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https://quizizz.com/admin/quiz/625048654b3230001d6b83a1

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Quizizz - The world's most engaging learning platform

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HISTORY CRUNCH - History Articles, Biographies, Infographics, Resources and More

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Petrarch (Francesco Petrarca) was born on July 20th, 1304 in Arezzo, Italy. He grew up near the Renaissance city-state of Florence, but also spent time in Avignon, France when the Papacy was moved there from Rome in 1309. As a student, he was primarily interested in studying Latin literature but was trained professionally as a lawyer. With that said, he didn't enjoy studying law or being a lawyer and instead wanted to devote himself to his writing.

In 1326, he began working in several clerical offices. The work allowed him time to carry out his writing. For instance, it's at this time that he wrote the epic poem 'Africa', which tells the story of Carthage General Hannibal and his invasion of the Italian peninsula against the Roman Empire. This work made his well known and renown for his writing. For example, he was made poet laureate on April 8th, 1341, in Rome.

Besides his writing, Petrarch was also known for his travels, and has even been referred to as 'the first tourist' due to his travels for enjoyment. It was during these travels that he famously began to collect Latin manuscripts. Also, he advocated for the collection and study of Ancient Greek and Ancient Roman texts. For example, Petrarch famously rediscovered letters written by Cicero.

Petrarch Portrait from the mid-1400s.

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Petrarch (Francesco Petrarca) was born on July 20th, 1304 in Arezzo, Italy. He grew up near the Renaissance city-state of Florence, but also spent time in Avignon, France when the Papacy was moved there from Rome in 1309. As a student, he was primarily interested in studying Latin literature but was trained professionally as a lawyer.

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https://www.historycrunch.com/johannes-gutenberg.html#/

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HISTORY CRUNCH - History Articles, Biographies, Infographics, Resources and More

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Johannes Gutenberg - Johannes Gutenberg was a German blacksmith, goldsmith and printer who is best remembered today for his development of the first printing press in the mid-1400s. His invention of the printing press is considered to be one of the most

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https://www.firstthings.com/article/1996/05/teaching-christian-humanism

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Teaching Christian Humanism | Virgil Nemoianu

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Once we’ve denounced the balderdash that all too often passes for teaching in contemporary . . . .

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https://kids.britannica.com/students/article/Desiderius-Erasmus/274195

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(1466?-1536). Desiderius Erasmus, often called simply Erasmus of Rotterdam, was a Dutch thinker and theologian. He was the leading scholar of the northern Renaissance. The Renaissance in Italy was chiefly concerned with the revival of the ancient Greek and Roman classics. However, the Renaissance of northern Europe was centered on reforming and revitalizing Christianity by going back to its sources in the New Testament and the Church Fathers. Like other Renaissance thinkers, Erasmus was a humanist. Humanism was a movement in philosophy and literature that emphasized human interests and values. Humanist scholars sought to revive ancient Greek and Roman learning, and they were known for their individualistic and critical spirit.

Desiderius Erasmus was born on October 27 in the second half of the 1460s in Rotterdam, Holland (now in the Netherlands). His father was a priest. After both his parents died when he was a boy, his guardians sent him to a religious school. Erasmus then entered a monastery and became a priest in the Augustinian order. However, he found no satisfaction in his duties. In 1492 Erasmus escaped the monastery by accepting a post as Latin secretary to the influential Henry of Bergen, bishop of Cambrai. Three years later Erasmus went to the University of Paris in France to study theology.

To support his classical studies, Erasmus began taking in pupils. In 1499 one of them invited Erasmus to England. There he met the statesman and theologian Thomas More, who became a friend for life. From then on, Erasmus was a traveling scholar. He made several trips to England and lived in various cities in Belgium, France, and Italy. Erasmus eventually settled in Basel, Switzerland, where he stayed from 1521 to 1529. He then left for Freiburg im Breisgau (now in Germany) and remained there until 1535. Erasmus subsequently returned to Basel, where he died on July 12, 1536.

