and Early History of L\'homme arme\'. Berkeley, CA: University of California Press, 2003. Print.\nPlanchart, Alejandro e. “ Dufay Guillaume” Grove Music Online. Oxford Music Online. 28\nMar .2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268\n“Music and the Renaissance.” Arts and Humanities Through the Eras. Ed.Edward I. Bleiberg, et al. Vol. 4 : Renaissance Europe 1300-1600. Detroit: Gale,2005. 173-176. Gale Virtual Reference Library.  Web. 29 Mar. 2011.\nM. Jennifer Bloxam. “ Cantus Firmus.” Grove Music Online. Oxford Music Online. 28 Mar. 2011 http://www.oxfordmusiconline.com/subscriber/article/grove/music/04795\n\"Professional Careers in Music, Performer, Composer, Conductor: Your Passion for Making Music Can Become a Fulfilling Lifelong Career.\" chicago institute for career research 11 (2005): 6. netlibrary.com. Web. 5 Apr. 2011.\n“Josquin des Prez.\" Encyclopedia of World Biography. 2nd ed. Vol. 8. Detroit: Gale, 2004. 361-363. Gale Virtual Reference Library. Web. 3 Apr. 2011.\n\"Adrian Willaert.\" Encyclopedia of World Biography. 2nd ed. Vol. 16. Detroit: Gale, 2004. 287-288. Gale Virtual Reference Library. Web. 3 Apr. 2011.\nFiero, Gloria K. The Humanistic Tradition. 6th ed. New York: McGraw Hill, 2011. 75-76. Print.','BEWARE THE ARMED MAN','','inherit','open','open','','1005-autosave','','','2011-05-09 11:06:45','2011-05-09 17:06:45','',1005,'http://jeanatacc.com/2011/?p=1071',0,'revision','',0),(1075,1,'2011-04-11 17:25:16','2011-04-11 23:25:16','Leonardo Da Vinci was a man of many talents, who epitomized the Renaissance man – a polymath of bountiful curiosity for nature and science, one who craved knowledge and spouted out absolutely brilliant ideas. Even someone who may be unfamiliar with some of his more obscure work, has definitely seen a copy of his \"Last Supper,\" one of the most famous and recognizable religious images of all time. Even at this very moment, is still being mass-reproduced onto mirrors, pillows, posters and countless other home décor; Also, a piece that has been studied endlessly by historians and others searching for hidden secrets that may lie beneath this masterpiece. Although the story represented in his piece had been done before him, Da Vinci truly captured it in a way that had never been done before. His impeccable use of the one-point perspective to draw the viewers to Christ\'s face, perfect balance of disciples across the table – each of who’s faces align to converge at the center, and unique rendering of distinguishable facial expressions is what makes his piece remarkable and worthy for preservation.\r\n\r\nDa Vinci worked on The Last Supper from 1495 to 1498, and it was meant to convey the moment when Jesus tells those present at the Last Supper that one of them will betray him, as told by John. Da Vinci, constantly challenging typical painting techniques, decided to defy the usual frescoes\' tempera-on-wet -plaster process, and paint it on dry plaster, which ended up devastating for future generations desperately trying to preserve it; Very little of the original pigments exist on this glorious mural that\'s currently displayed in the refectory of the Santa Maria delle Grazie in Milan. Controversy even sparked up, calling the final restoration of 1999, more of a “repainting” rather than just a few additions to save it. (Fine) Perhaps the best look into the original details of the painting is found in a 16th century fine copy/ oil painting held in the Tongerlo Abbey in Antwerp, Belgium.\r\n<p style=\"text-align: center\"><a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\"><img class=\"aligncenter\" src=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\" alt=\"\" width=\"473\" height=\"261\" /></a></p>\r\n(<a href=\"http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg\">http://www.jaydax.co.uk/lastsupper/lastsuppertongerlocopyz.jpg</a>)\r\n\r\nThis painting is even known to be the beginning of a phrase in art history known as the High Renaissance, and he is renown as one of the main representatives for such a fantastic era in time. In Italy, this meant it reached it’s peak and maturation of Renaissance art, and is characterized by an explosive production of artistic genius, which also included the works of Michelangelo, Raphael and Titian. During this time in history, the printing press