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Heretics and Heroes

Page 38

by Thomas Cahill

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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