Luther’s Theses and
missionaries of
nudity in art and
pluralists in, 3.1, 3.2n
private confession, n
reform in, (see also Counter-Reformation)
religious orders of, 3.1, 3.2n, col4.1
reunification
rhyme used in ceremony
road to Reformation, itr.1
sacraments of, 4.1, 4.2n
Savonarola and
Second Vatican Council, 1.1n, 6.1, col4.1
sexual abuse scandal, 4.1, 4.2n
sexual issues and, n
simony, 3.1, 3.2n
Spanish mission churches, n
Tridentine decrees, (see also Council of Trent)
universality of belief sought
Wyclif’s reforms
See also papacy/papal office; specific popes
Roman Inquisition
Romans (Book of)
3:23–25, itr.1, 3.1
3:28
7:14–25
8:28–30
8:31, 1.1, 3.1
9:2–5
10:9–13
11:25–26
Luther’s notes on
Rome
as Babylon
burning of Bruno in
Jews expelled from
Luther’s visit (1511), itr.1, 4.1, 4.2n
Piazza Navona
St. Peter’s Basilica, 2.1, 2.2, 2.3, 3.1
St. Peter’s Square
Santa Maria della Vittoria, Cornaro Chapel
Scala Regia
See also Sistine Chapel
Rove, Karl
Royal Third, n
Sailing the Wine-Dark Sea (Cahill), 5.1n
Saint Bartholomew’s Day Massacre
Saint Lawrence Jewry Church, London, n
St. Peter’s Basilica, 2.1, 2.2
dome (by Michelangelo), 2.1, 2.2
financing for, 2.1, 3.1, 3.2
interior (by Bernini)
Second Vatican Council at
St. Peter’s Square, Rome (by Bernini)
Salai, Giacomo, 2.1, 2.2n
Saltarelli, Jacopo
Salvation, 3.1, 3.2, 3.3, 3.4
Sánchez, Gabriel
Santangel, Luis de
Sartre, Jean Paul
Satan, 1.1, 1.2n, 1.3n, 3.1, 4.1, 5.1
Savile, Sir Henry
Savona, 1.1, 1.2
Savonarola, Friar Girolamo, 1.1, 1.2
“Bonfire of the Vanities,”
ego and
Scala Regia, Rome (by Bernini)
Scarry, Elaine
Schaff, Philip
Schmalkaldic League
Scholasticism, 1.1n, 1.2
Science, fm1.1, 1.1, 5.1
Scientific materialism, n
Scottish Presbyterianism, 6.1, 6.2
Second Reformation
Second Vatican Council, 1.1n, 6.1, col4.1
Self-Portrait (Leonardo)
Self-Portrait in the Nude (Dürer), 5.1, 5.2
Sentences (Lombard)
Sermon on Grace and Indulgence (Luther)
Serpent and the Lamb, The (Ozment), 5.1n
Servetus, Michael, 6.1, 6.2n, 6.3
Seventh Seal, The (film)
Shakespeare, William, 1.1, 5.1, 5.2, 6.1, 6.2, 7.1, 7.2
Sicilian Vespers
Sick Bacchus (Caravaggio)
Sidereus Nuncius (Galileo)
Sigismund, Holy Roman Emperor
Simon of Sudbury
Simony, 3.1, 3.2n
Sistine Chapel
ceiling, 2.1, 2.2, 4.1
The Last Judgment
Sixtus IV, Pope, 1.1, 1.2, 1.3
Slavery, 1.1, 5.1
Slavery of the Will (Luther)
Socialism, 5.1
Spain
Alcázar, 1.1, 1.2
Alhambra Decree, 1.1, 1.2, 1.3n, 1.4
armada against England, 6.1, 6.2
burning of heretics (auto de fe), 1.1, 1.2n
Canary Islands and
claim to New World
demarcation of New World and, n
Ferdinand and Isabella, 1.1, 1.2
indigenous peoples and, 1.1, 1.2, 1.3n
Jews in, 1.1, 1.2n, 1.3
Moors (Muslims) in, 1.1, 1.2, 1.3, 5.1
Muslim holdings in, 1.1, 1.2, 1.3, 1.4, 1.5
racial purity in
Reconquista
Royal Third and, n
sangre azul in
as sea power
Spanish Inquisition, 1.1, 1.2, 5.1
war with France and
Spanish Inquisition, 1.1, 1.2
Dostoevsky’s “The Grand Inquisitor,”
Johnson’s defense of
Spiritual Exercises (Loyola), 2.1, 5.1
“composition of place,” 5.1, 5.2n
Spoto, Donald, n
Statute of Labourers
Staupitz, Johann von
Strassburg, Germany (as model of reformation)
Straw, Jack
Stripping of the Altars, The (Duffy), 6.1n
“Struggle for Ideological Upper Hand in Muslim World” (Worth), n
Suleiman the Magnificent
Tainos, 1.1, 1.2
Tapper, Ruwart
Technology, n
motion pictures
printing press
Tempest, The (Shakespeare)
Teresa of Ávila, 1.1, 2.1
Teresa of Ávila (Bernini)
Tertullian
Tetzel, Johann, 3.1, 3.2
Thirty Years’ War, 6.1, 6.2, 7.1
Thomas Aquinas, fm1.1, fm1.2, fm1.3, fm1.4, itr.1, itr.2, 4.1
Thompson, Francis
Three Graces (Anon.)
