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<v Speaker 1>Hello, and Welcome to Western SIEV. Early Modern overview three.

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<v Speaker 1>Politics and culture. Early modern Europe is usually seen as

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<v Speaker 1>the period in European history that sees the development of

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<v Speaker 1>the nation state. That is, true, patchwork kingdoms gave way

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<v Speaker 1>to more settled boundaries between fourteen fifty and sixteen fifty,

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<v Speaker 1>and those boundaries normally contained a population with a shared

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<v Speaker 1>language and culture that by definition is a nation state. Still,

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<v Speaker 1>the vast majority of Europeans even by sixteen hundred, were

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<v Speaker 1>not literate. Thus they didn't likely understand these various translations

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<v Speaker 1>outside of their village or town. Religion was likely the

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<v Speaker 1>only thing that gave them a sense of belonging to

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<v Speaker 1>their state or kingdom. Even language was not a cohesive

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<v Speaker 1>force by sixteen hundred, as there were many different dialects

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<v Speaker 1>throughout most of the kingdoms of Europe. The number one

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<v Speaker 1>factor by far that led to more nation states in

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<v Speaker 1>Europe by sixteen fifty was war, specifically the changing nature

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<v Speaker 1>and growing cost of war. Only kings and queens could

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<v Speaker 1>afford large standing armies by sixteen hundred. In the fifteenth century,

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<v Speaker 1>the deadliest type of fighter was a cavalryman wearing full

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<v Speaker 1>place armor and carrying a lance and sword. Met at

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<v Speaker 1>arms were always members of the nobility, and their primary

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<v Speaker 1>function in battle was frontline troops. They charged information at

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<v Speaker 1>a steady center with lances drawn against the enemy's front line,

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<v Speaker 1>hoping essentially to shock it into a retreat. Heavy cavalry

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<v Speaker 1>were regarded as the most important arm of the military

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<v Speaker 1>in the fifteenth century, but their invincibility was increasingly being

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<v Speaker 1>challenged during the later stages of the One Hundred Years War,

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<v Speaker 1>which ended in fourteen fifty three. English foot soldiers armed

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<v Speaker 1>with longbows were very effective against heavily armored French knights,

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<v Speaker 1>and in other fifteenth century wars soldiers used steel crossbows.

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<v Speaker 1>Pikes were even deadlier than bows. Foot soldiers armed with

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<v Speaker 1>ten to fifteen foot long pikes standing very close to

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<v Speaker 1>one another with all their pikes facing outward, an arrangement

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<v Speaker 1>called the Swiss Fans were able to defend against a

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<v Speaker 1>cavalry charge so long as they held their position. Horses

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<v Speaker 1>simply wouldn't charge into the wall of pikes, no matter

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<v Speaker 1>how hard they were spurred. Gradually, pikemen were reinforced by

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<v Speaker 1>foot soldiers carrying firearms. The first reasonably portable firearm was

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<v Speaker 1>the arquebus, a short metal tube attached to a wooden

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<v Speaker 1>handle loaded down the muzzle with powder and a round bullet.

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<v Speaker 1>The powder was initially lit by a slow burning wick

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<v Speaker 1>called a match cord, through a touchstone in the barrel,

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<v Speaker 1>a firing mechanism that was called a matchlock. Around fifteen hundred,

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<v Speaker 1>wheel lock firing mechanisms in which iron pyrite caused sparks

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<v Speaker 1>by being scraped along a metal wheel, was developed, producing

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<v Speaker 1>the first ever self igniting firearm. The wheel lock was

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<v Speaker 1>safer to the gunner than the matchlock because you didn't

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<v Speaker 1>have to use an open flame, but the arcubus was

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<v Speaker 1>heavy and it took so long to reload that two

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<v Speaker 1>pipemen stood on either side to defend this man against

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<v Speaker 1>a cavalry charge. Now the musket is really what starts

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<v Speaker 1>to change everything. It was developed in the fifteen twenties

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<v Speaker 1>and was much lighter and easier to reload than the arcubus.

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<v Speaker 1>Muskets also originally used matchlocks or wheelocks to fire, but

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<v Speaker 1>in the early seventeenth century the French invented a flint

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<v Speaker 1>lock firing mechanism in which flint strikes a piece of

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<v Speaker 1>steel to make sparks. Which ignite powder and an attached flashpan.

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<v Speaker 1>In this in turn, if it all goes according to plan,

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<v Speaker 1>ignites the main charge in the barrel. Flint Lock weapons

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<v Speaker 1>quickly replaced other types and remained the most common portable

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<v Speaker 1>firearm in Europe and European colonies all the way to

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<v Speaker 1>the middle of the nineteenth century. Musket Balls could easily

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<v Speaker 1>pierce armor, though plate armor got thicker. This thickness resulted

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<v Speaker 1>in increased weight, making horses so slow that they were

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<v Speaker 1>even more vulnerable. A nobleman had to figure he would

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<v Speaker 1>lose his horse every single time he went into battle.

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<v Speaker 1>Military commanders generally arranged their troops with pipemen to one

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<v Speaker 1>to two every two musketeers, though the later invention and

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<v Speaker 1>finally adoption of the bayonets, which is a dagger attached

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<v Speaker 1>to the end of the gun, made the same soldier

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<v Speaker 1>both musketeer and pipemen. Infantry troops on foot finally became

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<v Speaker 1>the heart of early modern armies, which is a change

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<v Speaker 1>that hadn't struck Europe since the Roman legions. In the

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<v Speaker 1>medieval period, foot soldiers had been the lowest rung on

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<v Speaker 1>the totem pole. These had been exclusively peasants, but gunpowder

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<v Speaker 1>changed all that. In fact, gunpowder was a major factor

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<v Speaker 1>in the declining role of the nobility in the making

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<v Speaker 1>of war. Pistols were invented around fifteen to ten, and

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<v Speaker 1>during several battles of the Habsburg Valois Wars in the

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<v Speaker 1>fifteen fifties, German mounted pistol users called writers humiliated heavily

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<v Speaker 1>armored French cavalry armed with lances. Writers were generally members

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<v Speaker 1>of the lesser nobility. They had to be able to

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<v Speaker 1>afford a horse, and their weapons were slowly adopted by