was also invented so brilliant ideas were more widespread and prints of works could be sold and even travel increased throughout the land, thus making artwork become worldly known. This revival in an interest of ancient Greece or Rome, came to house artwork of perfect harmony and balance in imagery, display of great knowledge in classical art, and showed the world as it truly is through expertise in technique. In a time of Humanism, we see in his piece, the viewer gets a sense he is also eating amongst Jesus himself. It was typical of it’s time in that, artwork characterized as “High Renaissance” art included: increase in naturalism, a light source, order and construction in the composition, a lack of halos as shown in Early Renaissance images, and were not so dependent on the royalty or the church any longer - rather they gained commission from other private arrangements. (Werbel)\r\n\r\nAnother highly regarded work of the High Renaissance, was Raphael’s fresco “School of Athens” completed in 1511. This piece currently stands proudly as decor in the Stanza della Segnatura, in the Vatican.\r\n<p style=\"text-align: center\"><a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\"><img class=\"aligncenter\" src=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\" alt=\"\" width=\"480\" height=\"321\" /></a></p>\r\n(<a href=\"http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg\">http://www.mezzo-mondo.com/arts/mm/classical/RAF001_L.jpg</a>)\r\n\r\nIt features many of the ancient Greek masters, which included Raphael and a few of his contemporaries, most of which are debating amongst each other.  It is a tribute to the monumental greatness to those within his painting. (Scottman) This image is also special, because during this time, there was a great emphasis on arts in education, so aside from the wise thinkers communicating, there were others simply writing or drawing. Unlike, the Last Supper, which is a direct visual narration of a story told in the Gospel of John; the School of Athens, shows great thinkers and philosophers that have existed and did not show one person from a church or saint as previous paintings typically depicted. Although, Leonardo did not do this simply to glorify God as Medieval art production mostly entailed; rather, on commission by the Duke of Milan who wanted that particular scene conveyed by Leonardo. The School of Athens held a solid, even light source, as The Last Supper did. The School of Athens also displays Humanism in that the artists are within the same room as all of the spectacular philosophers, although elevated. It also had a vanishing point, to create a feeling of infinity as The Last Supper one-point perspective gave us a similar welcoming center. As The Last Supper shows a very personal emotion in the reactions of the disciples, The School of Athens, for example, has Plato and Aristotle discussing life and truth. It shows Plato pointing upward, perhaps meaning where we get our wisdom from lies in another Divine form, while Aristotle pointing downwards, could mean we find truth in direct observation. (Jewell)\r\n\r\nThe Last Supper is a crucial piece for preservation because it represents a time in the history where we no longer needed to render images of Jesus, saints and holy beings as unrealistic or abstract. Leonardo created realistic characters for the Last Supper, heavily influenced by Humanism in efforts to give more credit to human mind. The subject matter and theme depended upon the man who commissioned Leonardo for such a task, but this artwork represents an era of incredibly gifted people who deserve to have their works stand forever in time.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\">Works Cited</p>\r\nCox, Stephanie. “Raphael’s School of Athen’s painting.” <em>Classical Art History.</em> 30. June. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.suite101.com/content/raphaels-school-of-athens-a58854\">http://www.suite101.com/content/raphaels-school-of-athens-a58854</a>&gt;\r\n\r\nFine, Mary. “Da Vinci.” <em>European/ Northwest Studies Page.</em> n.d. Web. 3. April. 2011. &lt; <a href=\"http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm\">http://www.ihs.issaquah.wednet.edu/teachers/fine/da_vinci.htm</a>&gt;\r\n\r\nJewel, Richard. “Elements of Art.” <em>Experiencing the Humanities. 