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Renaissance dance

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From Wikipedia, the free encyclopedia

Renaissance
The School of Athens (1509–1511) by Raphael
Topics
Humanism Age of Discovery Architecture Dance Fine arts Literature Music Philosophy Science Technology Warfare
Regions
England France Germany Italy Poland Portugal Spain Scotland Northern Europe Low Countries
Criticism
Criticism
v t e

Renaissance dances belong to the broad group of historical dances. During the Renaissance period, there was a distinction between country dances and court dances. Court dances required the dancers to be trained and were often for display and entertainment, whereas country dances could be attempted by anyone. At Court, the formal entertainment would often be followed by many hours of country dances which all present could join in. Dances described as country dances such as Chiarantana or Chiaranzana remained popular over a long period – over two centuries in the case of this dance. A Renaissance dance can be likened to a ball.

Knowledge of court dances has survived better than that of country dances as they were collected by dancing masters in manuscripts and later in printed books. The earliest surviving manuscripts that provide detailed dance instructions are from 15th century Italy. The earliest printed dance manuals come from late 16th century France and Italy. The earliest dance descriptions in England come from the Gresley manuscript, c.1500, found in the Derbyshire Record Office, D77 B0x 38 pp 51–79. These have been recently published as "Cherwell Thy Wyne (Show your joy): Dances of fifteenth-century England from the Gresley manuscript".^[1] The first printed English source appeared in 1651, the first edition of Playford.

The dances in these manuals are extremely varied in nature. They range from slow, stately "processional" dances (bassadance, pavane, almain) to fast, lively dances (galliard, coranto, canario). The former, in which the dancers' feet were not raised high off the floor were styled the dance basse while energetic dances with leaps and lifts were called the haute dance.^[2] Queen Elizabeth I enjoyed galliards, and la spagnoletta was a court favourite.^[3]

Some were choreographed, others were improvised on the spot. One dance for couples, a form of the galliard called volta, involved a rather intimate hold between the man and woman, with the woman being lifted into the air while the couple made a 3⁄4 turn. Other dances, such as branles or bransles, were danced by many people in a circle or line.

Fifteenth-century Italian dance

Our knowledge of 15th-century Italian dances comes mainly from the surviving works of three Italian dance masters: Domenico da Piacenza, Antonio Cornazzano and Guglielmo Ebreo da Pesaro. Their work deals with similar steps and dances, though some evolution can be seen. The main types of dances described are bassa danza and balletto. These are the earliest European dances to be well-documented, as we have a reasonable knowledge of the choreographies, steps and music used.

Gallery

Dance at Herod's Court, an engraving by Israhel van Meckenem, c. 1490

Ambrosius Benson, Elegant couples dancing in a landscape, before 1550

French painting of the volta, from Penshurst Place, Kent, often wrongly assumed to be of Elizabeth I

References

1. 
   

Ann and Paul Kent DHDS,2013 ISBN 978-0-9540988-1-0

Liza Picard (2005). Elizabeth's London. Macmillan. p. 215. ISBN 978-0-312-32566-4.

3. Moore, Lillian. (1965). Images of the dance : historical treasures of the Dance Collection 1581–1861. New York Public Library. OCLC 466091730.

Sources

• Ebreo, Guglielmo (1993). On the practice or art of dancing (orig. pub. 1463) edited by Barbara Sparti. Oxford: Clarendon Press. ISBN 0-19-816574-9.
• Caroso, Fabritio (1986). Courtly Dance of the Renaissance – a new translation and edition of Nobilta di Dame (orig. pub. 1600) edited by Julia Sutton. New York: Dover Publications Inc. ISBN 0-486-28619-3.
• A William Smith (1995). Fifteenth-century dance and music: the complete transcribed Italian treatises and collections in the tradition of Domenico da Piacenza (vol 1). Stuyvesant, NY: Pendragon Press. ISBN 0-945193-25-4.
• A William Smith (1995). Fifteenth-century dance and music: the complete transcribed Italian treatises and collections in the tradition of Domenico da Piacenza (vol 2). Stuyvesant, NY: Pendragon Press. ISBN 0-945193-57-2.
• Date Van Winkler Keller; Genevieve Shimer (1990). The Playford Ball 103 Early English Country Dances As Interpreted by Cecil Sharp and his Followers. A Cappella Books and the Country Dance and Song Society. ISBN 1-55652-091-3.

External links

Wikimedia Commons has media related to Renaissance dance.

• www.earlydancecircle.co.uk
• The Renaissance Dance Homepage
• Society for Creative Anachronism (SCA) Renaissance Dance Homepage
• Renaissance dance category at Curlie
• Renaissance Dance Events listed at the Calendar of Early-Dance
• Official website

Modern performance

Many groups exist that recreate historical music and dance from the Renaissance period

• The Early Dance Circle is an umbrella group for early dance in the UK
• Renaissance Footnotes, a UK dance group recreating dances of the renaissance

v t e Renaissance
General	Renaissance High Renaissance Greek scholars in the Renaissance Mannerism Northern Mannerism Renaissance studies
By field	Architecture Brick Central and Eastern Europe French Italian domes Palladian Plateresque Portuguese Purism Spanish Venetian Art Dance Humanism France Northern Europe Latin Literature Dutch French Spanish Magic Medicine Music Philosophy Platonism in the Renaissance Science Scientific Revolution Technology Theatre Warfare
By region	English Flemish French German Weser Italian Roman Venetian Northern Papal States Polish Portuguese Scottish Spanish Spanish Golden Age
Lists	Composers Figures Humanists Structures
See also	Bengal Medieval Carolingian Ottonian 12th century Persian Timurid Reenactment

Categories:

• Renaissance dance
• History of dance
• Renaissance
• European court festivities

https://en.wikipedia.org/wiki/Renaissance_dance

https://en.wikipedia.org/wiki/Renaissance_dance

https://en.wikipedia.org/wiki/Renaissance_architecture

https://en.wikipedia.org/wiki/Renaissance_art

https://en.wikipedia.org/wiki/Renaissance_literature

https://en.wikipedia.org/wiki/Renaissance_music

https://en.wikipedia.org/wiki/Science_in_the_Renaissance

https://en.wikipedia.org/wiki/Renaissance_technology

https://en.wikipedia.org/wiki/Renaissance_philosophy

https://en.wikipedia.org/wiki/Early_modern_warfare

https://en.wikipedia.org/wiki/Renaissance_humanism

The Age of Discovery or the Age of Exploration, part of the early modern period and largely overlapping with the Age of Sail, was a period from approximately the 15th century to the 17th century in European history, during which seafaring Europeans explored, colonized, and conquered regions across the globe.

The extensive overseas exploration, with the Portuguese and Spanish at the forefront, later joined by the Dutch, English, and French, emerged as a powerful factor in European culture, most notably the European colonization of the Americas. It also marks an increased adoption of colonialism as a government policy in several European states. As such, it is sometimes synonymous with the first wave of European colonization.

European exploration outside the Mediterranean started with the maritime expeditions of Portugal to the Canary Islands in 1336,^[1] and later with the Portuguese discoveries of the Atlantic archipelagos of Madeira and Azores, the coast of West Africa in 1434, and the establishment of the sea route to India in 1498 by Vasco da Gama, which initiated the Portuguese maritime and trade presence in Kerala and the Indian Ocean.^[2][3] 

https://en.wikipedia.org/wiki/Age_of_Discovery

 

https://en.wikipedia.org/wiki/Historical_dance

https://en.wikipedia.org/wiki/Country_dance

https://en.wikipedia.org/wiki/Pavane

https://en.wikipedia.org/wiki/Basse_danse

https://en.wikipedia.org/wiki/Allemande

https://en.wikipedia.org/wiki/Galliard

https://en.wikipedia.org/wiki/Courante

https://en.wikipedia.org/wiki/Canary_dance

 

https://en.wikipedia.org/wiki/John_Playford

 

Dance at Herod's Court, an engraving by Israhel van Meckenem, c. 1490

https://en.wikipedia.org/wiki/Renaissance_dance

Branle d'Ossau by Alfred Dartiguenave, 1855–1856

A branle (/ˈbrænəl, ˈbrɑːl/ BRAN-əl, BRAHL, French: [bʁɑ̃l] (listen)), also bransle, brangle, brawl(e), brall(e), braul(e), brando (in Italy), bran (in Spain), or brantle (in Scotland), is a type of French dance popular from the early 16th century to the present, danced by couples in either a line or a circle. The term also refers to the music and the characteristic step of the dance. 

https://en.wikipedia.org/wiki/Branle

French painting of the volta, from Penshurst Place, Kent, often wrongly assumed to be of Elizabeth I

https://en.wikipedia.org/wiki/Renaissance_dance

A courtly basse dance

https://en.wikipedia.org/wiki/Basse_danse

 

The Renaissance in the Low Countries was a cultural period in the Northern Renaissance that took place in around the 16th century in the Low Countries (corresponding to modern-day Belgium, the Netherlands and French Flanders).