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<v Speaker 1>nobles elsewhere who abandoned lances and instead had three or

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<v Speaker 1>four pistols along with their swords. Pistols took a long

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<v Speaker 1>time to reload, by the way, so these pistoliers or

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<v Speaker 1>writers charged with several of them already loaded. Cavalry Firing

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<v Speaker 1>pistols were used by military commanders against other cavalry or

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<v Speaker 1>to break up large masses of foot soldiers. While handheld

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<v Speaker 1>weapons transformed actual pitched battles, large artillery weapons completely transformed

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<v Speaker 1>military tactics. Early cannons fired rocks, which were not uniform

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<v Speaker 1>in size intended to shatter on impact. By the middle

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<v Speaker 1>of the fifteenth century armies were using balls made of

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<v Speaker 1>cast iron and cannons that could be disassembled for easier movement,

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<v Speaker 1>which were much more expensive but much more effective. Cannon

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<v Speaker 1>balls blasted holes in high castle or city walls, and

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<v Speaker 1>defensive fortifications changed accordingly, becoming low, thick, earthen ramparts that

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<v Speaker 1>stood up to artillery quite easily. In the sixteenth century,

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<v Speaker 1>cities increasingly built more complex fortifications with outlying bastions in

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<v Speaker 1>which they could place cannons, making it very difficult to

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<v Speaker 1>take a city by four sieges grew longer. Starvation was

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<v Speaker 1>now by large the most important tactic in forcing a

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<v Speaker 1>city into submission. Undermining a city's walls became essentially antiquated overnight.

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<v Speaker 1>All this new military technology led to the growth of

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<v Speaker 1>standing armies that could make better use of them. This

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<v Speaker 1>benefited the crowned heads of Europe, who now had a

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<v Speaker 1>monopoly over these new model armies. These new armies were

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<v Speaker 1>also much larger than the medieval counterparts. Spain had less

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<v Speaker 1>than twenty five thousand total men under arms circa fifteen hundred,

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<v Speaker 1>but by sixteen hundred Spain was fielding a total military

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<v Speaker 1>of two hundred thousand men. Spread throughout Europe and the Americas.

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<v Speaker 1>Other European states saw their numbers increase proportionally. In the

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<v Speaker 1>Middle Ages, powerful nobles might field private armies roughly equal

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<v Speaker 1>to those commanded by the sovereign, hence the Wars of

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<v Speaker 1>the Roses. But by sixteen hundred, even the most powerful

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<v Speaker 1>of nobles, like Robert Dudley in England, who could still

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<v Speaker 1>maintain a private army, could not maintain armies of thousands

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<v Speaker 1>or tens of thousands of men. Military campaigns had been

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<v Speaker 1>traditionally fought from March to October, when food was available

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<v Speaker 1>for men and animals, and then the soldiers were simply

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<v Speaker 1>sent home for the winter. This was no longer advisable,

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<v Speaker 1>with the standing army going home meant likely that they

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<v Speaker 1>would desert, but governments could not afford to build barracks

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<v Speaker 1>for the troops. They were thus housed with civilian families,

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<v Speaker 1>with the family expected to provide a place for a

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<v Speaker 1>certain number of soldiers to sleep and keep warm. In theory,

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<v Speaker 1>the soldiers were supposed to pay for their food, but

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<v Speaker 1>as their pay itself often remained theoretical, they simply took

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<v Speaker 1>what they needed by force. The relationship between civilians and

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<v Speaker 1>soldiers was therefore often very hostile. Neither group had enough

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<v Speaker 1>to eat. The Spanish army, fighting in Flanders in the

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<v Speaker 1>late sixteenth century, was the first to contract directly with

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<v Speaker 1>local people to feed and clothe the troops. Technology changed

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<v Speaker 1>fighting at sea as well. In the Middle Ages, naval

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<v Speaker 1>combat was essentially non existent. Armies, not navies, fought over

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<v Speaker 1>the control of ports to an extent. That's still true

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<v Speaker 1>in the early modern period, but now navies also fought

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<v Speaker 1>over the control of the waterways themselves. Often states did

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<v Speaker 1>this in conjunction with merchants, since they were the ones

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<v Speaker 1>who owned the ships. Few states had standing navies until

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<v Speaker 1>the seventeenth century. Now, obviously, all these new militaries had

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<v Speaker 1>to be paid for. Hence, the growth of the state's

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<v Speaker 1>military led to a growth of its tax system and bureaucracy.

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<v Speaker 1>Otherwise you wouldn't be able to keep up with your neighbor.

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<v Speaker 1>This led to an increase in power for the sovereign.

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<v Speaker 1>After fourteen fifty, the size of European bureaucracies exploded as

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<v Speaker 1>kings issued more and more laws and gradually took over

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<v Speaker 1>the administrative powers being vacated by the Catholic Church. Because

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<v Speaker 1>almost all European monarchies were also hereditary. That also meant

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<v Speaker 1>that marital strategy was just as important as martial strategy.

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<v Speaker 1>We've already seen recently what happens when two dynasties, the

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<v Speaker 1>valoaw and the tutor run out of airs. Now, of course,

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<v Speaker 1>in addition to great nation states, it's worth considering government

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<v Speaker 1>and power at the local level. The Italian city states

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<v Speaker 1>are the most visible example of politics at the level

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<v Speaker 1>where it had the greatest impact on most people's day

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<v Speaker 1>to day lives. Their history reminds us that in all

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<v Speaker 1>of Europe, underneath the highest layer of in marrying hereditary dynasties, cities, villages, parishes,

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<v Speaker 1>so on, and so forth, many other governmental small units

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<v Speaker 1>all had authority over people in their families, just as

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<v Speaker 1>national and territorial rulers did. These lower levels of government

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<v Speaker 1>demanded taxes, developed bureaucracies, and issued ordinances. They created and

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<v Speaker 1>maintained courts that set punishments for those who did not

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<v Speaker 1>pay their taxes, abbey officials, or follow ordinances. Though most

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<v Speaker 1>men could not hope to become an official for a

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<v Speaker 1>national or territorial ruler, many could gain positions as village constables, gatekeepers,

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<v Speaker 1>or even market overseers. Some of these more local institutions

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<v Speaker 1>of government were run by the Church. Christians throughout Europe