2</em>4. Aug. 2002. Web. 4. April. 2011. <a href=\"http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm\">http://www.tc.umn.edu/~jewel001/humanities/book/9elements.htm</a>\r\n\r\nScottman, Isabella. “Individualism, Secularism and Humanism During the Renaissance” Nov. 2008. Web. 3. April. 2011. &lt;<a href=\"http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37\">http://www.associatedcontent.com/article/1180368/individualism_secularism_and_humanism.html?cat=37</a>&gt;\r\n\r\nWerbal, Amy. “High Renaissance.” <em>Saint Michael’s College.</em> n.d. Web. 3. April. 2011. &lt;<a href=\"http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm\">http://academics.smcvt.edu/awerbel/Survey%20of%20Art%20History%20II/High%20Renaissance.htm</a>&gt;\r\n\r\n&nbsp;','Leonardo\'s The Last Supper','','inherit','open','open','','996-revision-6','','','2011-04-11 17:25:16','2011-04-11 23:25:16','',996,'http://jeanatacc.com/2011/?p=1075',0,'revision','',0),(1053,31,'2011-04-15 12:51:04','2011-04-15 18:51:04','<img class=\"alignnone\" src=\"http://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\" alt=\"\" width=\"600\" height=\"383\" />\n\nhttp://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\n\nWhen you think of the “Last Supper” many immediately think of Da Vinci’s “Last Supper”. We aren’t always as familiar with other renditions of the last supper, one of which is Made by Jacopo Tintoretto. It’s a shame this picture is over shadowed by Da Vinci’s “Last Supper,” his art is very dynamic and truly embodies the ability of the Renaissance artist.<!--more-->\n\nTintoretto’s “Last supper” is a huge oil painting on a twelve by almost nineteen foot canvas. It was made between 1592-1594. Tintoretto painted the “Last Supper” several times in his life. This version can be described as the fest of the poor, in which the figure of Christ mingles with the crowds of apostles. However, a supernatural scene with winged figures comes into sight by the light around his head. This endows the painting with a visional character clearly differentiating it from paintings of the same subject made by earlier painters like Leonardo.(Kren) It depicts Jesus and all his disciples, Jude is thought to be on the opposite side of the table. Jesus and his disciples are displayed with glowing halo’s around there heads except Jude. Jude is displayed with a glowing back which I believe could symbolize “back stabbing” Jesus.\n\nThe painting of Tintoretto’s “Last Supper” is housed in Basilica di San Giorgio Maggiore in Venice. Tintoretto is described by Robert Hahn, “He was a devout painter, as we see in his great series of Last Suppers.”(Hahn) The painting is very dark and uses contrast extensively. Da Vinci’s “Last Supper” is bright and seems to use contrast less drastically. Da Vinci’s “Last supper” was painted on a wall and is very quickly diminishing; Tintorreto’s however is still preserved well because of his choice in paints and canvas. Both artists use perspective, one-point perspective   is a mathematical system for representing three-dimensional surface by means of intersecting lines that are drawn vertically  and horizontally and that the radiate from one point. (one-point) The two perspectives are completely different, Da Vinci’s you seem to be on the opposite side of the table as if you are a member of the party, while Tintoretto’s piece you are an onlooker into the room of which the feast is being held. Both pieces look very natural, but for completely different reasons Tintoretto for its , while Da Vinci’s natural look comes from the character’s reactions.  There is no disputing that both painters where masters.\n\nTintoretto in his day was very popular. He made many pieces and was a very successful artist. His art was typical of the renaissance because of the techniques he uses, like one point perspective and contrast. However this piece is very unique for the fact that there are slaves displayed in the same picture with Jesus and his disciples and even interacting with them. This is very strange to see in a religious painting, and thus why the picture gets its description of the fest of the poor. This piece was so successful many more renditions of the “Last Super” where made by his studio.  I feel this work really shows off the master’s ability and is very natural.