(908,7,'2011-04-10 16:24:42','2011-04-10 22:24:42','<p style=\"text-align: center\"><strong><em> </em></strong></p>\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em>\n\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]\n\n</em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong><strong> </strong>\n\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]-->\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>\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n\n\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]\n\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] -->\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\n\n\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]\n\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\n\n&nbsp;\n\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] -->\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>\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>\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>\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>\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>\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>\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>\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>\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>\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] -->\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>\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>\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>\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]-->\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>\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>\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>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\n\n\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]\n\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>\n\n&nbsp;\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n\n\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]\n\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>\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>\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>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\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] -->\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\n&nbsp;\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\n\n\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]\n\n&nbsp;\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>\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>\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>\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>\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>\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in theCanterbury Tales.” </span>\n\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\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>\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>ChauHAUCER 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>\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>\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>\n\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\"><!--[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]-->&nbsp;\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>\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\n\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-7','','','2011-04-10 16:24:42','2011-04-10 22:24:42','',892,'http://jeanatacc.com/2011/?p=908',0,'revision','',0),(909,7,'2011-04-10 16:26:56','2011-04-10 22:26:56','<p style=\"text-align: center\"><strong><em> </em></strong></p>\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\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]\n\n&nbsp;\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong>\n\n<strong><em> </em></strong><strong> </strong>\n\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]-->\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>\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n\n\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]\n\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] -->\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\n\n\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]\n\n<span style=\"font-size: 12.0pt;line-height: 200%\"> </span>\n\n&nbsp;\n\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] -->\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>\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>\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>\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>\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>\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>\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>\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>\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>\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] -->\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>\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>\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>\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]-->\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>\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>\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>\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"><span> </span></span></p>\n\n\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]\n\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>\n\n&nbsp;\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 200%\"><span style=\"font-size: 12pt;line-height: 200%\"> </span></p>\n\n\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]\n\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>\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>\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>\n<p class=\"MsoNormal\" style=\"margin-bottom: .0001pt;line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><em> </em></span></p>\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] -->\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"><span> </span></span></p>\n&nbsp;\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><!--more--></p>\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span>Works Cited</span></p>\n<p class=\"MsoNormal\" style=\"margin-left: 0.25in;text-align: center\"><span> </span></p>\n\n\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]\n\n&nbsp;\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>\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>\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>\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>\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>\n<span> Fradenburg, Louise. “The Manciple\'s Servant Tongue: Politics and Poetry in The Canterbury Tales.” </span>\n\n<span><em> ELH Volume </em>52 No.1 The Johns Hopkins University Press. Spring, 1985. </span>\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>\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>\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>\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>\n\n<div class=\"mcePaste\" style=\"width: 1px;height: 1px;overflow: hidden\">\n\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]-->\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>\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>\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%\"> </span></p>\n\n</div>','The Canterbury Tales','','inherit','open','open','','892-revision-8','','','2011-04-10 16:26:56','2011-04-10 22:26:56','',892,'http://jeanatacc.com/2011/?p=909',0,'revision','',0),(910,7,'2011-04-10 16:27:29','2011-04-10 22:27:29','<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-9','','','2011-04-10 16:27:29','2011-04-10 22:27:29','',892,'http://jeanatacc.com/2011/?p=910',0,'revision','',0),(912,8,'2011-04-11 12:12:26','2011-04-11 18:12:26','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','publish','open','open','','ambrogio-lorenzettis-allegory-of-good-and-bad-government','','','2011-04-11 12:42:55','2011-04-11 18:42:55','',0,'http://jeanatacc.com/2011/?p=912',0,'post','',0),(913,8,'2011-04-11 12:12:01','2011-04-11 18:12:01','Rich Martinez\n\nProfessor Lauer\n\nHumanities I 1301 TCP #3\n\nDue Date:  April 11, 2011\n\n&nbsp;\n\n&nbsp;\n\n<strong><em> </em></strong>\n\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\n\n&nbsp;\n\nSala Della Pace    <em>www.casasantapia.com</em>\n\n&nbsp;\n\n&nbsp;\n\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\n\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\n\n<strong> </strong>\n\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\n\n<em>www.casasantapia.com</em>\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\n\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\n\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\n\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\n&nbsp;\n\nWorks Cited\n\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\n\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\n\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\n\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision','','','2011-04-11 12:12:01','2011-04-11 18:12:01','',912,'http://jeanatacc.com/2011/?p=913',0,'revision','',0),(918,8,'2011-04-11 12:14:52','2011-04-11 18:14:52','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n\r\n&nbsp;\r\n\r\nSala Della Pace    <em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-4','','','2011-04-11 12:14:52','2011-04-11 18:14:52','',912,'http://jeanatacc.com/2011/?p=918',0,'revision','',0),(914,8,'2011-04-11 12:37:11','2011-04-11 18:37:11','<strong><em> </em></strong>\n\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\n&nbsp;\n\n&nbsp;\n\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\n\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\n\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\n\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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>\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\n\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\n\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\n\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-autosave','','','2011-04-11 12:37:11','2011-04-11 18:37:11','',912,'http://jeanatacc.com/2011/?p=914',0,'revision','',0),(915,8,'2011-04-11 12:12:26','2011-04-11 18:12:26','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n<strong><em>Ambrogio Lorenzetti\'s</em></strong>\r\n\r\n<strong><em>Allegory of Good and Bad Government</em></strong>\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n\r\n&nbsp;\r\n\r\nSala Della Pace    <em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-2','','','2011-04-11 12:12:26','2011-04-11 18:12:26','',912,'http://jeanatacc.com/2011/?p=915',0,'revision','',0),(916,8,'2011-04-11 12:14:07','2011-04-11 18:14:07','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n<strong><em>Ambrogio Lorenzetti\'s</em></strong>\r\n\r\n<strong><em>Allegory of Good and Bad Government</em></strong>\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n\r\n&nbsp;\r\n\r\nSala Della Pace    <em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-3','','','2011-04-11 12:14:07','2011-04-11 18:14:07','',912,'http://jeanatacc.com/2011/?p=916',0,'revision','',0),(919,8,'2011-04-11 12:23:53','2011-04-11 18:23:53','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n\r\n&nbsp;\r\n\r\nSala Della Pace    <em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-5','','','2011-04-11 12:23:53','2011-04-11 18:23:53','',912,'http://jeanatacc.com/2011/?p=919',0,'revision','',0),(922,37,'2011-04-11 12:38:38','2011-04-11 18:38:38','﻿﻿﻿\r\n\r\n<strong>Don Quixote</strong>\r\n\r\n<strong>Don Quixote or El ingenioso Hidalgo Don Quijote de la mancha (the ingenious Gentleman Don Quixote de la mancha) is a novel written by Miguel de Cervantes. Miguel the Cervantes lived in a period that reflects the climax and the decline of Spanish Golden era. The novel was published in two parts with the interesting characteristic that the first part was published in 1605 and the second part was later published in 1615 (Bloom).<!--more-->  Don Quixote is one of the most influential literary pieces of Spain and the world; currently it is considered a classic. The novel has been translated to many languages and is one of the top sell novels of all time. The novel is important because it reflects the conflict between the old and new way of living. The novel also possesses some comic, tragic and traces of history that make it a unique piece at that time and an influential novel to this day.</strong>\r\n\r\n<strong><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/don-quijote-mancha-16736822c2.jpg\"><img class=\"aligncenter size-medium wp-image-935\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/don-quijote-mancha-16736822c2-232x300.jpg\" alt=\"\" width=\"232\" height=\"300\" /></a></strong>\r\n\r\n<strong><a href=\"http://librototal.lacoctelera.net/post/2009/10/30/don-quijote-la-mancha\">http://librototal.lacoctelera.net/post/2009/10/30/don-quijote-la-mancha</a></strong>\r\n\r\n<strong>The Story is based on Don Quixote which is a middle age gentleman from a region of Spain called La Mancha, Don Quixote was an habit reader of stories that talked about brave characters that perform magnificent acts so he decided to set his mission to defend the innocent and helpless and punish the bad people. He basically decided to adventure into the country in order to fulfill his mission and he did that with the help of Sancho Panza. Don Quixote had to persuade Sancho Panza into following him in his adventure and he did that by promising Sancho that he will be made a wealthy governor. Don Quixote start his adventure into the Spanish country in search of glory and adventure and he does that in his old skinny horse named Rocinante.  Don Quixote also renamed one neighbor farm girl and transforms this farm girl named Dulcinea into his love interest and he envisions her as a princess. On posterior trips or adventures Don Quixote turns into more of a bandit and angry many people by stealing from them all because he felt he status as a knight was in jeopardy. His bad acts go from leaving a kid with an abusive farmer that was mistreating the kid just because the farmer promised not to hurt the kid anymore and also stealing pieces of equipment from barber that he later considered to have special healing powers. While all this is going on Sancho Panza stands by Don Quixote and on many occasion have to endure the punishments that resulted from Don Quixote actions. One characteristic of Don Quixote is that the story is based on all the adventures of Don Quixote and the people that he encounter in those adventures, Sancho plays the role of the trustworthy and loyal companion and Sancho Panza also serves as the main person trying to deal with Don Quixote fantasies. The First part of the novel ends with Don Quixote being taken home by two friends (a priest and a barber) because he was though to be delusional. In the second part of the story that was published 10 year later after the original part which many consider kind of a sequel and what distinguish the second part from the first part is that the second part is more serious and concentrate on the idea of deception while the first part is more comical. What is interesting about the second part is that because it was written ten years later it was expected that people were more familiar with Don Quixote story and his adventures (De Cervantes).</strong>\r\n\r\n<strong>Miguel de Cervantes was a person that had many fantastic experiences during his life like being held as a hostage in Algiers, these happens during his time in the army. Later he returned to Spain but those hard experiences had a profound effect on the way and the stories he wrote. The main reason why talking about Cervantes is important to mention his life because many of Don Quixote elements are drawn from his own life like the experience of being hostage and the courage that Spanish soldiers like him showed during one of the most difficult times in his life. Another aspect that market Cervantes life and consequently it also affected the way he felt about foreigners, which he considered as not trustworthy (Byron). </strong>\r\n\r\n<strong>During this time Spain was at the top of the world with the many riches they acquired from the new world like the American colonies which had a lot of Precious metals like gold and that gold is what allow the Spanish empire to flourish and expand even more. Also during this time of conflict the country of Spain suffered some losses like the loss at the hands of the British navy. In many ways the stories of war experienced by Cervantes during his time in the navy are part of Don Quixote, so in a way the novel reflects the difficult and confusing times of the Spanish country because the novel reflects aspects like identity and morality and the importance of art in the times where the country of Spain was experiencing changes. Another aspect that mark this time and that I think is important to emphasized is that during this time the renaissance was happening in Europe, which change the way, people wrote. The emphasis during this time was to write tales about chivalry and the ideas like the protection of the innocent, the idealizing of women or the life of knights that have many adventures like in Don Quixote (Kamen). </strong>\r\n\r\n<strong>Don Quixote is important because in this novel Cervantes touched aspects that included the social situation of Spain which was characterized for the fragmentation of the society and the hierarchies among the people, not all the people where considered the same, many were powerful and had all the perks of being the ruling people while others just tried to get by and survive. The concept of nobility was prevalent during this time and the concentration of land in the hand of few was the norm, these was reflected in Don Quixote second part where Cervantes showed his opposition of the way the nobility had behaved and the way the treat other people. Another aspect that Cervantes emphasized in Don Quixote is his opposition of the church because he has some problems with the established Catholic church that at one point considered him a bad apple among the people, in the second part of Don Quixote Cervantes questions the morality of the Spanish Catholic church (Sturman).</strong>\r\n\r\n<strong>Another important factor that makes Don Quixote an important novel is the technique and style of the novel which is mainly the idea that history is important and the way Cervantes present all his characters and their attributes so that the reader can get a very clear idea of the scope of the character. I think that allows the reader to totally immerse in the reading and that makes his novels very appealing and attractive to read. Also another aspect that I think is important about Don Quixote is the idea of combining characters that have some common attributes like kindness and common sense but also presenting the same characters as having idealistic views of the world and in a way kind of delusional like in the case of Don Quixote, which in some parts of the novel is presented in a down to earth way and in others is presented as a crazy old knight with dreams of grandeur. I think that combination of characteristics allow for a more interesting novel and basically make the novel much more enjoyable to read because the reader is always wondering what is coming next.</strong>\r\n\r\n<strong>Don Quixote Has had a long lasting cross cultural influence over many years influencing many authors to developed their own master pieces. The novel was so popular since the first part was published in 1605 that one person went so far as writing a second part before Cervantes the author of Don Quixote was even done with his second part. The novel has inspired such authors like Pablo Picasso and Salvador Dali among others and continues to influence present day authors in their pursuit of the style and characterization that can be found in Don Quixote. </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong>Works Cited</strong>\r\n\r\n- Byron, William. “Cervantes: A Biography”. Publisher: Paragon House. April 1988\r\n\r\n-Bloom, Harold. “Cervantes Don Quixote”. Chelsea House Publishers. 2001\r\n\r\n- De Cervantes, Miguel. “Don Quixote de la Mancha”. Ediciones Carena. Barcelona. 2009\r\n\r\n-Kamen, Henry. “How Spain became a world power”. Publisher: Harper Perennial. 2004\r\n\r\n-Sturman, Marianne. “Don Quixote: notes”. Publication: Lincoln.Neb John,Wiley &amp; Sons,Inc. 1964','Don Quixote TCP#3','','publish','open','open','','don-quixote-tcp3','','','2011-04-11 12:38:38','2011-04-11 18:38:38','',0,'http://jeanatacc.com/2011/?p=922',0,'post','',10),(924,22,'2011-04-11 13:06:12','2011-04-11 19:06:12','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"></a>Raphael’s The School Of Athens</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"><img class=\"aligncenter size-medium wp-image-955\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11-300x201.jpg\" alt=\"\" width=\"300\" height=\"201\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/\">http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/</a></p>\r\nThe School of Athens is one of the most famous paintings by the Italian Renaissance artist Raphael. It was painted between 1510 and 1511 as a part of Raphael\'s commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.<!--more--> On the room where Raphael painted The School of Athens, can be observed two others important paints: The Stanza della Segnatura and La Disputa which is painting on the opposite wall than The School of Athens. The paint  has long been seen as \"Raphael\'s masterpiece and the perfect embodiment of the classical spirit of the High Renaissance. Unlike other paintings Raphael’s master piece includes the most important figures of its time, figures such as Plato and Aristotle’s who were found to be the main figures of the paint. The paint is divided in two different sections one included spiritual side [Plato’s ] while the other one represent physical side, [Aristotle’s] the painting was basically generated by Raphael and it clearly represented a clear view of the most intellectual and famous people of its time, people who were in the area of science and philosophy. Raphael’s master piece is been recognized to be one of the most important on the world because if its mystery, imagination and creativity in which it was created.\r\n\r\nRaphael’s master piece The School of Athens most important aspect was that it was created with geometry theory in which Artists used linear perspective for transforming the physical reality of 3-D objects into realistic illusions on 2-D flat surfaces. In The School of Athens Raphael shows main figures that came from different spaces and times to participate visually in the educational process, master symbolically secularization and influence literally people’s mind. In the historical art work of Raphael: he uses Plato, Aristotle, Socrates, Pythagoras and Euclid to represent ancient Masters and Michelangelo, Bramante, Leonardo and himself to represent the contemporary humanists of the 1500s.\r\n\r\nThe school of Athens shows Plato and Aristotle centralized as is the case for holies surrounded by scientists and students, past and present, in splendid classical architectural setting illustrating the historical continuity of Platonic thought. Raphael fills an ordered and stable space with figures in a rich variety of symbolic postures and gestures showing strenuous efforts to attain knowledge. Raphel controls a theatrical setting in order to make one group of figures lead to the next in an interviewing and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle at the vanishing point of the\r\nlinear space. All parts of this paint converge on the center, but the whole\r\nvision is broken up into a number of isolated groups. The figures are grouped\r\nin unity, but each retains its own individuality and shape.\"In addition, Raphael’s master piece included an emphasis on applying visual mathematics, numbers, ratio and\r\nharmony, especially when Pythagoras is represented by his harmonic theory on\r\nthe left side, and Euclid by the perfection of Geometry on the right. The elaborate\r\nperspective of the architectural setting seems to embody both.\" Arthur damto It is an\r\nhistorical artistic statement of gratitude towards the ancient masters and the\r\ncontemporary students, artists and architects who made possible the connection\r\nnot only between East and West, but also between natural and moral sciences.