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<v Speaker 1>paid taxes to their local parish and were under the

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<v Speaker 1>authority of church courts for matters involving marriage, morality, and

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<v Speaker 1>a variety of other issues. By fourteen fifty, villages in

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<v Speaker 1>many parts of Europe become what were called communes, with

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<v Speaker 1>institutions of self governance, such as councils or courts that

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<v Speaker 1>regulated planting and harvesting, and might represent the village as

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<v Speaker 1>a whole to outside political authorities. In some places, such

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<v Speaker 1>groups could issue ordinances and make legal decisions, either in

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<v Speaker 1>conjunction with the local lord or on their own. The

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<v Speaker 1>towns and cities that won their independence from local lords

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<v Speaker 1>and gained charters had even stronger institutions of governance. In

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<v Speaker 1>Germany and Italy, they might be under the jurisdiction of

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<v Speaker 1>only the emperor or of no higher political authority at all.

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<v Speaker 1>But even in areas in which national monarchies developed, cities

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<v Speaker 1>collected taxes, passed and enforced ordinances, built and maintained walls

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<v Speaker 1>and fortifications. They established courts, hospitals, orphanages, and often even

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<v Speaker 1>surprisingly municipal brothels. In his Lives of the most eminent painter, sculptors,

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<v Speaker 1>and Architects, a series of biographies of artists published in

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<v Speaker 1>fifteen fifty, Giorgio Vasari wrote as follows quote, the great

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<v Speaker 1>ruler of Heaven looked down, and, seeing the presumptuous opinion

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<v Speaker 1>of man, more removed from truth than light from darkness,

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<v Speaker 1>resolved to send to earth a genius universal in each art,

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<v Speaker 1>so that the world should marvel at the singular eminence

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<v Speaker 1>of his life and works, and all his actions, seeming

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<v Speaker 1>rather divine than earthly end quote. He also published a

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<v Speaker 1>new word to describe the new types of art made

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<v Speaker 1>by this singular genius. He was talking about Michelangelo, and

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<v Speaker 1>he called them Renaissance artists. Writers and thinkers of the

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<v Speaker 1>fourteenth and early fifteenth centuries such as Petrarch and Lorenzo Valla,

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<v Speaker 1>had already seen themselves as reinvigorating the classical past, but

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<v Speaker 1>Vasari thought that rebirth had gone beyond the original. He

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<v Speaker 1>wrote as follows quote, many works today are more perfect

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<v Speaker 1>and better finished than were those of the great masters

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<v Speaker 1>of the past end quote. These creators were, in the

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<v Speaker 1>eyes of Asari and many now simply highly skilled and

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<v Speaker 1>highly trained artisans. These were rare men of genius who

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<v Speaker 1>needed to take credit for their work now, as we've

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<v Speaker 1>already seen in previous episodes, scholars still debate whether the

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<v Speaker 1>Renaissance should be viewed as the beginning of the modern

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<v Speaker 1>era or as a transition to the mod Personally, I

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<v Speaker 1>think it's the latter, but again I'm not a historian. Now, look,

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<v Speaker 1>not everyone could participate in this cultural rebirth, even had

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<v Speaker 1>they been aware of it and wanted to. Social class, gender,

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<v Speaker 1>and especially geographic location all influenced the chance that one

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<v Speaker 1>might be able to join in a community of scholars

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<v Speaker 1>and artists in a world where few could read or write.

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<v Speaker 1>Those skills served as the initial gatekeeper. In the sixteenth century,

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<v Speaker 1>reformers started calling for the opening of schools that would

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<v Speaker 1>teach in the vernacular. This was especially true after the Reformation.

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<v Speaker 1>By sixteen hundred, there were hundreds of laws and ordinances

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<v Speaker 1>requiring such schools throughout Germany, but in reality there were

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<v Speaker 1>very few actual schools. Interestingly, it was the Catholic counter

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<v Speaker 1>Reformation and the establishment of Catechism schools that actually made

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<v Speaker 1>more ground in spreading basic literary skills throughout Europe. The

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<v Speaker 1>Jesuits were particularly effective there. It's worth noting that in

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<v Speaker 1>the early modern period, reading and writing were not taught

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<v Speaker 1>at the same time. You had to master reading before

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<v Speaker 1>you could learn to write. To an extent, this was

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<v Speaker 1>just about cost. Teaching reading was a lot cheaper, but

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<v Speaker 1>it was also about pedagogy. Authors believed the most important

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<v Speaker 1>function of education was to teach children the ideas of others,

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<v Speaker 1>not for them to express their own thoughts and opinions.

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<v Speaker 1>Hence writing was simply considered less important. Now, it's very

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<v Speaker 1>hard to measure literacy in early modern Europe. If we

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<v Speaker 1>consider the ability to sign one's name as an indicator,

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<v Speaker 1>then around fifteen eighty, about forty nine percent of male

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<v Speaker 1>tradesmen and six percent of women residing in East Anglia,

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<v Speaker 1>England could do so looking at that same county, by

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<v Speaker 1>sixteen eighty, so one hundred years later those numbers had risen,

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<v Speaker 1>but only to fifty six percent and sixteen percent, respectively,

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<v Speaker 1>a much less dramatic increase in a century than I

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<v Speaker 1>think we might have expected. Now smash forward to seventeen fifty.

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<v Speaker 1>By then, almost all upper class men and women could read,

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<v Speaker 1>but still only a small fraction of male or female

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<v Speaker 1>peasants could. Once a boy learned root a menory literacy skills,

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<v Speaker 1>he might be sent to a Latin grammar school and

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<v Speaker 1>eventually university, assuming his parents could afford it. The Protestant

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<v Speaker 1>Reformation increased the number of basic grammar schools considerably. Scholars

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<v Speaker 1>believe there are around four hundred such schools in England

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<v Speaker 1>in fifteen hundred, and that that number had doubled by

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<v Speaker 1>sixteen hundred. Latin grammar schools were typically only open to Christians.

