reputation of the chosen artist. Art in 15th century was looked at as a medium of business and affluence. Great masterpieces were patronized by rich and affluent people. In 1480, the famous Renaissance painter Pietro Perugino was commissioned by Pope Sixtus IV to create the most beautiful fresco for one of the walls of the Sistine Chapel
Margaret of Savoy was a dedicated woman. She was unlike anyone else. She had wealth, power, and good looks but she didn’t use any of those things to her advantage. Many looked at her as being a powerful royal daughter but as I learned more about her I learned that she was and is much more than that. Prince Amadeus went to Geneva to arrange for his marriage which was customary, especially for the ruling families in Europe. His choice was determined by the recommendations of
interests, greed, and power were the main underlying factors that decided the relationship and outcome of the powerful Medici family and the quickly rising Pazzi influence. We can see revenge and politics in prime examples such as: Pazzi’s ties with the Pope, Guglielmo Pazzi marrying Lorenzo's sister, Tommaso’s bribery and support of the Medici, the attempted excommunication of Lorenzo, and Lorenzo’s visit to the King of Naples. Renaissance Italy was far from just art and literature, it was a tangled mess
under the rule of king Matthias of Hungary (Matthias I). In the middle of the renaissance England was charged with lawlessness and disorder. King edward IV was crowned king in 1461 and reduced the dismay and law breakers. He also brought back the diminishing royal authority (Edward IV). This may be surprising but there has only been one english Pope, his
The year is 1524; Desiderius Erasmus, the famed humanist scholar, has finally chosen a side in the debate between the Catholic Church and Martin Luther by publishing his Diatribe on Free Will (Waibel 71). Prompted by Pope Adrian IV to distance his own humanist work from the spiritual reform of Luther, Erasmus’s Free Will asserts how important humanity’s freewill is in the effort of salvation (Tomlin 139). His view was a direct assault against Luther's own vocal opinion on the subject (Waibel 72)
Dialectoc Composition In Purgatorio V In this canto there appear to be none of those cruces on which contemporary criticism often fastens as basic for the understanding of the poem's deeper meaning. It nevertheless contains some of the most vivid episodes of the journey, especially in its second part, involving the stories of three memorable characters. As is characteristic of the whole cantica, and is especially evident in the first cantos, we find that the three souls we meet here are,