Erasmus's greatest influence resulted from his writings and other scholarly efforts. Erasmus wrote on theology, religious issues, education, and philosophy. He published editions of the works of the Church Fathers, including Jerome, Augustine of Hippo, Cyprian, Irenaeus, and Origen. His publication of the Greek New Testament was a landmark achievement for its time. It enabled scholars to examine a more accurate text than had been available for centuries. Among his own books the most popular and enduring are Enchiridion militis Christiani (1503/04; Handbook of a Christian Knight), on Christianity, and Moriae encomium (1509; Praise of Folly). Praise of Folly is a moral satire that, in part, attacks social institutions.

In one respect Erasmus differed from the spirit of his time. He wanted a reformed Christianity, but he was opposed to a divided church. Thus he opposed the Reformation, though he praised many of its goals.

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(1466?-1536). Desiderius Erasmus, often called simply Erasmus of Rotterdam, was a Dutch thinker and theologian. He was the leading scholar of the northern Renaissance. The...

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https://www.bbc.com/culture/article/20190917-albrecht-drer-the-painter-with-a-magical-touch

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If you look closely, very closely, you can see it in the corner of the hunkered hare's eye: not merely a pair of concentric glints echoing from its dark cornea, but a portal to the past. A miracle of focused observation and precise draughtsmanship, the famous watercolour, which faithfully transcribes every soft filament of the mammal's fur, was created by pioneering German Renaissance painter, printmaker, and theorist Albrecht Dürer in 1502. It is now among the highlights of a new exhibition at the Albertina Museum in Vienna devoted to Dürer's genius - an event that marks only the ninth time that the painting has ever been displayed in public.

The reverberating gleam in the hare's right eye, according to Christof Metzger, who curated the exhibition of more than 200 paintings, drawings and prints, is actually a reflection from inside Dürer's studio, where the work was made - a magical touch that collapses the distance between observers of the masterpiece today and the bygone world that the artist inhabited half a millennium ago. "It's really fascinating," Metzger explained to BBC Culture about the most popular work in the Albertina Museum's collection. "This animal materialises on paper in his workshop, and in the eye of the painted hare you can see his workshop's window."

More like this:
- Félix Vallotton: A painter of disquiet and menace
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- Victor Vasarely: The art that tricks the eyes

Is it indeed 'the glazing bars from the window in the painter's studio', as the accompanying catalogue describes it? That seems to be the scholarly consensus, though the stretched shape of the beguiling glisten is ambiguous, and conjures something more sacred: the tall parallel panes of painted glass that one finds in the high windows of a cathedral's nave. Dürer's decision to erase from the surface of his work any suggestion of the animal's physical environment keeps its situation (and meaning) remarkably elastic. The shroud-like emptiness that surrounds the portrait transforms the marvel into something as mystical as it is material - a fiery figment of the imagination; a vision; a prayer.

In the only other works by Dürer where hares figure - a woodcut from six years earlier, entitled The Holy Family with Three Hares (c1497), and an engraving created two years later, Adam and Eve (1504) - the animal finds itself entangled in overt religious symbolism. But here, the hare is free to fidget in the minds of those who encounter it - as teasingly evasive in spirit as it is fixed physically in pigment and paper.

How, exactly, Dürer managed to capture the skittish creature with such painstaking rigour - without the aid of taxidermy to hold the jittery jumper - still has bedevilled admirers of the work for centuries. A photographic memory? A steady, stewy diet of jugged hare? "I think with detail studies," Metzger posits, when asked how he believes Dürer pulled it off: "studies of the hare in different positions: sitting, springing, from the side, from the front. Drawings like this are often the basis for his watercolours. He observed the living animal and then maybe when he makes the watercolour, the poor little hare is already in Dürer's kitchen. We do not know."