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<v Speaker 1>Converted Jews, for example, were forbidden to teach. In Spain

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<v Speaker 1>after the year fifteen seventy three, universities offered the highest

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<v Speaker 1>level of education in Europe. By the early sixteenth century,

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<v Speaker 1>there were over fifty such universities in Europe. Paris and

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<v Speaker 1>Salamanca were the biggest, with thousands of students each. Most

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<v Speaker 1>were much smaller, with several hundred students, coming largely from

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<v Speaker 1>the surrounding area. Over the sixteenth century, most universities adopted

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<v Speaker 1>some form of humanist education. The Protestant Reformation and then

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<v Speaker 1>Catholic Counter Reformation both influenced university education in a large degree.

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<v Speaker 1>Pope Pious the Fourth, for example, required all professors and

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<v Speaker 1>students seeking degrees in Catholic Europe to swear allegiance to

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<v Speaker 1>the Catholic Faith. In fifteen sixty four, Queen Elizabeth the

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<v Speaker 1>First required students and faculty in England to swear to

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<v Speaker 1>the Elizabethan Articles of Religion several times throughout the tumultuous

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<v Speaker 1>fifteen eighties. Another major change in the early modern period

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<v Speaker 1>came via political theory, which had largely been fixed throughout

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<v Speaker 1>the Middle Ages. With the advent of the Reformation, most

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<v Speaker 1>political theory began to concern the proper relationship between church

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<v Speaker 1>and state. Over the course of several hundred years, from

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<v Speaker 1>roughly fifteen twenty to seventeen hundred, the balance of thought

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<v Speaker 1>shifted in favor of those who supported a more secular government.

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<v Speaker 1>Civic humanism was also important, and learned men believed it

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<v Speaker 1>was crucial to be active in the political affairs of

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<v Speaker 1>their city. One of the more interesting developments in the

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<v Speaker 1>sixteenth century was the argument over women's sovereigns. Until the

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<v Speaker 1>sixteenth century, there just weren't very many. But then from

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<v Speaker 1>the death of Henry the Athonward we get first Mary

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<v Speaker 1>then Elizabeth, who rule for a long time if we

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<v Speaker 1>put their rules together. And then in France, of course

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<v Speaker 1>we have Catherine de Medici, whose queen in all but

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<v Speaker 1>name for decade after decade, authorities were very much divided

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<v Speaker 1>over whether women could overcome the quote unquote limitations of

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<v Speaker 1>their sex and successfully rule. The most extreme opponents of

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<v Speaker 1>female rule were Protestants, who went into exile on the

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<v Speaker 1>continent during the reign of Mary Tudor, of whom the

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<v Speaker 1>Scottish reformer John Knox is best known. In his work

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<v Speaker 1>The First Blast of the Trumpet against the Monstrous Regiment

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<v Speaker 1>of Women, written in fifteen fifty eight, Knox compared Mary

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<v Speaker 1>Stewart and Mary Tudor to Jezebel, arguing that female rule

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<v Speaker 1>was unnatural, unlawful, monstrous, and contrary to scripture. Females had

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<v Speaker 1>a condition they just couldn't overcome, and subjects of female

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<v Speaker 1>rulers needed no further justification for rebelling against their monarch

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<v Speaker 1>other than their sex. Knox's work was published just as

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<v Speaker 1>Elizabeth the First assumed the throne. Jeanne Bondi, who wrote

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<v Speaker 1>between fifteen thirty and fifteen ninety six, was a French

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<v Speaker 1>jurist and a political theorist, He returned to scripture and

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<v Speaker 1>natural law in his opposition to female rule. In his

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<v Speaker 1>Six Books of the Republic, published fifteen seventy six. He

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<v Speaker 1>also stressed what would become in the seventeenth century. The

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<v Speaker 1>most frequently cited reason against it that the state was

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<v Speaker 1>like a household, and just as in the household, the

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<v Speaker 1>husband or father has the authority and power over all others,

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<v Speaker 1>so in the state the man should always rule. The

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<v Speaker 1>writer Robert Filmer carried this even further in his work Patriarchia,

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<v Speaker 1>asserting that rulers derived all legal authority from divinely sanctioned

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<v Speaker 1>fatherly power of Adam, just did all other fathers. Male

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<v Speaker 1>monarchs used husband lean paternal imagery to justify their assertion

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<v Speaker 1>of power over their subjects. James the First made the

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<v Speaker 1>following statement to Parliament. Quote I am the husband, and

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<v Speaker 1>the whole isle is my lawful wife. By the law

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<v Speaker 1>of nature, the king becomes the natural father to all

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<v Speaker 1>his lieges at his coronation. A king is a newly

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<v Speaker 1>parenis parai, the political father of his people. End quote.

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<v Speaker 1>Yet even for Gian Baldin, political authority came directly from God. Thus,

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<v Speaker 1>whether the ruler was a man or a woman. Resistance

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<v Speaker 1>to their rule was both treason and sin. So in

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<v Speaker 1>the early modern period, even though there was this preference

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<v Speaker 1>for a male sovereign. But everyone really wanted, and what

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<v Speaker 1>we've already learned in this show, they wanted was stability.

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<v Speaker 1>If a female ruler brought stability, then she was generally

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<v Speaker 1>fine by them. Intellectually, the fall of Constantinople and the

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<v Speaker 1>treasure trove of Greek and Latin texts that came west

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<v Speaker 1>as a result, had a profound impact on Europe. Plato

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<v Speaker 1>was virtually unknown in Western Europe until fourteen fifty three.

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<v Speaker 1>As a result, particularly in Florence and other Italian cities,

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<v Speaker 1>intellectuals became increasingly interested in the ideas of Plato and Cicero.

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<v Speaker 1>Most prominent amongst these early Greek scholars was Marsilio Ficino.

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<v Speaker 1>His translations of many of Plato's works made Greek learning

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<v Speaker 1>much more available to a wider Western audience. Visinio, he

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<v Speaker 1>would eventually become an ordained priest, regarded Plato as a

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<v Speaker 1>divinely inspired precursor to Christ An attempted to synthesize Christian

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<v Speaker 1>and Platonic teachings Plato's emphasis on the spiritual and eternal

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<v Speaker 1>over the material and transient fitted perfectly with Christian teachers.

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<v Speaker 1>He believed Platonic ideas about love, the highest form of

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<v Speaker 1>love was spiritual desire for pure, perfect beauty, could easily

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<v Speaker 1>be interpreted as Christian desire for the perfection of God.