\n\nTintoretto’s real name was Jacopo Robust. He studied Michelangelo’s works and was quickly recognized for his talent. His early works are often confused with Bonifazio Veronese’s, Paris Bordone’s, and Andrea Schiavone’s works. In his later works are much easier to describe as his because he works dramatically with light and shadows. (Tintoretto) The “Last Supper” was produced for the Scuola di S. Rocco. Tintoretto spent almost all his career in Venice, where he maintained a busy workshop producing a vast output of religious paintings, portraits, and a number of allegorical and mythological subjects.(Tintoretto (1518))\n\nFor future generation I believe it is important to preserve Tintoretto’s piece to compare the “Last Supper” and even preserve it. It will hopeful still be around when the Da Vinci’s last supper is no more and step up into the spotlight as an exeplaeraryu piece of art from the renaissance.\n\nWorks Cited\n\nKren, Emil, and Daniel Marx. \"Tinterreto.\" <em>Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850)</em>. Web. 06 Apr. 2011. &lt;http://www.wga.hu/frames-e.html?/html/t/tintoret/5_1580s/3lastsup.html&gt;.\n\n\"Tintoretto.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>Middle Search Plus</em>. EBSCO. Web. 6 Apr. 2011.\n\n\"Tintoretto (1518-1594).\" <em>Hutchinson\'s Biography Database</em> (2003): 1. <em>Middle Search Plus</em>. EBSCO. Web. 13 Apr. 2011.\n\n\"one-point perspective.\" <em>Dictionary.com Unabridged</em>. Random House, Inc. 14 Apr. 2011. &lt;Dictionary.com <a href=\"http://dictionary.reference.com/browse/one-point%20perspective\" target=\"_parent\">http://dictionary.reference.com/browse/one-point perspective</a>&gt;.\n\nHahn, Robert. \"A Witness to Tintoretto.\" <em>Southwest Review</em>. 192-212. Southern Methodist University, 2004. <em>Academic Search Complete</em>. EBSCO. Web. 15 Apr. 2011.','','','inherit','open','open','','1052-revision','','','2011-04-15 12:51:04','2011-04-15 18:51:04','',1052,'http://jeanatacc.com/2011/?p=1053',0,'revision','',0),(1054,31,'2011-04-15 12:51:08','2011-04-15 18:51:08','<img class=\"alignnone\" src=\"http://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\" alt=\"\" width=\"600\" height=\"383\" />\r\n\r\nhttp://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\r\n\r\nWhen you think of the “Last Supper” many immediately think of Da Vinci’s “Last Supper”. We aren’t always as familiar with other renditions of the last supper, one of which is Made by Jacopo Tintoretto. It’s a shame this picture is over shadowed by Da Vinci’s “Last Supper,” his art is very dynamic and truly embodies the ability of the Renaissance artist.<!--more-->\r\n\r\nTintoretto’s “Last supper” is a huge oil painting on a twelve by almost nineteen foot canvas. It was made between 1592-1594. Tintoretto painted the “Last Supper” several times in his life. This version can be described as the fest of the poor, in which the figure of Christ mingles with the crowds of apostles. However, a supernatural scene with winged figures comes into sight by the light around his head. This endows the painting with a visional character clearly differentiating it from paintings of the same subject made by earlier painters like Leonardo.(Kren) It depicts Jesus and all his disciples, Jude is thought to be on the opposite side of the table. Jesus and his disciples are displayed with glowing halo’s around there heads except Jude. Jude is displayed with a glowing back which I believe could symbolize “back stabbing” Jesus.\r\n\r\nThe painting of Tintoretto’s “Last Supper” is housed in Basilica di San Giorgio Maggiore in Venice. Tintoretto is described by Robert Hahn, “He was a devout painter, as we see in his great series of Last Suppers.”(Hahn) The painting is very dark and uses contrast extensively. Da Vinci’s “Last Supper” is bright and seems to use contrast less drastically. Da Vinci’s “Last supper” was painted on a wall and is very quickly diminishing; Tintorreto’s however is still preserved well because of his choice in paints and canvas. Both artists use perspective, one-point perspective   is a mathematical system for representing three-dimensional surface by means of intersecting lines that are drawn vertically  and horizontally and that the radiate from one point. (one-point) The two perspectives are completely different, Da Vinci’s you seem to be on the opposite side of the table as if you are a member of the party, while Tintoretto’s piece you are an onlooker into the room of which the feast is being held. Both pieces look very natural, but for completely different reasons Tintoretto for its , while Da Vinci’s natural look comes from the character’s reactions.  