What we do know, what we can feel, is the indispensable power of the sublime glimmers that bedew the hare's eye. Remove those subtle sparkles and the soul of the work would be snuffed out, its magic extinguished. Glimpsed through the gleam of the hare's intense, almost otherworldly eye, and Dürer's other masterworks bristle too with such invigorating details - seemingly slight chroniclings that are so astute, so meticulous, their truth transports us and makes us feel as if we are seeing the Earth we inhabit for the very first time. "Many of his works, and you can see this in the exhibition, are really timeless - "his landscapes, his studies of animals, of plants, of persons," Metzger says. He's such a brilliant observer of his world, of his context, on the one hand, and on the other hand such a brilliant artist in his ability to fix on paper what he has observed in nature, which is really fascinating and fantastic."
A master of the natural world
Frequently mentioned in the same breath as Young Hare is Dürer's hypnotic study of a dishevelled scrap of seemingly random sward known simply as the Great Piece of Turf, a watercolour accented by pen-and-ink that the artist created the following year. His realistic articulation of every feathery fibre of cocks-foot, every soft serration of germander speedwell leaves, and the weightless sway of a sprawling tuft of Agrostis, or creeping bent, is truly breathtaking. Symphonic in its disorder, the study conjures from chaos a sense of organic rhythm undergirding all of life. What elevates the scene into the strangeness of a great work of art is its surreal suspension of plants to reveal below the soil-line the downward reach of their straggling roots, as if the patch of earth were levitating before us, ascending to heaven.

The Great Piece of Turf and the Young Hare both belong to the Albertina's permanent collection, which forms the basis of the exhibition. "We have a very large and important collection," Metzger tells BBC Culture, "and for works on paper, maybe the most important collection in the world." Why now? "We thought it is time to show Dürer again after the last exhibition which took place in 2003. It's always the right moment for an Albrecht Dürer show."
Taking flight

There is indeed something imperishably poignant and up-to-date about Dürer's meticulous scrutiny of the natural world, which is now, in the light of anxieties surrounding climate change, as much a source of unease as wonder. The brutal beauty of his assiduous study Wing of a Blue Roller, a watercolour on vellum probably created a year or two before the Young Hare, is indicative of the artist's unflinching eye. "The outspread wing takes up almost the entire surface of a nearly square sheet of parchment," Metzger writes in the show's catalogue, "and depicts every detail of its morphology with the highest degree of zoological accuracy: the reddish, cinnamon-coloured back plumage remaining near the tear, the secondary feathers in ultramarine, turquoise, pale green and off-white, as well as the primary feathers ranging in colour from white and azurite to bluish black.

"He even applied the finest of gold lines to his depiction of the dead animal's breast plumage in order to imitate its iridescent lustre."

In art history, we're rarely accustomed to seeing such resplendent plumage unless it is flapping spiritually from the shoulders of the Archangel Gabriel in depictions of the moment he informs the Virgin Mary that she will give birth to Christ, such as Fra Angelico's celebrated fresco The Annunciation. But in Dürer's work, the soaring majesty of uplifting colours is held in cruel check by the spectre of violence that ripped the wing from the bird's torso, displacing the specimen to a decidedly secular context. Seen in the light of present-day unease about the damage humans are inflicting on the natural world, Dürer's watercolour ruffles with prescient profundity.

Born in Nuremberg in 1471, Dürer rose to prominence in his 20s as a master of woodcut prints. Following stints studying in Colmar, Strasburg, Frankfurt and Venice (where he honed printmaking techniques), he returned to Nuremberg in 1495 and established his own workshop, where he quickly began to build a formidable reputation. The Albertina exhibition displays many of the finest works that Dürer created in the ensuing years, from collections around the world, including such masterworks as the Adoration of the Magi (on loan from the Uffizi), Martyrdom of the Ten Thousand (from Vienna's Kunsthistorisches Museum), and Christ among the Doctors (from the Thyssen-Bornemisza Museum in Madrid).