Culture in the Low Countries at the end of the 15th century was influenced by the Italian Renaissance, through trade via Bruges, which made Flanders wealthy. Its nobles commissioned artists who became known across Europe. In science, the anatomist Andreas Vesalius led the way; in cartography, Gerardus Mercator's map assisted explorers and navigators. In art, Dutch and Flemish Renaissance painting went from the strange work of Hieronymus Bosch to the everyday life of Pieter Brueghel the Elder. In architecture, music and literature too, the culture of the Low Countries moved into the Renaissance style. 

https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries

Saltarello. Illustration by Bartolomeo Pinelli.

https://en.wikipedia.org/wiki/Saltarello

Add MS 29987
British Library
Facsimile of f. 62v of the manuscript, showing the Trotto and part of a saltarello
Also known as	London BM Add. 29987
Date	c. 1400
Place of origin	Tuscany or possibly Umbria
Language(s)	Tuscan
Material	parchment
Size	26 × 19.5 cm
Format	quarto
Contents	vocal and instrumental music
Previously kept	de' Medici family Carlo di Tommaso Strozzi private library in Florence British Museum

Folio 1 of the manuscript, bearing the coat-of-arms of the de' Medici family

Add MS 29987 is a mediaeval Tuscan musical manuscript dating from the late fourteenth or early fifteenth century, held in the British Library in London. It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred mass movements, and motets, and 15 untexted monophonic instrumental dances, which are among the earliest purely instrumental pieces in the Western musical tradition. The manuscript apparently belonged to the de' Medici family in the fifteenth century, and by 1670 was in the possession of Carlo di Tommaso Strozzi; it was in the British Museum from 1876, where it was catalogued as item 29987 of the Additional manuscripts series. It is now in the British Library.^[1][2]

^{https://en.wikipedia.org/wiki/British_Library,_Add_MS_29987}

Relationships (Outline)

Types

Activities

Endings

Emotions and feelings

Practices

Abuse

v t e

Courtesan, in modern usage, is a euphemism for a "kept" mistress or prostitute, particularly one with wealthy, powerful, or influential clients.^[1] The term historically referred to a courtier, a person who attended the court of a monarch or other powerful person.^[2] 

https://en.wikipedia.org/wiki/Courtesan

God Speed by English artist Edmund Leighton, 1900: depicting an armored knight departing for war and leaving behind his wife or sweetheart

Courtship is the period wherein some couples get to know each other prior to a possible marriage or committed romantic, de facto relationship. Courtship traditionally may begin after a betrothal and may conclude with the celebration of marriage.^[1] A courtship may be an informal and private matter between two people or may be a public affair, or a formal arrangement with family approval. Traditionally, in the case of a formal engagement, it is the role of a male to actively "court" or "woo" a female, thus encouraging her to understand him and her receptiveness to a marriage proposal.

Courtship as a social practice is a relatively recent phenomenon, emerging only within the last few centuries. From the standpoint of anthropology and sociology, courtship is linked with other institutions such as marriage and the family which have changed rapidly, having been subject to the effects of advances in technology and medicine. As humans societies have evolved from hunter-gatherers into civilized societies, there have been substantial adjustments in relations between people, with even the remaining biological imperative that a woman and man must have sexual intercourse for human procreation to happen being bypassed by in vivo fertilisation. 

https://en.wikipedia.org/wiki/Courtship

This article is about the musical form. For other uses, see Binary form (disambiguation).

Binary form in major and minor keys. Each section must be at least two phrases long.^[1]

Binary form is a musical form in 2 related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance. In music this is usually performed as A-A-B-B.

Binary form was popular during the Baroque period, often used to structure movements of keyboard sonatas. It was also used for short, one-movement works. Around the middle of the 18th century, the form largely fell from use as the principal design of entire movements as sonata form and organic development gained prominence. When it is found in later works, it usually takes the form of the theme in a set of variations, or the Minuet, Scherzo, or Trio sections of a "minuet and trio" or "scherzo and trio" movement in a sonata, symphony, etc. Many larger forms incorporate binary structures, and many more complicated forms (such as the 18th-century sonata form) share certain characteristics with binary form. 

https://en.wikipedia.org/wiki/Binary_form

 

In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera. In rhythm, hemiola refers to three beats of equal value in the time normally occupied by two beats. In pitch, hemiola refers to the interval of a perfect fifth. 

https://en.wikipedia.org/wiki/Hemiola

 

 

Dance steps

A 16th-century basse danse

A treatise in the Royal Library of Belgium in Brussels^{[full citation needed]} gives us information about the elements of basse danse and the choreography of specific examples. The basse danse is based upon four steps: pas simple, pas double, démarche (also known as the reprise) and branle.

• Pas simples are done in pairs, dancers take two steps (typically first left and then right) in one measure counting 2–2–2.
• In pas double, dancers take instead three steps, counting 3–3. These steps take advantage of the hemiola feel of the basse danse.
• In the démarche, dancers take a step backwards and shift their weight forward and then back in three motions in the feel of ³
  ₂.
• In the branle, dancers step to the left, shifting their weight left, and then close again, in two motions in the feel of ⁶
  ₄.

The révérence, occurring typically before or after the choreography, is a bow or curtsy that takes place over the course of one measure. 

https://en.wikipedia.org/wiki/Basse_danse

The Grand Ball, engraving by Master MZ dated 1500; it shows the court in Munich

 

https://en.wikipedia.org/wiki/Basse_danse

Dufay – mass cantus firmus, derived from "Se la face ay pale".^[1] Play (help·info)

In music, a cantus firmus ("fixed melody") is a pre-existing melody forming the basis of a polyphonic composition.

The plural of this Latin term is cantus firmi, although the corrupt form canti firmi (resulting from the grammatically incorrect treatment of cantus as a second- rather than a fourth-declension noun) can also be found. The Italian is often used instead: canto fermo (and the plural in Italian is canti fermi). 

https://en.wikipedia.org/wiki/Cantus_firmus

The tourdion (or tordion) (from the French verb "tordre" / to twist) is a lively dance, similar in nature to the galliard, and popular from the mid-15th to the late-16th centuries, first in the Burgundian court and then all over the French Kingdom.^{[citation needed]} The dance was accompanied frequently by the basse danse, due to their contrasting tempi, and were danced alongside the pavane and galliard, and the allemande and courante, also in pairs.^{[citation needed]}

The Swedish choir Harmonica sings a tourdion ("Quand je bois du vin clairet").

0:40

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Problems playing this file? See media help.

In a triple meter, the tourdion's "was nearly the same as the Galliard, but the former was more rapid and smooth than the latter".^[1] Pierre Attaingnant published several tourdions in his first publication of collected dances in 1530, which contains, as the sixth and seventh items, a basse dance entitled "La Magdalena" with a following tourdion^[2] (it was only in 1949 that César Geoffray arranged this "following" tourdion as a four-voice chanson, by adding the lyrics "Quand je bois du vin clairet...").^{[citation needed]} Thoinot Arbeau later documented information about the tourdion in his work Orchésographie [fr; ca; de; hu; ja; ru] (Orchesography, pp. 49–57), published in 1589. 

https://en.wikipedia.org/wiki/Tourdion

Gavotte from J.S. Bach's French Suite No. 5

A suite, in Western classical music and jazz, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude, by the early 17th century. The separate movements were often thematically and tonally linked.^[1] The term can also be used to refer to similar forms in other musical traditions, such as the Turkish fasıl and the Arab nuubaat.