There is no disputing that both painters where masters.\r\n\r\nTintoretto in his day was very popular. He made many pieces and was a very successful artist. His art was typical of the renaissance because of the techniques he uses, like one point perspective and contrast. However this piece is very unique for the fact that there are slaves displayed in the same picture with Jesus and his disciples and even interacting with them. This is very strange to see in a religious painting, and thus why the picture gets its description of the fest of the poor. This piece was so successful many more renditions of the “Last Super” where made by his studio.  I feel this work really shows off the master’s ability and is very natural.\r\n\r\nTintoretto’s real name was Jacopo Robust. He studied Michelangelo’s works and was quickly recognized for his talent. His early works are often confused with Bonifazio Veronese’s, Paris Bordone’s, and Andrea Schiavone’s works. In his later works are much easier to describe as his because he works dramatically with light and shadows. (Tintoretto) The “Last Supper” was produced for the Scuola di S. Rocco. Tintoretto spent almost all his career in Venice, where he maintained a busy workshop producing a vast output of religious paintings, portraits, and a number of allegorical and mythological subjects.(Tintoretto (1518))\r\n\r\nFor future generation I believe it is important to preserve Tintoretto’s piece to compare the “Last Supper” and even preserve it. It will hopeful still be around when the Da Vinci’s last supper is no more and step up into the spotlight as an exeplaeraryu piece of art from the renaissance.\r\n\r\nWorks Cited\r\n\r\nKren, Emil, and Daniel Marx. \"Tinterreto.\" <em>Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850)</em>. Web. 06 Apr. 2011. &lt;http://www.wga.hu/frames-e.html?/html/t/tintoret/5_1580s/3lastsup.html&gt;.\r\n\r\n\"Tintoretto.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>Middle Search Plus</em>. EBSCO. Web. 6 Apr. 2011.\r\n\r\n\"Tintoretto (1518-1594).\" <em>Hutchinson\'s Biography Database</em> (2003): 1. <em>Middle Search Plus</em>. EBSCO. Web. 13 Apr. 2011.\r\n\r\n\"one-point perspective.\" <em>Dictionary.com Unabridged</em>. Random House, Inc. 14 Apr. 2011. &lt;Dictionary.com <a href=\"http://dictionary.reference.com/browse/one-point%20perspective\" target=\"_parent\">http://dictionary.reference.com/browse/one-point perspective</a>&gt;.\r\n\r\nHahn, Robert. \"A Witness to Tintoretto.\" <em>Southwest Review</em>. 192-212. Southern Methodist University, 2004. <em>Academic Search Complete</em>. EBSCO. Web. 15 Apr. 2011.','','','inherit','open','open','','1052-revision-2','','','2011-04-15 12:51:08','2011-04-15 18:51:08','',1052,'http://jeanatacc.com/2011/?p=1054',0,'revision','',0),(1055,31,'2011-04-15 12:51:48','2011-04-15 18:51:48','<img class=\"alignnone\" src=\"http://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\" alt=\"\" width=\"420\" height=\"268\" />\r\n\r\nhttp://upload.wikimedia.org/wikipedia/commons/3/3e/Tintosoup.jpg\r\n\r\nWhen you think of the “Last Supper” many immediately think of Da Vinci’s “Last Supper”. We aren’t always as familiar with other renditions of the last supper, one of which is Made by Jacopo Tintoretto. It’s a shame this picture is over shadowed by Da Vinci’s “Last Supper,” his art is very dynamic and truly embodies the ability of the Renaissance artist.<!--more-->\r\n\r\nTintoretto’s “Last supper” is a huge oil painting on a twelve by almost nineteen foot canvas. It was made between 1592-1594. Tintoretto painted the “Last Supper” several times in his life. This version can be described as the fest of the poor, in which the figure of Christ mingles with the crowds of apostles. However, a supernatural scene with winged figures comes into sight by the light around his head. This endows the painting with a visional character clearly differentiating it from paintings of the same subject made by earlier painters like Leonardo.