Renaissance Humanism

The Renaissance is often described as a rebirth of the Classical Age. Although a return to classical thought and expression is a common characteristic of Renaissance art, there are many other characteristics that describe this time of exploration and experimentation. Paul Oskar Kristeller’s four points of Renaissance Humanism may be the best way to describe this incredible time in history.
First, Kristeller says that in Renaissance art, “there is the emphasis on man, on his dignity and privileged place in the universe.” In other words, humanists believed that man has the potential to become God and that man is made to be the center of the universe. This point is well-illustrated by the writings of Marsilio Ficino, who began a Neo-Platonist Academy centered on this philosophy. He argues that since man has made so many scientific discoveries, no one can deny that he possesses “almost the same genius as the Author of the heavens” (Mat 40).  The centrality of man is shown in architecture through central plan. Buildings with this plan were viewed best when you stood in the center, making man the measure of all things, which also shows his divinity. One example of this plan is seen in Sant’Andrea by Alberti, which contains a basilica reconciled with central plan. These and many other examples show the popular humanists belief that man has a privileged place in the universe.
Secondly, Kristeller illustrates that Renaissance culture contains a degree of individualism, or the tendency to express “the concrete uniqueness of one’s feelings, opinions, experiences, and surroundings. Perhaps the best example of this lies in Montaigne’s essays, which introduces the popularity of personal writings. He writes about his experiences and thoughts about issues, showing that there is a uniqueness in his own thoughts and ideas that is worth sharing with the world. This is also expressed in Raphael’s School of Athens. Every philosopher in the painting is doing some unique action from the rest that reflects their personality and interests. For instance, Plato is pointing towards the heavens, reflecting that the ideal form is not of this world while Aristotle has his hand outstretched over the earth, indicating that ideal forms are within the things themselves. Individualism is also shown through every individual face in the painting. Each one is unique and reflects a figure from Raphael’s day. Individualism is also shown in music as each unique voice is clearly distinguishable from the rest while still combining with harmony. One example of this is seen Ava Maria by Josquin des Prez, which demonstrates imitative counterpoint and choral polyphony really well. Clearly, individualism is a common idea in Renaissance art.
Thirdly, Renaissance humanism is widely known to be connected with fundamental classicism through a “taste for elegance, neatness, and clarity of style.” This return to classicism can be seen through quotes from classical authors as well as an internal change of thought to classical ideas. One literary example can be found in Petrarch’s Africa, a Virgilian epic written in Cicero’s style. It is written completely in classical style, but it is not merely an imitation of Virgil’s or Cicero’s work. Petrarch’s writings show that he has read so much classical work that he now thinks much in the same way Cicero did. Therefore, his writings sound similar to Cicero, but they still have a certain uniqueness and originality. A similar transition into classical thought can be seen in the work of Donatello, including St. George, David, and many of his other sculptures. After spending a lot of time studying classical sculpture with his companion, Burlesque, Donatello began to think like a classical sculpture, much like Petrarch began to think like a classical writer. Donatello’s work does not imitate classical sculpture, but it naturally contains classical styles while he creates a work that is completely unique. The rebirth of a classical love for elegance, neatness, and clarity of style can also be seen in Renaissance music through choral polyphony. Songs with choral polyphony, such as is seen in William Byrd’s Fantasia for Strings, shows a concern for blending, balancing, and pleasing harmony. Specifically, Fantasia for Strings uses different tones of violins to create a pleasing harmonious sound. In this and many other instances, you can see why nearly everyone associates the Renaissance with fundamental classicism with its taste for elegance, neatness, and clarity of style.
The last point illustrated by Kristeller is the repeated attempts to revive philosophical doctrines from antiquity. Particularly, Renaissance thinkers loved the works of Plato. In fact, there was a huge movement towards Neo-Platonism, which studied Plato’s writings and connected them with a belief in man’s divine potential. This is seen perhaps most clearly in Michelangelo’s paintings of the ceiling in the Sistine Chapel. If he followed the trend of those before him, he would have started with creation and painted his way through history. However, he began with the Drunkenness of Noah, which represents appetite. He then painted the Creation of Adam, which represents will, or becoming. Finally, he paints the creation of the world, demonstrating intellect and the concept of being. Here we see the progression of man and his divine potential. This is also seen in Pico della Mirandola’s Oration on the Dignity of Man,  which says “you shall be able to be reborn out of the judgment of your own soul into the higher beings, which are divine.” This shows a revival of Plato’s idea of idea forms. Renaissance humanists try to reach their idea form by being reborn into higher beings and becoming like God. Music as well as the other arts tried to find the ideal form in beauty and harmony of its creation. This may be seen with Absalon fili mi as well as other works by Josquin des Prez and his concern for creating a more expressive, organic whole. This may be a search to create music at it’s most ideal and expressive form. This is seen throughout the Renaissance as humanists attempted to revive philosophical doctrines from antiquity.
Renaissance humanism is a very useful way to describe works in the Renaissance, as you can see the multitude which fit humanist ideals. However, there are limitations to this method of describing the Renaissance. Many well-known artists from the Renaissance do not fit the descriptions found in Kristeller’s writings. For example, although Montaigne is an example of humanism through his personal writings and quotes from antiquity, he completely rejects the idea that man is the center of the universe and is very against Pico della Mirandola’s writings. Also, Machiavelli fights against the idea of man possessing god-like virtues. In his work, The Prince, he describes man as a selfish creature with horrible qualities that must be dealt with. Perhaps the greatest example against using Kristeller’s points to describe the Renaissance is Leonardo DaVinci, perhaps the most well-known figure from the Renaissance who rejects many humanist ideas. He almost never quotes a classical work or author. The only time he did was for scientific research. He had no concern for other human beings. In fact, he watched public executions and said “most men are but sacks of food.” However, he did show an interest in the beauty of the human body and how it works, which may demonstrate man’s divine qualities, but as a whole Leonardo did not fit any of Kristeller’s points.
Although there are these obvious exceptions to Renaissance humanism, as a whole, the four points described are perhaps the best way to describe the Renaissance. There is a clear emphasis on man’s divine potential, expression of individualism, connection with fundamental classicism, and revival of philosophical doctrines from antiquity. For the most part, these clearly describe work from this incredible era that is called, the Renaissance.