\r\nThe artist’s selection reflected his own personal concern with multi-cultured\r\nKnowledge. As a humanist artist, Raphael followed the scholarly and translated materials of his age. For instance he may have used Euclid’s musical theory to create the ideal Classical architectural background of The School of Athens.\r\n\r\nAccording to, The humanistic tradition vol. \"Raphael’s The School of Athens is an homage to knowledge in which it was concerned with multi-cultured knowledge defined as humanism. Now humanism is a philosophy of love and peace. It makes clear that to reach both love and peace, you have to feel them first in your soul and then allow others to feel them. During the Renaissance era, art was strongly tied to knowledge in fact, artists and commissioners were humanists, who knew a great deal of the purpose of art and secular knowledge. The School of Athens presents the value of secular knowledge through the depiction of ancient and contemporary masters, students and books. The school of Athens is therefore an allegory of two things: education, and a secular state in which Raphael uses a visual metaphor between Rome of the 1500s and Athens of 500 BC.\"W. Cook and R. Herzman\r\nRaphael also convey how Italy of the Renaissance adopted both Western and non-Western knowledge, regardless of race and belief and become a home for humanism in a general sense a place in which all are hand in hand to change both minds and lives for the better. However, there is still more to Raphael’s talent for its remarkable\r\nacknowledgment of people who, regardless of race and belief, made great contributions to the pursuit of knowledge. This study shows that Muslims made\r\nscientific and intellectual contributions to European Renaissance. Furthermore,\r\nin the early twelfth century, Muslim, Christian and Jewish scholars produced\r\nmany scholarly works in great unity, transcending their differences and the\r\nSpace and time.\r\n\"To sum it all up, Raphael’s school of Athens is atribute to knowledge and a representation of Italy’s Renaissance, but above all, is an ideal representation\r\nof a love for knowledge that draws people together in peace. It is a work\r\nupholding humanism, a philosophy of love, peace life and spiritual values. Raphael’s\r\nsends a peaceful message to the whole world, representing all those who\r\nworked together for knowledge’s sake to delight people’s lives.\"W. Cook and R. Herzman\r\n\r\nIn conclusion, Raphael master piece The School of Athens have a tremendous impact in the history of humanism. The school of Athens should be preserved because three main reasons : the first one is the shape and the imagination that Raphael used to create this beautiful piece of art. The second one is the incredible geometry that its used to divide the spiritual (something that we cant see ) and the physical ( physically seem) and the last one and most important is that he included the most intellectual and famous people of its time in a way that they were separated and put it in a specific placed that described their role of importance over human history. In addition the School of Athens is important to future generations because it represent the line between spiritual and physical view which it gives an important aspect of god and what we have here in earth. Personally I feel that Raphael paint the school of Athens has an specific purpose in which he wanted to show future generations the importance of a balance between spirit and human knowledge therefore it should be preserved as a important piece for human history.\r\nReferences\r\n\r\n1. Arthur Danto, After the End of Art (Princeton: Princeton University Press, 1997).\r\n\r\n2. Julius II was a highly cultured man who was surrounded by the most illustrious\r\npersonalities of the Renaissance. See Emil Kren and Daniel Marx, “Raphael\r\nSanzio: Biography,” Web Gallery of Art (2004). http://keptar.demasz.hu/arthp/\r\nbio/r/raphael/biograph.htm.\r\n\r\n3. W. Cook and R. Herzman, The Medieval World View (Athens: Ohio University\r\nPress, 1983).\r\n\r\n4. The humanistic tradition vol. 1 book 1. Fiero 6 a\r\n\r\n5. http://www.ancientsites.com/aw/Article/555679 posted April 30 2005. Copyright 2002-2011 Ancient Worlds LLC .','RAPHAEL\'S THE SCHOOOL OF ATHENS','','publish','open','open','','raphaels-the-schoool-of-athens','','','2011-04-17 02:12:04','2011-04-17 08:12:04','',0,'http://jeanatacc.com/2011/?p=924',0,'post','',7),(925,8,'2011-04-11 12:30:47','2011-04-11 18:30:47','','three walls','','inherit','open','open','','three-walls','','','2011-04-11 12:30:47','2011-04-11 18:30:47','',912,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg',0,'attachment','image/jpeg',0),(926,8,'2011-04-11 12:24:05','2011-04-11 18:24:05','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n\r\n&nbsp;\r\n\r\nSala Della Pace    <em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-6','','','2011-04-11 12:24:05','2011-04-11 18:24:05','',912,'http://jeanatacc.com/2011/?p=926',0,'revision','',0),(927,8,'2011-04-11 12:31:27','2011-04-11 18:31:27','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n<p style=\"text-align: right\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-7','','','2011-04-11 12:31:27','2011-04-11 18:31:27','',912,'http://jeanatacc.com/2011/?p=927',0,'revision','',0),(928,8,'2011-04-11 12:32:19','2011-04-11 18:32:19','','Image two','','inherit','open','open','','image-two','','','2011-04-11 12:32:19','2011-04-11 18:32:19','',912,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg',0,'attachment','image/jpeg',0),(929,8,'2011-04-11 12:34:29','2011-04-11 18:34:29','','Image 3','','inherit','open','open','','image-3','','','2011-04-11 12:34:29','2011-04-11 18:34:29','',912,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg',0,'attachment','image/jpeg',0),(936,8,'2011-04-11 12:36:06','2011-04-11 18:36:06','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-11','','','2011-04-11 12:36:06','2011-04-11 18:36:06','',912,'http://jeanatacc.com/2011/?p=936',0,'revision','',0),(930,8,'2011-04-11 12:31:44','2011-04-11 18:31:44','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n\r\n<strong> </strong>\r\n\r\nAmbrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9\r\n\r\n<em>www.casasantapia.com</em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena. Bad Government and the Effect on the Countryside           <em>www.casasantapia.com</em>\r\n\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-8','','','2011-04-11 12:31:44','2011-04-11 18:31:44','',912,'http://jeanatacc.com/2011/?p=930',0,'revision','',0),(933,9,'2011-04-11 12:34:33','2011-04-11 18:34:33','<p style=\"text-align: left\"><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>\n<p style=\"text-align: left\">Donatello contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude <a id=\"ref28430\" rel=\"nofollow\" name=\"ref28430\"></a>putti, or child angels (one of which was stolen and is now in the Berlin museum). These putti, evidently influenced by Etruscan bronze figurines, prepared the way for the bronze <a id=\"ref28431\" rel=\"nofollow\" name=\"ref28431\"></a>David, the first large-scale, free-standing nude statue of the Renaissance. Well-proportioned and superbly poised, it was conceived independently of any architectural setting. Its harmonious calm makes it the most classical of Donatello’s works. The statue was undoubtedly done for a private patron, but his identity is in doubt. Its recorded history begins with the wedding of Lorenzo the Magnificent in 1469, when it occupied the centre of the courtyard of the Medici palace in Florence. After the expulsion of the <a id=\"ref28432\" rel=\"nofollow\" name=\"ref28432\"></a>Medici in 1496, the statue was placed in the courtyard of the PalazzoVecchio.</p>\n\n<div style=\"text-align: left\">Whether the “David” was commissioned by the Medici or not, Donatello worked for them (1433–43), producing sculptural decoration for the old sacristy in San Lorenzo, the Medici church. Works there included 10 large reliefs in coloured stucco and two sets of small bronze doors, which showed paired saints and apostles disputing with each other in vivid and even violent fashion.</div>','Donatello\'s David','','inherit','open','open','','805-revision-5','','','2011-04-11 12:34:33','2011-04-11 18:34:33','',805,'http://jeanatacc.com/2011/?p=933',0,'revision','',0),(932,8,'2011-04-11 12:35:17','2011-04-11 18:35:17','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-10','','','2011-04-11 12:35:17','2011-04-11 18:35:17','',912,'http://jeanatacc.com/2011/?p=932',0,'revision','',0),(931,8,'2011-04-11 12:34:54','2011-04-11 18:34:54','Rich Martinez\r\n\r\nProfessor Lauer\r\n\r\nHumanities I 1301 TCP #3\r\n\r\nDue Date:  April 11, 2011\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, Florence, and Padua: Art, Society and Religion </em>1280-1400, Edited by        D. Norman. New Haven, CT: Yale University Press.\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-9','','','2011-04-11 12:34:54','2011-04-11 18:34:54','',912,'http://jeanatacc.com/2011/?p=931',0,'revision','',0),(976,9,'2011-04-11 13:24:30','2011-04-11 19:24:30','<p style=\"text-align: left\"><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\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.”  <em>University of Colorado, Boulder.</em> 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\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-11','','','2011-04-11 13:24:30','2011-04-11 19:24:30','',805,'http://jeanatacc.com/2011/?p=976',0,'revision','',0),(934,9,'2011-04-11 12:36:33','2011-04-11 18:36:33','<p style=\"text-align: left\"><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>\n<p style=\"text-align: left\">Donatello contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude <a id=\"ref28430\" rel=\"nofollow\" name=\"ref28430\"></a>putti, or child angels (one of which was stolen and is now in the Berlin museum). These putti, evidently influenced by Etruscan bronze figurines, prepared the way for the bronze <a id=\"ref28431\" rel=\"nofollow\" name=\"ref28431\"></a>David, the first large-scale, free-standing nude statue of the Renaissance. Well-proportioned and superbly poised, it was conceived independently of any architectural setting. Its harmonious calm makes it the most classical of Donatello’s works. The statue was undoubtedly done for a private patron, but his identity is in doubt. Its recorded history begins with the wedding of Lorenzo the Magnificent in 1469, when it occupied the centre of the courtyard of the Medici palace in Florence. After the expulsion of the <a id=\"ref28432\" rel=\"nofollow\" name=\"ref28432\"></a>Medici in 1496, the statue was placed in the courtyard of the PalazzoVecchio.</p>\n\n<div style=\"text-align: left\">Whether the “David” was commissioned by the Medici or not, Donatello worked for them (1433–43), producing sculptural decoration for the old sacristy in San Lorenzo, the Medici church. Works there included 10 large reliefs in coloured stucco and two sets of small bronze doors, which showed paired saints and apostles disputing with each other in vivid and even violent fashion.</div>\n<div style=\"text-align: left\">\n\nIt was in Italy that the artistic values we associate with the Renaissance first began to appear. These values included a new emphasis on naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces. During the fourteenth and early fifteenth centuries artists in Northern Italy, particularly in Tuscany, devoted themselves to problems of perspective. Eventually, they mastered techniques that allowed them to reproduce spaces that appeared to have real depth on two-dimensional surfaces. This innovation was known as linear perspective.  Another vital feature of the Renaissance in the visual arts was a renewed attention to the style and conventions of ancient art. As the homeland of the ancient Roman Empire in Western Europe, Italy possessed many venerable ancient monuments, and traditions of classicizing art and architecture had persisted in the region during the Middle Ages. Fifteenth-century artists, however, began to study more systematically and rigorously the works of classical Antiquity, and they self-consciously tried to revive its harmonious and balanced proportions. Renaissance painters may never have been wedded to classical styles and idioms to the same degree as humanists and literary figures, but the example of antique painting and sculpture provided potent examples of a human-centered art that shaped their stylistic values. As in many other areas of Renaissance cultural achievement, it was Florence that served as the incubator for many of these innovations.\n\nRenaissance art, however, was not created for an open market, but for wealthy and powerful patrons and religious institutions that commissioned it.  Patrons relied upon painting and sculpture to express political ideals, to indulge their tastes for fine craftsmanship, and to immortalize themselves and their families. The deepening piety of the era, too, stimulated the production of much religious art.\n\nIn a world of widespread illiteracy, images took on a special importance. For the illiterate, religious images served as a vital textbook that instructed in the teachings and history of Christianity and the church. For both the learned and unlearned, images conveyed political and religious ideas, and were often tools of propaganda. To express these political positions or religious truths, artists relied upon iconography—a system of symbols that conveyed certain commonly accepted meanings. During the Renaissance the language of iconography expanded greatly, in large part because of the revival of knowledge about ancient religions, philosophy, and mythology. Iconography became an increasingly complex way of communicating meaning, since artists could employ symbols drawn from Christian, Roman, and Greek past as well as from other more obscure traditions.\n\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-6','','','2011-04-11 12:36:33','2011-04-11 18:36:33','',805,'http://jeanatacc.com/2011/?p=934',0,'revision','',0),(935,37,'2011-04-11 12:37:03','2011-04-11 18:37:03','','don-quijote-mancha-16736822c2','','inherit','open','open','','don-quijote-mancha-16736822c2','','','2011-04-11 12:37:03','2011-04-11 18:37:03','',922,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/don-quijote-mancha-16736822c2.jpg',0,'attachment','image/jpeg',0),(937,8,'2011-04-11 12:37:19','2011-04-11 18:37:19','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, </em>\r\n\r\n<em> Florence, and Padua: Art, Society and Religion </em>1280-1400, Ed. D. Norman. New Haven, CT: Yale\r\n\r\nUniversity Press.\r\n\r\n&nbsp;\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\n&nbsp;\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-12','','','2011-04-11 12:37:19','2011-04-11 18:37:19','',912,'http://jeanatacc.com/2011/?p=937',0,'revision','',0),(938,37,'2011-04-11 12:38:17','2011-04-11 18:38:17','﻿﻿﻿\n\n<strong>Don Quixote</strong>\n\n<strong>Don Quixote or El ingenioso Hidalgo Don Quijote de la mancha (the ingenious Gentleman Don Quixote de la mancha) is a novel written by Miguel de Cervantes. Miguel the Cervantes lived in a period that reflects the climax and the decline of Spanish Golden era. The novel was published in two parts with the interesting characteristic that the first part was published in 1605 and the second part was later published in 1615 (Bloom).<!--more-->  Don Quixote is one of the most influential literary pieces of Spain and the world; currently it is considered a classic. The novel has been translated to many languages and is one of the top sell novels of all time. The novel is important because it reflects the conflict between the old and new way of living. The novel also possesses some comic, tragic and traces of history that make it a unique piece at that time and an influential novel to this day.</strong>\n\n<strong><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/don-quijote-mancha-16736822c2.jpg\"><img class=\"aligncenter size-medium wp-image-935\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/don-quijote-mancha-16736822c2-232x300.jpg\" alt=\"\" width=\"232\" height=\"300\" /></a></strong>\n\n<strong>The Story is based on Don Quixote which is a middle age gentleman from a region of Spain called La Mancha, Don Quixote was an habit reader of stories that talked about brave characters that perform magnificent acts so he decided to set his mission to defend the innocent and helpless and punish the bad people. He basically decided to adventure into the country in order to fulfill his mission and he did that with the help of Sancho Panza. Don Quixote had to persuade Sancho Panza into following him in his adventure and he did that by promising Sancho that he will be made a wealthy governor. Don Quixote start his adventure into the Spanish country in search of glory and adventure and he does that in his old skinny horse named Rocinante.  Don Quixote also renamed one neighbor farm girl and transforms this farm girl named Dulcinea into his love interest and he envisions her as a princess. On posterior trips or adventures Don Quixote turns into more of a bandit and angry many people by stealing from them all because he felt he status as a knight was in jeopardy. His bad acts go from leaving a kid with an abusive farmer that was mistreating the kid just because the farmer promised not to hurt the kid anymore and also stealing pieces of equipment from barber that he later considered to have special healing powers. While all this is going on Sancho Panza stands by Don Quixote and on many occasion have to endure the punishments that resulted from Don Quixote actions. One characteristic of Don Quixote is that the story is based on all the adventures of Don Quixote and the people that he encounter in those adventures, Sancho plays the role of the trustworthy and loyal companion and Sancho Panza also serves as the main person trying to deal with Don Quixote fantasies. The First part of the novel ends with Don Quixote being taken home by two friends (a priest and a barber) because he was though to be delusional. In the second part of the story that was published 10 year later after the original part which many consider kind of a sequel and what distinguish the second part from the first part is that the second part is more serious and concentrate on the idea of deception while the first part is more comical. What is interesting about the second part is that because it was written ten years later it was expected that people were more familiar with Don Quixote story and his adventures (De Cervantes).</strong>\n\n<strong>Miguel de Cervantes was a person that had many fantastic experiences during his life like being held as a hostage in Algiers, these happens during his time in the army. Later he returned to Spain but those hard experiences had a profound effect on the way and the stories he wrote. The main reason why talking about Cervantes is important to mention his life because many of Don Quixote elements are drawn from his own life like the experience of being hostage and the courage that Spanish soldiers like him showed during one of the most difficult times in his life. Another aspect that market Cervantes life and consequently it also affected the way he felt about foreigners, which he considered as not trustworthy (Byron). </strong>\n\n<strong>During this time Spain was at the top of the world with the many riches they acquired from the new world like the American colonies which had a lot of Precious metals like gold and that gold is what allow the Spanish empire to flourish and expand even more. Also during this time of conflict the country of Spain suffered some losses like the loss at the hands of the British navy. In many ways the stories of war experienced by Cervantes during his time in the navy are part of Don Quixote, so in a way the novel reflects the difficult and confusing times of the Spanish country because the novel reflects aspects like identity and morality and the importance of art in the times where the country of Spain was experiencing changes. Another aspect that mark this time and that I think is important to emphasized is that during this time the renaissance was happening in Europe, which change the way, people wrote. The emphasis during this time was to write tales about chivalry and the ideas like the protection of the innocent, the idealizing of women or the life of knights that have many adventures like in Don Quixote (Kamen). </strong>\n\n<strong>Don Quixote is important because in this novel Cervantes touched aspects that included the social situation of Spain which was characterized for the fragmentation of the society and the hierarchies among the people, not all the people where considered the same, many were powerful and had all the perks of being the ruling people while others just tried to get by and survive. The concept of nobility was prevalent during this time and the concentration of land in the hand of few was the norm, these was reflected in Don Quixote second part where Cervantes showed his opposition of the way the nobility had behaved and the way the treat other people. Another aspect that Cervantes emphasized in Don Quixote is his opposition of the church because he has some problems with the established Catholic church that at one point considered him a bad apple among the people, in the second part of Don Quixote Cervantes questions the morality of the Spanish Catholic church (Sturman).</strong>\n\n<strong>Another important factor that makes Don Quixote an important novel is the technique and style of the novel which is mainly the idea that history is important and the way Cervantes present all his characters and their attributes so that the reader can get a very clear idea of the scope of the character. I think that allows the reader to totally immerse in the reading and that makes his novels very appealing and attractive to read. Also another aspect that I think is important about Don Quixote is the idea of combining characters that have some common attributes like kindness and common sense but also presenting the same characters as having idealistic views of the world and in a way kind of delusional like in the case of Don Quixote, which in some parts of the novel is presented in a down to earth way and in others is presented as a crazy old knight with dreams of grandeur. I think that combination of characteristics allow for a more interesting novel and basically make the novel much more enjoyable to read because the reader is always wondering what is coming next.</strong>\n\n<strong>Don Quixote Has had a long lasting cross cultural influence over many years influencing many authors to developed their own master pieces. The novel was so popular since the first part was published in 1605 that one person went so far as writing a second part before Cervantes the author of Don Quixote was even done with his second part. The novel has inspired such authors like Pablo Picasso and Salvador Dali among others and continues to influence present day authors in their pursuit of the style and characterization that can be found in Don Quixote. </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong> </strong>\n\n<strong>Works Cited</strong>\n\n- Byron, William. “Cervantes: A Biography”. Publisher: Paragon House. April 1988\n\n-Bloom, Harold. “Cervantes Don Quixote”. Chelsea House Publishers. 2001\n\n- De Cervantes, Miguel. “Don Quixote de la Mancha”. Ediciones Carena. Barcelona. 2009\n\n-Kamen, Henry. “How Spain became a world power”. Publisher: Harper Perennial. 2004\n\n-Sturman, Marianne. “Don Quixote: notes”. Publication: Lincoln.Neb John,Wiley &amp; Sons,Inc. 1964','Don Quixote TCP#3','','inherit','open','open','','922-revision','','','2011-04-11 12:38:17','2011-04-11 18:38:17','',922,'http://jeanatacc.com/2011/?p=938',0,'revision','',0),(3473,1,'2013-10-14 12:34:53','2013-10-14 18:34:53','','candide1','','inherit','open','open','','candide1','','','2013-10-14 12:34:53','2013-10-14 18:34:53','',3425,'http://jeanatacc.com/2011/wp-content/uploads/2013/10/candide1.jpg',0,'attachment','image/jpeg',0),(3474,1,'2013-10-14 12:35:24','2013-10-14 18:35:24','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/candide1.jpg\"><img class=\"aligncenter size-full wp-image-3473\" alt=\"candide1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/candide1.jpg\" width=\"139\" height=\"225\" /></a></p>\r\n<p align=\"center\"><a href=\"http://irisonbooks.files.wordpress.com/2010/05/candide1.jpg\">http://irisonbooks.files.wordpress.com/2010/05/candide1.jpg</a></p>\r\n<p align=\"center\">Voltaire’s Candide</p>\r\nBorn on November 21, 1694, in Paris, France, Voltaire was exiled to Tulle in 1715. Two years later, in 1717, he returned to Paris, only to be arrested and exiled to the Bastille for a year. He was sent to the Bastille again in 1726, before being shipped off to England. In 1733, he fled to Lorraine, and in 1759, he wrote the satirical novella Candide. In 1778, Voltaire returned to Paris, where he died there on May 30 of that year. Widely considered one of France\'s greatest Enlightenment writers, Voltaire was born Francois-Marie Arouet to an upper-middle class family on November 21, 1694, in Paris, France. He was the youngest of five children born to Francois Arouet and Marie Marguerite Daumand. When Voltaire was just 7 years old, his mother passed away. Following her death, he grew closer to his free-thinking godfather. In 1704, Voltaire began to show promise as a writer while receiving a classical education at the College Louis-le-Grand, a Jesuit secondary school in Paris.