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<v Speaker 1>Visinio and his brilliant student Pico de la Mirandola found

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<v Speaker 1>such ideas not only in Christian Platonic writers, but also

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<v Speaker 1>it works that they regarded it as even more ancient

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<v Speaker 1>and now rediscovered, such as Hebrew mystical texts called the Kabbala,

340
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<v Speaker 1>metaphysical and astrological works attributed to the shadowy writer Hermes Trisagamus.

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<v Speaker 1>These are called the Hermetic texts mostly in the West,

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<v Speaker 1>and a number of mysticism from the pre Platonic Greek

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<v Speaker 1>philosopher Pythagoras. Pizino and Pico understood all these texts to

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<v Speaker 1>be teaching the same truth that the universe was a

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<v Speaker 1>hierarchy of beings, from God down through spiritual beings and

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<v Speaker 1>all the way to the material. All this rediscovery, in

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<v Speaker 1>turn led to a rise in humanism, and by the

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<v Speaker 1>middle of the sixteenth century, the most prominent university scholars,

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<v Speaker 1>and certainly the headmasters of most Latin grammar schools were humanists.

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<v Speaker 1>In fact, by the middle of the sixteenth century, it

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<v Speaker 1>was no longer for students of humanism necessary to travel

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<v Speaker 1>to Italy as they once had in order to simply

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<v Speaker 1>get the basics. The Dutch humanist Desidrius Erasmus, the most

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<v Speaker 1>famous scholar of his time in all of Europe, who

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<v Speaker 1>lived from roughly fourteen sixty seven to fifteen thirty six,

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<v Speaker 1>did not go to Italy until he was in his forties.

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<v Speaker 1>He then spent his time primarily at the print shop

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<v Speaker 1>of a Venetian printer publisher, working alongside these scholars as

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<v Speaker 1>he collected Greek and Latin sayings for all of his work.

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<v Speaker 1>His major work, The Adages, presented and explained over three

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<v Speaker 1>thousand classical sayings, serving as a guide to classical learning

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<v Speaker 1>and a source of quotations for centuries. Sir Thomas Moore,

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<v Speaker 1>the most famous English humanist, learned Greek and Latin in

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<v Speaker 1>England and in fact never traveled daily. Moore was a

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<v Speaker 1>lawyer who held a number of positions in the city

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<v Speaker 1>of London and at court before the surprise elevation to

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<v Speaker 1>the most senior legal position in all of the Realm,

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<v Speaker 1>Lord Chancellor, in fifteen twenty nine. We know that didn't

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<v Speaker 1>end particularly really well for him. Unfortunately, Moore was in

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<v Speaker 1>touch with Europe's leading humanists, and many of his Latin

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<v Speaker 1>compositions and translations were read across the continent. He's most

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<v Speaker 1>famous for a controversial dialogue titled Utopia. Utopia, a word

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<v Speaker 1>more invented from the Greek word for nowhere, describes a

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<v Speaker 1>state somewhere beyond Europe, in which problems that plagued Moore's

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<v Speaker 1>fellow citizens, such as poverty hunger, have been solved by

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<v Speaker 1>a beneficent government, but in which dissent and disagreement were

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<v Speaker 1>never tolerated. Whether this followed in the humanist transition of

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<v Speaker 1>satire or represented Moore's own views was unclear to his contemporaries,

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<v Speaker 1>and has continued to be a matter of scholarly debate

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<v Speaker 1>ever since. Increasingly, notably through Erasmus and more, humanist scholars

381
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<v Speaker 1>became more interested in reforming the then Catholic Church, in

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<v Speaker 1>a movement that became known as Christian humanism. In fifteen sixteen,

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<v Speaker 1>Erasmus published a new Latin translation of the New Testament.

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<v Speaker 1>Interestingly enough, the Protestant Reformation is generally accepted as the

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<v Speaker 1>end of humanism that no longer served a purpose. Thus,

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<v Speaker 1>in Northern Europe, at least, Christian humanism was a relatively

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<v Speaker 1>short lived phenomenon. Both the expansion of education and the

388
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<v Speaker 1>religious controversies of the sixteenth century created a larger and

389
00:29:29.960 --> 00:29:36.400
<v Speaker 1>more avid reading public for vernacular works. The best selling

390
00:29:36.440 --> 00:29:39.279
<v Speaker 1>works between the invention of the printing press and seventeen

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<v Speaker 1>hundred were all religious. Between fifteen eighteen and fifteen twenty five,

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<v Speaker 1>one third of all books printed in Germany were by

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<v Speaker 1>luther Printed religious works varied from expensive leather bound bibles

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<v Speaker 1>to eight page pamphlets or chapters with paper covers, or

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<v Speaker 1>even single sheet broadsides, usually illustrated. The same qualities could

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<v Speaker 1>be found in other popular non fiction printing works. There

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<v Speaker 1>was a lot of travel literature, accounts of recent events

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<v Speaker 1>or sometimes biographies. There were also early modern how to

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<v Speaker 1>manuals that sold very well. Baldassarre's Costiglioni's famous The Book

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00:30:20.559 --> 00:30:24.440
<v Speaker 1>of the Courtier, which sets out proper behavior for courtiers

401
00:30:24.440 --> 00:30:27.839
<v Speaker 1>and court ladies, sold very well in its original Italian.

402
00:30:28.200 --> 00:30:32.720
<v Speaker 1>It was ultimately translated into Spanish, French, English, German, and

403
00:30:32.759 --> 00:30:39.319
<v Speaker 1>even Polish. The personal qualities Costiglione praises, reserved discretion, good manners.