Are there any surprises? "We have a very interesting example in the exhibition," Metzger says, "of a self-portrait as a nude." He's referring to a rather unsettling ink-and-whitelead drawing on green paper that shows the naked artist wearing only a hairnet, framed by an abstract field of self-abnegating black. "You see him from his legs up completely naked. We do not know how Dürer made this. With only a small mirror he constructed his naked body. His body is absolutely detailed in the way it's observed and drawn, but it's fragmented. The arms are missing. The legs are missing. It's only the torso of his body."

Yet it is the work's very disjointedness that paradoxically pulls it together into something pulsing and intense. Dürer's ability to spin into existence from an almost miserly economy of strokes "a person filled with life whom you can meet on the street 10 minutes later", as Metzger puts it, is exhilarating. "In my opinion, the exhibition is really a once-in-a-lifetime possibility. We are really trying to give an impression of his whole cosmos." Through Dürer's fastidious eye we find ourselves transported to another reality - a world we never knew we knew.
Albrecht Dürer is at Vienna's Albertina Museum until 6 January 2020.
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Albrecht Dürer: The painter with 'a magical touch'

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If you look closely, very closely, you can see it in the corner of the hunkered hare's eye: not merely a pair of concentric glints echoing from its dark cornea, but a portal to the past.

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https://theculturetrip.com/europe/spain/articles/7-facts-you-need-to-know-about-miguel-de-cervantes/

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Miguel de Cervantes Saavedra, sometimes simply referred to as 'Cervantes,' is best known as the creator of Don Quixote. He is also the author of other works such as La Galatea, Rinconete y Cortadillo, and his Exemplary Novels among many others. However, despite the importance of his work and his contribution to Spanish culture, many people know very little about the man outside of his work. Read on to discover seven facts you need to know about his life.

Miguel De Cervantes was born in Alcalá de Henares and was the fourth of the seven children born to Rodrigo Cervantes, who worked as a surgeon, and Leonor de Cortinas, who knew how to read and write, a very rare skill for women at the time. Their first-born child was a son named Andres who sadly died a few days after birth. In 1544, Andrea, the eldest of the sisters, was born. Then came Luisa in 1546, who later decided to join the Catholic Church as a nun. Miguel de Cervantes, the eldest of the surviving sons, was born in 1547 - three years before his younger brother Rodrigo. The youngest of the children were Magdalena, who died five years before Cervantes himself, and the youngest child, Juan, born in 1555 and who died at an unknown date.

Miguel de Cervantes is also known under the name of Manco de Lepanto; according to historians, he decided to join the military in 1570 when he enlisted in Napoles under the command of Don Miguel de Moncada. Cervantes was aboard La Marquesa with his brother Rodrigo during the Battle of Lepanto, which took place on the 7th of October 1571. During the battle he suffered bad injuries to his left hand, partially crippling it. However, this did not stop him; after his recovery, he participated in other battles from 1572 to 1575, until Cervantes and his brother Rodrigo embarked on a trip back to Spain. They suffered the misfortune of being captured and were taken as a prisoners to Algiers where they were held captive by the Moorish ship captain Dali Mami, also known as 'El Cojo.' The value of his ransom was '500 escudos de oro,' an amount his family could not afford to pay, resulting in him remaining a prisoner for five years, despite his unsuccessful attempts to escape.

To date, the only information known about the appearance of Miguel de Cervantes' face is his own description as it appears in the prologue of his work Exemplary Novels: 'This you see here of aquiline face, brown hair, forehead smooth and emptied, of bright eyes and nose curved, although well provided....' All the existing portraits of Cervantes were based on this description, which was written when the author was approximately 60 years of age. The most famous oil painting is attributed to Juan de Jáuregui who was a poet, painter and literary academic. Indeed, in the prologue that Cervantes wrote in his Exemplary Novels, he explicitly states that his portrait should be painted by Jáuregui. This portrait is located in the Real Academia Española (REA), but there remains some controversy over its authenticity.