<!--more-->\r\n\r\n“Candide, ou l\'Optimisme” is a French satire first published in 1759 by Voltaire.  Candide is the illegitimate nephew of a German baron. He grows up in the baron’s castle under the tutelage of the scholar Pangloss, who teaches him that this world is “the best of all possible worlds.” Candide falls in love with the baron’s young daughter, Cunegonde. The baron catches the two kissing and expels Candide from his home. On his own for the first time, Candide is soon conscripted into the army of the Bulgars. He wanders away from camp for a brief walk, and is brutally flogged as a deserter. After witnessing a horrific battle, he manages to escape and travels to Holland. Candide I guess is Voltaire’s expression of his exile from Paris during his own time and how he experienced many historical events that took place. Candide is the protagonist of the novel, but he is bland, naïve, and highly susceptible to\r\nthe influence of stronger characters. Like the other characters, Candide is less a realistic individual than the embodiment of a particular idea or folly that Voltaire wishes to illustrate. Candide’s name is derived from the Latin word “<i>Candidus</i>”, which means “white” and connotes fair-mindedness or a lack of corruption. As that name suggests, Candide begins the novel as a perfectly innocent-“wide-eyed in his worship of his tutor Pangloss’s wrongheaded optimistic philosophy, and completely unfamiliar with the ways of the world, man.\r\n\r\nPangloss and his student Candide maintain that “everything is for the best in this best of all possible worlds.” This idea is a reductively simplified version of the philosophies of a number of Enlightenment thinkers, most notably Gottfried Wilhelm von Leibniz (German mathematician and philosopher. He occupies a place in the history of mathematics and the history of philosophy.)  To these thinkers, the existence of any evil in the world would have to be a sign that God is either not entirely good or not all-powerful, and the idea of an imperfect God is nonsensical. These philosophers took for granted that God exists, and concluded that since God must be perfect, the world he created must be perfect also. According to these philosophers, people perceive imperfections in the world only because they do not understand God’s grand plan. Because Voltaire does not accept that a perfect God (or any God) has to exist, he can afford to mock the idea that the world must be completely good, and he heaps merciless satire on this idea throughout the novel. This would be the folly of optimism.\r\n\r\nThe earthquake in Candide is based on a real earthquake that leveled the city of Lisbon in 1755. Before writing Candide, Voltaire wrote a long poem about that event, which he interpreted as a sign of God’s indifference or even cruelty toward humanity. The earthquake represents all devastating natural events for which no reasonable justification can be found, though thinkers like Pangloss might do their best to fabricate flimsy justifications in order to maintain a philosophical approach to life.\r\n\r\nWhen Francois-Marie came of age (Voltaire), the French aristocracy ruled with an iron fist. At the same time, however, the intellectual movement known as the Enlightenment was spreading ideas about the equality and basic rights of man and the importance of reason and scientific objectivity.\r\n\r\nVoltaire’s words attacked the church and the state with equal fervor, and earned him widespread repute. During his lifetime, trenchant writings attacking church or government were often attributed to him whether he had written them or not. A lifelong champion of the poor and downtrodden, he wrote against tyranny and religious persecution with unmatched audacity. Despite his relentless criticism of powerful individuals and institutions, Voltaire became good friends with King Frederick of Prussia. They often quarreled, as Voltaire inevitably quarreled with anyone in power, but the ties of their friendship were lasting.\r\n\r\nIn the 1750s, Voltaire grew increasingly appalled by the specters of injustice and disaster that he saw around him. Many terrible events influenced his composition of Candide (a disastrous earthquake in Lisbon in 1755, about which he wrote a poem; the outbreak of the horrific Seven Years’ War in the German states in 1756; and the unjust execution of the English Admiral John Byng in 1757, against which Voltaire spoke out.) In 1759, Voltaire purchased Ferney, an estate near the border between France and Switzerland, so that he might easily flee across the border to escape French authorities. Ferney quickly became a retreat for important European intellectuals. In his later life Voltaire was involved in a wide variety of campaigns for social and political justice. When he returned to Paris at the age of eighty-three the populace hailed him with a hero’s welcome. The strain of the trip was more than his failing health could support, however, and he died in May of 1778. Overall I loved reading Candide because it was hilarious yet riveting and the satire never stopped so it was funny continuously. Things got a bit out of hand faster then I’d expect in most novels. In Voltaire’s time optimism was seen as a philosophical system, so therefore it was not taken lightly, for optimism was “an enemy”.\r\n\r\nThe implications of Candide’s decision can be interpreted in different ways. Nevertheless, certain aspects of the story’s conclusion are inescapable. Philosophical optimism is not an explanation for life, the evil in the world has no satisfactory explanation (evil can’t always be explained) and observation and experience are better teachers than philosophy. I believe many people today would agree with that conclusion, though there is still much debate on the proper responses to the injustice, poverty and evil in the form of war and genocide. As some say this evil will always exist in this cosmic dance of bursting decadence and withheld permissions. Others may believe that a radical solution will fix this. And those, like Candide, may see it fit that gradual improvements are the solution only. Those questions are still with us, such as “What solutions would you propose for problems in your community, like crime, poverty, or ignorance?”\r\n\r\nCandide, in my opinion compares distinctively to Milton’s Paradise Lost. Paradise Lost is an epic poem in blank verse by the 17th century English poet John Milton (1608-1674). It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse. A second edition followed in 1674, changed into twelve books with minor revisions throughout and a note on the versification. It is considered by critics to be Milton\'s \"major work\", and the work helped to solidify his reputation as one of the greatest English poets of his time. The poem concerns the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton\'s purpose, stated in Book I, is to \"justify the ways of God to men\".\r\n\r\nIn relation to the novel, Candide, my interpretations of the his final words “ ‘All that is very well,’ answered Candide, ‘but let us cultivate our garden’” can be applied to the rest of the novel and Candide’s life. At the end of the novel Candide is accepting that his wife is no longer beautiful and becomes disagreeable too, his friends are debating philosophy when they are invited to dinner by a farmer and decide to imitate that life. Farming is hard work to make a good living and for Candide and his wife and friends decided it was the best way to settle down now that all their exploration days are gone. When Candide says his final statement he has embraced the past which is all the misfortunes that have happened but him working on his farm and cultivating his garden to make the best of what he has. This shows Candide knows where he has been and what he has done and even though he doesn’t have the best wife, the most money, or the greatest friends he still has agreed to cultivate and work towards the future and try to be content with what he has.\r\n\r\nCandide’s final statement can again be applied, but to the contemporary society of the United States because it works into part of the American Dream of working hard for a better life and building one’s career and self-up. The American Dream is in many ways similar to the cultivating of one’s garden, because it incorporates present, past, and future. Most Americans have a heritage that traces back through generations with many ethnicities, which is the past, and then the present is the cultivating that is happening right now, which may or may not produce crops. However there hope for a better tomorrow and working towards it in the future, which is part of the American Dream. But it also connects to contemporary America through the pursuit of happiness that hopefully through cultivating one should find or make happiness.\r\n\r\nI love reading these type of novels cause it really gives me a different look on the aspects of life and makes me feel kind of spiritual in a way, makes me think a lot about what the world may hold for the future.\r\n<p style=\"text-align: center;\">Works Cited</p>\r\nSpark Notes Editors. “Spark Note on Candide.” SparkNotes.com. Spark Notes LLC. 2002. Web. 1 Oct. 2013.','Voltaire\'s Candide','','inherit','open','open','','3425-revision-v1','','','2013-10-14 12:35:24','2013-10-14 18:35:24','',3425,'http://jeanatacc.com/2011/?p=3474',0,'revision','',0),(942,16,'2011-04-11 12:49:02','2011-04-11 18:49:02','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim.jpg\"><img class=\"aligncenter size-large wp-image-947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim-1024x722.jpg\" alt=\"\" width=\"488\" height=\"344\" /></a>\r\n<p style=\"text-align: center;\"><em>(source: http://www.proprofs.com/flashcards/upload/q3936954.jpg)</em></p>\r\nThe Isenheim Altarpiece was by a painter, draughtsman, and hydraulic engineer named Mattias Grunewald (1475-1528) sometime between year 1512 to 1516 (Kristin Lohse Belkin). The Isenheim Altarpeice is divided into three parts which culminates to depict the Resurrection of Christ, a vivid masterpiece painted in reds, gold, and greens (“The Arts”). <!--more-->The central area of the altarpiece contains of saints carved by Von Hagenauer  in 1503 (“Matthias Grunewald”). The altarpiece can be folded in a way to depict different biblical events to suit different religious occasions. When the altarpiece is folded, it depicts the Crucifixion of Christ, which portrays a very macabre, horrific, and agonizing depiction of Christ on the cross in the darkness. Christ is shown as sinewy, with limbs distorted, with blood streaming from his body, and wounds visible on his skin. Yet, if folded in a different way, shows the ascension of Christ, who flies above the soldiers that guard his dead body. His skin has no wounds and afflictions and his hair and beard are painted in gold. The Isenheim Altarpiece stands to be the most intriguing, shocking, and beautiful of all of his works for it represents hope for divine intervention from the suffering of the world.\r\n\r\n&nbsp;\r\n\r\nThe Altarpiece was typical for its time for it’s depictions of different scenes from the bible since much of the artwork in Europe relate to religious themes. Yet, it was unique in it’s depiction of Resurrection in that it portrayed a horrifying and gruesome image of Christ’s crucifixion. Grunewald lived during the time of Albrecht Drurer, one of the main, historical figures of the German Renaissance and is said to be influenced by Drurer‘s work (“The Arts”). Grunewald’s altarpiece was perhaps the prime reason why many he is still remembered today. Out of all of his works, the Isenhiem Altarpiece remains his most defining piece. Most of Grunewald’s works were either destroyed or forgotten. The few works that remains today display the same atmosphere was the Isenheim Altarpiece. Philip Melachthon, a close associate of Martin Luther, ranked him just behind Albrecht Durer (“The Arts”). The same spirit of melancholy and religious fervor can be found in Durer’s work in this “Four Horsemen of the Apocalypse,” in which the four horsemen in the picture represent Christ, Famine, War, and Death. Like the Isenheim Altarpiece, it presents a dramatic, terrifying, and an almost realistic depiction of a religious scene.\r\n\r\n&nbsp;\r\n\r\nAlthough the Isenheim Altarpiece is still celebrated today as one of the most definitive works of the early German Renaissance, it’s reception is not quite the same today as it was back then. In an world where perceptions and beliefs change over time, Grunewald, who was once celebrated for his work, was not held in high esteem as Albrecht Drurer and his works largely forgotten over time. However, in the early 20<sup>th</sup> century, a sudden fascination with Grunewald grew as his work was rediscovered. Expressionist painters admired his work and there was even an opera in 1934, “Mathis der Maler,” that tells of Grunewald’s life (“Matthias Grunewald”).\r\n\r\n&nbsp;\r\n\r\nI personally find the piece to be interesting because it portrays a very vivid, macabre, and grotesque vision of Christ. Unlike many works that portray the Crucifixion of Christ, the Isenheim Altarpiece grabs the viewer on a much more emotional level due to it‘s realism.\r\n\r\nLittle is known about Grunewald’s life, but his artwork remains to be preserved and discovered. He is known for created such dramatic and intriguing artworks that have captivated many people throughout the ages. Unlike many famous artists, Grunewald remains a mystery, but perhaps his life can be told through his works. What the future generations should learn from this Isenheim Altarpiece is that perhaps one can tell one’s story by what one creates or contributes in his or her life.\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\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\n&nbsp;\r\n\r\n\"Dürer, Albrecht.\" <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L.    Carnagie, Peggy Saari, and Aaron Saari. Vol. 3: Vol. 1: Biographies. Detroit:     UXL, 2002. 96-104. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n“Grünewald.” <em>The Oxford Companion to Christian Art and Architecture</em>. Murray, Peter.    Murray, Linda. UK: Oxford University Press, 1996. Netlibrary. Web 4 April 2011.\r\n\r\n&nbsp;\r\n\r\nKristin Lohse Belkin  \"Grünewald, Matthias\"  <em>The Oxford Companion to Western Art</em>.       Ed. Hugh Brigstocke. Oxford University Press, 2001. Oxford Reference Online.   Oxford University Press.  Austin Community College.  4 April 2011       &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subv            iew=Main&amp;entry=t118.e1128&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Matthias Grünewald.\" <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 7. Detroit: Gale,   2004. 23-24. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n\"The Arts in Sixteenth-Century Northern Europe.\" <em>Arts and Humanities Through the         Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600.         Detroit: Gale, 2005. 412-420. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Isenheim Altarpiece','','publish','open','open','','the-isenheim-altarpiece','','','2011-04-11 13:05:47','2011-04-11 19:05:47','',0,'http://jeanatacc.com/2011/?p=942',0,'post','',6),(943,8,'2011-04-11 12:37:32','2011-04-11 18:37:32','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, </em>\r\n\r\n<em> Florence, and Padua: Art, Society and Religion </em>1280-1400, Ed. D. Norman. New Haven, CT: Yale\r\n\r\nUniversity Press.\r\n\r\n&nbsp;\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\n&nbsp;\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-13','','','2011-04-11 12:37:32','2011-04-11 18:37:32','',912,'http://jeanatacc.com/2011/?p=943',0,'revision','',0),(3472,1,'2013-10-14 12:34:39','2013-10-14 18:34:39','<p align=\"center\"></p>\n<p align=\"center\"><a href=\"http://irisonbooks.files.wordpress.com/2010/05/candide1.jpg\">http://irisonbooks.files.wordpress.com/2010/05/candide1.jpg</a></p>\n<p align=\"center\">Voltaire’s Candide</p>\nBorn on November 21, 1694, in Paris, France, Voltaire was exiled to Tulle in 1715. Two years later, in 1717, he returned to Paris, only to be arrested and exiled to the Bastille for a year. He was sent to the Bastille again in 1726, before being shipped off to England. In 1733, he fled to Lorraine, and in 1759, he wrote the satirical novella Candide. In 1778, Voltaire returned to Paris, where he died there on May 30 of that year. Widely considered one of France\'s greatest Enlightenment writers, Voltaire was born Francois-Marie Arouet to an upper-middle class family on November 21, 1694, in Paris, France. He was the youngest of five children born to Francois Arouet and Marie Marguerite Daumand. When Voltaire was just 7 years old, his mother passed away. Following her death, he grew closer to his free-thinking godfather. In 1704, Voltaire began to show promise as a writer while receiving a classical education at the College Louis-le-Grand, a Jesuit secondary school in Paris.\n\n“Candide, ou l\'Optimisme” is a French satire first published in 1759 by Voltaire.  Candide is the illegitimate nephew of a German baron. He grows up in the baron’s castle under the tutelage of the scholar Pangloss, who teaches him that this world is “the best of all possible worlds.” Candide falls in love with the baron’s young daughter, Cunegonde. The baron catches the two kissing and expels Candide from his home. On his own for the first time, Candide is soon conscripted into the army of the Bulgars. He wanders away from camp for a brief walk, and is brutally flogged as a deserter. After witnessing a horrific battle, he manages to escape and travels to Holland. Candide I guess is Voltaire’s expression of his exile from Paris during his own time and how he experienced many historical events that took place. Candide is the protagonist of the novel, but he is bland, naïve, and highly susceptible to\nthe influence of stronger characters. Like the other characters, Candide is less a realistic individual than the embodiment of a particular idea or folly that Voltaire wishes to illustrate. Candide’s name is derived from the Latin word “<i>Candidus</i>”, which means “white” and connotes fair-mindedness or a lack of corruption. As that name suggests, Candide begins the novel as a perfectly innocent-“wide-eyed in his worship of his tutor Pangloss’s wrongheaded optimistic philosophy, and completely unfamiliar with the ways of the world, man.\n\nPangloss and his student Candide maintain that “everything is for the best in this best of all possible worlds.” This idea is a reductively simplified version of the philosophies of a number of Enlightenment thinkers, most notably Gottfried Wilhelm von Leibniz (German mathematician and philosopher. He occupies a place in the history of mathematics and the history of philosophy.)  To these thinkers, the existence of any evil in the world would have to be a sign that God is either not entirely good or not all-powerful, and the idea of an imperfect God is nonsensical. These philosophers took for granted that God exists, and concluded that since God must be perfect, the world he created must be perfect also. According to these philosophers, people perceive imperfections in the world only because they do not understand God’s grand plan. Because Voltaire does not accept that a perfect God (or any God) has to exist, he can afford to mock the idea that the world must be completely good, and he heaps merciless satire on this idea throughout the novel. This would be the folly of optimism.\n\nThe earthquake in Candide is based on a real earthquake that leveled the city of Lisbon in 1755. Before writing Candide, Voltaire wrote a long poem about that event, which he interpreted as a sign of God’s indifference or even cruelty toward humanity. The earthquake represents all devastating natural events for which no reasonable justification can be found, though thinkers like Pangloss might do their best to fabricate flimsy justifications in order to maintain a philosophical approach to life.\n\nWhen Francois-Marie came of age (Voltaire), the French aristocracy ruled with an iron fist. At the same time, however, the intellectual movement known as the Enlightenment was spreading ideas about the equality and basic rights of man and the importance of reason and scientific objectivity.\n\nVoltaire’s words attacked the church and the state with equal fervor, and earned him widespread repute. During his lifetime, trenchant writings attacking church or government were often attributed to him whether he had written them or not. A lifelong champion of the poor and downtrodden, he wrote against tyranny and religious persecution with unmatched audacity. Despite his relentless criticism of powerful individuals and institutions, Voltaire became good friends with King Frederick of Prussia. They often quarreled, as Voltaire inevitably quarreled with anyone in power, but the ties of their friendship were lasting.\n\n&nbsp;\n\nIn the 1750s, Voltaire grew increasingly appalled by the specters of injustice and disaster that he saw around him. Many terrible events influenced his composition of Candide (a disastrous earthquake in Lisbon in 1755, about which he wrote a poem; the outbreak of the horrific Seven Years’ War in the German states in 1756; and the unjust execution of the English Admiral John Byng in 1757, against which Voltaire spoke out.) In 1759, Voltaire purchased Ferney, an estate near the border between France and Switzerland, so that he might easily flee across the border to escape French authorities. Ferney quickly became a retreat for important European intellectuals. In his later life Voltaire was involved in a wide variety of campaigns for social and political justice. When he returned to Paris at the age of eighty-three the populace hailed him with a hero’s welcome. The strain of the trip was more than his failing health could support, however, and he died in May of 1778. Overall I loved reading Candide because it was hilarious yet riveting and the satire never stopped so it was funny continuously. Things got a bit out of hand faster then I’d expect in most novels. In Voltaire’s time optimism was seen as a philosophical system, so therefore it was not taken lightly, for optimism was “an enemy”.\n\nThe implications of Candide’s decision can be interpreted in different ways. Nevertheless, certain aspects of the story’s conclusion are inescapable. Philosophical optimism is not an explanation for life, the evil in the world has no satisfactory explanation (evil can’t always be explained) and observation and experience are better teachers than philosophy. I believe many people today would agree with that conclusion, though there is still much debate on the proper responses to the injustice, poverty and evil in the form of war and genocide. As some say this evil will always exist in this cosmic dance of bursting decadence and withheld permissions. Others may believe that a radical solution will fix this. And those, like Candide, may see it fit that gradual improvements are the solution only. Those questions are still with us, such as “What solutions would you propose for problems in your community, like crime, poverty, or ignorance?”\n\nCandide, in my opinion compares distinctively to Milton’s Paradise Lost. Paradise Lost is an epic poem in blank verse by the 17th century English poet John Milton (1608-1674). It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse. A second edition followed in 1674, changed into twelve books with minor revisions throughout and a note on the versification. It is considered by critics to be Milton\'s \"major work\", and the work helped to solidify his reputation as one of the greatest English poets of his time. The poem concerns the Biblical story of the Fall of Man: the temptation of Adam and Eve by the fallen angel Satan and their expulsion from the Garden of Eden. Milton\'s purpose, stated in Book I, is to \"justify the ways of God to men\".