In the Baroque era, the suite was an important musical form, also known as Suite de danses, Ordre (the term favored by François Couperin), Partita, or Ouverture (after the theatrical "overture" which often included a series of dances) as with the orchestral suites of Christoph Graupner, Telemann and J.S. Bach.

During the 18th century, the suite fell out of favour as a cyclical form, giving way to the symphony, sonata and concerto. It was revived in the later 19th century, but in a different form,^[2] often presenting extracts from a ballet (Nutcracker Suite), the incidental music to a play (L'Arlésienne, Masquerade), opera, film (Lieutenant Kije Suite) or video game (Motoaki Takenouchi's 1994 suite to the Shining series),^[3] or entirely original movements (Holberg Suite, The Planets). 

https://en.wikipedia.org/wiki/Suite_(music)

A courante rhythm^[1]

The courante, corrente, coranto and corant are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era. In a Baroque dance suite an Italian or French courante is typically paired with a preceding allemande, making it the second movement of the suite or the third if there is a prelude. 

https://en.wikipedia.org/wiki/Courante

The galliard (/ˈɡæljərd/; French: gaillarde; Italian: gagliarda) was a form of Renaissance dance and music popular all over Europe in the 16th century. It is mentioned in dance manuals from England, Portugal, France, Spain, Germany, and Italy.  

https://en.wikipedia.org/wiki/Galliard

The galliard was a favourite dance of Queen Elizabeth I of England, and although it is a relatively vigorous dance, in 1589 when the Queen was aged in her mid-fifties, John Stanhope of the Privy Chamber reported, "the Queen is so well as I assure you, six or seven galliards in a morning, besides music and singing, is her ordinary exercise."^[2]

While most commonly being an entire dance, the galliard's steps are used within many other forms of dance. For example, 16th-century Italian dances in Fabritio Caroso's (1581) and Cesare Negri's (1602) dance manuals often have a galliard section.

One special step used during a galliard is lavolta, a step which involves an intimate, close hold between a couple, with the woman being lifted into the air and the couple turning 270 degrees, within one six-beat measure. Lavolta was considered by some dancing masters as an inappropriate dance.

Another special step used during a galliard is the tassel kick ("salto del fiocco"). These steps are found in Negri's manual and involve a galliard step usually (though not always) ending with a spin. The easier steps involve single spins of 180 or 360 degrees; later, more difficult steps involve multiple sequential spins and spins of up to at least 540 degrees. During the spin, the dancer kicks out to touch a tassel suspended between knee and waist height. 

Unknown dancers performing lavolta. The painting is currently in Penshurst Place in Kent.

 https://en.wikipedia.org/wiki/Galliard

Musical form

Galliard rhythm^[3]

Musical compositions in the galliard form appear to have been written and performed after the dance fell out of popular use. In musical compositions, the galliard often filled the role of an after dance written in 6, which followed and mimicked another piece (sometimes a pavane) written in 4. The distinctive 6 beats to the phrase can still be heard today in songs such as "God Save the King". 

https://en.wikipedia.org/wiki/Galliard

Saltarello. Illustration by Bartolomeo Pinelli.

The saltarello is a musical dance originally from Italy. The first mention of it is in Add MS 29987, a late-fourteenth- or early fifteenth-century manuscript of Tuscan origin, now in the British Library.^[1] It was usually played in a fast triple meter and is named for its peculiar leaping step, after the Italian verb saltare ("to jump"). This characteristic is also the basis of the German name Hoppertanz or Hupfertanz ("hopping dance"); other names include the French pas de Brabant and the Spanish alta or alta danza.^[1]

^{https://en.wikipedia.org/wiki/Saltarello}

From Wikipedia, the free encyclopedia

(Redirected from Add MS 29987)

Add MS 29987
British Library
Facsimile of f. 62v of the manuscript, showing the Trotto and part of a saltarello
Also known as	London BM Add. 29987
Date	c. 1400
Place of origin	Tuscany or possibly Umbria
Language(s)	Tuscan
Material	parchment
Size	26 × 19.5 cm
Format	quarto
Contents	vocal and instrumental music
Previously kept	de' Medici family Carlo di Tommaso Strozzi private library in Florence British Museum

Folio 1 of the manuscript, bearing the coat-of-arms of the de' Medici family

Add MS 29987 is a mediaeval Tuscan musical manuscript dating from the late fourteenth or early fifteenth century, held in the British Library in London. It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred mass movements, and motets, and 15 untexted monophonic instrumental dances, which are among the earliest purely instrumental pieces in the Western musical tradition. The manuscript apparently belonged to the de' Medici family in the fifteenth century, and by 1670 was in the possession of Carlo di Tommaso Strozzi; it was in the British Museum from 1876, where it was catalogued as item 29987 of the Additional manuscripts series. It is now in the British Library.^[1][2] 

https://en.wikipedia.org/wiki/British_Library,_Add_MS_29987

rom Wikipedia, the free encyclopedia

The Additional manuscripts are a collection of manuscripts stored at the British Library.^[1] The collection was started at the British Museum in 1756, and passed to the British Library on its establishment in 1973. They form by far the largest collection of manuscripts at the library, and comprise all the manuscripts acquired by gift, purchase or bequest since 1756 that are not part of the "closed" collections or other named "open" collections. Because the collection was originally thought of as a continuation of the Sloane manuscripts collection (numbers 1–4100), the "Additional manuscripts" collections start with number 4101.

The library maintains a series of catalogues and indexes to the Additional series. These catalogues have been published in 5-year volumes which also include catalogues for the other open collections of the library.

Manuscripts in this collection have been used extensively as references in later works. In the nineteenth century, British scholars (e.g., in the Dictionary of National Biography) assumed that the collection was so well known that a reference to "Addit. MS." was sufficient to name the collection without further reference.

Subsets

Some subsets of the "Additional" series have been indexed separately. These include:

• The Gladstone Papers (Add MS 44086-44835)
• The Yelverton Manuscripts (Add MS 48000-48196)
• The Bernard Shaw Papers (Add MS 50508-50743)
• The Cecil of Chelwood Papers (Add MS 51071-51204)
• The Lord Chamberlain's Plays and Day-Books, 1824-1903 (Add MS 52929-53708)
• The Blenheim Papers (Add MS 61101-61701)
• The Petty Papers (Add MS 72850-72908)

References

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From Wikipedia, the free encyclopedia

(Redirected from Lavolta)

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Volta" dance – news · newspapers · books · scholar · JSTOR (August 2008) (Learn how and when to remove this template message)

Despite its mocking title, Queen Elizabeth I Dancing with Robert Dudley, Earl of Leicester, this painting of the lavolta is from the French Valois school and depicts unknown dancers. It is currently in Penshurst Place in Kent.

The volta (plural: voltas) (Italian: "the turn" or "turning") is an anglicised name for a dance for couples that was popular during the later Renaissance period. This dance was associated with the galliard^[1] and done to the same kind of music. Its main figure consisted of a turn and lift in a sort of closed position, which could be done either to the right or to the left. It is also called La volta, Volta, Volte. Spelling variants include la volta and levolto; its name is la volte in French and la volta in Italian. It was considered at first to be risque and controversial.^[1] Although the dance was known at the court of Elizabeth I, the popular notion (much portrayed in film and television) that Elizabeth and her favourite Lord Robert Dudley regularly performed the volta has been repudiated.^[2]

^{https://en.wikipedia.org/wiki/Volta_(dance)}

From Wikipedia, the free encyclopedia

For the regional language, see Bergamasque.

Bergamesca ('The Buffens'), Straloch MS., c. 1600^[1] Play (help·info).

Bergamesca variant, MS. Lute Book, c. 1600^[1] Play (help·info).

Bergamask, bergomask, bergamesca,^[1] or bergamasca (from the town of Bergamo in Northern Italy), is a dance and associated melody and chord progression. 

https://en.wikipedia.org/wiki/Bergamask

From Wikipedia, the free encyclopedia

Old measures, or simply measures, were a group of dances performed at ceremonial and festive occasions in Early Modern Britain. Some of the dances included in the measures were the pavane and the almain, and dances such as the galliard and the courante are also mentioned as accompanying or following the traditional measures.