404
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<v Speaker 1>All those things became ideals for people much further down

405
00:30:43.279 --> 00:30:47.279
<v Speaker 1>the social scale than his original audience. Both middle class

406
00:30:47.279 --> 00:30:51.240
<v Speaker 1>people and courtier's read poetry in prose fiction, along with

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00:30:51.359 --> 00:30:55.160
<v Speaker 1>religious works and instruction manuals. A circle of poets grew

408
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<v Speaker 1>up in Florence at the court of Lorenzo de Medici,

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<v Speaker 1>who patronized writing an Italian as well as humanist scholarship

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<v Speaker 1>in Latin. Lorenzo himself famously wrote love lyric sonnets and

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00:31:07.000 --> 00:31:12.359
<v Speaker 1>all kinds of odes. Humanist similar groups and other European

412
00:31:12.400 --> 00:31:16.160
<v Speaker 1>cities offered people an opportunity to discuss and share works

413
00:31:16.160 --> 00:31:19.079
<v Speaker 1>written in the vernacular as well as Latin. Though most

414
00:31:19.160 --> 00:31:21.880
<v Speaker 1>of these groups were made up only of men because

415
00:31:21.920 --> 00:31:25.880
<v Speaker 1>they were less formal than universities or academies, sometimes women

416
00:31:25.960 --> 00:31:31.519
<v Speaker 1>could participate. Italian was the first modern European language to

417
00:31:31.599 --> 00:31:35.839
<v Speaker 1>be transformed into a literary language. Dante began the process

418
00:31:35.880 --> 00:31:39.039
<v Speaker 1>in the early fourteenth century when he decided to write

419
00:31:39.079 --> 00:31:43.519
<v Speaker 1>his Divine Comedy in Italian. France was not far behind

420
00:31:44.359 --> 00:31:49.920
<v Speaker 1>the epics Romances and lyric poetry of medieval trovadors. Traveling

421
00:31:50.039 --> 00:31:54.000
<v Speaker 1>French poets laid the foundation of modern friends, and by

422
00:31:54.039 --> 00:31:57.880
<v Speaker 1>the sixteenth century, authors such as Maghari to de Anglume

423
00:31:58.400 --> 00:32:03.200
<v Speaker 1>were combining chivalric theme with Platonic and Christian ideals. A

424
00:32:03.240 --> 00:32:06.640
<v Speaker 1>circle of seven poets at the French Court defended the

425
00:32:06.759 --> 00:32:09.880
<v Speaker 1>use of French as a literary medium, writing in what

426
00:32:09.920 --> 00:32:13.319
<v Speaker 1>they saw as the new style that combined classic Italian

427
00:32:13.440 --> 00:32:18.519
<v Speaker 1>and French forms. Humanism was also a boon for the stage.

428
00:32:18.799 --> 00:32:23.279
<v Speaker 1>Humanists rediscovered old classical plays, which were much more engaging

429
00:32:23.319 --> 00:32:26.440
<v Speaker 1>and developed compared to the old medieval morality plays where

430
00:32:26.440 --> 00:32:29.640
<v Speaker 1>somebody would actually take the stage and declare themselves to

431
00:32:29.680 --> 00:32:34.200
<v Speaker 1>be the representation of sin. Plays of all types were

432
00:32:34.279 --> 00:32:37.680
<v Speaker 1>very popular in England, were writing in the vernacular, developed

433
00:32:37.680 --> 00:32:39.759
<v Speaker 1>out of a dialect spoken in the city of London

434
00:32:40.079 --> 00:32:43.680
<v Speaker 1>and the nearby court at Westminster. Before the One Hundred

435
00:32:43.759 --> 00:32:46.960
<v Speaker 1>Years War, English kings and nobles, many of them descendants

436
00:32:46.960 --> 00:32:50.480
<v Speaker 1>of the Gnomans, had spoken French, but the war had

437
00:32:50.519 --> 00:32:53.400
<v Speaker 1>made the use of English a national source of pride.

438
00:32:54.319 --> 00:32:57.319
<v Speaker 1>The writings of Jeffrey Chaucer, who was a diplomat and

439
00:32:57.400 --> 00:33:02.440
<v Speaker 1>royal official in addition to famous writer, especially his Canterbury Tales,

440
00:33:02.559 --> 00:33:08.440
<v Speaker 1>solidified this language while still incorporating classical models. Later English

441
00:33:08.480 --> 00:33:11.799
<v Speaker 1>poets such as Edmund Spencer, who wrote in the sixteenth century,

442
00:33:12.279 --> 00:33:15.960
<v Speaker 1>and Sir Philip Sidney wrote alongside him, built on this base,

443
00:33:16.440 --> 00:33:20.440
<v Speaker 1>composing in English but blending him classical structures and conventions.

444
00:33:21.400 --> 00:33:24.200
<v Speaker 1>Christopher Marlowe, who wrote a little bit later, began to

445
00:33:24.319 --> 00:33:27.440
<v Speaker 1>use blank verse for his plays as well as his poems,

446
00:33:27.480 --> 00:33:30.160
<v Speaker 1>often centering a plot around a figure whose life is

447
00:33:30.359 --> 00:33:35.279
<v Speaker 1>destroyed by his own character. And of course, William Shakespeare

448
00:33:35.400 --> 00:33:39.240
<v Speaker 1>wrote some of the greatest plays throughout all of English history.

449
00:33:40.000 --> 00:33:44.079
<v Speaker 1>Shakespeare dominates English literature today in a way that no

450
00:33:44.240 --> 00:33:48.759
<v Speaker 1>single writer dominates any other European literature, not even Dante.

451
00:33:49.400 --> 00:33:52.200
<v Speaker 1>Shakespeare came from a middle class background in a medium

452
00:33:52.240 --> 00:33:56.079
<v Speaker 1>sized town, probably attended a Latin grammar school, but had

453
00:33:56.119 --> 00:33:59.519
<v Speaker 1>no further former education. We know he was married and

454
00:33:59.559 --> 00:34:02.279
<v Speaker 1>traveled to London, where he became an actor and a

455
00:34:02.279 --> 00:34:06.279
<v Speaker 1>playwright for the Lord Chamberlain's Men, a company of professional actors.

456
00:34:07.039 --> 00:34:10.559
<v Speaker 1>He later became part owner in several London theaters and

457
00:34:10.639 --> 00:34:12.559
<v Speaker 1>spent most of the rest of his life in London.