\n\nIn relation to the novel, Candide, my interpretations of the his final words “ ‘All that is very well,’ answered Candide, ‘but let us cultivate our garden’” can be applied to the rest of the novel and Candide’s life. At the end of the novel Candide is accepting that his wife is no longer beautiful and becomes disagreeable too, his friends are debating philosophy when they are invited to dinner by a farmer and decide to imitate that life. Farming is hard work to make a good living and for Candide and his wife and friends decided it was the best way to settle down now that all their exploration days are gone. When Candide says his final statement he has embraced the past which is all the misfortunes that have happened but him working on his farm and cultivating his garden to make the best of what he has. This shows Candide knows where he has been and what he has done and even though he doesn’t have the best wife, the most money, or the greatest friends he still has agreed to cultivate and work towards the future and try to be content with what he has.\n\nCandide’s final statement can again be applied, but to the contemporary society of the United States because it works into part of the American Dream of working hard for a better life and building one’s career and self-up. The American Dream is in many ways similar to the cultivating of one’s garden, because it incorporates present, past, and future. Most Americans have a heritage that traces back through generations with many ethnicities, which is the past, and then the present is the cultivating that is happening right now, which may or may not produce crops. However there hope for a better tomorrow and working towards it in the future, which is part of the American Dream. But it also connects to contemporary America through the pursuit of happiness that hopefully through cultivating one should find or make happiness.\n\nI love reading these type of novels cause it really gives me a different look on the aspects of life and makes me feel kind of spiritual in a way, makes me think a lot about what the world may hold for the future.\n<p style=\"text-align: center;\">Works Cited</p>\nSpark Notes Editors. “Spark Note on Candide.” SparkNotes.com. Spark Notes LLC. 2002. Web. 1 Oct. 2013.','Voltaire\'s Candide','','inherit','open','open','','3425-autosave-v1','','','2013-10-14 12:34:39','2013-10-14 18:34:39','',3425,'http://jeanatacc.com/2011/?p=3472',0,'revision','',0),(945,8,'2011-03-13 23:03:17','2011-03-14 05:03:17','<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.\r\n\r\n<!--more-->Wealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a></p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','inherit','open','open','','379-revision-14','','','2011-03-13 23:03:17','2011-03-14 05:03:17','',379,'http://jeanatacc.com/2011/?p=945',0,'revision','',0),(946,8,'2011-04-11 12:42:40','2011-04-11 18:42:40','<strong><em> </em></strong>\r\n\r\nAmbrogio Lorenzetti\'s frescoes on three walls of the room known as either <em>Sala Della Pace (Hall of Peace) </em>or the <em>Sala dei Nove (Hall of the Nine) </em>in Siena\' Palazzo Pubblico are often called the \"first large-scale secular murals since antiquity.\" (White). These frescoes project an ideal political landscape and document aspects of contemporary life then.  Before the Palazzo Pubblico became home of Siena\'s elected officials, counsels and town meetings taken place everywhere from private palaces of influence to the cathedral; having its own public, dedicated building on an organized public space helped stake Siena\'s claim to prominence as a powerful town ruled by elected officials.<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls.jpg\"><img class=\"aligncenter size-medium wp-image-925\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/three-walls-300x177.jpg\" alt=\"\" width=\"300\" height=\"177\" /></a>Sala Della Pace    <em>www.casasantapia.com</em></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nThe frescoed allegories of Good and Bad Government were painted in 1338-1339.  While the frescoes offer glimpses of what daily life looked like in Siena, they more tellingly convey the Sienese government\'s sense of itself, its mission and its effect on the town.  Lorenzetti\'s frescoes show the virtues and vices of two kinds of government and their effects.  The message is that what makes a good or bad government ultimately depends on the society each created and supports and what we know about this society then can read more into the public\'s realm. Quick note; there is a complex interweaving of secular and Christian iconography in these frescos.\r\n\r\nOn the north wall, Good Government presides over personification of the moral and theological Virtues.  The ruler of the good city in fact represents the Common Good (Bene Comune).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two.jpg\"><img class=\"aligncenter size-medium wp-image-928\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-two-300x155.jpg\" alt=\"\" width=\"300\" height=\"155\" /></a>Ambrogio Lorenzetti, <em>Allegory of Good Government</em>, Palazzo Pubblico, Siena, 1338-9</p>\r\n<p style=\"text-align: center\"><em>www.casasantapia.com</em></p>\r\nThe subject of the painting is an allegorical representational of what was then believed to constitute good government. It relies on the classical convention of personifying positive human qualities in the form of female figures.  The painting shows a male personification of the city government surrounded by female figures personifying virtues as Justice, Concord and Peace.  The message to Siena\'s government is that in order to pursue just policies, it should emulate human virtues of this kind.\r\n\r\nIf peace and justice are the operative conditions of the good city, violence and fear are the conditions in its opposite.  In the fresco of <em>Bad Government and Its Effects, </em>evil Tyranny presided over a collection of Vices and Fear, who are behind the disarray and decay of the buildings, the violence in the streets in incessant war in the countryside.  Justice is bound at the fee of Tyranny; there is no figure of Concordia.  Buildings decay or display wanton regard for the planning restrictions Siena had enacted.  Swords and daggers are drawn and disorderly mercenaries roam the streets and countryside, meaning no work is done in either.  IN these centuries of consistent warfare, the images depicted here would have been familiar to the people of Siena.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\"><img class=\"aligncenter size-full wp-image-929\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Image-3.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>Bad Government and the Effect on the Countryside            <em>www.casasantapia.com</em></p>\r\nWhat, then are we to make of the general point\'s regarding the \"lack of sophistication of early medieval artists mentioned in this time capsule.  The evidence we have seen relating to Ambrogio Lorenzetti suggests that this is a marked over simplification of his attitude to his calling as an artist.  The high incidence of inscriptions on his paintings testify to his identity, suggests a clear desire to be known for his work.\r\n\r\nOne of the fascinations of the art of the late medieval period is precisely that it belongs to a culture that did not on the whole adopt the later preoccupation with the cult of the individual.  It is for these reasons that we should preserve the frescos and all the literature related to this artist and his brother.  In doing so we avoid the automatic assumption that is common in the history of western art, that the artist of the fifteenth or sixteenth century are necessarily greater or more worthy of study than their predecessors.\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\nCunningham, Dolin. 1995. \"For the Honour and Beauty of the City: The Design of Town Halls.\"  Pp. 29-54 in <em>Siena, </em>\r\n\r\n<em> Florence, and Padua: Art, Society and Religion </em>1280-1400, Ed. D. Norman. New Haven, CT: Yale\r\n\r\nUniversity Press.\r\n\r\n&nbsp;\r\n\r\nNevola, Fabrizio. 2008. Siena: <em>Constructing the Renaissance City.</em> New Haven, CT: Yale   University Press.\r\n\r\n&nbsp;\r\n\r\nWhite, John. 1987. <em>Art and Architecture in Italy: </em>1250-1400. New York: Penguin Books.\r\n\r\n&nbsp;','Ambrogio Lorenzetti\'s  Allegory of Good and Bad Government','','inherit','open','open','','912-revision-14','','','2011-04-11 12:42:40','2011-04-11 18:42:40','',912,'http://jeanatacc.com/2011/?p=946',0,'revision','',0),(947,16,'2011-04-11 12:45:26','2011-04-11 18:45:26','','Isenheim Altarpiece','','inherit','open','open','','isenheim','','','2011-04-11 12:45:26','2011-04-11 18:45:26','',942,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim.jpg',0,'attachment','image/jpeg',0),(948,16,'2011-04-11 12:48:32','2011-04-11 18:48:32','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim.jpg\"><img class=\"aligncenter size-large wp-image-947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim-1024x722.jpg\" alt=\"\" width=\"488\" height=\"344\" /></a>\n<p style=\"text-align: center\"><em>(source: http://www.proprofs.com/flashcards/upload/q3936954.jpg)</em></p>\nThe Isenheim Altarpiece was by a painter, draughtsman, and hydraulic engineer named Mattias Grunewald (1475-1528) sometime between year 1512 to 1516 (Kristin Lohse Belkin). The Isenheim Altarpeice is divided into three parts which culminates to depict the Resurrection of Christ, a vivid masterpiece painted in reds, gold, and greens (“The Arts”). <!--more-->The central area of the altarpiece contains of saints carved by Von Hagenauer  in 1503 (“Matthias Grunewald”). The altarpiece can be folded in a way to depict different biblical events to suit different religious occasions. When the altarpiece is folded, it depicts the Crucifixion of Christ, which portrays a very macabre, horrific, and agonizing depiction of Christ on the cross in the darkness. Christ is shown as sinewy, with limbs distorted, with blood streaming from his body, and wounds visible on his skin. Yet, if folded in a different way, shows the ascension of Christ, who flies above the soldiers that guard his dead body. His skin has no wounds and afflictions and his hair and beard are painted in gold. The Isenheim Altarpiece stands to be the most intriguing, shocking, and beautiful of all of his works for it represents hope for divine intervention from the suffering of the world.\n\n&nbsp;\n\nThe Altarpiece was typical for its time for it’s depictions of different scenes from the bible since much of the artwork in Europe relate to religious themes. Yet, it was unique in it’s depiction of Resurrection in that it portrayed a horrifying and gruesome image of Christ’s crucifixion. Grunewald lived during the time of Albrecht Drurer, one of the main, historical figures of the German Renaissance and is said to be influenced by Drurer‘s work (“The Arts”). Grunewald’s altarpiece was perhaps the prime reason why many he is still remembered today. Out of all of his works, the Isenhiem Altarpiece remains his most defining piece. Most of Grunewald’s works were either destroyed or forgotten. The few works that remains today display the same atmosphere was the Isenheim Altarpiece. Philip Melachthon, a close associate of Martin Luther, ranked him just behind Albrecht Durer (“The Arts”). The same spirit of melancholy and religious fervor can be found in Durer’s work in this “Four Horsemen of the Apocalypse,” in which the four horsemen in the picture represent Christ, Famine, War, and Death. Like the Isenheim Altarpiece, it presents a dramatic, terrifying, and an almost realistic depiction of a religious scene.\n\n&nbsp;\n\nAlthough the Isenheim Altarpiece is still celebrated today as one of the most definitive works of the early German Renaissance, it’s reception is not quite the same today as it was back then. In an world where perceptions and beliefs change over time, Grunewald, who was once celebrated for his work, was not held in high esteem as Albrecht Drurer and his works largely forgotten over time. However, in the early 20<sup>th</sup> century, a sudden fascination with Grunewald grew as his work was rediscovered. Expressionist painters admired his work and there was even an opera in 1934, “Mathis der Maler,” that tells of Grunewald’s life (“Matthias Grunewald”).\n\n&nbsp;\n\nI personally find the piece to be interesting because it portrays a very vivid, macabre, and grotesque vision of Christ. Unlike many works that portray the Crucifixion of Christ, the Isenheim Altarpiece grabs the viewer on a much more emotional level due to it‘s realism.\n\nLittle is known about Grunewald’s life, but his artwork remains to be preserved and discovered. He is known for created such dramatic and intriguing artworks that have captivated many people throughout the ages. Unlike many famous artists, Grunewald remains a mystery, but perhaps his life can be told through his works. What the future generations should learn from this Isenheim Altarpiece is that perhaps one can tell one’s story by what one creates or contributes in his or her life.\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\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited:</p>\n&nbsp;\n\n\"Dürer, Albrecht.\" <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L.    Carnagie, Peggy Saari, and Aaron Saari. Vol. 3: Vol. 1: Biographies. Detroit:     UXL, 2002. 96-104. Gale Virtual Reference Library. Web. 3 Apr. 2011.\n\n&nbsp;\n\n“Grünewald.” <em>The Oxford Companion to Christian Art and Architecture</em>. Murray, Peter.    Murray, Linda. UK: Oxford University Press, 1996. Netlibrary. Web 4 April 2011.\n\n&nbsp;\n\nKristin Lohse Belkin  \"Grünewald, Matthias\"  <em>The Oxford Companion to Western Art</em>.       Ed. Hugh Brigstocke. Oxford University Press, 2001. Oxford Reference Online.   Oxford University Press.  Austin Community College.  4 April 2011       &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subv            iew=Main&amp;entry=t118.e1128&gt;.\n\n&nbsp;\n\n\"Matthias Grünewald.\" <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 7. Detroit: Gale,   2004. 23-24. Gale Virtual Reference Library. Web. 3 Apr. 2011.\n\n&nbsp;\n\n\"The Arts in Sixteenth-Century Northern Europe.\" <em>Arts and Humanities Through the         Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600.         Detroit: Gale, 2005. 412-420. Gale Virtual Reference Library. Web. 3 Apr. 2011.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;','','','inherit','open','open','','942-revision','','','2011-04-11 12:48:32','2011-04-11 18:48:32','',942,'http://jeanatacc.com/2011/?p=948',0,'revision','',0),(949,16,'2011-04-11 12:48:39','2011-04-11 18:48:39','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim.jpg\"><img class=\"aligncenter size-large wp-image-947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim-1024x722.jpg\" alt=\"\" width=\"488\" height=\"344\" /></a>\r\n<p style=\"text-align: center\"><em>(source: http://www.proprofs.com/flashcards/upload/q3936954.jpg)</em></p>\r\nThe Isenheim Altarpiece was by a painter, draughtsman, and hydraulic engineer named Mattias Grunewald (1475-1528) sometime between year 1512 to 1516 (Kristin Lohse Belkin). The Isenheim Altarpeice is divided into three parts which culminates to depict the Resurrection of Christ, a vivid masterpiece painted in reds, gold, and greens (“The Arts”). <!--more-->The central area of the altarpiece contains of saints carved by Von Hagenauer  in 1503 (“Matthias Grunewald”). The altarpiece can be folded in a way to depict different biblical events to suit different religious occasions. When the altarpiece is folded, it depicts the Crucifixion of Christ, which portrays a very macabre, horrific, and agonizing depiction of Christ on the cross in the darkness. Christ is shown as sinewy, with limbs distorted, with blood streaming from his body, and wounds visible on his skin. Yet, if folded in a different way, shows the ascension of Christ, who flies above the soldiers that guard his dead body. His skin has no wounds and afflictions and his hair and beard are painted in gold. The Isenheim Altarpiece stands to be the most intriguing, shocking, and beautiful of all of his works for it represents hope for divine intervention from the suffering of the world.\r\n\r\n&nbsp;\r\n\r\nThe Altarpiece was typical for its time for it’s depictions of different scenes from the bible since much of the artwork in Europe relate to religious themes. Yet, it was unique in it’s depiction of Resurrection in that it portrayed a horrifying and gruesome image of Christ’s crucifixion. Grunewald lived during the time of Albrecht Drurer, one of the main, historical figures of the German Renaissance and is said to be influenced by Drurer‘s work (“The Arts”). Grunewald’s altarpiece was perhaps the prime reason why many he is still remembered today. Out of all of his works, the Isenhiem Altarpiece remains his most defining piece. Most of Grunewald’s works were either destroyed or forgotten. The few works that remains today display the same atmosphere was the Isenheim Altarpiece. Philip Melachthon, a close associate of Martin Luther, ranked him just behind Albrecht Durer (“The Arts”). The same spirit of melancholy and religious fervor can be found in Durer’s work in this “Four Horsemen of the Apocalypse,” in which the four horsemen in the picture represent Christ, Famine, War, and Death. Like the Isenheim Altarpiece, it presents a dramatic, terrifying, and an almost realistic depiction of a religious scene.\r\n\r\n&nbsp;\r\n\r\nAlthough the Isenheim Altarpiece is still celebrated today as one of the most definitive works of the early German Renaissance, it’s reception is not quite the same today as it was back then. In an world where perceptions and beliefs change over time, Grunewald, who was once celebrated for his work, was not held in high esteem as Albrecht Drurer and his works largely forgotten over time. However, in the early 20<sup>th</sup> century, a sudden fascination with Grunewald grew as his work was rediscovered. Expressionist painters admired his work and there was even an opera in 1934, “Mathis der Maler,” that tells of Grunewald’s life (“Matthias Grunewald”).\r\n\r\n&nbsp;\r\n\r\nI personally find the piece to be interesting because it portrays a very vivid, macabre, and grotesque vision of Christ. Unlike many works that portray the Crucifixion of Christ, the Isenheim Altarpiece grabs the viewer on a much more emotional level due to it‘s realism.\r\n\r\nLittle is known about Grunewald’s life, but his artwork remains to be preserved and discovered. He is known for created such dramatic and intriguing artworks that have captivated many people throughout the ages. Unlike many famous artists, Grunewald remains a mystery, but perhaps his life can be told through his works. What the future generations should learn from this Isenheim Altarpiece is that perhaps one can tell one’s story by what one creates or contributes in his or her life.\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\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\n&nbsp;\r\n\r\n\"Dürer, Albrecht.\" <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L.    Carnagie, Peggy Saari, and Aaron Saari. Vol. 3: Vol. 1: Biographies. Detroit:     UXL, 2002. 96-104. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n“Grünewald.” <em>The Oxford Companion to Christian Art and Architecture</em>. Murray, Peter.    Murray, Linda. UK: Oxford University Press, 1996. Netlibrary. Web 4 April 2011.\r\n\r\n&nbsp;\r\n\r\nKristin Lohse Belkin  \"Grünewald, Matthias\"  <em>The Oxford Companion to Western Art</em>.       Ed. Hugh Brigstocke. Oxford University Press, 2001. Oxford Reference Online.   Oxford University Press.  Austin Community College.  4 April 2011       &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subv            iew=Main&amp;entry=t118.e1128&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Matthias Grünewald.\" <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 7. Detroit: Gale,   2004. 23-24. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n\"The Arts in Sixteenth-Century Northern Europe.\" <em>Arts and Humanities Through the         Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600.         Detroit: Gale, 2005. 412-420. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','','','inherit','open','open','','942-revision-2','','','2011-04-11 12:48:39','2011-04-11 18:48:39','',942,'http://jeanatacc.com/2011/?p=949',0,'revision','',0),(950,8,'2011-04-11 12:54:01','2011-04-11 18:54:01','The royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\r\n\r\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\r\n\r\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\r\n\r\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\r\n\r\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\"><img class=\"aligncenter size-full wp-image-956\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\" alt=\"\" width=\"195\" height=\"258\" /></a>www.flickr.com/photos</p>\r\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\r\n\r\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\r\n\r\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-3.jpg\"><img class=\"aligncenter size-full wp-image-960\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-3.jpg\" alt=\"\" width=\"259\" height=\"194\" /></a>www.flickr.com/photos</p>\r\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-2.jpg\"><img class=\"aligncenter size-medium wp-image-958\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-2-204x300.jpg\" alt=\"\" width=\"204\" height=\"300\" /></a>www.flickr.com/photos</p>\r\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\r\n\r\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\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\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\r\n\r\nEd. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Sainte-Chapelle and the Saintly King','','publish','open','open','','sainte-chapelle-and-the-saintly-king-2','','','2011-04-11 13:02:43','2011-04-11 19:02:43','',0,'http://jeanatacc.com/2011/?p=950',0,'post','',8),(951,8,'2011-04-11 12:53:06','2011-04-11 18:53:06','&nbsp;\n\nThe royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\n\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\n\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\n\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\n\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-revision','','','2011-04-11 12:53:06','2011-04-11 18:53:06','',950,'http://jeanatacc.com/2011/?p=951',0,'revision','',0),(952,8,'2011-04-11 12:54:01','2011-04-11 18:54:01','&nbsp;\r\n\r\nThe royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\r\n\r\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\r\n\r\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\r\n\r\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\r\n\r\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\r\n\r\nwww.tfpstudentaction.org\r\n\r\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\r\n\r\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\r\n\r\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\r\n\r\n<cite>www.tfpstudentaction.org</cite>\r\n\r\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\r\n\r\n<em>www.discoverfrance.com</em>\r\n\r\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\r\n\r\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\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\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\r\n\r\nEd. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-revision-2','','','2011-04-11 12:54:01','2011-04-11 18:54:01','',950,'http://jeanatacc.com/2011/?p=952',0,'revision','',0),(953,8,'2011-04-11 13:00:07','2011-04-11 19:00:07','The royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\n\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\n\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\n\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\n\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\"><img class=\"aligncenter size-full wp-image-956\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\" alt=\"\" width=\"195\" height=\"258\" /></a>\n\nwww.tfpstudentaction.org\n\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\n\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\n\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\n\n<cite>www.tfpstudentaction.org</cite>\n\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\n\n<em>www.discoverfrance.com</em>\n\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\n\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p style=\"text-align: center\">Works Cited</p>\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\n\nEd. New York: McGraw-Hill Press, 2011. E-Book\n\n&nbsp;\n\n&nbsp;','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-autosave','','','2011-04-11 13:00:07','2011-04-11 19:00:07','',950,'http://jeanatacc.com/2011/?p=953',0,'revision','',0),(954,22,'2011-04-11 12:57:31','2011-04-11 18:57:31','','raphael-school-of-athens1','','inherit','open','open','','raphael-school-of-athens1','','','2011-04-11 12:57:31','2011-04-11 18:57:31','',924,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens1.jpg',0,'attachment','image/jpeg',0),(955,22,'2011-04-11 12:58:53','2011-04-11 18:58:53','','raphael-school-of-athens1','','inherit','open','open','','raphael-school-of-athens1-2','','','2011-04-11 12:58:53','2011-04-11 18:58:53','',924,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg',0,'attachment','image/jpeg',0),(956,8,'2011-04-11 12:58:57','2011-04-11 18:58:57','','tcp pic1','','inherit','open','open','','tcp-pic1','','','2011-04-11 12:58:57','2011-04-11 18:58:57','',950,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg',0,'attachment','image/jpeg',0),(957,8,'2011-04-11 12:54:37','2011-04-11 18:54:37','The royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more--><!