The measures are associated with the Inns of Court, the English law schools, as most of the extant sources have been found among the papers of lawyers and law students at the Inns. They are also mentioned in Shakespeare plays such as As You Like It (Act V, scene 4), Richard II (Act III, scene 4), Richard III (Act I, scene 1) and Much Ado About Nothing (Act II, Scene 1).

One must be wary when one encounters 16th- and 17th-century references to measure or measures, as a measure could refer to a bar, or generically to dancing, as well as to this specific group of dances.

Dances

While sources differ in some of the details, and not all contain all the dances, the vast majority describe the following dances in the following order (alman, almaine, alleymayne, etc. refer to the same dance type):

• Quadran Pavan
• Turkeylone
• Earl of Essex (or Earl of Essex Measure)
• Tinternell
• Old Alman
• Queen's Almaine
• Madam Sosilia Alman (or Madam Cecilia Alman)
• Black Almaine

Manuscript sources

• Bodleian Library, MS. Rawl. Poet. 108 (c. 1570)
• British Library, Harley MS 367
• Bodleian Library, MS. Douce 280 (c. 1606)
• Bodleian Library, MS. Rawl. D. 864 (c. 1630)
• Inner Temple Library, Miscellanea Vol. XXVII (mid to late 17th century)
• Royal College of Music, Ms. 1119 (mid to late 17th century)

Bibliography

Research on the measures has advanced significantly in the last two decades, and readers are advised to consult the most recent works.

• Brissenden, Alan. Shakespeare and the Dance. New Jersey: Humanities Press, 1981.
• Cunningham, James. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965. (Wilson’s edition has replaced Cunningham’s transcriptions of the dances.)
• Durham, Peter and Janelle. "The Old Measures - 1570 - 1675." 2001. Companion CD by Jouissance: Dances from the Inns of Court, London 1570 - 1675."
• Mullally, Robert. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16.1 (Summer 1998): 67-73.
• Mullally, Robert. “More about the measures.” Early Music 22.3 (August 1994): 417-438.
• Payne, Ian. The Almain in Britain, c. 1549-c. 1675: A Dance Manual from Manuscript Sources. Hampshire, UK: Ashgate Publishing Ltd., 2003.
• Stokes, James, and Ingrid Brainard. “'The olde Measures' in the West Country: John Willoughby's manuscript.” Records of Early English Drama Newsletter 17.2 (1992): 1-10.
• Ward, John. “The olde Measures.” Records of Early Drama Newsletter 18.1 (1993): 2-21.
• Welsford, Enid. The Court Masque: A Study in the Relationship between Poetry & The Revels. Cambridge: Russell & Russell Inc., 1962.
• Wienpahl, Robert. Music at the Inns of Court: During the reigns of Elizabeth, James, and Charles. Ann Arbor, Michigan: University Microfilms International, 1979.
• Wilson, David R. “Dancing in the Inns of Court.” Historical Dance 2.5 (1986-1987): 3-16.
• Wilson, David R. “The Old Measures and the Inns of Court: a note.” Historical Dance 3.3 (1994): 24.

External links

• Katherine's Renaissance Dance Pages: The Old Measures
• Music for the Old Measures

Categories:

• Renaissance dance
• William Shakespeare
• Suites (music)
• Choreography
• Masques
• Rhythm and meter

https://en.wikipedia.org/wiki/Old_measures

The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio (a public version of the masque was the pageant). A masque involved music, dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Professional actors and musicians were hired for the speaking and singing parts. Masquers who did not speak or sing were often courtiers: the English queen Anne of Denmark frequently danced with her ladies in masques between 1603 and 1611, and Henry VIII and Charles I of England performed in the masques at their courts.^{[citation needed]} In the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully.^[1]

^{https://en.wikipedia.org/wiki/Masque}

From Wikipedia, the free encyclopedia

This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Shakespearean dance" – news · newspapers · books · scholar · JSTOR (December 2021) (Learn how and when to remove this template message)

Shakespearean dance refers to dancing in the time and plays of William Shakespeare and his contemporaries.

Overview

There are references to dances such as the galliard or sinkapace, volta, coranto, pavane, and canario, and stage directions indicate dancing in many plays including Romeo and Juliet, Much Ado About Nothing, Twelfth Night, or What You Will, Macbeth, and As You Like It. Terms like 'measure' and 'foot it' can also refer to dancing, and dance is often woven into the plot as part of a masque or masquerade ball, especially in plays by John Marston.

Primary sources

There is no known dancing instruction manual for English dances of Shakespeare's time, but there are descriptions of almains and the measures in the Inns of Court manuscripts (see Payne), mentions of Morris dance in church court and civic records (see Forrest), and large sections of dancing in court masques (see Ravelhofer and Welsford). Other dances referred to in English Renaissance plays such as the galliard, pavane, and volta are described in French and Italian dancing manuals by Thoinot Arbeau and Fabritio Caroso among others. Some of the country dances Shakespeare mentions appear in John Playford's The English Dancing Master (1651), but Playford's choreographies probably differ from the versions performed on the Shakespearean stage.

Jigs often followed performances of plays in late sixteenth- and early seventeenth-century England, but we know very little about the actual steps of this dance (see Baskerville).

Dances mentioned in Shakespeare plays

Will Kemp, the Elizabethan Clown, dancing a Jig

• Volta – Troilus and Cressida (Act IV, scene 4), Henry V (Act III, scene 5)
• Coranto – All's Well That Ends Well (Act II, scene 3), Twelfth Night (Act I, scene 3)
• Galliard, cinquepace, or sinkapace – Twelfth Night (Act I, scene 3), Much Ado About Nothing (Act II, scene 1), Henry V (Act I, scene 2)
• Measure, measures, or old measures – As You Like It (Act V, scene 4), Richard II (Act III, scene 4), Much Ado About Nothing (Act II, scene 1)
• Jig – Love's Labour's Lost (Act III, scene 1), Much Ado About Nothing (Act II, scene 1)
• Country footing – The Tempest (Act IV, scene 1)
• Canario – All's Well That Ends Well (Act II, scene 1)

See also

• Early dance
• Elizabethan theatre
• English Renaissance
• Historical dance
• History of dance
• Renaissance dance
• Renaissance music

Bibliography

• Baskerville, Charles Read. The Elizabethan Jig. 1929.
• Brissenden, Alan. Shakespeare and the Dance. 1981.
• Forrest, John. The History of Morris Dancing, 1458-1750. 1999.
• Payne, Ian. The Almain in Britain, c.1549-c.1675: A Dance Manual from Manuscript Sources. 2003.
• Ravelhofer, Barbara. The Early Stuart Masque: Dance, Costume, and Music. 2006.
• Welsford, Enid. The Court Masque: A Study in the Relationship Between Poetry and the Revels. 1927, 1962.
• McCulloch & Shaw, et al. The Oxford Handbook of Shakespeare and Dance. 2019.

External links

• Renaissance Dance Overview
• The Shakespeare and Dance Project

Categories:

• Renaissance dance
• William Shakespeare

https://en.wikipedia.org/wiki/Shakespearean_dance

This article is about the 1651 manual. For the opera by Arnold, see The Dancing Master (opera). For the play The Gentleman Dancing Master, see William Wycherley. For the 1943 film, see The Dancing Masters.

Title page of the 1st edition (1651), with a long s ( ſ )

The Dancing Master (first edition: The English Dancing Master) is a dancing manual containing the music and instructions for English country dances. It was first published in 1651 by John Playford. 

https://en.wikipedia.org/wiki/The_Dancing_Master

The passamezzo (plural: passamezzi or passamezzos) is an Italian folk dance of the 16th and early 17th centuries.

Many pieces named "passamezzo" follow one of two chord progressions that came to be named after the dance, passamezzo antico and passamezzo moderno.^[1] The chord progression would be repeated numerous times in succession while the dance was being performed.^[2]

According to Renaissance practices, the passamezzo dance is often followed by other dances in a triple time, such as the saltarello, gagliarda or paduana.^[2] 

https://en.wikipedia.org/wiki/Passamezzo

https://en.wikipedia.org/wiki/Category:Dance_forms_in_classical_music

 

From Wikipedia, the free encyclopedia

(Redirected from Philip the Handsome)

"Philip the Handsome" redirects here. For the other Philip known as Philip the Handsome or Philip the Fair, see Philip IV of France.

