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with this new set of lectures we are on
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the Move in two ways the first way is
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that we are literally changing location
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our first chapter was all um in Italy
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and the way this class is organized the
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way the textbook is organized is that we
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move between Italy and Northern Europe
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and Italy and Northern Europe for about
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the first half of the book until um
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after the Baroque Period the other
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change we're making other than just a
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geographic change is a change in time so
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our first chapter was the 1300s in Italy
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and now we're in the 1400s we move
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forward into a new century the 15th
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century or the 1400s and we're in
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northern Europe we're going to look at
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France and area called Flanders and then
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also Germany there are certain things
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that are going to stay the same from our
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last chapter and that is an increase in
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naturalism um we're still the
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Renaissance even when we move to the
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north we have to keep in mind we still
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have this new humanistic worldview so
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we're looking for an increase in
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naturalism more realistic human bodies
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and a deeper extension of space another
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thing that'll stay the same is that our
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church um is still our uh major Patron
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but the north has some markers that make
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it very distinct from Italy so as we go
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we want to keep a nice list in our notes
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about um how how the north is different
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and and as we go through each lecture
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we're going to keep adding um to that
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list all right our first images here are
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by a group of brothers called The
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limborg Brothers um this um illuminated
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manuscript is what it's called It's
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called The try rare D Duke DeBerry which
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are the very Sumptuous hours of the Duke
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of Barry as I mentioned it's what's
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called an illuminated manuscript an
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illuminated manuscript one of your terms
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is an illustrated written work so
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illuminated just means Illustrated it's
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a manuscript it's a written work
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an illustrated written work an
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illuminated manuscript does not have to
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be a religious work necessarily could be
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a work of botney or science the way it
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was understood at the time um but
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because of where we are in history most
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of the time illuminated manuscripts were
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religious works and that is true of what
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we're looking at here it is specifically
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a book of hours another term Book of
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hours these were popular with the
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aristocracy a book of ours has two parts
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the first is a prayer book and it is um
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has prayers that are based on the hours
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of the day so they're to be recited at
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set times of the day um and the other
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part of it is a calendar and the
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calendar would include the important
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feast days of the Saints so if I move
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forward here on the right hand side you
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can see this page with um its companion
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page and it's um the month of October
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and then it's listed all of the Saints
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days down down the site um so this is
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what we call a book of ours um we want
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to put the book of ours in its own
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separate list and here's our new list we
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also want to keep um in the north there
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is a push for private devotional prayer
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that doesn't mean people were leaving
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the church in droves by any means but
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people also saw prayer as something that
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was done privately and something that
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was done in the home the book of ours
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belongs on that list because it's our
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first bit of evidence that the people of
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the north were taking their prayer and
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their worship and bringing it into the
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home so sort of decentralizing religious
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practice this is an important uh list to
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kind of keep in mind and file away in
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the back of your um brain because
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eventually the Protestant Reformation is
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going to come up Martin Luther at the
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beginning part of the 1500s so about
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another hundred years from now um is
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going to create a great change and the
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north is primed and ready as they were
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already um privatizing prayer and taking
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it out of the church so let's just sort
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of file that away ways we know that the
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north was privatizing prayer uh so the
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tray share is an illuminated manuscript
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specifically a book of ours um it was
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created for the Duke um of Barry um and
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his brother who was the King of France
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King Charles I of France um it
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alternates between images of the
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aristocracy and images of the peasants
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it seems kind of odd um that here's our
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Duke of Barry here looking very you know
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glamorous and rich as he was that he
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would fill his prayer book with images
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of the poor of his peasants um but
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really the point of that is to show him
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as a good guy really an idealized view
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of him as being a sort of benevolent
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ruler his peasants are happy they have
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meaningful work they're well cared for
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so kind of ultimately the patron always
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looks good and he certainly does by
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showing these well cared for peasants at
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the top because it is a book of of hours
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and it has prayers based on different
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you know times of the day and different
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parts of the year um there's the sun The
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Chariot of the sun and the zodiac signs
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uh across the top depending on what
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particular month you're looking at this
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is January and as I said this is October
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on uh the other side couple things I
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want you to see about our image here of
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the Duke it's a nice example of implied
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line the Duke is no larger than anyone
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else we've gotten rid of that
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hierarchical proportioning we have all
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kinds of tilted heads and hands that
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lead you to him this fire screen that
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adds almost like a almost like a secular
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Halo behind him um he was very wealthy
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as you can imagine he um collected
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exotic animals so we have one of his
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dogs down here tapestries this it looks
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like a battle scene but this is a
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tapestry of the Trojan War uh here uh in
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the in the background uh looking at
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October I want you to see there's a
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distinct color change when you move to
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the peasants it's very monochromatic uh
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if you look deep into the back what we
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see is the King's residence King Charles
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I of France the Duke's brother um lived
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here this is the Lou now you know it as
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a um Museum but it started out as the
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king's Palace and so this is the loop in
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the background let's talk a little bit
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about space because we know space
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becomes more and more important as we
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are trying to create more naturalism
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here the tapestry does that it's a
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little bit of lad perspective kind of
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stacked up but it brings your eye deep
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into to the background this is still
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very tilted though a tilted perspective
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means that these lines don't go straight
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back but they go up at a nice angle
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which makes it look like everything
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could fall straight off the front um so
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we can see everything on the table which
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is nice but it's it's because our space
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is still skewed and very much tilted
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over here one way I want you to see that
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space is created um is by the use of
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scale
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scale is important um to get correct
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because if you don't have correct scale
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you're not going to see a believable
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recession space so our peasants that are
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here in the foreground are
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larger and those that are into the
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background are much smaller so you can
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see that they're supposed to be much
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further away um but here's something
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that I want you to
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note when you look at the castle here in
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the Lou it is supposed to be far away
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from us and we can tell because these
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figures get so much smaller but when you
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look at the Loop you can see all these
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little distinct lines all these little
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tiny windows and they're very clear and
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crisp that means that this illuminated
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manuscript does not show us something
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called atmospheric perspective
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atmospheric perspective means that as
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things get further and further away like
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miles away uh if you look at them you
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get this sort of blue haziness to them
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so if you went outside right now and
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looked up towards the mountains you
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can't really see trees um grass bushes
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all you see is a sort of blue haziness
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and that's how your eye sees real space
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this painting doesn't have that you can
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see how all these little windows are
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sort of delineated and because it
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doesn't have that it has that distinct
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quality that you know your eyes should
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not be able to see at that distance it
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messes with your sense of space you take
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this Lou castle and you push it closer
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and closer and closer towards the
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peasants because you know just from
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being alive in the world you should not
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be able to see that kind of detail these
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little tiny windows from this far so
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does get Scaled correctly but
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atmospheric perspective that blue
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indistinct haziness that we see at a
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great distance is not present and that's
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something that kind of messes a little
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bit uh with our space But as we move
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forward we're going to see space become
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more and more important in these works
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of the Renaissance really getting one
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rid of this tilted perspective and
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adding that atmospheric perspective and
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when we do that we'll certainly see um
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images that have a very believable
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recession of space to the viewer