--more-->\r\n\r\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\r\n\r\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\r\n\r\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\r\n\r\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\r\n\r\nwww.tfpstudentaction.org\r\n\r\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\r\n\r\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\r\n\r\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\r\n\r\n<cite>www.tfpstudentaction.org</cite>\r\n\r\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\r\n\r\n<em>www.discoverfrance.com</em>\r\n\r\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\r\n\r\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\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\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\r\n\r\nEd. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-revision-3','','','2011-04-11 12:54:37','2011-04-11 18:54:37','',950,'http://jeanatacc.com/2011/?p=957',0,'revision','',0),(958,8,'2011-04-11 13:01:27','2011-04-11 19:01:27','','tcp pic 2','','inherit','open','open','','tcp-pic-2','','','2011-04-11 13:01:27','2011-04-11 19:01:27','',950,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-2.jpg',0,'attachment','image/jpeg',0),(959,8,'2011-04-11 13:00:48','2011-04-11 19:00:48','The royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\r\n\r\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\r\n\r\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\r\n\r\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\r\n\r\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\"><img class=\"aligncenter size-full wp-image-956\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\" alt=\"\" width=\"195\" height=\"258\" /></a>www.flickr.com/photos</p>\r\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\r\n\r\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\r\n\r\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\r\n\r\n<cite>www.tfpstudentaction.org</cite>\r\n\r\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\r\n\r\n<em>www.discoverfrance.com</em>\r\n\r\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\r\n\r\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\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\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\r\n\r\nEd. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-revision-4','','','2011-04-11 13:00:48','2011-04-11 19:00:48','',950,'http://jeanatacc.com/2011/?p=959',0,'revision','',0),(960,8,'2011-04-11 13:02:21','2011-04-11 19:02:21','','tcp pic 3','','inherit','open','open','','tcp-pic-3','','','2011-04-11 13:02:21','2011-04-11 19:02:21','',950,'http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-3.jpg',0,'attachment','image/jpeg',0),(961,8,'2011-04-11 13:01:48','2011-04-11 19:01:48','The royal patron behind the Parisian “court style” of Gothic art and architecture was King Louis IX.  The grandson of Philip Augustus, Louis inherited the throne when he was only 12 years old, or so until he reached adulthood six years later his mother, Blanche of Castile the granddaughter of Eleanor of Aquitaine served as France’s regent.  The French regarded Louis as the ideal king, and in 1297, 27 years after Louis’s death, Pope Boniface VIII declared him a saint.  Louis was revered for his piety, justice, truthfulness and charity.  His almsgiving and his donations to religious foundations were extravagant.  He especially favored the mendicant orders, the Dominicans and Franciscans.  He admired their poverty, piety, and self-sacrificing disregard of material things.  It for these reasons, that we should embrace his philosophies in our time capsule to not lose the lesson on how the Sainte-Chapelle became to be.<!--more-->\r\n\r\nLouis launched two unsuccessful Crusades, the Seventh and the Eighth.  He died in Tunisia during the latter, as a crusading knight who lost his life in the service of the Church; Louis personified the chivalric virtues of courage, loyalty and self-sacrifice.  Saint Louis united in his person the best qualities of the Christian knight, the benevolent monarch and the holy man.  He became the model of medieval Christian kingship.\r\n\r\nLouis’s political accomplishments were also noteworthy.  He subdued the unruly French barons and between 1243 and 1314 no one seriously challenged the crown.  He negotiated a treaty with Henry III, king of France’s traditional enemy, England.  Such was his reputation for integrity and just dealing that he served as arbiter in at least a dozen international disputes.  So successful was he as peacekeeper that despite civil wars through most of the 13<sup>th</sup> century, international peace prevailed.  Under Saint Louis, medieval France was its most prosperous, and its art and architecture were admired and imitated throughout Europe.  In addition to properly sheltering his holy relics, Sainte-Chapelle was a result of Louis\' political ambition to be the central monarch of western Christendom. At the time Louis\' royal chapel was constructed, the imperial throne at Constantinople was occupied by a mere Count of Flanders and the Holy Roman Empire was in uneasy disarray.\r\n\r\nSainte-Chapelle was planned in 1241, started in 1246 and quickly completed: it was consecrated on April 26, 1248.  Just as the Emperor could pass privately from his palace into Hagia Sophia in Constantinople, so now King Louis could walk directly from his palace into the Sainte-Chapelle. The king died of the plague on a crusade, was later canonized by the Pope, and is now known as Saint Louis.\r\n\r\nDuring the French Revolution, the chapel was converted to an administrative office, and the windows were obscured by enormous filing cabinets. Their all-but-forgotten beauty was thereby inadvertently protected from the vandalism in which the choir stalls and the rod screen were destroyed, the spire pulled down and the relics dispersed.  Most of Louis\' precious <strong>relics </strong>were lost or destroyed in the French Revolution; the few that remain are in the treasury of Notre-Dame Cathedral.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\"><img class=\"aligncenter size-full wp-image-956\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic1.jpg\" alt=\"\" width=\"195\" height=\"258\" /></a>www.flickr.com/photos</p>\r\nThe stained glass windows inserted into the portal tympanum of Reims Cathedral exemplify the wall –dissolving High Gothic architectural style.  The architect of Sainte-Chapelle in Paris extended this style to an entire building.  Louis IX built Sainte-Chapelle and joined the royal palace as a repository for the crown of thorns and other relics of Christ’s Passion he had purchased them in 1239 from his cousin Baldwin II, the Latin emperor of Constantinople.\r\n\r\nThe chapel is a masterpiece of the so-called <em>Rayonnant</em> (radiant) style of the High Gothic Age, which dominated the second half of the century.  It was associated with the royal Parisian court of Saint Louis.  In Sainte-Chappell the dissolution of walls and the reduction of the bulk of supports were carried to the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure.  The supporting elements reduced so much that they are hardly more than large mullions or vertical stone bars.  The emphasis is on the extreme slenderness of the architectural forms and on linearity.  Although the chapel was heavily restored in the 19<sup>th</sup> century after being damaged in the French Revolution, it has retained most of its original 13<sup>th</sup> century stained glass.  Sainte-Chapelle’s enormous windows filter the light and fill the interior with an unearthly rose violet atmosphere.  Approximately 49 feet high and 15 feet wide, they were the largest designed up to their time.\r\n\r\nThe “court style” of Saint Louis was not confined to architecture.   The elegance and delicacy display in Sainte-Chapelle’s design permeated the pictorial arts as well.  By the early 14<sup>th</sup> century, a mannered elegance that marks late Gothic art in general had replaced the monumental and solemn sculptural style of the High Gothic portals.  The best example of the late French court style in sculpture is the statue nicknamed the Virgin of Paris because of its location in the Parisian Cathedral of Notre-Dame.  Mary is portrayed as a worldly queen decked out in royal garments and wearing a heavy gem encrusted crown.  The Christ Child is equally attired and is very much the infant prince in the arms of his young mother.  The tender characterization of mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture.\r\n\r\n<cite>www.tfpstudentaction.org</cite>\r\n\r\nThe entrance to the lower chapel is located under a porch. The coronation of Mary is represented on the tympanum. A Virgin with Child decorates the trumeau.  The lower chapel dedicated to the Virgin Mary, whose statue stands freely next to the central pier of the portal. Low vaulted ceilings rest on fine columns with crocketed capitals, linked by anchor braces made of wood or stone. The walls are decorated with trefoiled arcades and twelve medallions representing the Apostles.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-2.jpg\"><img class=\"aligncenter size-medium wp-image-958\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/tcp-pic-2-204x300.jpg\" alt=\"\" width=\"204\" height=\"300\" /></a>www.flickr.com/photos</p>\r\nWe can say that each stained glass window is a prayer, each stone is a prayer, and each Gothic arch is a prayer, surrounding the center of prayer:  the altar, where the Holy Sacrifice of Calvary is renewed.   Above the altar is a reliquary to display the crown of thorns of Our Lord Jesus Christ.  Walking barefoot, asking pardon for his own sins, Saint Louis carried the relics with great devotion from the border of France to Paris.  He displayed the contrition of the innocent.  As king, he represented his people and asked God to also pardon their sins.\r\n\r\nThe story of Gothic art and architecture begins in the Ile-de-France around 1140 at Saint-Denis, Paris, Chartres, and elsewhere.  French architects pioneered a new building style using ribs vaults with pointed arches, flying buttresses, and stained-glass windows, French builders constructed towering cathedrals with statue-lined portals in and interiors flooded with mystical multicolored light that can still be seen today when visiting there.\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\nFiero, Gloria. “<em>The Humanistic Tradition”Vol 1 6e.</em>\r\n\r\nEd. New York: McGraw-Hill Press, 2011. E-Book\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Sainte-Chapelle and the Saintly King','','inherit','open','open','','950-revision-5','','','2011-04-11 13:01:48','2011-04-11 19:01:48','',950,'http://jeanatacc.com/2011/?p=961',0,'revision','',0),(962,22,'2011-04-11 13:02:07','2011-04-11 19:02:07','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"></a>Raphael’s The School Of Athens</p>\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"><img class=\"aligncenter size-medium wp-image-955\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11-300x201.jpg\" alt=\"\" width=\"300\" height=\"201\" /></a>\n<p style=\"text-align: center\"><a href=\"http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/\">http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/</a></p>\nThe School of Athens is one of the most famous paintings by the Italian Renaissance artist Raphael. It was painted between 1510 and 1511 as a part of Raphael\'s commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. On the room where Raphael painted The School of Athens, can be observed two others important paints: The Stanza della Segnatura and La Disputa which is painting on the opposite wall than The School of Athens. The picture has long been seen as \"Raphael\'s masterpiece and the perfect embodiment of the classical spirit of the High Renaissance. Unlike other paintings Raphael’s master piece includes the most important figures of its time, figures such as Plato and Aristotle’s who were found to be the main figures of the paint. The paint was divided in two different sections one included spiritual side [Plato’s ] while the other one represent physical side, [Aristotle’s] the painting was basically generated by Raphael and it clearly represented a clear view of the most intellectual and famous people of its time, people who were in the area of science and philosophy. Raphael’s master piece is been recognized to be one of the most important on the world because if its mystery, imagination and creativity in which it was created.\n\nRaphael’s master piece The School of Athens most important aspect was that it was created with geometry theory in which Artists used linear perspective for transforming the physical reality of 3-D objects into realistic illusions on 2-D flat surfaces. In The School of Athens Raphael shows main figures that came from different spaces and times to participate visually in the educational process, master symbolically secularization and influence literally people’s mind. In the historical art work of Raphael: he uses Plato, Aristotle, Socrates, Pythagoras and Euclid to represent ancient Masters and Michelangelo, Bramante, Leonardo and himself to represent the contemporary humanists of the 1500s.\n\nThe school of Athens shows Plato and Aristotle centralized as is the case for holies surrounded by scientists and students, past and present, in splendid classical architectural setting illustrating the historical continuity of Platonic thought. Raphael fills an ordered and stable space with figures in a rich variety of symbolic postures and gestures showing strenuous efforts to attain knowledge. Raphel controls a theatrical setting in order to make one group of figures lead to the next in an interviewing and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle at the vanishing point of the\nlinear space. All parts of this paint converge on the center, but the whole\nvision is broken up into a number of isolated groups. The figures are grouped\nin unity, but each retains its own individuality and shape.[ In addition, Raphael’s master piece included an emphasis on applying visual mathematics, numbers, ratio and\nharmony, especially when Pythagoras is represented by his harmonic theory on\nthe left side, and Euclid by the perfection of Geometry on the right. The elaborate\nperspective of the architectural setting seems to embody both.] arthur damto It is an\nhistorical artistic statement of gratitude towards the ancient masters and the\ncontemporary students, artists and architects who made possible the connection\nnot only between East and West, but also between natural and moral sciences.\nThe artist’s selection reflected his own personal concern with multi-cultured\nKnowledge. As a humanist artist, Raphael followed the scholarly and translated materials of his age. For instance he may have used Euclid’s musical theory to create the ideal Classical architectural background of The School of Athens.\n\nAccording to, The humanistic tradition vol. Raphael’s The School of Athens is an homage to knowledge in which it was concerned with multi-cultured knowledge defined as humanism. Now humanism is a philosophy of love and peace. It makes clear that to reach both love and peace, you have to feel them first in your soul and then allow others to feel them.[ During the Renaissance era, art was strongly tied to knowledge in fact, artists and commissioners were humanists, who knew a great deal of the purpose of art and secular knowledge. The School of Athens presents the value of secular knowledge through the depiction of ancient and contemporary masters, students and books. The school of Athens is therefore an allegory of two things: education, and a secular state in which Raphael uses a visual metaphor between Rome of the 1500s and Athens of 500 BC.] W. Cook and R. Herzman\nRaphael also convey how Italy of the Renaissance adopted both Western and non-Western knowledge, regardless of race and belief and become a home for humanism in a general sense a place in which all are hand in hand to change both minds and lives for the better. However, there is still more to Raphael’s talent for its remarkable\nacknowledgment of people who, regardless of race and belief, made great contributions to the pursuit of knowledge. This study shows that Muslims made\nscientific and intellectual contributions to European Renaissance. Furthermore,\nin the early twelfth century, Muslim, Christian and Jewish scholars produced\nmany scholarly works in great unity, transcending their differences and the\nSpace and time.\n[To sum it all up, Raphael’s school of Athens is atribute to knowledge and a representation of Italy’s Renaissance, but above all, is an ideal representation\nof a love for knowledge that draws people together in peace. It is a work\nupholding humanism, a philosophy of love, peace life and spiritual values. Raphael’s\nsends a peaceful message to the whole world, representing all those who\nworked together for knowledge’s sake to delight people’s lives.] W. Cook and R. Herzman\n\nIn conclusion, Raphael master piece The School of Athens have a tremendous impact in the history of humanism. The school of Athens should be preserved because three main reasons : the first one is the shape and the imagination that Raphael used to create this beautiful piece of art. The second one is the incredible geometry that its used to divide the spiritual (something that we cant see ) and the physical ( physically seem) and the last one and most important is that he included the most intellectual and famous people of its time in a way that they were separated and put it in a specific placed that described their role of importance over human history. In addition the School of Athens is important to future generations because it represent the line between spiritual and physical view which it gives an important aspect of god and what we have here in earth. Personally I feel that Raphael paint the school of Athens has an specific purpose in which he wanted to show future generations the importance of a balance between spirit and human knowledge therefore it should be preserved as a important piece for human history.\nReferences\n\n1. Arthur Danto, After the End of Art (Princeton: Princeton University Press, 1997).\n\n2. Julius II was a highly cultured man who was surrounded by the most illustrious\npersonalities of the Renaissance. See Emil Kren and Daniel Marx, “Raphael\nSanzio: Biography,” Web Gallery of Art (2004). http://keptar.demasz.hu/arthp/\nbio/r/raphael/biograph.htm.\n\n3. W. Cook and R. Herzman, The Medieval World View (Athens: Ohio University\nPress, 1983).\n\n4. The humanistic tradition vol. 1 book 1. Fiero 6 a\n\n5. http://www.ancientsites.com/aw/Article/555679 posted April 30 2005. Copyright 2002-2011 Ancient Worlds LLC .','RAPHAEL\'S THE SCHOOOL OF ATHENS','','inherit','open','open','','924-revision','','','2011-04-11 13:02:07','2011-04-11 19:02:07','',924,'http://jeanatacc.com/2011/?p=962',0,'revision','',0),(1094,25,'2011-04-27 18:37:26','2011-04-28 00:37:26','<p style=\"text-align: left\">To the Egyptians, life after death played an important role to their daily life on earth. Up until the day of their death the Egyptians prepared for what was to come next. As a guide for the Egyptians to their afterlife, the Book of the Dead was constructed with spells, magical formulas, and passwords in order to pass the tests to get to their final destination. The Book of the Dead should be preserved so that further generations can also be well informed on the beliefs of the ancient Egyptians.</p>\r\n<!--more-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Screen-shot-2011-04-26-at-5.47.05-PM.png\"><img class=\"aligncenter size-medium wp-image-1098\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Screen-shot-2011-04-26-at-5.47.05-PM-300x148.png\" alt=\"\" width=\"300\" height=\"148\" /></a></p>\r\n<p style=\"text-align: center\">http://www.crystalinks.com/bookofdead.jpg</p>\r\nIn Egypt during the 18th dynasty (1570-1304 BC) religion played an important role in the Egyptian life. The Egyptians were polytheistic meaning they believed in more than one god. The multiple Egyptian gods and manifestations caused a great source of modern conceptual problems with the religion. In polytheistic religious regions, it is hard for the social order of the state to enforce conformity on its people. Therefore it gave the Egyptians a chance to become individuals with a great sense of freedom to determine his or her own relationship with the divine. The multiple individual Egyptian views have caused a blur on deciphering a single meaning of the ancient religion itself (Goelet).\r\n\r\nThe ancient Egyptians believed that at any time their souls would perish. The Egyptians built elaborate tombs and went to great lengths of mummification to ensure that the body and certain elements of the soul would stay persevered forever. After death, the Egyptians believed that their souls were to enter the underworld where he or she would have to pass a series of test. The Book of the Dead came about as a guide for the Egyptians in order to pass the tests and reach their final judgment (“Egyptian Afterlife Beliefs”).  It was a system of rituals and spells that one was to have and behold before they deceased. The knowledge within the Book of the Dead was considered essential for a successful afterlife (Wallis). The spiritual texts of the Book of the Dead symbolized the ancient culture. The significance of the Book of the Dead was that it represented equality for all Egyptians going through the series of test. No matter male or female, rich or poor, one’s judgment day of morality was unbiased and impersonal during their afterlife (Goelet).\r\n\r\nAt first, the texts seen in The Book of the Dead originated solely for the purpose of the king and his family by inscribing the rituals and spells on pyramids. The pyramid texts are dated back to ca. 2400 b.c.e. The magical rituals were written privately to benefit the leader of Egypt.  After a few centuries passed, the spells and rituals began to appear on coffins (Peck). Gradually the texts became open to the public for anyone who could afford a sarcophagus, a stone coffin.  By the time of the early New Kingdom (ca. 1550 b.c.e.) the texst found on the coffins began to be replaced by what we now know as The Book of the Dead (Goelet).\r\n\r\nThe Book of the Dead contains, “Spells, charms, passwords, numbers, and magical formulas” for one’s success through the afterlife. The texts were written on papyrus, now known as scrolls, and were placed inside the sarcophagus to be close at hand with the dead (Wallis). The texts were written in hieroglyphics that usually were illustrated with pictures to give the Egyptians an image of each test they would enter. The pictures were vignettes, “a symbolic representation in pictorial form summarizing the intent or content of a spell” (Parsons). The Book of the Dead was distributed in various ways depending solely on the individual. The collection of texts was available for the Egyptians to pick or chose to individualize their own scroll to the afterlife. He or she based their chosen texts on either what they could afford or what their views were during that period of time (Goelet).\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Screen-shot-2011-04-26-at-5.42.26-PM.png\"><img class=\"aligncenter size-medium wp-image-1100\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/Screen-shot-2011-04-26-at-5.42.26-PM-300x222.png\" alt=\"\" width=\"300\" height=\"222\" /></a></p>\r\n<p style=\"text-align: center\">http://www.wayfaring.info/images/book_of_the_dead.gif</p>\r\nPeople like to consider the Egyptian Book of the Dead as Egypt’s Bible. Though they seem similar, the Bible and the Koran compared to The Book of the Dead are total opposites. The Bible and the Koran stand for the, “ Obligations of god to man and man to god and the moral code by which adherents should conduct themselves” (Goelet). The Book of the Dead on the other hand is entirely concerned with life after death. The purpose of the texts in the Book of the Dead were not to guide the Egyptians through a religious life but stood as a guide into a new world after life on earth (Goelet).