Summary Of The Triptych Melencome, And Knight, Death And The Devil

The renaissance of the twelfth century was a revival of cultural and intellectual activity from 1050 to 1250. Guibert of Nogent’s autobiography, A Monk’s Confession: The Memoirs of Guibert of Nogent, and the prologue of Peter Abelard’s Sic et Non (“Yes and No”) are both products of this time period, having been written in 1115 and 1122, respectively. While Abelard’s text primarily focuses on applying reason to religious matters—a very renaissance thing to do—Guibert sheds light on a greater variety of affairs. Both documents indicate the strong faith that one would expect to find in people during this era of religious enthusiasm. Together, the documents paint an informative picture of the intellectual activity and culture of their times.

In William Manchester’s “ A World Lit Only by Fire: The Medieval Mind and the Renaissance: Portrait of an Age” He demonstrates the change in the "Dark Ages" from the dependence on religion to independent thinking. Ancient concepts were questioned and proven wrong after thousands of years, and the power of the what finally surpassed the authority of the Pope. Manchester expresses the transition within Europe from the Medieval Times to the Renaissance that included multiple changes in the intellectual, religious, and political aspects of life.

Dante Alighieri wrote the Divine Comedy from 1308-1320. The story narrates Dante’s pilgrimage through hell, purgatory, and heaven while guided by Virgil and Beatrice. Throughout this journey Dante conforms himself to virtue, properly orders his passions, and conforms his conscience, “Dante 's psychopoiesis operates through the mimetic deformation, reformation, and transformation of conscience” (Macready, 2). This essay will examine what a true conscience is according to the Catechism of the Catholic Church and explore the nature of the conscience in Dante’s Divina Commedia. Additionally, this essay will examine the errors of Dante’s conscience regarding divine justice, love, and courage; and who contributes to this formation.

Christ Blessing, Surrounded by a Donor Family (1573-1582) offers valuable insight into a changing European landscape during the sixteenth century. The Protestant Reformation, which reached its climax during this era, rejected many aspects of Catholicism. Among other things, Protestants believed that each individual should read the Bible and develop a meaningful connection to G-d rather than limiting the Bible to the clergy’s interpretation.1 This Protestant belief and other tenets of the Reformers are evident in the Reformation’s art. Christ Blessing, Surrounded by a Donor Family demonstrates the manner in which the cultural shift from Catholicism to Protestantism in Northern Europe during the Reformation was reflected in that era’s art.

In the 16th Century, Europeans had their faith shattered and were forced to realize that there was doubt in what they believed in. From the countless wars being fought in the name of religion, to the once great and wealthy countries that needed to reaffirm their place in the world, ‘all that they had once taken for granted was suddenly cast into doubt’ (446). Europeans were desperately searching for new foundations to put their faith in ‘in the face of intellectual, religious, and political challenges’ (446). This period is an example of the expression “Age of Doubt, Age of Uncertainty”.

Purity and Civility in The Praise of Folly by Desiderius Erasmus and Of Cannibals by Michel de Montaigne

The connection between the human soul and the human body, specifically in their relationship to sin is evidenced in the work of St Bernard of Clairvaux. St. Bernard’s work “On Loving God” emphasizes the value of human relationships with God, as well as the virtues that accompany these relationships, or lack thereof. Similarly, Dante’s journey from Heaven to Hell in The Divine Comedy concerns the importance of virtue and the consequences of acting immorally. The influence of St. Bernard of Clairvaux’s theological thought on sin and its connection to the human body is shown in Dante’s Inferno and Purgatory through Dante’s emphasis on the physical representations of sin and its redeeming act.