Tillich, Paul
Toolan, David
Tornabuoni, Lucrezia, n
Torquemada, Tomás de, 1.1, 1.2n, 1.3, col3.1
Torture, itr.1, 6.1
Spanish Inquisition and, 1.1, 1.2n
strappado, 1.1, 1.2n
Trip to the Moon, A (Méliès)
“Triumph of Bacchus and Ariadne” (Medici)
Tunstall, Cuthbert
Two Heads (Leonardo)
Tyler, Wat, itr.1, itr.2, 6.1
Tyndale, William, 4.1n, 5.1
Bible of
capture and execution
exile on the Continent, 5.1, 5.2
Hebrew and
“pestilent glosses” of, 5.1, 5.2
Unitarianism
University of Bologna
University of Heidelberg
University of Leipzig, 4.1, 4.2
Luther-Eck debate
University of Paris, 5.1, 5.2n, 5.3
famous alumni
Montaigu, 5.1, 5.2, 5.3
Sorbonne
Urban V, Pope
Urban VIII, Pope
Ursulines, 7.1, 7.2, col4.1
Utopia
Age of Discovery and
coining of word
experimental communities
Garden of Eden
Jesuits and
More’s, 1.1, 5.1, 5.2n
Plato’s Republic, 5.1, 5.2n
Rabelais’s
Utopia (More), 1.1, 5.1, 5.2n
Vasari, Giorgio, 2.1, 2.2, 2.3, 2.4
Vasco de Quiroga
Venice/Venetians, 1.1, 1.2, 4.1n
Venus and Mars (Botticelli)
Venus of Willendorf
Verdi, Giuseppe
Vermeer, Jan
Verrocchio, Andrea del, 1.1, 2.1, 2.2, 2.3
abandons painting
Leonardo da Vinci as apprentice, 2.1, 2.2
See also Baptism of Christ; David
Vespucci, Amerigo
Vespucci, Simonetta, 2.1, 2.2n
Villon, François, n
Virgil, itr.1, 1.1, 1.2
Virgin and Child and St. Anne (Leonardo), 2.1n
Virgin of the Rocks, The (Leonardo)
Vitruvian Man (Leonardo), 2.1, 5.1
Vitruvius
Voltaire
Volterra, Dan
iele da
Waldseemüller, Martin
Walker, John
Wat Tyler’s Rebellion
Waugh, Evelyn, 5.1, 6.1
Wedding Dance, The (Bruegel), 5.1, 5.2n
When I Was a Child I Read Books (Robinson)
Whittington, Robert, n
Wilde, Oscar
Williams, Archbishop Rowan, n
Wilson, A. N.