(Kren) It depicts Jesus and all his disciples, Jude is thought to be on the opposite side of the table. Jesus and his disciples are displayed with glowing halo’s around there heads except Jude. Jude is displayed with a glowing back which I believe could symbolize “back stabbing” Jesus.\r\n\r\nThe painting of Tintoretto’s “Last Supper” is housed in Basilica di San Giorgio Maggiore in Venice. Tintoretto is described by Robert Hahn, “He was a devout painter, as we see in his great series of Last Suppers.”(Hahn) The painting is very dark and uses contrast extensively. Da Vinci’s “Last Supper” is bright and seems to use contrast less drastically. Da Vinci’s “Last supper” was painted on a wall and is very quickly diminishing; Tintorreto’s however is still preserved well because of his choice in paints and canvas. Both artists use perspective, one-point perspective   is a mathematical system for representing three-dimensional surface by means of intersecting lines that are drawn vertically  and horizontally and that the radiate from one point. (one-point) The two perspectives are completely different, Da Vinci’s you seem to be on the opposite side of the table as if you are a member of the party, while Tintoretto’s piece you are an onlooker into the room of which the feast is being held. Both pieces look very natural, but for completely different reasons Tintoretto for its , while Da Vinci’s natural look comes from the character’s reactions.  There is no disputing that both painters where masters.\r\n\r\nTintoretto in his day was very popular. He made many pieces and was a very successful artist. His art was typical of the renaissance because of the techniques he uses, like one point perspective and contrast. However this piece is very unique for the fact that there are slaves displayed in the same picture with Jesus and his disciples and even interacting with them. This is very strange to see in a religious painting, and thus why the picture gets its description of the fest of the poor. This piece was so successful many more renditions of the “Last Super” where made by his studio.  I feel this work really shows off the master’s ability and is very natural.\r\n\r\nTintoretto’s real name was Jacopo Robust. He studied Michelangelo’s works and was quickly recognized for his talent. His early works are often confused with Bonifazio Veronese’s, Paris Bordone’s, and Andrea Schiavone’s works. In his later works are much easier to describe as his because he works dramatically with light and shadows. (Tintoretto) The “Last Supper” was produced for the Scuola di S. Rocco. Tintoretto spent almost all his career in Venice, where he maintained a busy workshop producing a vast output of religious paintings, portraits, and a number of allegorical and mythological subjects.(Tintoretto (1518))\r\n\r\nFor future generation I believe it is important to preserve Tintoretto’s piece to compare the “Last Supper” and even preserve it. It will hopeful still be around when the Da Vinci’s last supper is no more and step up into the spotlight as an exeplaeraryu piece of art from the renaissance.\r\n\r\nWorks Cited\r\n\r\nKren, Emil, and Daniel Marx. \"Tinterreto.\" <em>Web Gallery of Art, Image Collection, Virtual Museum, Searchable Database of European Fine Arts (1000-1850)</em>. Web. 06 Apr. 2011. &lt;http://www.wga.hu/frames-e.html?/html/t/tintoret/5_1580s/3lastsup.html&gt;.\r\n\r\n\"Tintoretto.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>Middle Search Plus</em>. EBSCO. Web. 6 Apr. 2011.\r\n\r\n\"Tintoretto (1518-1594).\" <em>Hutchinson\'s Biography Database</em> (2003): 1. <em>Middle Search Plus</em>. EBSCO. Web. 13 Apr. 2011.\r\n\r\n\"one-point perspective.\" <em>Dictionary.com Unabridged</em>. Random House, Inc. 14 Apr. 2011. &lt;Dictionary.com <a href=\"http://dictionary.reference.com/browse/one-point%20perspective\" target=\"_parent\">http://dictionary.reference.com/browse/one-point perspective</a>&gt;.\r\n\r\nHahn, Robert. \"A Witness to Tintoretto.\" <em>Southwest Review</em>. 192-212. Southern Methodist University, 2004. <em>Academic Search Complete</em>. EBSCO. Web. 15 Apr. 2011.','','','inherit','open','open','','1052-revision-3','','','2011-04-15 12:51:48','2011-04-15 18:51:48','',1052,'http://jeanatacc.com/2011/?p=1055',0,'revision','',0),