Philip the Handsome
Portrait by Juan de Flandes, c. 1500
King of Castile (jure uxoris) with Joanna
Reign	12 July – 25 September 1506
Proclamation	12 July 1506
Predecessor	Joanna
Successor	Joanna
Lord of the Netherlands Duke of Burgundy
Reign	27 March 1482 – 25 September 1506
Predecessor	Mary and Maximilian I
Successor	Charles II
Governors

See list
Regent	Maximilian I, Holy Roman Emperor (1482-1494)
Born	22 July 1478 Bruges, Flanders, Burgundian Netherlands
Died	25 September 1506 (aged 28) Burgos, Castile, Spain
Burial	Royal Chapel of Granada
Spouse	Joanna of Castile ​ (m. 1496)​
Issue	Eleanor, Queen of France and Portugal Charles V, Holy Roman Emperor Isabella, Queen of Denmark Ferdinand I, Holy Roman Emperor Mary, Queen of Hungary Catherine, Queen of Portugal
House	Habsburg
Father	Maximilian I, Holy Roman Emperor
Mother	Mary, Duchess of Burgundy
Religion	Roman Catholicism

Philip the Handsome^[a] (22 July 1478 – 25 September 1506), also called the Fair, was ruler of the Burgundian Netherlands and titular Duke of Burgundy from 1482 to 1506, as well as the first Habsburg King of Castile (as Philip I) for a brief time in 1506. 

https://en.wikipedia.org/wiki/Philip_I_of_Castile 

Joanna
Portrait by the Master of Affligem, c. 1500
Queen of Castile
Reign	26 November 1504 – 12 April 1555
Predecessors	Isabella I and Ferdinand V
Successor	Charles I
Co-monarchs	Philip I Charles I
Regents

See
Queen of Aragon
Reign	23 January 1516 – 12 April 1555
Predecessor	Ferdinand II
Successor	Charles I
Co-monarch	Charles I
Born	6 November 1479 Toledo, Castile
Died	12 April 1555 (aged 75) Tordesillas, Castile
Burial	Capilla Real, Granada, Castile
Spouse	Philip I of Castile ​ ​ (m. 1496; died 1506)​
Issue	Eleanor, Queen of France and Portugal Charles V, Holy Roman Emperor Isabella, Queen of Denmark Ferdinand I, Holy Roman Emperor Mary, Queen of Hungary Catherine, Queen of Portugal
House	Trastámara
Father	Ferdinand II of Aragon
Mother	Isabella I of Castile
Religion	Roman Catholicism

Joanna (6 November 1479 – 12 April 1555), historically known as Joanna the Mad (Spanish: Juana la Loca), was the nominal Queen of Castile from 1504 and Queen of Aragon from 1516 to her death in 1555. She was married by arrangement to Philip the Handsome, Archduke of Austria, of the House of Habsburg, on 20 October 1496.^[1] Following the deaths of her brother, John, Prince of Asturias, in 1497, her elder sister Isabella in 1498, and her nephew Miguel in 1500, Joanna became the heir presumptive to the crowns of Castile and Aragon. When her mother, Queen Isabella I of Castile, died in 1504, Joanna became Queen of Castile. Her father, King Ferdinand II of Aragon, proclaimed himself Governor and Administrator of Castile.^[2] 

https://en.wikipedia.org/wiki/Joanna_of_Castile

"Isabella I" redirects here. For other uses, see Isabella I (disambiguation).

"Isabel la Católica" redirects here. For the Mexico City Metro station, see Isabel la Católica metro station.

Isabella I of Castile
Portrait (c. 1490)
Queen of Castile and León
Reign	11 December 1474 – 26 November 1504
Coronation	13 December 1474[1]
Predecessor	Henry IV
Successor	Joanna
Co-monarch	Ferdinand II
Queen consort of Aragon (more..)
Tenure	20 January 1479 – 26 November 1504
Born	22 April 1451 Madrigal de las Altas Torres
Died	26 November 1504 (aged 53) Medina del Campo
Burial	Royal Chapel of Granada
Spouse	Ferdinand II of Aragon ​ ​ (m. 1469)​
Issue among others...	Isabella, Queen of Portugal John, Prince of Asturias Joanna, Queen of Castile and Aragon Maria, Queen of Portugal Catherine, Queen of England
House	Trastámara
Father	John II of Castile
Mother	Isabella of Portugal
Religion	Roman Catholicism

Isabella I (Spanish: Isabel I; 22 April 1451 – 26 November 1504),^[2] also called Isabella the Catholic (Spanish: Isabel la Católica), was Queen of Castile from 1474 until her death in 1504, as well as Queen consort of Aragon from 1479 until 1504 by virtue of her marriage to King Ferdinand II of Aragon. Reigning together over a dynastically unified Spain, Isabella and Ferdinand are known as the Catholic Monarchs.^[3] 

https://en.wikipedia.org/wiki/Isabella_I_of_Castile

 

 

Geopolitical situation and background

Map showing the political situation in the Low Countries between 1556 and 1648.

In 1500, the Seventeen Provinces were in a personal union under the Burgundian Dukes, and with the Flemish cities as centers of gravity, culturally and economically formed one of the richest parts of Europe. During the course of the century the region also experienced significant changes. Humanism and Reformation led to a rebellion against the Spanish rule of Philip II of Spain and the start of the religious war. By the end of the 16th century the Northern and Southern Netherlands were effectively split. While this fracture was reflected in the visual arts by the Dutch Golden Age in the north and the Flemish Baroque in the south, other areas of thought remained associated with 16th-century currents of Renaissance thought. Gradually, the balance of power shifted away from the Southern Netherlands, which remained under Spanish authority, to the emerging Dutch Republic.^[1]

Two factors determined the fate of the region in the 16th century. The first was the union with the kingdom of Spain through the 1496 marriage of Philip the Handsome of Burgundy and Juana of Castile. Their son, Charles V, born in Ghent, would inherit the largest empire in the world, and the Netherlands, although a prominent part of the empire, became dependent on a large foreign power.

A second factor included religious developments. The Middle Ages gave way to new modes of religious thinking. Devotio Moderna practices, for example, were particularly strong in the region, while the 16th-century criticisms of the Catholic Church that spread throughout Europe also reached the Low Countries. Humanists such as Desiderius Erasmus of Rotterdam were critical but remained loyal to the church. However, the spread of the Protestant Reformation, started by Martin Luther in 1517, eventually led to outright war. The Reformation, particularly the ideas of John Calvin, gained significant support in the Low Countries, and following the 1566 iconoclastic outbreaks Spain attempted to quell the tide and maintain the authority of the post-Tridentine Church through force by installing Fernando Álvarez de Toledo, Duke of Alba.^[2] The repression that followed led to the Dutch Revolt, the beginning of the Eighty Years War, and the establishment of the Dutch Republic in the northern provinces. Subsequently, the Southern Netherlands became a bastion for the Counter Reformation, while Calvinism was the main religion of those in power in the Dutch Republic.

Influence of the Italian Renaissance

Desiderius Erasmus in 1523

Trade in the port of Bruges and the textile industry, mostly in Ghent, turned Flanders into the wealthiest part of Northern Europe at the end of the 15th century. The Burgundian court dwelled mostly in Bruges, Ghent and Brussels. The nobles and rich traders were able to commission artists, creating a class of highly skilled painters and musicians who were admired and requested around the continent.^[3]

This led to frequent exchanges between the Low Countries and Northern Italy. Examples are Italian architects Tommaso Vincidor and Alessandro Pasqualini, who worked in the Low Countries for most of their careers, Flemish painter Jan Gossaert, whose visit to Italy in 1508 in the company of Philip of Burgundy left a deep impression,^[1] musician Adrian Willaert who made Venice into the most important musical centre of its time^[3] (see Venetian School) and Giambologna, a Flemish sculptor who spent his most productive years in Florence.

Before 1500, the Italian Renaissance had little or no influence above the Alps. After this we begin to see Renaissance influences, but unlike the Italian Renaissance, Gothic elements remain important. The revival of the classical period is also not a central theme like in Italy, the "rebirth" shows itself more as a return to nature and earthly beauty.^[3] 

https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries

Renaissance in the Low Countries

Art

Main articles: Early Netherlandish painting and Dutch and Flemish Renaissance painting

Hell, the right panel from the triptych The Garden of Earthly Delights by Hieronymus Bosch

Landscape with the Fall of Icarus after Pieter Bruegel the Elder

Fifteenth-century painting in the Low Countries still shows strong religious influences, contrary to the Germanic painting. Even after 1500, when Renaissance influences begin to show, the influence of the masters from the previous century leads to a largely religious and narrative style of painting.