Winter Landscape with Skaters and Bird Trap (Bruegel)
Winter Light (film)
Winter’s Tale, The (Shakespeare)
Witch hunts, 1.1, 1.2
Wittenberg, Germany, 3.1, 3.2, 4.1, 4.2, 5.1, 6.1
Wolf Hall (Mantel)
Wolves in the Throne Room
Women
Donatello’s Mary Magdalene and
education of, 7.1, 7.2
female form in art, 2.1, 2.2, 5.1, 5.2
literacy of, itr.1, 7.1
Ursulines, 7.1, 7.2, col4.1
witches and, 1.1, 1.2
See also Elizabeth I, Queen of England
Workers Leaving the Lumière Factory (film)
Worth, Robert F., n
“Wreck of the Deutschland, The” (Hopkins)
Wren, Christopher, 2.1, 5.1n
Writing, invention of, itr.1, itr.2n
Wyclif, John, itr.1, itr.2
Bible of, itr.1, 5.1
Xavier, Francis
Yeats, William Butler, 2.1, 2.2, 2.3
Yoffie, David B., itr.1, itr.2n
Young Man Luther (Erikson)
Young Woman Attacked by Death (Dürer)
Zurich, 6.1, 6.2, 6.3
Zwickau Prophets
Zwingli, Huldrych
A Note About the Author
Thomas Cahill’s appealing approach to distant history has won the attention of millions of readers in North America and beyond. Cahill is the author of five previous volumes in the Hinges of History series: How the Irish Saved Civilization, The Gifts of the Jews, Desire of the Everlasting Hills, Sailing the Wine-Dark Sea, and Mysteries of the Middle Ages. They have been bestsellers not only in the United States but also in countries ranging from Italy to Brazil. His last book was A Saint on Death Row.
Other titles by Thomas Cahill available in eBook format
Desire of the Everlasting Hills • 978-0-307-75510-0
The Gifts of the Jews • 978-0-307-75511-7
How the Irish Saved Civilization • 978-0-307-75513-1
Jesus’ Little Instruction Book • 978-0-307-80758-8
Mysteries of the Middle Ages • 978-0-307-75514-8
Sailing the Wine-Dark Sea • 978-0-307-75512-4
A Saint on Death Row • 978-0-385-53015-6
Visit: www.thomascahill.com
Like: www.facebook.com/thomascahillauthor
For more information, please visit www.nanatalese.com
Illustrations
1. Donatello, David, 1440s (illustration credit 1)
2. Donatello, Mary Magdalene, c. 1457 (illustration credit 2)
3. Verrocchio, David, c. 1476 (illustration credit 3)
4. Verrocchio, Baptism of Christ, 1472 (illustration credit 4)
5. Leonardo, The Annunciation, c. 1472 (illustration credit 5)
6. Leonardo, The Virgin of the Rocks, 1482–83 (illustration credit 6)
7. Masaccio, Raising of the Son of Theophilus and Saint Peter on His Throne, 1425 (illustration credit 7)
8. Masolino, Adam and Eve, c. 1424–25 (illustration credit 8)
9. Masaccio, Adam and Eve, c. 1425 (illustration credit 9)
10. Piero della Francesca, Resurrection, 1458 (illustration credit 10)
11. Piero della Francesca, La Madonna del Parto, c. 1465 (illustration credit 11)
12. Botticelli, Primavera, c. 1482 (illustration credit 12)
13. Botticelli, Athena and the Centaur, c. 1482 (illustration credit 13)
14. Botticelli, Venus and Mars, c. 1483 (illustration credit 14)
15. Botticelli, The Birth of Venus, c. 1485–87 (illustration credit 15)
16. Botticelli, Madonna of the Pomegranate, 1487 (illustration credit 16)
17. Michelangelo, Pietà, 1498–99 (illustration credit 17)
18. Michelangelo, David, 1504 (illustration credit 18)
19. Michelangelo, Sistine Chapel ceiling, 1508–12 (illustration credit 19)
20. Michelangelo, The Creation of Adam from the Sistine Chapel ceiling, 1508–12 (illustration credit 20)
21. Michelangelo, Moses, c. 1513–15 (illustration credit 21)
22. Michelangelo, The Last Judgment, 1537–41 (illustration credit 22)
23. Caravaggio, Sick Bacchus, 1593–94 (illustration credit 23)
24. Caravaggio, Basket of Fruit, 1599 (illustration credit 24)
25. Caravaggio, Madonna dei Pellegrini (Our Lady of the Pilgrims), 1604–06 (illustration credit 25)
26. Caravaggio, The Denial of Saint Peter, c. 1610 (illustration credit 26)
27. Caravaggio, David with the Head of Goliath, c. 1610 (illustration credit 27)
28. Bernini, David, 1623–24 (illustration credit 28)
29. Bernini, Saint Teresa in Ecstasy, 1647–52 (illustration credit 29)
30. Anonymous, Manuel Chrysoloras, 1400
