By Will Durant
A background of civilization in Italy from the delivery of Petrarch to the dying of Titian - 1304 to 1576.
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21 Apparently he made this exception in all sincerity. He expressed no doubt as to any dogma of the Church; he was too genial and comfortable to be a heretic. He composed several devotional works, and wondered had it not been better for him, like his brother, to ease his way into heaven through monastic peace. He had no use for the near-atheism of the Averroists in Bologna and Padua. Christianity seemed to him an indisputable moral advance upon paganism, and he hoped that men would find it possible to be educated without ceasing to be Christians.
For her he wrote a long and dreary prose version—Filocopo—of a medieval romance, Fleur et Blancfleur. Finer was his Filostrato; here he told in glowing verse how Criseida vowed eternal fidelity to Troilus, was captured by the Greeks, and soon yielded herself to Diomed on the plea that he was so “tall and strong and beautiful,” and at hand. For his medium Boccaccio chose an eight-line stanza—ottava rima— that set a form for Pulci, Boiardo, and Ariosto. ”12 But it is also a remarkable psychological study of one type of woman—lightly false and gayly vain; and it ends with phrases now familiar in opera: Giovane donna è mobile, e vogliosa E negli amanti molti, e sua bellezza Estima più ch’ allo specchio, e pomposa….
The Sack of Rome: 1527 VIII. Charles Triumphant: 1527–30 IX. Clement VII and the Arts X. Michelangelo and Clement VII: 1520–34 XI. The End of an Age: 1528–34 BOOK VI: FINALE: 1534–76 Chapter XXII: SUNSET IN VENICE I. Venice Reborn II. Aretino III. Titian and the Kings IV. Tintoretto V. Veronese VI. Perspective Chapter XXIII: THE WANING OF THE RENAISSANCE I. The Decline of Italy II. Science and Philosophy III. Literature IV. Twilight in Florence V. Benvenuto Cellini VI. Lesser Lights VII. Michelangelo: the Last Phase ENVOI BIBLIOGRAPHY NOTES INDEX List of Illustrations The page number referred to in the captions is for a discussion of the particular painting or the artist, and sometimes both.