458
00:34:13.599 --> 00:34:16.960
<v Speaker 1>Shakespeare's talent was so great that some have doubted whether

459
00:34:17.000 --> 00:34:20.440
<v Speaker 1>someone from such a simple background could actually have written

460
00:34:20.480 --> 00:34:24.119
<v Speaker 1>the plays, but his use of classical and historical sources,

461
00:34:24.480 --> 00:34:28.679
<v Speaker 1>and of both humanist and medieval forms of language, demonstrate

462
00:34:28.840 --> 00:34:33.400
<v Speaker 1>just how widely humanism and humanist education had finally spread

463
00:34:33.679 --> 00:34:39.719
<v Speaker 1>by the late sixteenth and early seventeenth centuries. Now, of course,

464
00:34:40.039 --> 00:34:44.880
<v Speaker 1>most of Europe remained illiterate, and oral culture continued to evolve,

465
00:34:45.119 --> 00:34:50.119
<v Speaker 1>just like the spoken word, often involving music. Plays included music,

466
00:34:50.159 --> 00:34:56.119
<v Speaker 1>particularly interludes called intermediate between scenes. Fairs, marketplaces, and inns

467
00:34:56.360 --> 00:35:00.519
<v Speaker 1>provided a place for performers to both perf for people

468
00:35:00.519 --> 00:35:04.639
<v Speaker 1>to listen. Vocal music was the center of musical composition,

469
00:35:05.079 --> 00:35:09.320
<v Speaker 1>with the basic compositional technique the counterpoint, which independent melodic

470
00:35:09.360 --> 00:35:14.000
<v Speaker 1>lines usually four, were combined in a polyphonic so multi

471
00:35:14.039 --> 00:35:18.800
<v Speaker 1>voiced harmony. Secular music was usually sung by small groups,

472
00:35:19.440 --> 00:35:23.239
<v Speaker 1>but sacred music was now increasingly sung by large choirs,

473
00:35:23.239 --> 00:35:28.320
<v Speaker 1>which is a major influence of the Reformation. Now, Roman

474
00:35:28.400 --> 00:35:32.159
<v Speaker 1>and Greek art served as the model for humanist writers, sculptors,

475
00:35:32.199 --> 00:35:35.519
<v Speaker 1>and painters, but no one had any idea how classical

476
00:35:35.599 --> 00:35:40.760
<v Speaker 1>music sounded. Music itself was a hotly debated topic during

477
00:35:40.800 --> 00:35:45.000
<v Speaker 1>the Reformation. Luther thought music was good and lifted the spirit.

478
00:35:45.760 --> 00:35:51.800
<v Speaker 1>Calvinists opposed music in the liturgy. Ironically, while some Protestant

479
00:35:51.880 --> 00:35:56.039
<v Speaker 1>churches refused to allow organ music during service, they were

480
00:35:56.079 --> 00:35:59.199
<v Speaker 1>forced to hold concerts of the same music on Sunday

481
00:35:59.239 --> 00:36:04.079
<v Speaker 1>afternoons because it was so popular. Artists and their patrons

482
00:36:04.519 --> 00:36:07.679
<v Speaker 1>view the purpose of art as the imitation of nature,

483
00:36:08.159 --> 00:36:11.800
<v Speaker 1>which they recognized meant creating an illusion of reality rather

484
00:36:11.880 --> 00:36:17.119
<v Speaker 1>than copying it. Bileticelli, for example, worked on contre pasto,

485
00:36:17.639 --> 00:36:19.920
<v Speaker 1>the shape of the body when the weight is mostly

486
00:36:19.960 --> 00:36:22.920
<v Speaker 1>on one foot, and the way that fabrics were draped.

487
00:36:23.000 --> 00:36:27.559
<v Speaker 1>For years. Leonardo da Vinci both theorized about and in

488
00:36:27.559 --> 00:36:32.519
<v Speaker 1>his actual paintings, statues and buildings, experiment the effects of

489
00:36:32.599 --> 00:36:36.320
<v Speaker 1>light on different sort of surfaces, systems of proportion based

490
00:36:36.360 --> 00:36:42.559
<v Speaker 1>on the human body, and compositional structures. In architecture, Filippio

491
00:36:42.760 --> 00:36:47.880
<v Speaker 1>Bruniskeuelli designed a new hospital for orphans set up by

492
00:36:47.920 --> 00:36:51.280
<v Speaker 1>the Silk Workers Guild in Florence, in which all proportions

493
00:36:51.559 --> 00:36:55.079
<v Speaker 1>of the windows, height, floor plan and covered walkway with

494
00:36:55.119 --> 00:36:58.800
<v Speaker 1>a series of rounded arches were carefully thought out to

495
00:36:58.880 --> 00:37:03.559
<v Speaker 1>achieve a sense of balance and harmony. Brunus Gelli later

496
00:37:03.639 --> 00:37:06.639
<v Speaker 1>turned his talents to designing and constructing a dome for

497
00:37:06.719 --> 00:37:11.199
<v Speaker 1>Florence Cathedral, based to some degree on Roman domes, but

498
00:37:11.360 --> 00:37:15.599
<v Speaker 1>hire and more graceful. In the fifteenth century, Florence became

499
00:37:15.599 --> 00:37:18.559
<v Speaker 1>the center of new art for Italy, but in the

500
00:37:18.599 --> 00:37:23.320
<v Speaker 1>early sixteenth century this shifted to Rome, where wealthy cardinals

501
00:37:23.360 --> 00:37:27.360
<v Speaker 1>and popes wanted visual expression of the church, owned families,

502
00:37:27.440 --> 00:37:32.320
<v Speaker 1>power and piety. All of this was a dramatic change

503
00:37:32.880 --> 00:37:36.719
<v Speaker 1>from the medieval past, in which none of these questions

504
00:37:36.960 --> 00:37:40.880
<v Speaker 1>were even considered. And it wasn't all just the Florence

505
00:37:40.920 --> 00:37:44.800
<v Speaker 1>and Rome show. Venice in the sixteenth century became a

506
00:37:44.880 --> 00:37:51.119
<v Speaker 1>center for art. The Hungarian king Matthias Corvinus hired Italian

507
00:37:51.159 --> 00:37:55.239
<v Speaker 1>and French architects to rebuild and remodel his palace in

508
00:37:55.239 --> 00:37:59.920
<v Speaker 1>the classical style. In the Netherlands, the Dukes of Burgundy

509
00:38:00.320 --> 00:38:06.000
<v Speaker 1>patronized goldsmiths and sculptors. In Germany, wealthy cities like Cologne

510
00:38:06.039 --> 00:38:11.320
<v Speaker 1>and Nuremberg became centers for artistic creation. The famous wood

511
00:38:11.400 --> 00:38:16.960
<v Speaker 1>carver and engraver Albrex Durer worked in Nuremberg, and one

512
00:38:17.000 --> 00:38:18.719
<v Speaker 1>thing I do want to point out, though, is that

513
00:38:18.760 --> 00:38:22.679
<v Speaker 1>these men, and they were mostly men, were not necessarily

514
00:38:22.719 --> 00:38:26.480
<v Speaker 1>seen as artistic geniuses as many writers would have loved

515
00:38:26.480 --> 00:38:30.400
<v Speaker 1>them to be seen. Artistic genius is a modern idea.