\r\n\r\nThough the Egyptian Book of the Dead does not preach about life on earth like the Bible or the Koran, it is similar to the moral codes of the Ten Commandments and the Book of Exodus. The Book of the Dead has no comparison to the first two commandments, which includes, “Thou shalt have no other gods before me…” due to the fact that the Egyptians were polytheistic. The Egyptians and the Israelites did find common ground by believing, “Thou shalt not kill, thou shalt not commit adultery, thou shalt not steal, and thou shalt not bear false witness against thy neighbor”. Spell 125 of the Book of the Dead beholds a moral code of “negative confessions” which is also seen in a form or fashion in the Book of Exodus (“The Ten Commandments”).\r\n\r\nThe Book of the Dead is meaningful for the great lengths the Egyptians took in order to make sure they had a guide to a successful afterlife experience. The presumption on afterlife the Egyptians acquired is astonishing. It perks my interest as to how the beliefs of the series of test and final judgment day came about. A book that contains historical views on life after death centuries ago is important to have knowledge of for future generations. The Book of the Dead should be preserved because it is what defines the life of an ancient Egyptian.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n<p style=\"text-align: center\"><strong>Work Cited </strong></p>\r\n<strong> </strong>\r\n\r\n\"Egyptian Afterlife Beliefs.\" <em>Professional Translation Services | Interpreters | Intercultural Communication &amp; Training</em>. Kwintessential. Web. 26 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\nGoelet, Ogden. \"Introduction.\" <em>Egyptian Book of the Dead</em>. 2005, AaXia Interactive. Web. 26 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\nParsons, Marie. \"Book of the Dead, an Introduction.\" <em>Egypt Travel, Tours, Vacations, Ancient Egypt from Tour Egypt</em>. 1996-2010 Tour Egypt. Web. 26 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\nPeck, Caroline. \"Book of the Dead.\" <em>The MYSTICA.ORG</em>. 1997-2011 Alan G. Hefner. Web. 26 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n\"The Ten Commandments and the Egyptian Book of the Dead.\" <em>LOVE- EVOLVE- TRANSEND</em>. Religion Science vs Faith. Web. 26 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\nWallis Budge, E.A. \"Egyptian Book of the Dead.\" <em>Essenes, Essene Teachings and Essene Theology</em>. The Nazarene Way. Web. 26 Apr. 2011.\r\n\r\n&nbsp;','The Egyptian Book of the Dead ','','publish','open','open','','the-egyptian-book-of-the-dead','','','2011-04-27 18:37:26','2011-04-28 00:37:26','',0,'http://jeanatacc.com/2011/?p=1094',0,'post','',6),(964,1,'2011-04-11 12:49:02','2011-04-11 18:49:02','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim.jpg\"><img class=\"aligncenter size-large wp-image-947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/isenheim-1024x722.jpg\" alt=\"\" width=\"488\" height=\"344\" /></a>\r\n<p style=\"text-align: center\"><em>(source: http://www.proprofs.com/flashcards/upload/q3936954.jpg)</em></p>\r\nThe Isenheim Altarpiece was by a painter, draughtsman, and hydraulic engineer named Mattias Grunewald (1475-1528) sometime between year 1512 to 1516 (Kristin Lohse Belkin). The Isenheim Altarpeice is divided into three parts which culminates to depict the Resurrection of Christ, a vivid masterpiece painted in reds, gold, and greens (“The Arts”). <!--more-->The central area of the altarpiece contains of saints carved by Von Hagenauer  in 1503 (“Matthias Grunewald”). The altarpiece can be folded in a way to depict different biblical events to suit different religious occasions. When the altarpiece is folded, it depicts the Crucifixion of Christ, which portrays a very macabre, horrific, and agonizing depiction of Christ on the cross in the darkness. Christ is shown as sinewy, with limbs distorted, with blood streaming from his body, and wounds visible on his skin. Yet, if folded in a different way, shows the ascension of Christ, who flies above the soldiers that guard his dead body. His skin has no wounds and afflictions and his hair and beard are painted in gold. The Isenheim Altarpiece stands to be the most intriguing, shocking, and beautiful of all of his works for it represents hope for divine intervention from the suffering of the world.\r\n\r\n&nbsp;\r\n\r\nThe Altarpiece was typical for its time for it’s depictions of different scenes from the bible since much of the artwork in Europe relate to religious themes. Yet, it was unique in it’s depiction of Resurrection in that it portrayed a horrifying and gruesome image of Christ’s crucifixion. Grunewald lived during the time of Albrecht Drurer, one of the main, historical figures of the German Renaissance and is said to be influenced by Drurer‘s work (“The Arts”). Grunewald’s altarpiece was perhaps the prime reason why many he is still remembered today. Out of all of his works, the Isenhiem Altarpiece remains his most defining piece. Most of Grunewald’s works were either destroyed or forgotten. The few works that remains today display the same atmosphere was the Isenheim Altarpiece. Philip Melachthon, a close associate of Martin Luther, ranked him just behind Albrecht Durer (“The Arts”). The same spirit of melancholy and religious fervor can be found in Durer’s work in this “Four Horsemen of the Apocalypse,” in which the four horsemen in the picture represent Christ, Famine, War, and Death. Like the Isenheim Altarpiece, it presents a dramatic, terrifying, and an almost realistic depiction of a religious scene.\r\n\r\n&nbsp;\r\n\r\nAlthough the Isenheim Altarpiece is still celebrated today as one of the most definitive works of the early German Renaissance, it’s reception is not quite the same today as it was back then. In an world where perceptions and beliefs change over time, Grunewald, who was once celebrated for his work, was not held in high esteem as Albrecht Drurer and his works largely forgotten over time. However, in the early 20<sup>th</sup> century, a sudden fascination with Grunewald grew as his work was rediscovered. Expressionist painters admired his work and there was even an opera in 1934, “Mathis der Maler,” that tells of Grunewald’s life (“Matthias Grunewald”).\r\n\r\n&nbsp;\r\n\r\nI personally find the piece to be interesting because it portrays a very vivid, macabre, and grotesque vision of Christ. Unlike many works that portray the Crucifixion of Christ, the Isenheim Altarpiece grabs the viewer on a much more emotional level due to it‘s realism.\r\n\r\nLittle is known about Grunewald’s life, but his artwork remains to be preserved and discovered. He is known for created such dramatic and intriguing artworks that have captivated many people throughout the ages. Unlike many famous artists, Grunewald remains a mystery, but perhaps his life can be told through his works. What the future generations should learn from this Isenheim Altarpiece is that perhaps one can tell one’s story by what one creates or contributes in his or her life.\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\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\n&nbsp;\r\n\r\n\"Dürer, Albrecht.\" <em>Renaissance and Reformation Reference Library</em>. Ed. Julie L.    Carnagie, Peggy Saari, and Aaron Saari. Vol. 3: Vol. 1: Biographies. Detroit:     UXL, 2002. 96-104. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n“Grünewald.” <em>The Oxford Companion to Christian Art and Architecture</em>. Murray, Peter.    Murray, Linda. UK: Oxford University Press, 1996. Netlibrary. Web 4 April 2011.\r\n\r\n&nbsp;\r\n\r\nKristin Lohse Belkin  \"Grünewald, Matthias\"  <em>The Oxford Companion to Western Art</em>.       Ed. Hugh Brigstocke. Oxford University Press, 2001. Oxford Reference Online.   Oxford University Press.  Austin Community College.  4 April 2011       &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subv            iew=Main&amp;entry=t118.e1128&gt;.\r\n\r\n&nbsp;\r\n\r\n\"Matthias Grünewald.\" <em>Encyclopedia of World Biography</em>. 2nd ed. Vol. 7. Detroit: Gale,   2004. 23-24. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n\"The Arts in Sixteenth-Century Northern Europe.\" <em>Arts and Humanities Through the         Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 4: Renaissance Europe 1300-1600.         Detroit: Gale, 2005. 412-420. Gale Virtual Reference Library. Web. 3 Apr. 2011.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Isenheim Altarpiece','','inherit','open','open','','942-revision-3','','','2011-04-11 12:49:02','2011-04-11 18:49:02','',942,'http://jeanatacc.com/2011/?p=964',0,'revision','',0),(965,1,'2011-04-10 16:27:36','2011-04-10 22:27:36','<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-10','','','2011-04-10 16:27:36','2011-04-10 22:27:36','',892,'http://jeanatacc.com/2011/?p=965',0,'revision','',0),(966,22,'2011-04-11 13:03:54','2011-04-11 19:03:54','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"></a>Raphael’s The School Of Athens</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"><img class=\"aligncenter size-medium wp-image-955\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11-300x201.jpg\" alt=\"\" width=\"300\" height=\"201\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/\">http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/</a></p>\r\nThe School of Athens is one of the most famous paintings by the Italian Renaissance artist Raphael. It was painted between 1510 and 1511 as a part of Raphael\'s commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. On the room where Raphael painted The School of Athens, can be observed two others important paints: The Stanza della Segnatura and La Disputa which is painting on the opposite wall than The School of Athens. The picture has long been seen as \"Raphael\'s masterpiece and the perfect embodiment of the classical spirit of the High Renaissance. Unlike other paintings Raphael’s master piece includes the most important figures of its time, figures such as Plato and Aristotle’s who were found to be the main figures of the paint. The paint was divided in two different sections one included spiritual side [Plato’s ] while the other one represent physical side, [Aristotle’s] the painting was basically generated by Raphael and it clearly represented a clear view of the most intellectual and famous people of its time, people who were in the area of science and philosophy. Raphael’s master piece is been recognized to be one of the most important on the world because if its mystery, imagination and creativity in which it was created.\r\n\r\nRaphael’s master piece The School of Athens most important aspect was that it was created with geometry theory in which Artists used linear perspective for transforming the physical reality of 3-D objects into realistic illusions on 2-D flat surfaces. In The School of Athens Raphael shows main figures that came from different spaces and times to participate visually in the educational process, master symbolically secularization and influence literally people’s mind. In the historical art work of Raphael: he uses Plato, Aristotle, Socrates, Pythagoras and Euclid to represent ancient Masters and Michelangelo, Bramante, Leonardo and himself to represent the contemporary humanists of the 1500s.\r\n\r\nThe school of Athens shows Plato and Aristotle centralized as is the case for holies surrounded by scientists and students, past and present, in splendid classical architectural setting illustrating the historical continuity of Platonic thought. Raphael fills an ordered and stable space with figures in a rich variety of symbolic postures and gestures showing strenuous efforts to attain knowledge. Raphel controls a theatrical setting in order to make one group of figures lead to the next in an interviewing and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle at the vanishing point of the\r\nlinear space. All parts of this paint converge on the center, but the whole\r\nvision is broken up into a number of isolated groups. The figures are grouped\r\nin unity, but each retains its own individuality and shape.[ In addition, Raphael’s master piece included an emphasis on applying visual mathematics, numbers, ratio and\r\nharmony, especially when Pythagoras is represented by his harmonic theory on\r\nthe left side, and Euclid by the perfection of Geometry on the right. The elaborate\r\nperspective of the architectural setting seems to embody both.] arthur damto It is an\r\nhistorical artistic statement of gratitude towards the ancient masters and the\r\ncontemporary students, artists and architects who made possible the connection\r\nnot only between East and West, but also between natural and moral sciences.\r\nThe artist’s selection reflected his own personal concern with multi-cultured\r\nKnowledge. As a humanist artist, Raphael followed the scholarly and translated materials of his age. For instance he may have used Euclid’s musical theory to create the ideal Classical architectural background of The School of Athens.\r\n\r\nAccording to, The humanistic tradition vol. Raphael’s The School of Athens is an homage to knowledge in which it was concerned with multi-cultured knowledge defined as humanism. Now humanism is a philosophy of love and peace. It makes clear that to reach both love and peace, you have to feel them first in your soul and then allow others to feel them.[ During the Renaissance era, art was strongly tied to knowledge in fact, artists and commissioners were humanists, who knew a great deal of the purpose of art and secular knowledge. The School of Athens presents the value of secular knowledge through the depiction of ancient and contemporary masters, students and books. The school of Athens is therefore an allegory of two things: education, and a secular state in which Raphael uses a visual metaphor between Rome of the 1500s and Athens of 500 BC.] W. Cook and R. Herzman\r\nRaphael also convey how Italy of the Renaissance adopted both Western and non-Western knowledge, regardless of race and belief and become a home for humanism in a general sense a place in which all are hand in hand to change both minds and lives for the better. However, there is still more to Raphael’s talent for its remarkable\r\nacknowledgment of people who, regardless of race and belief, made great contributions to the pursuit of knowledge. This study shows that Muslims made\r\nscientific and intellectual contributions to European Renaissance. Furthermore,\r\nin the early twelfth century, Muslim, Christian and Jewish scholars produced\r\nmany scholarly works in great unity, transcending their differences and the\r\nSpace and time.\r\n[To sum it all up, Raphael’s school of Athens is atribute to knowledge and a representation of Italy’s Renaissance, but above all, is an ideal representation\r\nof a love for knowledge that draws people together in peace. It is a work\r\nupholding humanism, a philosophy of love, peace life and spiritual values. Raphael’s\r\nsends a peaceful message to the whole world, representing all those who\r\nworked together for knowledge’s sake to delight people’s lives.] W. Cook and R. Herzman\r\n\r\nIn conclusion, Raphael master piece The School of Athens have a tremendous impact in the history of humanism. The school of Athens should be preserved because three main reasons : the first one is the shape and the imagination that Raphael used to create this beautiful piece of art. The second one is the incredible geometry that its used to divide the spiritual (something that we cant see ) and the physical ( physically seem) and the last one and most important is that he included the most intellectual and famous people of its time in a way that they were separated and put it in a specific placed that described their role of importance over human history. In addition the School of Athens is important to future generations because it represent the line between spiritual and physical view which it gives an important aspect of god and what we have here in earth. Personally I feel that Raphael paint the school of Athens has an specific purpose in which he wanted to show future generations the importance of a balance between spirit and human knowledge therefore it should be preserved as a important piece for human history.\r\nReferences\r\n\r\n1. Arthur Danto, After the End of Art (Princeton: Princeton University Press, 1997).\r\n\r\n2. Julius II was a highly cultured man who was surrounded by the most illustrious\r\npersonalities of the Renaissance. See Emil Kren and Daniel Marx, “Raphael\r\nSanzio: Biography,” Web Gallery of Art (2004). http://keptar.demasz.hu/arthp/\r\nbio/r/raphael/biograph.htm.\r\n\r\n3. W. Cook and R. Herzman, The Medieval World View (Athens: Ohio University\r\nPress, 1983).\r\n\r\n4. The humanistic tradition vol. 1 book 1. Fiero 6 a\r\n\r\n5. http://www.ancientsites.com/aw/Article/555679 posted April 30 2005. Copyright 2002-2011 Ancient Worlds LLC .','RAPHAEL\'S THE SCHOOOL OF ATHENS','','inherit','open','open','','924-revision-2','','','2011-04-11 13:03:54','2011-04-11 19:03:54','',924,'http://jeanatacc.com/2011/?p=966',0,'revision','',0),(967,1,'2011-04-11 13:06:12','2011-04-11 19:06:12','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"></a>Raphael’s The School Of Athens</p>\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11.jpg\"><img class=\"aligncenter size-medium wp-image-955\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/raphael-school-of-athens11-300x201.jpg\" alt=\"\" width=\"300\" height=\"201\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/\">http://tomalcockba5.wordpress.com/2011/01/23/composition-analysis/</a></p>\r\nThe School of Athens is one of the most famous paintings by the Italian Renaissance artist Raphael. It was painted between 1510 and 1511 as a part of Raphael\'s commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. On the room where Raphael painted The School of Athens, can be observed two others important paints: The Stanza della Segnatura and La Disputa which is painting on the opposite wall than The School of Athens. The paint  has long been seen as \"Raphael\'s masterpiece and the perfect embodiment of the classical spirit of the High Renaissance. Unlike other paintings Raphael’s master piece includes the most important figures of its time, figures such as Plato and Aristotle’s who were found to be the main figures of the paint. The paint is divided in two different sections one included spiritual side [Plato’s ] while the other one represent physical side, [Aristotle’s] the painting was basically generated by Raphael and it clearly represented a clear view of the most intellectual and famous people of its time, people who were in the area of science and philosophy. Raphael’s master piece is been recognized to be one of the most important on the world because if its mystery, imagination and creativity in which it was created.\r\n\r\nRaphael’s master piece The School of Athens most important aspect was that it was created with geometry theory in which Artists used linear perspective for transforming the physical reality of 3-D objects into realistic illusions on 2-D flat surfaces. In The School of Athens Raphael shows main figures that came from different spaces and times to participate visually in the educational process, master symbolically secularization and influence literally people’s mind. In the historical art work of Raphael: he uses Plato, Aristotle, Socrates, Pythagoras and Euclid to represent ancient Masters and Michelangelo, Bramante, Leonardo and himself to represent the contemporary humanists of the 1500s.\r\n\r\nThe school of Athens shows Plato and Aristotle centralized as is the case for holies surrounded by scientists and students, past and present, in splendid classical architectural setting illustrating the historical continuity of Platonic thought. Raphael fills an ordered and stable space with figures in a rich variety of symbolic postures and gestures showing strenuous efforts to attain knowledge. Raphel controls a theatrical setting in order to make one group of figures lead to the next in an interviewing and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle at the vanishing point of the\r\nlinear space. All parts of this paint converge on the center, but the whole\r\nvision is broken up into a number of isolated groups. The figures are grouped\r\nin unity, but each retains its own individuality and shape.[ In addition, Raphael’s master piece included an emphasis on applying visual mathematics, numbers, ratio and\r\nharmony, especially when Pythagoras is represented by his harmonic theory on\r\nthe left side, and Euclid by the perfection of Geometry on the right. The elaborate\r\nperspective of the architectural setting seems to embody both.] arthur damto It is an\r\nhistorical artistic statement of gratitude towards the ancient masters and the\r\ncontemporary students, artists and architects who made possible the connection\r\nnot only between East and West, but also between natural and moral sciences.\r\nThe artist’s selection reflected his own personal concern with multi-cultured\r\nKnowledge. As a humanist artist, Raphael followed the scholarly and translated materials of his age. For instance he may have used Euclid’s musical theory to create the ideal Classical architectural background of The School of Athens.\r\n\r\nAccording to, The humanistic tradition vol. Raphael’s The School of Athens is an homage to knowledge in which it was concerned with multi-cultured knowledge defined as humanism. Now humanism is a philosophy of love and peace. It makes clear that to reach both love and peace, you have to feel them first in your soul and then allow others to feel them.[ During the Renaissance era, art was strongly tied to knowledge in fact, artists and commissioners were humanists, who knew a great deal of the purpose of art and secular knowledge. The School of Athens presents the value of secular knowledge through the depiction of ancient and contemporary masters, students and books. The school of Athens is therefore an allegory of two things: education, and a secular state in which Raphael uses a visual metaphor between Rome of the 1500s and Athens of 500 BC.] W. Cook and R. Herzman\r\nRaphael also convey how Italy of the Renaissance adopted both Western and non-Western knowledge, regardless of race and belief and become a home for humanism in a general sense a place in which all are hand in hand to change both minds and lives for the better. However, there is still more to Raphael’s talent for its remarkable\r\nacknowledgment of people who, regardless of race and belief, made great contributions to the pursuit of knowledge. This study shows that Muslims made\r\nscientific and intellectual contributions to European Renaissance. Furthermore,\r\nin the early twelfth century, Muslim, Christian and Jewish scholars produced\r\nmany scholarly works in great unity, transcending their differences and the\r\nSpace and time.\r\n[To sum it all up, Raphael’s school of Athens is atribute to knowledge and a representation of Italy’s Renaissance, but above all, is an ideal representation\r\nof a love for knowledge that draws people together in peace. It is a work\r\nupholding humanism, a philosophy of love, peace life and spiritual values. Raphael’s\r\nsends a peaceful message to the whole world, representing all those who\r\nworked together for knowledge’s sake to delight people’s lives.] W. Cook and R. Herzman\r\n\r\nIn conclusion, Raphael master piece The School of Athens have a tremendous impact in the history of humanism. The school of Athens should be preserved because three main reasons : the first one is the shape and the imagination that Raphael used to create this beautiful piece of art. The second one is the incredible geometry that its used to divide the spiritual (something that we cant see ) and the physical ( physically seem) and the last one and most important is that he included the most intellectual and famous people of its time in a way that they were separated and put it in a specific placed that described their role of importance over human history. In addition the School of Athens is important to future generations because it represent the line between spiritual and physical view which it gives an important aspect of god and what we have here in earth. Personally I feel that Raphael paint the school of Athens has an specific purpose in which he wanted to show future generations the importance of a balance between spirit and human knowledge therefore it should be preserved as a important piece for human history.\r\nReferences\r\n\r\n1. Arthur Danto, After the End of Art (Princeton: Princeton University Press, 1997).