Culture and Values A Survey of the

Humanities 8th Edition Cunningham

Solutions Manual
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 INSTRUCTOR’S MANUAL

CHAPTER 11: THE FOURTEENTH CENTURY—A TIME

OF TRANSITION

I. LEARNING OBJECTIVES

• To explain the impact on the Trecento of the Black Death, the Great Schism,
and the Hundred years’ War
• To present an overview of literature in Italy, England, and France in the
fourteenth century, including major works by Boccaccio, Dante, Petrarch,
Chaucer, and Pisan
• To examine the transition from Gothic to Early Renaissance art in Italy and
elsewhere in the fourteenth century
• To survey the great buildings of the fourteenth century in Italy and England
• To present the major features of fourteenth-century music, the Ars Nova, and
its major composers

II. OUTLINE OF CHAPTER CONTENTS

The Fourteenth Century

The Great Schism
The Hundred Years’ War
The Black Death
Literature
Dante Alighieri
Francesco Petrarch
Geoffrey Chaucer
Christine de Pisan
Art in Italy
Italo-Byzantine Style
Pisano, Father and Son
Painting in Florence: A Break with the Past
Cimabue
Giotto di Bondone
Painting in Siena
Duccio di Buoninsegna
 ` Simone Martini and the International Style
Ambrogio Lorenzetti
Late Medieval Architecture
Secular Architecture
Cathedral Architecture
A New Musical Style—Ars Nova
Guillaume de Machaut
Francesco Landini

III. FIGURES, MAPS, AND TABLES

Figure 11.1 Enrico Pazzi, Dante Alighieri

Map 11.1 The Black Death
Figure 11.2 The Structure of Dante’s Divine Comedy
Figure 11.3 Domenico di Michelino, Dante Illuminated the City of Florence with
His Book The Divine Comedy
Figure 11.4 Geoffrey Chaucer, Canterbury Tales, General Prologue
Figure 11.5 Nicola Pisano, pulpit of the baptistery
Figure 11.6 Nicola Pisano, Annunciation, Nativity, and Adoration of the
Shepherds, relief panel
Figure 11.7 Giovanni Pisano, Annunciation, Nativity, and Adoration of the
Shepherds, relief panel
Figure 11.8 Cimabue, Madonna Enthroned with Angels and Prophets
Figure 11.9 Giotto di Bondone, Madonna Enthroned
Figure 11.10 Giotto di Bondone, Arena Chapel
Figure 11.11 Giotto di Bondone, Lamentation, Arena Chapel
Figure 11.12 Duccio di Buoninsegna, Virgin and Child Enthroned with Saints
Figure 11.13 Duccio di Buoninsegna, Life of Jesus
Figure 11.14 Duccio di Buoninsegna, Entry Into Jerusalem
Figure 11.15 Giotto di Bondone, Entry of Christ Into Jerusalem
Figure 11.16 Duccio di Buoninsegna, The Betrayal of Jesus
Figure 11.17 Giotto di Bondone, The Betrayal of Jesus
Figure 11.18 Simone Martini and Lippo Memmi, Annunciation altarpiece
Figure 11.19 Ambrogio Lorenzetti, Peaceful City, detail of Effects of Good
Government on the City and the Country
Figure 11.20 Ambrogio Lorenzetti, Peaceful City, detail of Effects of Good
Government on the city and the Country
Figure 11.21 Palazzo Pubblico, Siena
Figure 11.22 Doges’ Palace, Venice
Figure 11.23 Gloucester Cathedral, England
Figure 11.24 Cathedral of Santa Maria del Fiore (the Duomo), Florence
Figure 11.25 Flemish school, Romance of the Rose, the Lover and the Dame
Oyseuse (Lady Idleness) in a garden
Figure 11.26 Fourteenth-century musicians and instruments, De musica I

IV. SUGGESTIONS FOR CLASSROOM DISCUSSION

Calamity, Decay, and Violence

What effects did the cataclysmic events of the fourteenth century—the Black
Death, the Great Schism, and the Hundred Years’ War—have on the arts and
culture of Europe?

