Viewing Renaissance Art Chapter 2

Introduction - Chapter 2
Refers us to the notion of magnificence as proposed by Aristotle and the way in which wealthy patrons sponsored works not only for their own enjoyment but for the public good. Also how guilds and confraternities even those associated with the lower social classes might raise money to commission work for their own religious purposes and the edification of the general public.

Florentine art and the public good.
Jill Burke introduces the notion of art in Florence and the public good. This chapter will investigate the tradition of Florentine pride in the visual arts that influenced Vasari's collection of artists biographies. Vasari, however, wrote his Lives during the time that Florence was ruled by the Medici's and he writes in a manner that suggests that the patronage of the elite was the main factor and that the art was primarily intended for the elite. This chapter also concentrates on the large amount of art and architecture that was instigated by Guilds, Confraternitites and the Republic to serve their various interests, the common good and promote pride in the city.

1. 'Firenze bella'
This section relates to the way in which Florence was governed for the public good by committees and bodies that were primarily borne out of the various merchant guilds. This ensured that no one family or guild was able to dominate the city and its governance for their own ends, and ensured the principle of commune and republic. The building and development of the city was controlled so as to reinforce the shared pride in the city. This period ran from late 1200's through to the early 1500's.

2. Magnificence and the Medici's

This section covers the rise of the Medici family and once again demonstrates how the idea of 'magnificence' i.e. the spending by an individual or a family on projects for the common good of the city, the populace or the church was a well accepted and encouraged act. Several specific art works are discussed notably Pl.2.15 p.70 Andrea del Verrocchio Christ and Saint Thomas Pl2.8 p.65 Donatello David Pl.2.9 p.65 Donatello Judith and Holofernes and Pl.2.16 p.72 Domenico Ghirlandaio, Annunciation to Zachariah.

3. Magnificence Contested
The Medici family eventually came to establish an hereditary duchy in Florence, but this was often contested and resented as being an erosion of liberty and republican virtues, although it was a period of prosperity for the city. On three occasions the Medici's were exiled. Their opponents contested the idea of 'magnificence', seeing such spending as only benefiting and promoting the interests of themselves and their family. A leading critic Savonarola came to prominence preaching against such extravagances and promoting extreme piety. He was executed for false prophecy in 1498.

4. Communal Patronage in the Service of the Republic
Between Savonarola's execution in 1498 and the return of the Medici's in 1512, there was a resurgence of the republic. Works commissioned during this time included paintings in the Sala dei Cinquecento by Leonardo da Vinci and Michelangelo which were never finished. Pl.2.19 p.77 illustrate copies as the originals were painted over. Above the north doors of the Baptistery, John the Baptist preaching to a Levite and Pharisee (Pl.2.21 p.78)were commissioned and executed by Giovanfrancesco Rustici, which appeared to reflect the earlier works of Donatello (Pl.2.22 and Pl.2.23 p.79) harking back to the pre-magnificence styles. The most outstanding work of this period is Michelangelo's David completed in 1504 and subsequently erected in the Palazzo della Signoriam to evoke the ideals of the republic.

5 Artisans and Workers
This section reports how even the most unskilled and poorest of workers could have and did purchase religious imagery for their own homes, and how even relatively modest craftsmen would purchase tombs or donate artworks in churches. Also is recorded some comparative values between earnings of Florentine workers and those in Britain today.

6. Confraternities and the Visual Arts
Individuals who would have no way of being able to afford or sponsor works of art or events were given the opportunity to participate through membership of confraternities. Groupings either by trade or age or geographical location, such as an area of the city. These confraternities gave a community identity that provided support for their members. Particular reference is made of the carders, the semi-skilled workers who cleaned the wool cloth before it went to be dyed (p.85) and their various activities including regular masses, processions, and religious enacted drama's, all of which were seen as contributing to the cultural and religious life of the city in the same way as the sponsorship of works of art by the much more wealthy guilds or individuals.

7. Corporate Patronage and Empowerment
As well as the confraternities there was one type of organisation that seems to have represented the lower classes the potenze (literally the powers) which staged festivals, processions etc at holiday periods and seems to have represented its group as required throughout the year. Florence was divided into areas or kingdoms, markers of their districts can be seen on page 87 pl.2.28 and 2.29. Particular note is made of a street tabernacle commissioned by the potenze kingdom of Bethlehem (Pl.2.30 p.88) a ceramic portrayal of the Virgin, Jesus and various saints. Erected probably to give thanks for survival of the plague this public work of art would have been paid for by the poorest in society.

8. Conclusion
This chapter suggests that Vasari takes away the social and political reasons for the creation of much of the art and artifacts of the Renaissance, and instead attributes them solely to the creation of the genius artist and the educated benefactor. In reality Michelangelo's David was created as a reminder of Florence's republican position and an inspiration to its citizens to maintain this.