\r\n\r\n2. Julius II was a highly cultured man who was surrounded by the most illustrious\r\npersonalities of the Renaissance. See Emil Kren and Daniel Marx, “Raphael\r\nSanzio: Biography,” Web Gallery of Art (2004). http://keptar.demasz.hu/arthp/\r\nbio/r/raphael/biograph.htm.\r\n\r\n3. W. Cook and R. Herzman, The Medieval World View (Athens: Ohio University\r\nPress, 1983).\r\n\r\n4. The humanistic tradition vol. 1 book 1. Fiero 6 a\r\n\r\n5. http://www.ancientsites.com/aw/Article/555679 posted April 30 2005. Copyright 2002-2011 Ancient Worlds LLC .','RAPHAEL\'S THE SCHOOOL OF ATHENS','','inherit','open','open','','924-revision-3','','','2011-04-11 13:06:12','2011-04-11 19:06:12','',924,'http://jeanatacc.com/2011/?p=967',0,'revision','',0),(968,9,'2011-04-11 12:36:36','2011-04-11 18:36:36','<p style=\"text-align: left\"><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\n<p style=\"text-align: left\">Donatello contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude <a id=\"ref28430\" rel=\"nofollow\" name=\"ref28430\"></a>putti, or child angels (one of which was stolen and is now in the Berlin museum). These putti, evidently influenced by Etruscan bronze figurines, prepared the way for the bronze <a id=\"ref28431\" rel=\"nofollow\" name=\"ref28431\"></a>David, the first large-scale, free-standing nude statue of the Renaissance. Well-proportioned and superbly poised, it was conceived independently of any architectural setting. Its harmonious calm makes it the most classical of Donatello’s works. The statue was undoubtedly done for a private patron, but his identity is in doubt. Its recorded history begins with the wedding of Lorenzo the Magnificent in 1469, when it occupied the centre of the courtyard of the Medici palace in Florence. After the expulsion of the <a id=\"ref28432\" rel=\"nofollow\" name=\"ref28432\"></a>Medici in 1496, the statue was placed in the courtyard of the PalazzoVecchio.</p>\r\n\r\n<div style=\"text-align: left\">Whether the “David” was commissioned by the Medici or not, Donatello worked for them (1433–43), producing sculptural decoration for the old sacristy in San Lorenzo, the Medici church. Works there included 10 large reliefs in coloured stucco and two sets of small bronze doors, which showed paired saints and apostles disputing with each other in vivid and even violent fashion.</div>\r\n<div style=\"text-align: left\">\r\n\r\nIt was in Italy that the artistic values we associate with the Renaissance first began to appear. These values included a new emphasis on naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces. During the fourteenth and early fifteenth centuries artists in Northern Italy, particularly in Tuscany, devoted themselves to problems of perspective. Eventually, they mastered techniques that allowed them to reproduce spaces that appeared to have real depth on two-dimensional surfaces. This innovation was known as linear perspective.  Another vital feature of the Renaissance in the visual arts was a renewed attention to the style and conventions of ancient art. As the homeland of the ancient Roman Empire in Western Europe, Italy possessed many venerable ancient monuments, and traditions of classicizing art and architecture had persisted in the region during the Middle Ages. Fifteenth-century artists, however, began to study more systematically and rigorously the works of classical Antiquity, and they self-consciously tried to revive its harmonious and balanced proportions. Renaissance painters may never have been wedded to classical styles and idioms to the same degree as humanists and literary figures, but the example of antique painting and sculpture provided potent examples of a human-centered art that shaped their stylistic values. As in many other areas of Renaissance cultural achievement, it was Florence that served as the incubator for many of these innovations.\r\n\r\nRenaissance art, however, was not created for an open market, but for wealthy and powerful patrons and religious institutions that commissioned it.  Patrons relied upon painting and sculpture to express political ideals, to indulge their tastes for fine craftsmanship, and to immortalize themselves and their families. The deepening piety of the era, too, stimulated the production of much religious art.\r\n\r\nIn a world of widespread illiteracy, images took on a special importance. For the illiterate, religious images served as a vital textbook that instructed in the teachings and history of Christianity and the church. For both the learned and unlearned, images conveyed political and religious ideas, and were often tools of propaganda. To express these political positions or religious truths, artists relied upon iconography—a system of symbols that conveyed certain commonly accepted meanings. During the Renaissance the language of iconography expanded greatly, in large part because of the revival of knowledge about ancient religions, philosophy, and mythology. Iconography became an increasingly complex way of communicating meaning, since artists could employ symbols drawn from Christian, Roman, and Greek past as well as from other more obscure traditions.\r\n\r\n</div>','Donatello\'s David','','inherit','open','open','','805-revision-7','','','2011-04-11 12:36:36','2011-04-11 18:36:36','',805,'http://jeanatacc.com/2011/?p=968',0,'revision','',0),(975,9,'2011-04-11 13:24:27','2011-04-11 19:24:27','<p style=\"text-align: left\"><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\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.”  <em>University of Colorado, Boulder.</em> 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\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-10','','','2011-04-11 13:24:27','2011-04-11 19:24:27','',805,'http://jeanatacc.com/2011/?p=975',0,'revision','',0),(971,8,'2011-04-11 13:11:45','2011-04-11 19:11:45','<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.\r\n\r\n<!--more-->Wealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a></p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','inherit','open','open','','379-revision-16','','','2011-04-11 13:11:45','2011-04-11 19:11:45','',379,'http://jeanatacc.com/2011/?p=971',0,'revision','',0),(969,22,'2011-04-07 09:17:41','2011-04-07 15:17:41','&nbsp;\r\n<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of  Lutenia  (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church    in here to commemorate his name whose burial site begun to attract many pilgrims. The church of  ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church    of ST. Denis has been recognized for many different reasons, amount the  most important was that ST. Denis church was one of the  first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church   .\r\nIn contrast to the Romanesque church   , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had  been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture  Vol.4 No.2 of Athena Review.  London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-12','','','2011-04-07 09:17:41','2011-04-07 15:17:41','',790,'http://jeanatacc.com/2011/?p=969',0,'revision','',0),(970,8,'2011-04-11 12:42:40','2011-04-11 18:42:40','<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.\r\n\r\n<!--more-->Wealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a></p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','inherit','open','open','','379-revision-15','','','2011-04-11 12:42:40','2011-04-11 18:42:40','',379,'http://jeanatacc.com/2011/?p=970',0,'revision','',0),(972,8,'2011-04-11 13:12:33','2011-04-11 19:12:33','<p style=\"text-align: left\">&nbsp;</p>\r\n<p style=\"text-align: center\">“Rig Veda – Rigvedic Period”</p>\r\nTo understand how an ancient Sanskrit text becomes sacred to followers of the Hindu religion we must first learn of a “band of foreigners that entered the Indian subcontinent and settled throughout the Indus Valley.” (32)  This group of nomadic and pastoral communities spoke Indo-European languages calling themselves “noble people.”(32). and they began their journey traveling the passes of Hindu Kush Mountains and established themselves in small agriculture villages in northern parts of India.<!--more-->\r\n\r\nWealthy individuals in early Aryan society owned extensive herds of cattle.  Horses were considered prize possessions for two reasons; the amount they paid for them and because they did not breed well in these hot and dry climates.  Innovative for their time their farming required artificial systems of irrigation\'s which in turn required cooperative efforts by many locally as well of those of a higher degree and in most instances these individuals held high religious place within their communities. A common business practice that’s similar with our own local government, state government, federal entities that work with many religious institutions like we see today and how they support one another.\r\nThese early “noble people.” (32). didn’t use writing but composed numerous poems and songs and preserved extensive collections of religious and literary works by memorizing them and then passing them orally from one generation to another in their own native sacred language.\r\nReligious scholars believe that the there are four Vedas which are collections of hymns, songs and prayers, and rituals honoring the various gods of the Aryans.  The earliest and most important from this collection is the “Rig Veda, a collection of 1,028 hymns addressed to various Hindu gods.”(65)  Many of these hymns were designed to be sung during specific religious rituals, especially sacrifices and they contain stories about the deed of the Hindu gods.  Hindus believe “that the Vedas were not composed by people, but rather directly revealed, mirroring Christian beliefs about the Bible.”(59)  There have been many translations published for people to read the Rigveda in their native languages.  But like all works of translation the concerns for retaining the original poetic content of the Rigveda continues to prove difficult no different than the various translations of King James Version for practicing Christians today.   These hymns are the major way in which the Aryan people praised their gods.  The subject of the hymns is the personification of the powers of nature; below is an example of hymn written in poetic form:\r\n\"This light hath come, of all the lights the fairest,\r\nThe brilliant brightness hath been born, far-shining,\r\nUrged on to prompt the sun-god\'s shining power.\r\nNight and Morning clash not, nor yet do linger.\" (Bloomfield 30).\r\nVery evident in our modern times is the practice of religion and how we sing hymns in Church, and recite certain religious rituals for weddings and funerals alike.  The creation of the Rig Veda like our Bible must have taken place over several centuries and respected by so many as well.\r\nDue to the nomadic nature of the society described it cannot be localized, and in its earliest phase describes tribes that were essentially on the move and historical records set in only after the end of the Vedic period with much of it remaining scarce throughout this time.  Their nomadic abilities to use tools available from their environment helped this group to adapt and cope with demands that came with such early life.\r\nEvident enough in our in society today am I ever again amazed on how this group sustained themselves, and lived from the land to survive.  There is much to be learn from these hard working travelers that were considered nomadic for their times.  If only they could see how we as a society have improved our means of travel for example; how astonished they would be to learn that they could travel in merely minute’s miles away from their villages.\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Photo of Rig Veda</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\"><img class=\"size-full wp-image-401 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/rigvedaimage1.jpg\" alt=\"\" width=\"269\" height=\"187\" /></a>www.flickr.com/photos</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">Works Cited:</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: center\">&nbsp;</p>\r\n<p style=\"text-align: left\">Doniger, Wendy. “The Hindus: an alternative history”</p>\r\nNew York: Penguin Press, 2009. Print\r\n<p style=\"text-align: left\">Fiero, Gloria. “The Humanistic Tradition”Vol 1 6e. Ed.</p>\r\n<p style=\"text-align: left\">New York: McGraw-Hill Press, 2011. E-Book</p>','“Rig Veda – Rigvedic Period”','','inherit','open','open','','379-revision-17','','','2011-04-11 13:12:33','2011-04-11 19:12:33','',379,'http://jeanatacc.com/2011/?p=972',0,'revision','',0),(974,9,'2011-04-11 13:21:45','2011-04-11 19:21:45','<p style=\"text-align: left\"><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>\n<p style=\"text-align: left\">Donatello contributed two statuettes of Virtues, austerely beautiful figures whose style points toward the Virgin and angel of the Santa Croce Annunciation, and three nude <a id=\"ref28430\" rel=\"nofollow\" name=\"ref28430\"></a>putti, or child angels (one of which was stolen and is now in the Berlin museum). These putti, evidently influenced by Etruscan bronze figurines, prepared the way for the bronze <a id=\"ref28431\" rel=\"nofollow\" name=\"ref28431\"></a>David, the first large-scale, free-standing nude statue of the Renaissance. Well-proportioned and superbly poised, it was conceived independently of any architectural setting. Its harmonious calm makes it the most classical of Donatello’s works. The statue was undoubtedly done for a private patron, but his identity is in doubt. Its recorded history begins with the wedding of Lorenzo the Magnificent in 1469, when it occupied the centre of the courtyard of the Medici palace in Florence. After the expulsion of the <a id=\"ref28432\" rel=\"nofollow\" name=\"ref28432\"></a>Medici in 1496, the statue was placed in the courtyard of the PalazzoVecchio.</p>\n\n<div style=\"text-align: left\">Whether the “David” was commissioned by the Medici or not, Donatello worked for them (1433–43), producing sculptural decoration for the old sacristy in San Lorenzo, the Medici church. Works there included 10 large reliefs in coloured stucco and two sets of small bronze doors, which showed paired saints and apostles disputing with each other in vivid and even violent fashion.</div>\n<div style=\"text-align: left\">\n\nIt was in Italy that the artistic values we associate with the Renaissance first began to appear. These values included a new emphasis on naturalistic depiction, on human proportions and human scale in art, and on the rational presentation of observed spaces. During the fourteenth and early fifteenth centuries artists in Northern Italy, particularly in Tuscany, devoted themselves to problems of perspective. Eventually, they mastered techniques that allowed them to reproduce spaces that appeared to have real depth on two-dimensional surfaces. This innovation was known as linear perspective.  Another vital feature of the Renaissance in the visual arts was a renewed attention to the style and conventions of ancient art. As the homeland of the ancient Roman Empire in Western Europe, Italy possessed many venerable ancient monuments, and traditions of classicizing art and architecture had persisted in the region during the Middle Ages. Fifteenth-century artists, however, began to study more systematically and rigorously the works of classical Antiquity, and they self-consciously tried to revive its harmonious and balanced proportions. Renaissance painters may never have been wedded to classical styles and idioms to the same degree as humanists and literary figures, but the example of antique painting and sculpture provided potent examples of a human-centered art that shaped their stylistic values. As in many other areas of Renaissance cultural achievement, it was Florence that served as the incubator for many of these innovations.\n\nRenaissance art, however, was not created for an open market, but for wealthy and powerful patrons and religious institutions that commissioned it.  Patrons relied upon painting and sculpture to express political ideals, to indulge their tastes for fine craftsmanship, and to immortalize themselves and their families. The deepening piety of the era, too, stimulated the production of much religious art.\n\nIn a world of widespread illiteracy, images took on a special importance. For the illiterate, religious images served as a vital textbook that instructed in the teachings and history of Christianity and the church. For both the learned and unlearned, images conveyed political and religious ideas, and were often tools of propaganda. To express these political positions or religious truths, artists relied upon iconography—a system of symbols that conveyed certain commonly accepted meanings. During the Renaissance the language of iconography expanded greatly, in large part because of the revival of knowledge about ancient religions, philosophy, and mythology. Iconography became an increasingly complex way of communicating meaning, since artists could employ symbols drawn from Christian, Roman, and Greek past as well as from other more obscure traditions.\n\n<!--more-->\n<p style=\"text-align: center\">Works Cited</p>\nBloem, Roderick.  “Michelangelo’s David.”  <em>University of Colorado, Boulder.</em> 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\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-9','','','2011-04-11 13:21:45','2011-04-11 19:21:45','',805,'http://jeanatacc.com/2011/?p=974',0,'revision','',0),(978,22,'2011-04-11 13:09:22','2011-04-11 19:09:22',' \r\n<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/Basilica_of_St_Denis\">http://en.wikipedia.org/wiki/Basilica_of_St_Denis</a></p>\r\n\r\nRebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. <!--more-->Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior. Sculptures on the church portals, meanwhile, developed into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of Lutenia (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church in here to commemorate his name whose burial site begun to attract many pilgrims. The church of ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church of ST. Denis has been recognized for many different reasons, amount the most important was that ST. Denis church was one of the first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church .\r\nIn contrast to the Romanesque church , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was an intricate web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension. Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone. Increasingly, images of Mary and depictions of her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts. Stained Glass Stained glass was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that, although untrue, reflects the popular equation of precious gems with sacred glass. Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven. The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture Vol.4 No.2 of Athena Review. London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-13','','','2011-04-11 13:09:22','2011-04-11 19:09:22','',790,'http://jeanatacc.com/2011/?p=978',0,'revision','',0),(977,9,'2011-04-11 13:24:34','2011-04-11 19:24:34','<p style=\"text-align: left\"><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\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.”  <em>University of Colorado, Boulder.</em> 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\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-12','','','2011-04-11 13:24:34','2011-04-11 19:24:34','',805,'http://jeanatacc.com/2011/?p=977',0,'revision','',0),(979,37,'2011-03-22 14:31:51','2011-03-22 20:31:51','TCP#2: San Vitale, Ravenna\r\n\r\nThe San Vitale Basilica or Basilica di San Vitale is located in the city of Ravenna in Italy which is a city located in the central part of Italy. The San Vitale Basilica construction started by the Bishop of Ravenna name Ecclesius after he returned from a trip from Byzantium where he met with Pope John in 526.  The construction of the Basilica Started in the site where the martyrdom of ST. Vitalis occurred and the basilica project was almost entirely funded by a wealthy person at that time named Julianus Argentarius who was a powerful person in Ravenna. The name of the architect of the basilica remains unknown till this day but it is important to mention that the basilica construction started during the time where the Goths were in control of Ravenna but the basilica was later finished during the times where the Byzantine rule Ravenna around 548 (Bovini).<!--more-->\r\n\r\nThe Basilica of San Vitale is fascinating in its design and structure because it is not purely a byzantine building or a Christian building, but it is a combination of both the Roman style and the byzantine style, which make it unique in appearance and beauty. The exterior of the Basilica of San Vitale is an octagonal structure composed with a small dome, which was typical of Byzantine architecture, also the octagonal plan have two stories closing a central space beneath a great cupola. Another characteristic of the exterior is that there is a porch attached at an angle in the west side of the structure and to the east there is a small choir and apse. The interior of the Basilica of San Vitale is decorated with 18<sup>Th</sup> century murals like in the cupola but the rest of the interior is decorated in a byzantine style, also one of the most notorious part of the interior of the Basilica are the Byzantine mosaics that are located in the ceilings of the choir and apse (Garotti).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale.jpg\"><img class=\"alignleft size-medium wp-image-716\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/20080614_16_36_12_Italy_Ravenna_Basilica_of_San_Vitale-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n\r\nThere is an arch that establishes the entrance to the presbytery and that part is decorated with mosaics that depict Christ, the apostles and some saints. The Presbytery or the Choir has many mosaics and its ceilings and walls have mosaics representing the Eucharist service, the left wall of the presbytery is characterized by mosaics representing the life of Abraham and the mosaics present stories like the one that Abraham is close to sacrifice his son in order to follow God wishes. On the right wall of the Presbytery is characterized by mosaics depicting Moses and some prophets, most of the mosaics have some sort of animals accompanying the main characters of the mosaics. Then there is the Presbytery vault, which is decorated with brilliant gold, green, blue colors and with small animals. Then there are the apse mosaics that dated from 526-547 AD and presents a full shave Jesus with San Vitale flanking him and with Bishop Ecclesius and a couple of angels, Also some mosaics depict emperor Justinian who was one of the biggest emperor of the Byzantine empire (MacDonald).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa.jpg\"><img class=\"aligncenter size-medium wp-image-717\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/xti_6621pa-300x199.jpg\" alt=\"\" width=\"300\" height=\"199\" /></a>\r\n\r\nThe 6<sup>Th</sup> century period is characterized by the fall of the Roman Empire and this period represents a point of changes and devastation especially in the Roman Empire. During this period one main characteristic was the spread of Catholicism in the west and dethroned Arianism as the main religion in the west. In a way that allows more unity regarding religion and the 6<sup>th</sup> is described as the period of a great emperor named Justinian. During this period Italy was in ruins and many people die to the devastation and war that lasted many years, also the roman empire suffer from the devastation of earthquakes and the invasion of other empires like the Persians. One huge event I think for this period is what happened from all this devastation and that was basically that the population dropped dramatically in Rome below 100,000 and also another aspect is that Latin lost some traction in society and Greek became very preponderant in some parts. During the 6<sup>th</sup> century the Byzantine empire led by emperor Justinian the Great who came to power in AD 527 and returned the glory to the empire by making some changes in the way the legal system and how things were administered in the empire and also emperor Justinian allow and promote the construction of many churches and many mosaics that ended up promoting Christianity. Emperor Justinian was married to a famous ex-courtesan name Theodora and one of their mosaic where both appear facing each other is located in the Basilica of San Vitale. Theodora play a big role in governing the empire and in the making of the important decisions and is she is attributed with helping emperor Justinian made the decision of staying in Constantinople when there was a revolt in AD 532. In AD 537 architects working on the church of Santa Sofia made great developments in construction by being able to place a dome on top of a square formed of four arches. Another development during this period was the promotion of many reforms in the way the civil services were administered with the idea that corruption should be controlled and also with the idea of how to better collected the tax, these measures at the beginning were very unpopular because many did not wanted any change, only after many years pass by the reforms made by Justinian promote are seen as innovative and important. Another development conducted by emperor Justinian was the appointment of a commission of ten men that were in charged of checking was happened during past administrations so in way they were fiscalizing previous governments. Also the commission was in charge of giving a pure version of the constitution and they did by publishing what is known as the Codex  Constitutionum  which is basically a constitution that was published in AD 529. Later in AD 534 the constitutions was modified by a new text named Digesta  which became the new codex. The Codex of AD 534 is what is currently known as the Justinian code of law and consists basically of 12 books with more than 4,000 laws (Ostrogorsky).