Age of Transition

1. What examples demonstrate that the fourteenth century was a transition

between medieval and Renaissance cultures?

2. Compare and contrast Cimabue’s Madonna Enthroned (Fig. 11.8), Duccio’s

Maesta (Fig. 11.12), and Giotto’s Madonna Enthroned (Fig. 11.9). How do these
paintings illustrate the movement away from medieval sensibilities toward
Renaissance sensibilities?

The Great Schism

The Great Schism promoted a greater criticism of religious institutions in Europe.

Discuss how this criticism appears in the works of Chaucer and Boccaccio.

Naturalism

1. How do the works of Giotto, Sluter, the Pisanos, and the Lorenzettis show the
emerging emphasis on naturalism and realism?

2. Giotto is credited with the rediscovery of realistic painting. What makes a

painting look realistic (or if you wish, why do so many medieval paintings [and
some modern art] not look realistic)?
Music

Listen to some of the ballads and madrigals of the fourteenth century. How do the
lyrics of these pieces compare to modern secular music?

Canterbury Tales

Have a student read aloud Chaucer’s Prologue in this chapter. Then play a
recording of Chaucer’s Prologue read from the original. Ask students to count the
number of words they recognize. Discuss the evolution of living languages.

The Divine Comedy

1. Describe the people assigned to Hell, Purgatory, and Paradise. Who are the
most colorful figures in Hell?

2. Compare the depiction of Hell in Dante’s Inferno to the mosaic from the dome
of the Florentine Baptistery. What do these images reveal about how Hell was
pictured in the Middle Ages? What would a modern version of Hell look like?
How would it differ from the medieval view of Hell?

V. ASSIGNMENTS FOR STUDENTS

1. Debate the proposition: Chaucer is a man of the past, while Petrarch is a man
of the future. Use passages from the works of each author to support your position.

2. Compare Boccaccio’s Preface to the Decameron to Edgar Allan Poe’s Masque

of the Red Death. What are the similarities and differences in these accounts of
people facing sudden death?

3. Draw portraits of each of Chaucer’s pilgrims using the descriptions provided in

his Prologue to The Canterbury Tales.

4. Compare and contrast the view of women proposed in the Prologue to the
“Wife of Bath’s Tale” (Chapter 10) and the view proposed by Christine de Pisan in
The Book of the City of Ladies.

5. Write a dialogue on one of the following: (a) Giotto and Martini on the
purposes of painting; (b) the Wife of Bath and Christine de Pisan on the nature of
women; (c) Chaucer and Boccaccio on the elements of a good story; (d) Petrarch
and Nicola Pisano on the greatness of Rome.

6. Why was Dante exiled from Florence?

7. Take either Hell, Purgatory, or Paradise, and populate it with modern

personalities. Explain who is there and why.

8. Draw an illustration of a passage from the Divine Comedy or make a collage of

modern photos that captures Dante’s intent in this passage.

9. Research and report on the Peasant Revolt of 1381.

10. Secure a modern medical description of bubonic plague. Find out about the
origins of the plague in the Middle Ages and how it spread. Compare today’s
modern medical knowledge about the plague to Boccaccio’s description in the
Prologue to the Decameron. How accurate is Boccaccio’s description?

VI. ADDITIONAL RESOURCES

From Films for the Humanities:

Geoffrey Chaucer: The Canterbury Tales
Circles of Light: Dante’s Divine Comedy
The Divine Comedy: Violence and Beauty
Dante’s Inferno
Cataclysm: The Black Death Visits Tuscany
The Great Plague
Arrows of Desires: Poets on Poems
Chaucer Reads Chaucer: The Miller’s Tale
Giotto: The Arena Chapel
The Beginning: The Emergence of the Renaissance
The Pure Radiance of the Past: The Revival of Ancient Architecture
Riddle of the Dome: Florence Cathedral and Filippo Brunelleschi

From the History Channel:

Scourge of the Black Death (In Search of History)
From PBS:
Secrets of the Dead III: Mystery of the Black Death
The Great Artists
Art of the Western World
Set in Stone
The Power of the Past: Florence
Empires: Medici, Godfathers of the Renaissance