516
00:38:31.000 --> 00:38:34.840
<v Speaker 1>These were artisans who had acquired their skills through years

517
00:38:35.239 --> 00:38:39.119
<v Speaker 1>and years of training and work. No one believed you

518
00:38:39.159 --> 00:38:42.679
<v Speaker 1>could just be a gifted artist and skip the years

519
00:38:42.719 --> 00:38:47.920
<v Speaker 1>of training with an older master in a workshop. Artistic

520
00:38:47.960 --> 00:38:52.199
<v Speaker 1>works themselves were normally commissioned by a private individual, guild,

521
00:38:52.360 --> 00:38:58.480
<v Speaker 1>or religious organization, and it showed like literally. In Boncelli's

522
00:38:58.480 --> 00:39:01.840
<v Speaker 1>painting The Adoration of the Magi, you can see three

523
00:39:01.920 --> 00:39:05.280
<v Speaker 1>members of the Medici family looking on as baby Jesus

524
00:39:05.320 --> 00:39:08.840
<v Speaker 1>receives his gifts, and to my knowledge, no one from

525
00:39:08.840 --> 00:39:13.440
<v Speaker 1>that family was there. As I mentioned, nearly all of

526
00:39:13.480 --> 00:39:19.079
<v Speaker 1>the most prolific Renaissance artists were male. Only one female sculptor,

527
00:39:19.320 --> 00:39:25.320
<v Speaker 1>Propecia de Rossi, is known. Women were not allowed to

528
00:39:25.320 --> 00:39:28.119
<v Speaker 1>study the male nude, which was viewed as essential if

529
00:39:28.119 --> 00:39:31.480
<v Speaker 1>one wanted to paint large history paintings with many figures,

530
00:39:32.039 --> 00:39:35.800
<v Speaker 1>so they generally painted portraits, smaller paintings with only a

531
00:39:35.800 --> 00:39:40.000
<v Speaker 1>few subjects, or by the seventeenth century still life's and

532
00:39:40.079 --> 00:39:44.599
<v Speaker 1>interior scenes. Neither did women learn the technique of fresco,

533
00:39:44.679 --> 00:39:48.039
<v Speaker 1>in which colors are applied directly to wet past or walls,

534
00:39:48.599 --> 00:39:51.119
<v Speaker 1>because such works had to be done in public, which

535
00:39:51.239 --> 00:39:56.079
<v Speaker 1>was judged inappropriate for women. Concerns about the propriety and

536
00:39:56.119 --> 00:39:59.800
<v Speaker 1>morality thus limited the media that women could use. In

537
00:40:00.000 --> 00:40:04.440
<v Speaker 1>In addition to their subject matter, worries about morality shaped

538
00:40:04.480 --> 00:40:07.360
<v Speaker 1>far more than the works of female artists as the

539
00:40:07.400 --> 00:40:13.519
<v Speaker 1>sixteenth century progressed. Though Catholic writers defended the veneration of

540
00:40:13.599 --> 00:40:17.000
<v Speaker 1>religious images against Protestants who wanted to do away with them,

541
00:40:17.679 --> 00:40:21.880
<v Speaker 1>they also called for decorum and decency in all portrayals

542
00:40:21.880 --> 00:40:26.800
<v Speaker 1>of the human form. They were particularly scandalized by nudity,

543
00:40:26.840 --> 00:40:29.840
<v Speaker 1>even that of the infant Jesus or saints being martyred,

544
00:40:30.519 --> 00:40:35.000
<v Speaker 1>and debated painting over certain body parts in naked figures

545
00:40:35.000 --> 00:40:41.239
<v Speaker 1>of Michelangelo's The Last Supper. Such moral concerns have often

546
00:40:41.280 --> 00:40:44.719
<v Speaker 1>been seen as the product of the Protestant Reformation culminating

547
00:40:44.840 --> 00:40:47.239
<v Speaker 1>and of course, but we traditionally think of when we

548
00:40:47.280 --> 00:40:51.840
<v Speaker 1>hear the word Puritan. In fact, worries about order and

549
00:40:51.880 --> 00:40:56.440
<v Speaker 1>morality predated the Protestant Reformation, especially among those in the cities,

550
00:40:57.119 --> 00:41:01.719
<v Speaker 1>and would eventually be just as powerful among Catholics as

551
00:41:01.760 --> 00:41:06.079
<v Speaker 1>among Protestants. It's week in our fourth and final installments

552
00:41:06.119 --> 00:41:09.000
<v Speaker 1>of this overview series. I'm going to take a broad

553
00:41:09.039 --> 00:41:12.119
<v Speaker 1>look at some religious change, though not much because we've

554
00:41:12.119 --> 00:41:14.719
<v Speaker 1>already talked about it to a large extent, and really

555
00:41:14.719 --> 00:41:19.119
<v Speaker 1>focus in on economic and technological change from roughly fourteen

556
00:41:19.159 --> 00:41:23.199
<v Speaker 1>fifty to the year seventeen hundred. If you've enjoyed the show,

557
00:41:23.480 --> 00:41:26.519
<v Speaker 1>please consider leaving a rating or review. It's the easiest

558
00:41:26.519 --> 00:41:29.440
<v Speaker 1>way to help other people find the podcast, and if

559
00:41:29.480 --> 00:41:31.480
<v Speaker 1>you're interested, there's a link in the show notes to

560
00:41:31.519 --> 00:41:34.760
<v Speaker 1>Western CIV two point zero, another way to support all

561
00:41:34.800 --> 00:41:35.119
<v Speaker 1>that we do.
