Reference no: EM133804202
Make sure to answer the following in three to four sentences, using the lectures as a source for your answers.
1. In Leonardo da Vinci's painting, The Last Supper, how does the artistic convention known as psychological realism help us identify each of the twelve apostles? Name any of the four apostles cited in the lecture and explain: what is this person doing, and how do we know who it is?
2. Compared to its role during the height of the Roman Empire, what was the city of Rome like during the early Renaissance? What iconic features of Roman engineering are cited in the lecture as evidence of its status? What did Pope Martin V do about it, and why did he do that?
3. What is purgatory, and what was the spiritual purpose of selling indulgences? Cite an example from the lecture to explain how the sale of indulgences impacted Renaissance-era art and architecture.
4. What social trend relevant to our class compelled Dominican Friar Girolamo Savonarola to become an iconoclast in 15th-century Florence? How did Pope Alexander VI respond to this, and how does Savonarola's story represent a change in the Catholic Church's attitude relative to their treatment of Peter Abelard in Chapter 6?
5. The artist Michelangelo originally refused the commission to paint the ceiling at the Sistine Chapel. What other long-term project cited in lecture was he working on at the time, what did the pope have to do with his initial refusal, and why did he eventually agree to take the job?
6. Recalling Machiavellian political philosophy, explain why the difference between "the manner in which we live and that in which we ought to live" justifies ethical pragmatism. Why does Machiavelli consider ethical pragmatism among the chief virtues of a successful leader? Did the Catholic Church agree with Machiavelli's view on ethics? Why or why not?
7. In Titian's painting, Sacred and Profane Love, what does this title mean? Explain how a specific example cited in the lecture identifies the side of the painting representing the "sacred" and the side representing the "profane.".
8. In her Defense of Liberal Instruction for Women, a response to critics suggesting that she did not write the Family Letters, who did Laura Cereta blame for the fact that most women were not educated on an equal level as men and what was she "defending" as the title of her letter suggests?
9. In the two quotes cited in the lecture from her book, The Nobility and Excellence of Women, how does Venetian Humanist Lucretia Marinella describe common male reactions to intellectually superior women who rebuff their romantic advances? What does she suggest men like this could do to change their behavior?
10. How do the private and public lives of the Venetian "Honest Courtesans" like Veronica Franco mirror the literary concept of double entendre featured in the excerpt from her poem, Treze Rime, Capitolo 13, cited in lecture?