Much cherished by early Florentine humanists, Chrysoloras was a learned Greek and celebrated teacher of his native literature, one of a growing wave of literary men seeking respite in Italy even before the Turkish conquest of Constantinople (see this page). His widely distributed Latin-Greek grammar would help to make possible the later achievements in biblical translation by Erasmus, Luther, and others. Sporting a long beard in the Greek manner, he stood out among fashionably shaved Italians. Deeply supportive of Christian ecumenical unity, he died en route to the Council of Constance (see this page and this page), where he was to have represented the Greek Orthodox patriarch. His is one of the earliest Western European images clearly drawn from life and intended to be historical rather than merely iconic or archetypal, though the use of his profile (modeled on the tradition of placing rulers’ profiles on coins) indicates that we are still a step or two from the easy employment of full-face portraits. (illustration credit 30)
31. Hans Memling, Portrait of a Young Man, c. 1472–75
Though we have lost the young man’s identity, there can be no doubt that he was noble (note the classical marble columns), wealthy (note the rings and the purple tunic edged in fur), and intended to be serenely detached (note his placid expression and the beautifully arranged countryside). He was also Italian, one of the large number of his fellow Florentines resident in Bruges. Not all elements of the Renaissance flowed from south to north. Italians especially admired the ability of the Dutch to draw with perfect verisimilitude and to introduce peculiar elements of visual charm—in this case, the use of the lower frame of the painting as a seemingly three-dimensional sill on which the sitter’s hands rest. (illustration credit 31)
32. Pietro di Spagna (aka Pedro Berruguete), Federigo da Montefeltro and His Son Guidobaldo, c. 1476–77
In this funny confusion of the formal and the informal, we are permitted to gaze upon the exceedingly nouveau riche duke of Urbino, supposedly at his ease in his private library, relaxing in full armor, surmounted by the ceremonial mantle of the Aragonian Order of the Ermine and, below his plated knee, the Order of the Garter, conferred upon him by the English king, Edward IV. His ducal hat sits conveniently above his bookshelf, while on the floor, ready to lunge at the viewer, stands the nearly three-dimensional helmet given him by the pope when he was created gonfaloniere of the papal troops. His little son and heir stands stoically at his side, while the duke is absorbed in a gorgeously covered ancient codex, his personal copy of The Writings of Pope Gregory the Great. He is, you see, both soldier and scholar, a deeply spiritual as well as an intensely physical fellow. But though Federigo did collect ancient manuscripts, we have no evidence that he read, or could read, any of them. We view him in profile, because his right eye was missing, the result
of a jousting accident that also notched his nose—though more radically than presented here. The whole conception sprang from the head of the duke himself, who forced it on a compliant artist, one who seems to have been influenced as much by Netherlandish naturalism as by ducal fantasies. (illustration credit 32)
33. Domenico Ghirlandaio, Detail from The Confirmation of the Franciscan Rule, 1482–85
In this fresco, still splendidly visible in the Sassetti Chapel of the Church of Santa Trinita in Florence, we find three portraits in which little or no attempt has been made to improve the looks of the men commemorated. They are Lorenzo the Magnificent, young, vigorous, and ugly, flanked by the two rather plain patricians who commissioned the work, Antonio Pucci and Francesco Sassetti. This is Lorenzo soon after the failure of the Pazzi conspiracy (see this page), exhibiting a winning self-confidence that required no false idealization. (illustration credit 33)
34. Domenico Ghirlandaio, An Old Man and His Grandson, c. 1490
Going much further than he had in the previous picture, Ghirlandaio dares to paint one of the ugliest subjects in all of art (at least prior to the work of Lucian Freud), an old man afflicted with the infection of rhinophyma. But the relationship between grandfather and grandson is palpable. What is idealized (in conventional Italian fashion) is the landscape beyond the window, which in this case, however, has been drafted by the artist to serve as the objective correlative to the tender love between the subjects. Though we are unsure of the identities of the figures, we know they are Florentines, and there is even evidence that the old man’s visage was copied from his death mask. (illustration credit 34)
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