The first painter showing the marks of the new era is Hieronymus Bosch. His work is strange and full of seemingly irrational imagery, making it difficult to interpret.^[1] Most of all it seems surprisingly modern, introducing a world of dreams that highly contrasts with the traditional style of the Flemish masters of his day.

After 1550, the Flemish and Dutch painters begin to show more interest in nature and in beauty an sich, leading to a style that incorporates Renaissance elements, but remains very far from the elegant lightness of Italian Renaissance art,^[3] and directly leads to the themes of the great Flemish and Dutch Baroque painters: landscapes, still lifes and genre painting – scenes from everyday life.^[1]

This evolution is seen in the works of Joachim Patinir and Pieter Aertsen, but the true genius among these painters was Pieter Brueghel the Elder, well known for his depictions of nature and everyday life, showing a preference for the natural condition of man, choosing to depict the peasant instead of the prince.

The Landscape with the Fall of Icarus, now thought to be an early copy, combines several elements of northern Renaissance painting. It hints at the renewed interest for antiquity (the Icarus legend), but the hero Icarus is hidden away in the background. The main actors in the painting are nature itself and, most prominently, the peasant, who does not even look up from his plough when Icarus falls. Brueghel shows man as an anti-hero, comical and sometimes grotesque.^[3]

Architecture and sculpture

As in painting, Renaissance architecture took some time to reach the High Countries, and did not entirely supplant the Gothic elements. The most important sculptor in the Southern Netherlands was Giambologna, who spent most of his career in Italy. An architect directly influenced by the Italian masters was Cornelis Floris de Vriendt, who designed the city hall of Antwerp, finished in 1564.

Sluter, The Well of Moses, 1395-1405

In sculpture, however, 15th-century Netherlandish artists, while adhering to Christian subjects, developed techniques and a naturalistic style which compares favorably to the work of early-Renaissance Italian contemporaries such as Donatello. Claus Sluter (fl. ~1400) produced works such as the Well of Moses with a dynamism almost unknown at the turn of the 15th century; and Dutch-born Nikolaus Gerhaert van Leyden (b. ~1420) made sculptures such as "Man Meditating", which even today appear more "modern" than does Italian Quattrocento carving.

Gerhaert, Man Meditating, 1467

In the early-17th century Dutch Republic, Hendrick de Keyser plays an important role in developing the Amsterdam Renaissance style, not slavishly following the classical style but incorporating many decorative elements, giving a result that could also be categorized as Mannerism. Hans Vredeman de Vries was another important name, primarily as a garden architect.

Music

Main article: Franco-Flemish School

Orlande de Lassus leading a chamber ensemble, painted by Hans Mielich

While in painting the Low Countries were leading Northern Europe, in music the Franco-Flemish or Dutch School dominated all of Europe. In the early Renaissance, polyphonic music composers from the Low Countries such as Johannes Ciconia were working at all the European courts and churches. Educated in the church and cathedral schools of their own region, they spread out and would bring their style to the whole continent, so that by the late Renaissance a unified musical style emerged throughout Europe.^[3]

Although there is no reference to antiquity, there is a clear Flemish "Renaissance consciousness", as indicated by the words of Flemish theorist Johannes Tinctoris, who said of these composers: "Although it is beyond belief, nothing worth listening to had been composed before their time".^[1]

Renaissance elements in the music are the return from the "divine origin" of music to earthly beauty and sensory joy. The music becomes more structured, balanced and melodic. Whereas in the Middle Ages the choice of instruments was free, composers now start to organize instruments into homogeneous groups, and write music specifically for certain arrangements.^[3]

Josquin des Prez was the most celebrated composer during the High Renaissance, and during his career enjoyed the patronage of three popes. Equally at ease in secular and religious music, he can be considered the first musical genius we know of.^[1]

Other important composers from the Low Countries were Guillaume Dufay, Johannes Ockeghem, Jacob Clemens non Papa and Adrian Willaert. Orlande de Lassus, a Fleming who had lived in Italy as a youth and spent most of his career in Munich, was the leading composer of the late Renaissance.

Literature

See also: Dutch Renaissance and Golden Age literature

Antwerp City Hall (finished in 1564)

In the middle of the 16th century, a group of rhetoricians (see Medieval Dutch literature) in Brabant and Flanders attempted to put new life into the stereotyped forms of the preceding age by introducing in original composition the new-found branches of Latin and Greek poetry. The leader of these men was Johan Baptista Houwaert, who was led by an unbounded love of classical and mythological fancy.^[4]

The most important genre was music publishing, especially psalms. The Souterliedekens publication is one of the most important sources for the reconstruction of Renaissance folksongs. Later publishing was heavily influenced by the rebellion against the Spanish: heroic battle songs and political ballads ridiculing the Spanish occupants.

Best remembered of the writers is Philips van Marnix, lord of Sint-Aldegonde, who was one of the leading spirits in the war of Dutch independence. He wrote a satire on the Roman Catholic Church, started to work on a Bible translation and allegedly wrote the lyrics to the Dutch national anthem.

Other important names are Dirck Volckertszoon Coornhert, Hendrick Laurensz. Spieghel and Roemer Visscher. Inevitably, their works and career were very much determined by the struggle between Reformation and the Catholic Church.

Science

Gerardus Mercator's map of Europe, 1554

The new age presents itself in science as well. Flemish anatomist Andreas Vesalius's life typically shows both the new possibilities and the troubles that came with them. He delivered ground-breaking work on human anatomy, after centuries of disregard for it. This earned him great respect from some, but also caused several enquiries into his methods (dissection of the human body) and the religious implications of his work.

While Vesalius performed ground-breaking work in rediscovering the human body, Gerardus Mercator, as one of the leading cartographers of his time, did the same for rediscovering the outside world. Mercator too came into trouble with the Church because of his beliefs, and spent several months in jail after a conviction for heresy.

Both scientists' lives show how the Renaissance scientist is not afraid of challenging what has been taken for granted for centuries, and how this leads to problems with the all-powerful Catholic Church.

Though the invention of the printing press by Laurens Janszoon Coster in the 1430s appears to be a romantic notion, the Low Countries had an early start in printing. By 1470 a printing press was in use in Utrecht, where the first dated extant book was printed in 1473, while the first book in the Dutch language was the 1477 Delft Bible. By 1481 the Low Countries had printing shops in 21 cities and towns.^[5] Famous publishing houses like those of Christoffel Plantijn in Antwerp from 1555 on, Petrus Phalesius the Elder in Leuven from 1553, and the House of Elzevir in Leiden from around 1580 turned the Low Countries into a regional center of publishing.

https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries

 

 

After 1550, the Flemish and Dutch painters begin to show more interest in nature and in beauty an sich, leading to a style that incorporates Renaissance elements, but remains very far from the elegant lightness of Italian Renaissance art,^[3] and directly leads to the themes of the great Flemish and Dutch Baroque painters: landscapes, still lifes and genre painting – scenes from everyday life.^[1]

^{https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries} 

 

See also

Wikimedia Commons has media related to Renaissance in Belgium.

Wikimedia Commons has media related to Renaissance in the Netherlands.

