Thank you all for these amazing comments and thoughts! Forgive me, it was a busy week and I am only just seeing them. I will bring these all up to Elaine and we can address them on the class tonight!

Thank you for sharing this Liz!

I also wanted to share with you some excellent questions following last week's class from Jeanne Munnelly that Elaine answered: What about Renaissance music in this period?: The development of music lagged behind the development of literature, architecture, sculpture and painting. In the late Middle Ages, music was basically gregorian chants. However, by the 15th-century important music, was being composed for use by the church—polyphonic (made up of several simultaneous melodies) masses and motets in Latin for important churches and court chapels. By the end of the sixteenth century, however, patronage had broadened to include the Catholic Church, Protestant churches and courts, wealthy amateurs, and music printing—all were sources of income for composers. How do the artist come up with the theme of the painting - are knowable educated about the mythical and biblical stories or is someone coaching?: The vast majority of the time (I would say 99.9 percent of the time), the person or group commissioning the work of art would tell the artist what theme is required for the work of art. That's usually the case up until the late 17th century. The commissioner would give the theme (say the life of St Ursula) and may indicate certain stipulations such as how much blue to use, where to place the coat of arms of their family, how much gold or silver must be used, and perhaps stipulated a particular scene or inclusion of a portrait within the work of art. All of this is indicated in the contract which is a treasure trove for art historians (if the contract is still in existence). The artist would then go to a source for the story of the saint (often time Voragine's Golden Legend) and begin the process of designing the scene always with the approval of the patron. if the scene is from classical antiquity, the artist might go to a source such as Ovid or Apulies. If the artist could not read Latin or Greek, then an advisor would step in (like Poliziano or Ficino) and could indicate what the artist should paint.

Hi Class, I just wanted to post this incredible information from fellow class member Karen Telis who is a Professor in the Department of Justice, Law, and Criminology at American University. She has an incredible depth of knowledge and had so many amazing points about the the relevance of the Holy Roman Empire for the Renaissance Florence. Thank you Karen - what an incredible resource you are! The relevance of the Holy Roman Empire for the Renaissance Florence  • Transition from medieval world to modern, including law and political power • Charlemagne’s coronation and “anointment” as “Holy Roman Emperor” allied Pope and Frankish kings, a union of temporal and secular power. Unified Christianity and Europe • Significance of term “Holy Roman Emperor” - provides prestige and legitimacy to feudal rulers in Northern Europe. But is a demotion of the secular ruler, who loses spiritual authority to Pope • Kings ruled pursuant to divine right - thus king’s authority derived from God. God’s supreme representative on earth = Pope. Pope anoints king thus has power over king. King had armies and feudal control (via oaths of vassals) and geographical control over territories. • Ottonian kings (900’s - 1000’s) ruled jointly with Pope - Pope involved in secular affairs. • Agricultural reform and growth of commerce in cities = new social class - feudalism becomes obsolete • Feudal services are commuted into money. Political and commercial relationships evolve from personal (feudal oath) to financial. • Kings appointed bishops (literate) to rule secular provinces. They were skilled at management and administration, essential for stable governments. • Kings not only appointed bishops, but “invested” them with episcopal power. • Money and bishops and local administration. Increasingly complex society called for organized government and not mystical traditions to solve practical problems. • Bishops administered lands of feudal lords and payed taxes. Convenient for lords (kings) regarding local administration, and significant source of revenue. Clergy received “church” money as: direct donations; wills administered by clergy; profits from activities carried out under bishops’ administration. Significant revenue to king in addition to church. • Popes challenge King’s investiture authority, but actually Pope incapable of administering provinces. Creates power stalemate. • Problem of “two swords” - Church, under doctrine of “Unam Sanctum” claimed superior authority over ecclesiastical and secular matters. Pope had power of excommunication over secular rulers. Secular rulers had armies and feudal control (vassals took oaths of fidelity to Lords), as well as practical geographical control. • Investiture controversy. Who has authority to appoint bishops, king or Pope? King wants local control over his bishops. Pope wants control over bishops for revenue and loyalty. This was at the heart of the controversy. But the revival of commerce created new social classes and altered existing societal relations. • Compromise - Pope had power to invest bishops - but in practicality agreed to invest the slate provided by the Holy Roman Emperor (and other European monarchs). • The compromise produced instability, with controversy over authority between Pope and Kings breaking out into war throughout the MIddle Ages and Renaissance and of course during the reformation. • Manifestation in Florence: Ghibellines were aligned with nobility and feudal lords; Guelfs with trade and commerce in the rise of the Florentine city state, and could use  • Ghibellines became associated with Holy Roman Emperor (Teutonic kings). Florentines, to protect from invasion via alliances of HRE and Milan, allied with Papal state (Guelph-Papal alliances). But imperfect because of course Pope had designs on Tuscany. • Florence also aligned with Popes via reforming orders (Dominicans and Franciscans) who attended more to secular concerns of laity, and who had backing of Pope (usually). Large interiors of Santa Croce and Santa Maria Novella accommodated this type of worship attentive to the actual people.

Hi everyone, my name is Kellin Nelson and I will be your program assistant. A little about me: I first came to Florence in 2002 as an undergraduate with New York University where I fell in love with Italy, its culture, and its art. In 2007, thanks to a fellowship from Syracuse University, I returned and completed my Masters in Renaissance Art History. After working for several museums in the Los Angeles area, in 2012 I moved back to Florence with my husband and we never left. So looking forward to our class!