OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi THE OXFORD ILLUSTRATED HISTORY OF THE RENAISSANCE OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi Thehistorianswhocontributed toTheOxford IllustratedHistory ofthe Renaissance areall distinguishedauthoritiesintheir field.They are: FRANCISAMES-LEWIS—Birkbeck,UniversityofLondon WARRENBOUTCHER—QueenMaryUniversity ofLondon PETERBURKE—UniversityofCambridge GORDONCAMPBELL—UniversityofLeicester FELIPEFERNÀNDEZ-ARMESTO—UniversityofNotreDame PAULA FINDLEN—StanfordUniversity STELLAFLETCHER—UniversityofWarwick PAMELAO.LONG—Independentscholar MARGARETM.MGOWAN—UniversityofSussex PETERMACK—UniversityofWarwick ANDREWMORRALL—Bard GraduateCenter PAULA NUTTALL—Victoria andAlbertMuseum DAVIDPARROTT—Universityof Oxford FRANÇOIS QUIVIGER—TheWarburgInstitute RICHARDWILLIAMS—RoyalCollectionTrust OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi The editor and contributors wish to dedicate this volume to Matthew Cotton. OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi THE OXFORD ILLUSTRATED HISTORY OF T H E R E N A I S S A N C E Edited by GORDON CAMPBELL 1 OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi 3 GreatClarendonStreet,Oxford,, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. 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OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi C O N T E N T S Introduction  Gordon Campbell . Humanism and the Classical Tradition  Peter Mack . War and the State, c.–c.  David Parrott . Religion  Stella Fletcher . The Civilization of the Renaissance  François Quiviger . Art and Architecture in Italy and Beyond  Francis Ames-Lewis . Art and Architecture in Flanders and Beyond  Paula Nuttall and Richard Williams . The Performing Arts: Festival, Music, Drama, Dance  Margaret M. McGowan . Vernacular Literature  Warren Boutcher . Craft and Technology in Renaissance Europe  Pamela O. Long and Andrew Morrall . The Renaissance of Science  Paula Findlen OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi viii Contents . The Global Renaissance  Felipe Fernández-Armesto and Peter Burke Further Reading  Picture Acknowledgements  Index  OUPCORRECTEDPROOF–FINAL,29/1/2019,SPi Introduction   T Renaissance is a model of cultural descent in which the culture of fifteenth- and sixteenth-centuryEuropeisrepresentedasarepudiationofamedievalworldindecline in favour of the revival of the culture of ancient Greece and Rome. The parallel religious model is the Reformation, in which the church is represented as turning its backoncorruptionanddeclineinfavourofarenewalofthepurityoftheearlychurch. Inbothmodels,therehadtobeaninterveningmiddleperiodbetweenthegloriouspast anditsrevival.TheideaoftheMiddleAges(mediumaevum)wasintroducedtoEuropean historiography by the Roman historian Flavio Biondo in , and quickly became a commonplace. Thereafter European history was conventionally divided into three periods: classical antiquity, the Middle Ages, and the modern period. The biblical metaphor of rebirth was first applied to art by Giorgio Vasari, who used the term to denote the period from Cimabue and Giotto to his own time. It was certainly an inordinatelyslowbirth. The broadening of the term ‘renaissance’ to encompass a period and a cultural model is a product of the nineteenth century, albeit with roots in the French Enlightenment. That is why we use the French form (renaissance) rather than the Italian (rinascità) to denote this rebirth. In  the French historian Jules Michelet usedtheterm‘Renaissance’asthetitleofavolumeon sixteenth-centuryFrance. Five years later Jacob Burckhardt published Die Cultur der Renaissance in Italien (The Civilization of the Renaissance in Italy), in which he identified the idea of a Renais- sance with a set of cultural concepts, such as individualism and the idea of the universal man. Vasari’s designation of a movement in art had become the term for an epoch in history associated with a particular set of cultural values. These issues are explored in detail in François Quiviger’s chapter on ‘The Civilization of the Renaissance’, which explores the afterlife of Burckhardt’s concept of individuality in more recent notions of self-fashioning and gender fluidity, and in the complex notion of the ‘self’. The model of the Renaissance has evolved over time. An older generation of historians had a predilection for precision: the Middle Ages were deemed to have