The truest of man’s goals is to create art. Art is a by-product of the gift of man over the animals, creativity. Truly, creativity is a replication of God in man and a very possible interpretation of the Genesis 1:27 phrase “in his own image,” along with others—the possession of an immortal soul or the ability to speak. And creativity’s ultimate end product is art. And art more often than not in the history of man has led man to pay homage to his creator. Three of the classic literary artistic works of mankind, Homer’s Iliad, Virgil’s Aeneid, and Dante’s Inferno, feature—if not focus—on the deity or deities of the respective authors and their relation to the characters

The theme of equilibrium between reason and faith is one of the core messages of Inferno and it is essential in conveying the main idea of the Divine Comedy and of the pilgrim’s journey that the exploitation of intellect and the misuse of will is the cause of sin, and that through faith, those who are morally lost find their salvation in God. In Inferno Dante makes it clear that he greatly values knowledge and reason in a way that is more characteristic to the Renaissance rather than of his own Medieval time. However, throughout this first book, the author reminds the audience of the Christian nature of his poem as he uses the stories of the sinners he encounters to stress the idea that without faith, the intellect is not sufficient to achieve divine salvation and that the misuse of reason can often lead to terrible sins.

This extraordinary work by Carpaccio is a landmark in the history of devotional images. It is, in effect, a meditation on the them of Death and Resurrection. To the right, the Old Testament figure Job sits on a block inscribed in pseudo-Hebrew, while on the left, portrayed as a hermit, is Saint Jerome (ca. 347 -420), who wrote a commentary on the book of Job. Christ’s dead body is displayed on a broken throne, also inscribed in pseudo-Hebrew. A bird—symbol of the soul —flies upwards. The landscape, barren on the

Religion in the Middle Ages takes on a character all of its own as it is lived out differently in the lives of medieval men and women spanning from ordinary laity to vehement devotees. Though it is difficult to identify what the average faith consists of in the Middle Ages, the life told of a radical devotee in The Book of Margery Kempe provides insight to the highly intense version of medieval paths of approaching Christ. Another medieval religious text, The Cloud of Unknowing, provides a record of approaching the same Christ. I will explore the consistencies and inconsistencies of both ways to approach Christ and religious fulfillment during the Middle Ages combined with the motivations to do so on the basis of both texts.

Dante had his fair share of the real human experience, whilst traveling through hell in Dante Alighieri’s “The Divine Comedy”. Characters in literature have been popularized since this masterpiece to favor sins as a type of personality trope. The lazy bum, the angry husband, or the prideful peacocks; the list goes on and on. The cause and effect of these traits have served well to teach generations of readers, the ideas and meanings of our actions as humans. Although it is rare, some works leave open ended plots for us to contemplate the meaning of said sin. In conjunction to some of the deadly sins, the main characters from “The Cask of Amontillado”, “The Veldt”, and “Soliloquy of the Spanish Cloister”, all display a truth about human nature.

Dante's `Divine Comedy', the account of his journey through hell, purgatory and heaven is one of the worlds great poems, and a prime example of a most splendidly realized integration of life with art. More than being merely great poetry, or a chronicle of contemporary events, which it also is, the `Comedy' is a study of human nature by a man quite experienced with it. The main argument I will make in this essay is that Dante's `Comedy' is chiefly a work of historical significance because in it lies the essence of human life across all boundaries of time and place. I feel that such a reading is justified, nay invited, by Dante himself when he says;

Beginning with the Renaissance (1400-1600) we see a change in the subject matter being portrayed by artists of the time. We can attribute this change not only to the change in patrons, from the Christian church to wealthy bankers and politicians, but also to the growing body of scientific knowledge. “The Renaissance was

Among various political, social, and religious strife, the Medieval Literature is characterized by Christian influence and beliefs. In medieval texts, authors highlight the importance and grandeur of the Christian faith by contrasting it with descriptions of foreign lands. As a result, people received a false view of these faraway lands that included Syria and India. In texts such as Sir John Mandeville’s The Book of Marvels and Travels and Geoffrey Chaucer’s “The Man of Law’s Tale” offer examples of othering by their misunderstanding of foreign people and criticism of their religion which in turn facilitates the authors in defining the Christian European identity.