Miguel de Cervantes grew up in a family with economic difficulties; his father's work was never enough to pay the bills, and on one occasion, his father was sent to jail. Even during Cervantes' time as a prisoner at the hands of El Cojo, his mother had to ask for a loan, and then waited five years before being able to pay his ransom. Cervantes had worked throughout his lifetime but never earned enough to lead a comfortable life. Despite the success of his masterpiece Don Quixote, published in 1604, Miguel de Cervantes died 12 years later in poverty, having never received any payment for its publication.

William Shakespeare was not only a contemporary of Cervantes but also a great admirer of his writing. In 1613, Shakespeare wrote a piece named The History of Cadenio, based on a character named Cardenio taken from Cervantes' novel Don Quixote. In addition, the date selected for the World Book Day is April 23rd because Cervantes died on April 22nd but was buried the next day. Shakespeare died on May the 3rd, but at that time, the English people used the Julian calendar, and its equivalent in the Gregorian calendar is, in fact, April the 23rd.

A childhood spent among a family with grave financial problems, a severe hand injury from battle at war, held a prisoner for five years - as if it was not enough suffering, Cervantes was also sent to jail on two occasions, the first time for a short stint in 1592. The second time was from September to December of 1597 when he was approximately 50 years old. It was during this time in prison that the idea for Don Quixote was first born. At the time, he worked as a tax collector, a profession which enjoyed very little popularity among his fellow citizens, and he was accused of improperly appropriating public money. Also, because of his work as a tax collector, Cervantes was excommunicated from the Catholic Church on three occasions, as they did not approve of being charged taxes that were intended for the war. It is also believed that Cervantes struggled with a stutter for most of his life.

Miguel de Cervantes died at the age of 68, a considerably good age for the time. The likely cause of his death was the diabetes from which he suffered. Approximately two weeks before his death, Cervantes entered the Third Order of Franciscans, most likely to show his gratefulness for the money that was lent to his family by the Order for his rescue from captivity in Algiers. In his testament, he requested to be buried in the church that belonged to the Convent of the Barefoot Trinitarians, in the same neighborhood where he lived. However, his coffin was later lost and the exact location of his final resting place long remained a mystery... until recently! In 2015, a team of forensic experts located what they claim to be the bones of Miguel de Cervantes alongside those of his wife and 16 other people. Unfortunately, DNA testing and the search for signs of the injuries he suffered in battle have so far been unable to confirm for certain that his remains are among those found. But many believe this is the end of the 400-year-old mystery.

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7 Facts You Need To Know About Miguel De Cervantes

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Miguel de Cervantes Saavedra, sometimes simply referred to as 'Cervantes,' is best known as the creator of Don Quixote. He is also the author of other works such as La Galatea, Rinconete y Cortadillo, and his Exemplary Novels among many others.

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https://www.history.com/topics/british-history/william-shakespeare

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Italian Renaissance- Da Vinci, Galileo & Humanism

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Italian Renaissance- Da Vinci, Galileo & Humanism

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https://youtu.be/vCtZJEX4ACc

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https://www.nationalgeographic.org/video/history-101-protestant-reformation/

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Who was Martin Luther? What was the Reformation and why does it matter? Roughly 500 years ago, Luther is said to have nailed his 95 Theses on the door of the Castle Church in Germany. With the help of the printing press, this 16th century protest against corruption in the Catholic Church would drastically change the course of Christianity - and history itself.

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https://www.dw.com/en/who-was-martin-luther/av-38900036

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Arts.21

In the autumn of 1517 Martin Luther published his 95 theses, attacking the Pope and the corruption within the Roman Catholic Church and sparking the Reformation. But who was the man behind the myth?

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Who was Martin Luther? | DW | 30.10.2017

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Arts.21 In the autumn of 1517 Martin Luther published his 95 theses, attacking the Pope and the corruption within the Roman Catholic Church and sparking the Reformation. But who was the man behind the myth?