• English Renaissance
• French Renaissance
• German Renaissance

Political situation

• Burgundian Netherlands
• Seventeen Provinces
• Dutch Republic – Dutch Golden Age
• Eighty Years' War

Arts

• Flemish painting
• Romanism (painting)
• List of Flemish painters
• List of Dutch painters

 https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries

 

v t e Renaissance era and early modern Europe (1486–1789)
Overviews	Eras Renaissance Outline High Renaissance Early modern period Early modern Europe Elizabethan era Age of Discovery Baroque Age of Enlightenment International relations (1648–1814) By country Northern Europe England Papacy France Germany Low Countries
Events	Political Fall of Constantinople Decline of the Byzantine Empire Technological: Printing Revolution Intellectual: Scientific Revolution
Social history	Concepts Absolute monarchy Journalism of Early Modern Europe The General Crisis
Politics	Countries Holy Roman Empire Free imperial city France Germany Britain British Empire Ottoman Empire Portuguese Empire Spanish Empire Polish–Lithuanian Commonwealth Cossack Hetmanate Swedish Empire Dutch Republic Seventeen Provinces Economic history Habsburg monarchy Russian Empire Kingdom of Bohemia Lands of the Bohemian Crown Protestant Union Grand Duchy of Tuscany Leaders Habsburg monarchy England House of Stuart House of Tudor France House of Bourbon Absolute monarchy in France Ancien Régime Louis XIV Wars French Wars of Religion Thirty Years' War Second Hundred Years' War War of the Spanish Succession Seven Years' War Diplomacy Peace of Westphalia Treaties of Nijmegen Diplomatic Revolution of 1756
Religion	Overviews Christianity in the modern era Proto-Protestantism Bohemian Reformation Hussites History of European Jews in the Middle Ages Haskalah Islamic world contributions to Medieval Europe Protestant Reformation Ninety-five Theses Calvinism Huguenots English Lutheranism Scottish Switzerland Radical Counter-Reformation European wars of religion
Academic fields	Philosophy Philosophy: Renaissance philosophy Renaissance humanism Northern Europe Greek scholars in the Renaissance Science Science in the Renaissance Works Oration on the Dignity of Man (1486) Authors: Giovanni Pico della Mirandola Matteo Palmieri Leonardo da Vinci
Arts	General Renaissance art Painting: Italian painting Florentine painting Venetian painting Dutch and Flemish painting Early Netherlandish painting
End of period	Late modern period Great Divergence Industrial Revolution Age of Revolution French Revolution Napoleonic Wars Nationalism Revolutions of 1848
See also	Europe Art of Europe Genetic history of Europe History of the European Union Maritime history of Europe Military history of Europe World History of Western civilization History of Christianity History of the Mediterranean region
Human history • History of philosophy • History of Europe

Categories:

• Renaissance in the Low Countries
• Northern Renaissance
• Dutch Republic
• History of Flanders
• Habsburg Netherlands
• Spanish Netherlands
• Dutch Renaissance painters
• Flemish Renaissance painters
• Renaissance by country
• 16th century in the Dutch Republic
• 16th century in the Habsburg Netherlands
• 16th century in France
• 16th century in the Netherlands
• Early Modern France
• Early Modern Netherlands

Renaissance
General	Renaissance High Renaissance Greek scholars in the Renaissance Mannerism Northern Mannerism Renaissance studies
By field	Architecture Brick Central and Eastern Europe French Italian domes Palladian Plateresque Portuguese Purism Spanish Venetian Art Dance Humanism France Northern Europe Latin Literature Dutch French Spanish Magic Medicine Music Philosophy Platonism in the Renaissance Science Scientific Revolution Technology Theatre Warfare
By region	English Flemish French German Weser Italian Roman Venetian Northern Papal States Polish Portuguese Scottish Spanish Spanish Golden Age
Lists	Composers Figures Humanists Structures
See also	Bengal Medieval Carolingian Ottonian 12th century Persian Timurid Reenactment

 https://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries

 

Category:Northern Renaissance

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Subcategories

This category has the following 10 subcategories, out of 10 total.

A

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• Austrian Renaissance‎ (1 C)

C

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Arts in the court of Philip the Good‎ (5 C, 33 P)

• Czech Renaissance‎ (2 C, 4 P)

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• English Renaissance‎ (6 C, 20 P)

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• French Renaissance‎ (6 C, 23 P)

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• German Renaissance‎ (3 C, 6 P)

L

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• Renaissance in the Low Countries‎ (4 C, 7 P)

P

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• Polish Renaissance‎ (3 C, 3 P)

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• Renaissance in Scotland‎ (2 C, 21 P)

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• Woodcut cutters‎ (18 P)

Pages in category "Northern Renaissance"

The following 19 pages are in this category, out of 19 total. This list may not reflect recent changes.

 

• Northern Renaissance

.

• Northern Mannerism

B

• André Beauneveu
• Branchwork

D

• Dutch and Flemish Renaissance painting

E

• Early Netherlandish painting
• English Renaissance

F

• Jacob Faber
• French Renaissance

G

• German Renaissance

H

• Hanseatic League
• Renaissance humanism in Northern Europe

K

• Jacob Kremberg

L

• Renaissance in the Low Countries

M

• Jan de Molder

P

• Renaissance in Poland

S

• Erhard Schön
• Renaissance in Scotland
• Claus Sluter

Category:

• Renaissance

 

https://en.wikipedia.org/wiki/Category:Northern_Renaissance

 

This article is about the trade group from the 13th to 17th centuries. For the modern business association, see Hanseatic Parliament. For the intra-EU political group, see New Hanseatic League.

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Hanseatic League" – news · newspapers · books · scholar · JSTOR (August 2022) (Learn how and when to remove this template message)

Hanseatic League Hanse Hansa
Hanseatic pennant
Northern Europe in the 1400s, showing the extent of the Hanseatic League
Capital	Lübeck (Free City of)
Lingua franca	Middle Low German[1][2]
Membership	Various cities across the region of the Baltic and North Seas
Today part of	Germany  Netherlands  Belgium  Poland  Russia  Sweden  Latvia  Estonia

The Hanseatic League^[a] was a medieval commercial and defensive confederation of merchant guilds and market towns in Central and Northern Europe. Growing from a few North German towns in the late 12th century, the League between the 13th and 15th centuries ultimately encompassed nearly 200 settlements across seven modern-day countries, ranging from Estonia in the north and east to the Netherlands in the west and Kraków, Poland, in the south.^[4] 

https://en.wikipedia.org/wiki/Hanseatic_League

Renaissance humanism came much later to Germany and Northern Europe in general than to Italy, and when it did, it encountered some resistance from the scholastic theology which reigned at the universities. Humanism may be dated from the invention of the printing press about 1450. Its flourishing period began at the close of the 15th century and lasted only until about 1520, when it was absorbed by the more popular and powerful religious movement, the Reformation, as Italian humanism was superseded by the papal counter-Reformation. Marked features distinguished the new culture north of the Alps from the culture of the Italians. The university and school played a much more important part than in the South according to Catholic historians. The representatives of the new scholarship were teachers; even Erasmus taught in Cambridge and was on intimate terms with the professors at Basel. During the progress of the movement new universities sprang up, from Basel to Rostock. Again, in Germany, there were no princely patrons of arts and learning to be compared in intelligence and munificence to the Renaissance popes and the Medici.^{[citation needed]} Nor was the new culture here exclusive and aristocratic. It sought the general spread of intelligence, and was active in the development of primary and grammar schools. In fact, when the currents of the Italian Renaissance began to set toward the North, a strong, independent, intellectual current was pushing down from the flourishing schools conducted by the Brethren of the Common Life. In the humanistic movement, the German people was far from being a slavish imitator. It received an impulse from the South, but made its own path. 

https://en.wikipedia.org/wiki/Renaissance_humanism_in_Northern_Europe

Detail of the pulpit in Höör Church, a work by Kremberg

Jacob Kremberg (sometimes Jakob Kremberg) was a sculptor, working in Scania, present-day Sweden, then Denmark, during the early 17th century. He was probably born in Schleswig-Holstein and arrived in Lund around 1595 to work on decorations in Lund Cathedral. He subsequently created many furnishings for churches in Scania, notably pulpits but also altarpieces and baptismal fonts. His works are characterised by an expressive Northern Renaissance style. Surviving works by Kremberg exist in Gårdstånga, Burlöv, Hästveda, Hammarlunda, Harlösa, Holmby and Västra Sallerup Church.^[1][2]

References

1. 
   

"About Jakob Kremberg". Eslöv Municipality. Retrieved 4 May 2015.

2. "JAKOB KREMBERG". Lexikonett Amanda. Retrieved 4 May 2015.

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From Wikipedia, the free encyclopedia

Jan van Eyck, The Arnolfini Portrait, 1434, National Gallery, London

The Adoration of the Magi in the snow, Pieter Brueghel the Younger, 1584-1638

Renaissance
The School of Athens (1509–1511) by Raphael
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The Northern Renaissance was the Renaissance that occurred in Europe north of the Alps. From the last years of the 15th century, its Renaissance spread around Europe. Called the Northern Renaissance because it occurred north of the Italian Renaissance, this period became the German, French, English, Low Countries, Polish Renaissances and in turn other national and localized movements, each with different attributes.