\r\n\r\nThe early Christian architecture involved the construction of two types of buildings: the basilicas that were designed for worship and as a place for people to meet and the other type of buildings were the martyrium which served as a place where people that have died could be venerated. Some of the main characteristics of Byzantine art are the idea that things should go out of the ordinary and into the extraordinary. In architecture there was a focus for aesthetic detail like for example the use of walls that are supposed to look like curtains and that are supporting a dome and also the use of marble and gold was very common in byzantine art. Byzantine art had an especial focus on Christian ideas and also the decoration of buildings particularly inside them was very detail oriented and with many ornaments. The greatest building in the Byzantine Empire was Hagia Sophia, which is also known as the church of the divine wisdom in Constantinople that was build by emperor Justinian. During the 6<sup>th</sup> century many developments happened in mathematics and also in art to a degree that the period is consider a golden age for byzantine art. For example the architect of the basilica of Hagia Sophia named Anthemius mentioned that architecture needed the use of mathematics in order to transform the solid matter and molded into spectacular shapes. Byzantine art also used materials considered the best at that time like granite and marble, the structures were also full of mosaics like the ones present in the Basilica of San Vitale in Ravenna (Cormack).\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128.jpg\"><img class=\"aligncenter size-medium wp-image-719\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/SuperStock_1566-302128-300x195.jpg\" alt=\"\" width=\"300\" height=\"195\" /></a>\r\n\r\nAccording to Krautheimer The Basilica of San Vitale is the only building or structure outside of Constantinople that really approaches the level of elegance and sophistication of the Byzantine structures like Hagia Sophia. Usually when people talk about the basilica of San vitale they do it because it offers a way to determine the main characteristics of Byzantine buildings and also the basilica serves as a way to analyze western imperial designs. The design of the Basilica of San Vitale was inspired by the design of the basilica of Hagia Sophia in Constantinople and one of the main purposes for the developing of the Basilica of San Vitale at the beginning was to have a building that surpass by far any other building in the west especially the Arian Cathedral known as San Apollonaire Nuovo that was built by Theodoric. The design of the Basilica of San Vitale is more simplistic that the one of the basilica of Hagia Sophia but it has a complexity in the volumes and the spatial vistas, for example the interior of the basilica is complex with many overlapping vistas that have no comparison not even in Constantinople, which made the Basilica of san Vitale as one of the Great buildings in the west during the 6<sup>th</sup> century.\r\n\r\nIn my opinion the Basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century because of its sheer beauty and the incredible mosaics. Although I have not visited the basilica in person I can tell that the mixture of roman architecture like the doomed roof or the arches in doorways and Byzantine architecture like the polygonal shapes use and detailed of the work make the basilica a unique building not only in the 6<sup>th</sup> century but also till this day. Another aspect that in my opinion is interesting is symbolism and the sacred objects used in the basilica, for example, there are many mosaics that depict events from the Old Testament like the story of Abraham, the story of Cain and Abel among some of them. Another aspect that can put into perspective of how important the Basilica was at the time of its creation is that according to my research during the splendor of the Byzantine Empire many people travel to Ravenna that was a big city in the empire in order to witness such an extraordinary structure. In a way the basilica is more than a marvelous structure and building but also a place where people can look and traced back some of the roots and ideas of one of the biggest empires the world have ever seen.\r\n\r\n&nbsp;\r\n\r\n<strong>Works Cited</strong>\r\n\r\n-Krautheimer, Richard. Early Christian and Byzantine Architecture. Baltimore: Penguin Books. 1965\r\n\r\n-Bovini, Guiseppe. Ravenna: Art and History . Publisher: Longo (1978)\r\n\r\n-Ostrogorsky, George. History of the Byzantine State. Rutgers.The State University of New Jersey. 1997\r\n\r\n-MacDonald,  L. William. Early Christian and Byzantine architecture. New York . 1962\r\n\r\n-Garotti. G. A History of Art. Volume 2. Publisher: E.P Dutton . New York. 1909\r\n\r\n-Cormack, robin. Byzantine Art (Oxford History of Art). Oxford university Press. 2000.\r\n\r\n&nbsp;\r\n\r\n&nbsp;','San Vitale Basilica, Ravenna (TCP#2)','','inherit','open','open','','715-revision-3','','','2011-03-22 14:31:51','2011-03-22 20:31:51','',715,'http://jeanatacc.com/2011/?p=979',0,'revision','',0),(980,22,'2011-04-11 13:31:55','2011-04-11 19:31:55',' \r\n<p style=\"text-align: left\"><img class=\"size-full wp-image-792 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/03/220px-Saint-Denis_-_Basilique_-2.jpg\" alt=\"center of the bacilica \" width=\"220\" height=\"298\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/Basilica_of_St_Denis\">http://en.wikipedia.org/wiki/Basilica_of_St_Denis</a></p>\r\n(Rebuilt and enlarged approximately four times from the 7th through 13th centuries, the Abbey church of Saint-Denis realized its unique status as pioneer in Gothic architecture under the innovative guidance of abbot Suger (1122-1151). These renovations of the obbey church between 1137-1144, form one of the most important architectures of the Middle Ages in providing a first-hand look at the transition from the Late Romanesque to Gothic architecture in France. Above the Romanesque crypt with its massive walls and semi-circular arches supported by low, thick columns, the new choir built under Suger\'s direction formed a double ambulatory with pointed arches and ribbed vaulting. This lighter, skeletal design permitted increased elevation and freed the walls from a primary load-bearing capacity, allowing extensive use of stained glass windows in a higher, more spacious, and light-filled interior.)<strong><em> Bony, J  </em></strong>Sculptures on the church portaldeveloped into a level of figurative sophistication not seen since Late Antiquity. Art historians all agree that the church of St. Denis in France was the first place were gothic architecture was born. The basilica of ST. Denis became popular for different reasons one of the most important was the story of the cathedral and how it was build, according to the 9th century Carolingian legend, ST. Denis the first bishop of Lutenia (roman Paris ) was beheaded around AD 250 by Roman soldiers in Montmartre, but then walked away with his severed head in his hands beyond the center of Paris before dying. The legend said he was buried in a clandestine ceremony after his martyrdom near the roman town of Catalacus about 11 km north of Paris. In about A.D 475, ST. Denis was reburied in a Gallo-roman cemetery at the eventual site of the monastery named after his name. ST. Genevieve, patron of ST. Denis constructed the first church in here to commemorate his name whose burial site begun to attract many pilgrims. The church of ST. DENIS (France) should be preserved not just because of the incredible history inside its walls and structures, but because it was the burial place of French loyalty and one of the first churches that was created in gothic style.\r\n<p style=\"text-align: left\">The church of ST. Denis has been recognized for many different reasons, amount the most important was that ST. Denis church was one of the first church that had the gothic structure. In fact, While Gothic cathedrals followed Saint-Denis in adopting a new look, their floor plan the Latin cross remained basically the same as that of the Romanesque church .\r\nIn contrast to the Romanesque church , with its well-defined cubic volumes and its simple geometric harmonies, the Gothic cathedral was like  a web of stone, a dynamic network of open and closed spaces that evoked a sense of unbounded extension.( Learned churchmen might glean from these images a profound symbolic message, while less educated Christians might see in them a history of their faith and a mirror of daily experience. Science and Technology 1122 Abbot Suger combines pointed arches and rib vaults in remodeling the abbey church of Saint-Denis. This trend accompanied a proliferation of religious imagery and architectural detail that turned some Late Gothic church facades into encyclopedias in stone.  ) <strong><em>ichel. 1973 </em></strong>Increasingly, images of Mary and  her life came to adorn church portals, stained glass windows, altarpieces, and illuminated manuscripts was to the Gothic cathedral what mosaics were to the Early Christian church: a source of religious edification, a medium of divine light, and a delight to the eye. Legend had it that Abbot Suger, the first churchman to exploit the aesthetic potential of stained glass, produced blue glass by grinding up sapphires story that reflects the popular equation of precious gems with sacred glass.(Drawing on this mystical bond between Jesus and light, Suger identified the lux nova (“new light”) of the Gothic church as the symbolic equivalent of God and the windows as mediators of God\'s love. But for Suger, light especially as it passed through the stained glass windows of the church also signified the sublime knowledge that accompanied the progressive purification of the ascending human spirit, sustained his belief that contemplation of the “many-colored gems” of church glass could transport the Christian from “the slime of this earth” to “the purity of heaven.)The light symbolism that Suger embraced was as distinctive to medieval sermons and treatises as it was to the everyday liturgy of the church. Modern critics have recognized the Gothic style as a sophisticated and majestic expression of the age of faith. But, reflecting a shift of intellectual life from the monastery to the town, the Gothic cathedral was also the administrative seat (cathedra) of a bishop, the site of ecclesiastical authority, and an educational center fount of theological doctrine and divine precept. The Gothic cathedral, was large enough to hold the entire population of a town, (was the municipal center of gravity.) meaning that it was the center of attraction.\r\nThe church of ST.DENIS became immensely famous for the history of the loyal French loyalty as well as the way they were preserved. For instance, the surviving sculptural fragments include three heads in the Musée national du Moyen Age (former Musée de Cluny) as well as several original heads of apostles and kings from the Last Judgment. These Old Testament figures not only represented early protagonists of Christendom, but also alluded to the divine right of the French rulers, following in the succession of biblical kings. For example, the head of a queen from the central portal, possibly the Queen of Sheba, shares stylistic parallels with a sculpture of Eve\'s head at Autun Cathedral in Burgundy, attributed to the sculptor Giselbertus. Both share the same deep boring of their pupils, and \'worm-like\' strands of hair, and can thus be dated to around 1135-1140. In contrast, the jamb figures of the north portal (ca. 1130-1135) resemble those found at the St. Etienne Cathedral in Toulouse, which have a similar posture with crossed legs, as well as decorative jeweled borders.</p>\r\n<p style=\"text-align: left\">Fragments of two conjoined heads of the apostles and the two elders, now at the Louvre, reveal the Gothic concern for sculptural volume in the heavy treatment of the flesh and the typical feature of thick rimmed eyes. This portal also contains the original 12th century carvings of the Dove and the Lamb, as well as God and Christ.\r\nThe north doorway now contains a 19th century relief of the Martyrdom of St. Denis as well as a statue of the Virgin on the trumeau. Here St. Denis is portrayed in his final hours holding his decapitated head, near the original 12th century carvings of the signs of the Zodiac on the doorjambs. The south portal illustrates the Last Communion of St. Denis, with the original heads replaced in the 19th century. A sculpture of St. Denis, carved in a fully developed naturalistic style of the early 13th century, was once located on the gable.\r\nSaint-Denis held several cloisters, at least one of which contained an interesting variety of Gothic art. The main cloister, constructed sometime after Suger\'s death and destroyed ca. 1751, has yielded the only remaining intact column sculpture of a king from Saint-Denis. Now preserved at the Metropolitan Museum of Art in New York, this intricately carved figure parallels sculptures on the west façade at Chartres. For all the history and its amazing sculpture the church of ST. DENIS should be preserved to show future generations the importance of history and how Christianity had been built. In addition, the church of ST DENIS should be considered as one of the most important churches in the world because it has been recognized to be where gothic structure was born.</p>\r\n<p style=\"text-align: left\">Work cited</p>\r\n<p style=\"text-align: left\">Bony, J. 1983. French Gothic Architecture of the 12th and 13th centuries. Berkeley, Los\r\nAngeles, and London, University of California Press.</p>\r\n<p style=\"text-align: left\">Williamson, P. 1995. Gothic Sculpture. New Haven and London, Yale University Press.</p>\r\n<p style=\"text-align: left\">Charles, W. 1988. The Abbey Church of Saint-Denis: Birthplace of Gothic Art and Architecture Vol.4 No.2 of Athena Review. London, university of California Press.</p>\r\n<p style=\"text-align: left\">The humanistic tradition vol. 1 Fiero 6e.</p>\r\n<p style=\"text-align: left\">Michel. 1973. Histoire de l\'abbaye royale de Saint-Denys en France: Lettre-préf. de M. le Duc de Bauffremont. Introd. de Hervé Pinoteau. 1. [Nachdr. d. Ausg. Paris, 1706]. - 1973. - 524 S. Paris: Éd. du Palais Royal Félibien.</p>','CHURCH OF ST. DENIS FRANCE ','','inherit','open','open','','790-revision-14','','','2011-04-11 13:31:55','2011-04-11 19:31:55','',790,'http://jeanatacc.com/2011/?p=980',0,'revision','',0),(1086,16,'2011-04-25 13:41:10','2011-04-25 19:41:10','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8.jpg\"><img class=\"size-medium wp-image-1087 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/04/cortes8-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" /></a></p>\r\n<p style=\"text-align: center;\">http://www.lilalions.com/blog/CM1A_LF/</p>\r\n<p style=\"text-align: left;\">The Letters from Mexico written by Cortes to the King and Queen of Spain, offer a glimpse of the time of the Spanish conquistadors and the exploration of the New World during the early 1500s. These letters describe the culture of the indigenous civilization, the Aztecs, their ancient city, their culture, and their way of life before the destruction of the ancient civilization, illustrating the clashing between two different cultures, and illustrate a very important perspective of the events in Spanish exploration of the New World through one of the most important figures in history.</p>\r\n<!--more-->Hernan Cortes was born 1485 into a noble family in Medellin, Spain. He studied law in Salamanca, ran away when he was nineteen, and entered the military under Diego Velazquez. He died 1547 (\"Cortés, Hernán\"). Cortes is the most famous conquistador in history known for being mistaken as a deity by the natives, having toppled the great city of Technochtitlan, and facilitated the fall of the Aztec Empire (\"conquistadores\").  During his travels in the New World, Cortes had contact with the various Native inhabitants and the Aztec people writing reports or letters to the King and Queen of Spain explaining various situations and events that happened. Like many notable works during this era, Cortes’ letters described the native peoples explaining in great detail about their wealth, “harmony,” culture, and civilization. Like other conqueror of any nation, he views the Natives as barbaric and uncivilized: an attitude that is often illustrated within his letters.\r\n\r\nThe letters that Cortes wrote also give great insight into what the Conquistadors at the time were thinking of the Natives. One thing that sets the letters apart from other “works” is that it offers a conqueror’s perspective on history. Despite his notions of the natives, he still provides a very detailed account of what their culture, rich descriptions, praise, and even admiration towards the Natives to the point where he would compare them to Christian or Islamic nations. In one of his letters, he marvels at the structure and of the city: “There are in the city many large and beautiful houses, and the reason for this is that all the chiefs of the land, who are Montezuma\'s vassals, have houses in the city and live there for part of the year; and in addition there are many rich citizens who likewise have very good houses. All these houses have very large and very good rooms and also very pleasant gardens of various sorts of flowers both on the upper and lower floors” (Fiero), illustrating his awe at what the Aztecs achieved.\r\n\r\nAnother comparable work regarding the Natives and the New World is “A Short Account of the Destruction of the Indies” by Bartolome De Las Casas, a monk and philanthropist who objected against Spanish conquest in defense of the Natives, having witnessed their subjugation. His work provides a point of view that is different, completely opposite of the conqueror’s perspective. In his work, he focuses much on cruelty done to the Natives by the Spanish. His work also gain considerable influence and advocated for more humane policies regarding the Natives.\r\n\r\nCortes’ letters were mainly received by his superiors and the King and Queen of Spain. He sent five long dispatches to the King describing his conquest. His fourth and fifth letters were not published until the nineteenth century (Angel) possibly because they were the least exciting of the five letters. The rest of the letters were quickly known throughout Europe and were translated into Latin, Italian, and German. They were published around 1522 to 1532 (Angel). Back then, the European civilizations where curious about the New World and its inhabitants and Cortes’ letters provided them a glimpse, albeit, a biased view, of the Natives and the New World. Many are still fascinated by ancient Native American civilizations. However, the letters of Cortes and many other works of the like are not as well known to the average citizen.  Yet, the fact that his writings are still studied and being published in books up to today represent that his writings still hold much value and relevance in today’s world, for it could be said that it is Cortes’ letters that paved the way for European opportunity (Angel). It was Cortes and his conquest of Mexico that allowed for the influx of wealth being poured into Spain and the rest of Europe. The discovery of the New World brought many new and interesting trades, foods, crops, and spices. At the same time, it meant massive death by common diseases brought over by the settlers (John), the destruction of their culture, the forced conversion of Christianity imposed upon them, and the enslavement of the indigenous people. In fact, the first fifty years of contact almost killed the whole native population and other densely populated areas.\r\n\r\nPersonally, I was intrigued that Cortes found many similarities between his culture and the Natives to the point where he compares the great city of Technochtitlan to the Spanish city of Seville. Yet, he still finds one fault that lead to a great divide between the Natives and himself, leading onward to a culture clash, which unfolded into the mass extermination of the Natives and the elimination of their way of life: the fact that they were polytheistic and were not of the same religion as Cortes. Because of this fact, he continued to view the Natives as barbaric people who need to be brought the knowledge of God: “I will say only that these people live almost like those in Spain, and in as much harmony and order as there, and considering that they are barbarous and so far from the knowledge of God and cut off from all civilized nations, it is truly remarkable to see what they have achieved in all things” (Fiero). Although Cortes believed that the Natives needed to be Christian or Catholic, religion and beliefs were not the only reason why Cortes wanted to conquer the New World, one should note that there was wealth to be had by doing so. From a much broader perspective, economic interest also played a  major role in the conquest.\r\n\r\nAlthough Cortes’ actions facilitated the growth of wealth into Europe’s economy and provided great detail of what was once the Aztec Empire before its fall, offering a perspective of the events during his conquest, much that could be learned from the Aztecs have been lost. Generations should look back at it and learn one of the most important lessons that is still very relevant in today’s world. As illustrated in Cortes’ letters, culture clashes happen when people are not able to be able to think beyond the context of their own culture, thus creating conflict. Cortes had no doubts in his belief of the superiority of the Christian faith and did what he believed was what should be done in his understanding of it, which was to conquer for “God, king, and country” no matter what it meant (Angel). In the end, Technochtitlan was leveled to the ground. All the gold on the structures of the city were melted down and sent to Spain.  The Natives lost much of their identity and forgotten many of the great achievements that they had, and experienced and generations of conflict. Many of what the Aztecs valued, ancient knowledge, and what future generations could also benefit from their achievements have been destroyed, lost in time.\r\n<p style=\"text-align: center;\">WORKS CITED</p>\r\nAngel Delgado Gómez \"Cortés, Fernando\" The Oxford Encyclopedia of Mesoamerican\r\n\r\nCultures. Ed. Davíd Carrasco. Oxford University Press, 2006.  Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t221.e151&gt;\r\n\r\n\"conquistadores\"  A Dictionary of World History. Oxford University Press, 2000. Oxford\r\n\r\nReference Online. Oxford University Press.  Austin Community College.  25 April 2011&lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t48.e917&gt;\r\n\r\n\"Cortés, Hernán\"  The Oxford Dictionary of the Renaissance. Gordon Campbell. Oxford\r\n\r\nUniversity Press, 2003.  Austin Community College.  25 April 2011 &lt;http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?subview=Main&amp;entry=t175.e963&gt;\r\n\r\nJohn M. D. Pohl, Michael E. Smith, Deborah L. Nichols \"Aztec Civilization\"   <em>The Oxford </em>\r\n\r\n<em>Companion to Archaeology</em>. Brian M. Fagan, ed., Oxford University Press 1996. <em>Oxford Reference Online</em>. Oxford University Press. Austin Community College. 25 April 2011 &lt;http://www.oxfordreference.com/views/ENTRY.html?subview=Main&amp;entry=t136.e0043-s0004&gt;\r\n\r\n&nbsp;','Cortes\' Letters from Mexico','','publish','open','open','','cortes-letters-from-mexico','','','2011-05-08 20:50:30','2011-05-09 02:50:30','',0,'http://jeanatacc.com/2011/?p=1086',0,'post','',9);
