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John Woodbridge

The Renaissance - 0 views

  • new enthusiasm for classical literature, learning, and art which sprang up in Italy towards the close of the Middle Ages, and which during the course of the fifteenth and sixteenth centuries gave a new culture to Europe.
  • Renaissance was essentially an intellectual movement
  • secular, inquiring, self-reliant spirit which characterized the life and culture of classical antiquity
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  • vernacular literatures.
    • John Woodbridge
       
      Vernacular means locally spoken language. Literature the stories that are written so this whole phrase means stories written in the local language about local topics.
  • The atmosphere of these bustling, trafficking cities called into existence a practical commercial spirit, a many-sided, independent, secular life which in many respects was directly opposed to medieval teachings and ideals.
  • So far-reaching and transforming was the influence of the old world of culture upon the nations of Western Europe that the Renaissance, viewed as the transition from the mediaeval to the modern age, may properly be regarded as beginning with its discovery, or rediscovery, and the appropriation of its riches by the Italian scholars.
  • It was a political, intellectual, and artistic life like that of the cities of ancient Greece.
  • Florence, for example, became a second Athens
  • Italy the birthplace of the Renaissance was the fact that in Italy the break between the old and the new civilization was not so complete as it was in the other countries of Western Europe.
  • Italians were closer in language and in blood to the old Romans than were the other new-forming nations
  • direct descendants and heirs of the old conquerors of the world
  • first task of the Italian scholars the recovery and appropriation of the culture of antiquity.
  • existence in the peninsula of so many monuments of the civilization and the grandeur of ancient Rome
  • -a recovery and appropriation by the Italians of the long-neglected heritage of Graeco-Roman civilization.
  • The movement here consisted of two distinct yet closely related phases, namely, the revival of classical literature and learning, and the revival of classical art
  • intellectual and literary phase of the movement
  • "Humanism,
  • study of the classics, the literae humaniores, or the "more human letters," in opposition to the diviner letters, that is, theology, which made up the old education.
  • Petrarch, the First of the Humanists.-- [Francesco Petrarca (1304-1374
  • He was the first scholar of the mediaeval time who fully realized and appreciated the supreme excellence and beauty of the classical literature and its value as a means of culture.
  • He could not read Greek, yet he gathered Greek as well as Latin manuscripts
  • During all the mediaeval centuries, until the dawn of the intellectual revival, the ruins of Rome were merely a quarry. The monuments of the Caesars were torn down for building material, the sculptured marbles were burned into lime for mortar.
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    Effects of the Renaissance on development of Western culture
Garth Holman

http://edsitement.neh.gov/sites/edsitement.neh.gov/files/Black_Death.swf - 0 views

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    Interactive map that shows spread of the Plague.
Garth Holman

The Black Death - 0 views

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    Animated game on the Black Death
Garth Holman

The past, present and future of the bubonic plague - Sharon N. DeWitte - YouTube - 0 views

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    TED Talk EDU for kids animated story of black death
Garth Holman

Doctor's Review | Doctors of the Black Death - 0 views

  • Public service, plague-style Presumably, their principal task of the plague doctors was to help treat and cure plague victims, and some did give it their best shot. In actual fact, however, the plague doctors’ duties were far more actuarial than medical. Most did a lot more counting than curing, keeping track of the number of casualties and recorded the deaths in log books. Plague doctors were sometimes requested to take part in autopsies, and were often called upon to testify and witness wills and other important documents for the dead and dying. Not surprisingly, many a dishonest doc took advantage of bereaved families, holding out false hope for cures and charging extra fees (even though they were supposed to be paid by the government and not their patients). Then, as now, it seems a life of public service was occasionally at odds with the ambitions of some medically minded entrepreneurs. Whatever their intentions, whatever their failings, plague doctors were thought of as brave and highly valued; some were even kidnapped and held for ransom.
  • Creepy costume By the 1600s, the plague doctor was a terror to behold, thanks to his costume — perhaps the most potent symbol of the Black Death. The protective garment was created by the 17th-century physician Charles de l’Orme (1584-1678). De l’Orme had been the physician of choice for several French kings (one Henri and a Louis or two), and was also a favourite of the Medici family in Italy. In 1619 — as a carefully considered way to protect himself from having to visit powerful, plague-infested patients he couldn’t say no to — de l’Orme created the iconic uniform. Its dramatic flair certainly made it seem like a good idea, and the costume quickly became all the rage among plague doctors throughout Europe. Made of a canvas outer garment coated in wax, as well as waxed leather pants, gloves, boots and hat, the costume became downright scary from the neck up. A dark leather hood and mask were held onto the face with leather bands and gathered tightly at the neck so as to not let in any noxious, plague-causing miasmas that might poison the wearer. Eyeholes were cut into the leather and fitted with glass domes. As if this head-to-toe shroud of foreboding wasn’t enough, from the front protruded a grotesque curved beak designed to hold the fragrant compounds believed to keep “plague air” at bay. Favourite scents included camphor, floral concoctions, mint, cloves, myrrh and basically anything that smelled nice and strong. In some French versions of the costume, compounds were actually set to smolder within the beak, in the hopes that the smoke would add an extra layer of protection. A wooden stick completed the look, which the plague doctor used to lift the clothing and bed sheets of infected patients to get a better look without actually making skin-to-skin contact.
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