In France, King Francis I imported Italian art, commissioned Italian artists (including Leonardo da Vinci), and built grand palaces at great expense, starting the French Renaissance. Trade and commerce in cities like Bruges in the 15th century and Antwerp in the 16th increased cultural exchange between Italy and the Low Countries, however in art, and especially architecture, late Gothic influences remained present until the arrival of Baroque even as painters increasingly drew on Italian models.^[1]

Universities and the printed book helped spread the spirit of the age through France, the Low Countries and the Holy Roman Empire, and then to Scandinavia and Britain in the early 16th century - a process halted by the religious schism caused by Henry VIII who had earlier extensively employed Italian artisans at Nonsuch Palace and Hampton Court under Thomas Wolsey. Writers and humanists such as Rabelais, Pierre de Ronsard and Desiderius Erasmus were greatly influenced by the Italian Renaissance model and were part of the same intellectual movement. During the English Renaissance (which overlapped with the Elizabethan era) writers such as William Shakespeare and Christopher Marlowe composed works of lasting influence. The Renaissance was brought to Poland directly from Italy by artists from Florence and the Low Countries, starting the Polish Renaissance.

In some areas the Northern Renaissance was distinct from the Italian Renaissance in its centralization of political power. While Italy and Germany were dominated by independent city-states, most of Europe began emerging as nation-states or even unions of countries. The Northern Renaissance was also closely linked to the Protestant Reformation with the resulting long series of internal and external conflicts between various Protestant groups and the Roman Catholic Church having lasting effects.

Overview

Feudalism was on the decline at the beginning of the Renaissance. The reasons for this decline include the post-Plague environment, the increasing use of money rather than land as a medium of exchange, the growing number of serfs living as freemen, the formation of nation-states with monarchies interested in reducing the power of feudal lords, the increasing uselessness of feudal armies in the face of new military technology (such as gunpowder), and a general increase in agricultural productivity due to improving farming technology and methods. As in Italy, the decline of feudalism opened the way for the cultural, social, and economic changes associated with the Renaissance in Europe.

Reproduction of Johannes Gutenberg-era Press on display at the Printing History Museum in Lyon, France.

Finally, the Renaissance in Europe would also be kindled by a weakening of the Roman Catholic Church. The slow demise of feudalism also weakened a long-established policy in which church officials helped keep the population of the manor under control in return for tribute. Consequently, the early 15th century saw the rise of many secular institutions and beliefs. Among the most significant of these, Renaissance humanism would lay the philosophical grounds for much of Renaissance art, music, science and technology. Erasmus, for example, was important in spreading humanist ideas in the north, and was a central figure at the intersection of classical humanism and mounting religious questions. Forms of artistic expression which a century ago would have been banned by the church were now tolerated or even encouraged in certain circles.

The velocity of transmission of the Renaissance throughout Europe can also be ascribed to the invention of the printing press. Its power to disseminate information enhanced scientific research, spread political ideas and generally impacted the course of the Renaissance in northern Europe. As in Italy, the printing press increased the availability of books written in both vernacular languages and the publication of new and ancient classical texts in Greek and Latin. Furthermore, the Bible became widely available in translation, a factor often attributed to the spread of the Protestant Reformation.

Age of Discovery

Main article: Age of Discovery

One of the most important technological development of the Renaissance was the invention of the caravel. This combination of European and North African ship building technologies for the first time made extensive trade and travel over the Atlantic feasible. While first introduced by the Italian states and the early captains, such as Giovanni Caboto, Giovanni da Verrazzano and Columbus, who were Italian explorers, the development would end Northern Italy's role as the trade crossroads of Europe, shifting wealth and power westwards to Portugal, Spain, France, England, and the Netherlands. These states all began to conduct extensive trade with Africa and Asia, and in the Americas began extensive colonisation activities. This period of exploration and expansion has become known as the Age of Discovery. Eventually European power spread around the globe.

Painting and sculpture

See also: Early Netherlandish painting, Dutch and Flemish Renaissance painting, and Northern Mannerism

The Ghent Altarpiece (interior view) by Hubert and Jan van Eyck, completed 1432. Saint Bavo Cathedral, Ghent, Belgium.

Early Netherlandish painting often included complicated iconography, and art historians have debated the "hidden symbolism" of works by artists like Hubert and Jan van Eyck.

The detailed realism of Early Netherlandish painting, led by Robert Campin and Jan van Eyck in the 1420s and 1430s, is today generally considered to be the beginning of the early Northern Renaissance in painting. This detailed realism was greatly respected in Italy, but there was little reciprocal influence on the North until nearly the end of the 15th century.^[2] Despite frequent cultural and artistic exchange, the Antwerp Mannerists (1500–1530)—chronologically overlapping with but unrelated to Italian Mannerism—were among the first artists in the Low Countries to clearly reflect Italian formal developments.

Around the same time, Albrecht Dürer made his two trips to Italy, where he was greatly admired for his prints. Dürer, in turn, was influenced by the art he saw there and is agreed to be one of the first Northern High Renaissance painters. Other notable northern painters such as Hans Holbein the Elder and Jean Fouquet, retained a Gothic influence that was still popular in the north, while highly individualistic artists such as Hieronymus Bosch and Pieter Bruegel the Elder developed styles that were imitated by many subsequent generations. Later in the 16th century Northern painters increasingly looked and travelled to Rome, becoming known as the Romanists. The High Renaissance art of Michelangelo and Raphael and the late Renaissance stylistic tendencies of Mannerism that were in vogue had a great impact on their work.

Renaissance humanism and the large number of surviving classical artworks and monuments encouraged many Italian painters to explore Greco-Roman themes more prominently than northern artists, and likewise the famous 15th-century German and Dutch paintings tend to be religious. In the 16th century, mythological and other themes from history became more uniform amongst northern and Italian artists. Northern Renaissance painters, however, had new subject matter, such as landscape and genre painting.

As Renaissance art styles moved through northern Europe, they changed and were adapted to local customs. In England and the northern Netherlands the Reformation brought religious painting almost completely to an end. Despite several very talented artists of the Tudor Court in England, portrait painting was slow to spread from the elite. In France the School of Fontainebleau was begun by Italians such as Rosso Fiorentino in the latest Mannerist style, but succeeded in establishing a durable national style. By the end of the 16th century, artists such as Karel van Mander and Hendrik Goltzius collected in Haarlem in a brief but intense phase of Northern Mannerism that also spread to Flanders.

References

1. 
   

Janson, H.W.; Anthony F. Janson (1997). History of Art (5th, rev. ed.). New York: Harry N. Abrams, Inc. ISBN 0-8109-3442-6.

2. Although the notion of a north to south-only direction of influence arose in the scholarship of Max Jakob Friedländer and was continued by Erwin Panofsky, art historians are increasingly questioning its validity: Lisa Deam, "Flemish versus Netherlandish: A Discourse of Nationalism," in Renaissance Quarterly, vol. 51, no. 1 (Spring, 1998), pp. 28–29.

Bibliography

• Chipps Smith, Jeffrey (2004). The Northern Renaissance. Phaidon Press. ISBN 978-0-7148-3867-0.
• Campbell, Gordon, ed. (2009). The Grove Encyclopedia of Northern Renaissance Art. Oxford University Press. ISBN 978-0-19-533466-1.

Further reading

• O'Neill, J, ed. (1987). The Renaissance in the North. New York: The Metropolitan Museum of Art.
• Bezrucka, Yvonne (2017). The Invention of Northern Aesthetics in 18th-Century English Literature. Cambridge Scholars Press. ISBN 978-1-5275-0302-1.
• Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0136235964
• Snyder, James, Introduction to The Metropolitan Museum of Art. Vol. 5, The Renaissance in the North, 1987, online

External links

Wikimedia Commons has media related to Northern Renaissance paintings and Renaissance by country.

v t e Renaissance

v t e Renaissance era and early modern Europe (1486–1789)

Categories:

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• 16th century in Europe
• 17th century in Europe
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• Cultural history of Europe

 https://en.wikipedia.org/wiki/Northern_Renaissance

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