User:Srnec/Duecento
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The Duecento (Italian for "two hundred", from mille duecento, "1200s") is a term in literature and art history for the thirteenth century in Italy. It is the formative period in Italian art and literature and that part of the High Middle Ages which lay the immediate groundwork for the Renaissance. It is sometimes regarded as the "proto-Renaissance".
In this period the major noble families—like the Este, Visconti, and Montferrat—established their patronage of the arts and artists. In literature, the major innovation of the period was the sonnet. The Duecento saw the rapid proliferation of vernacular literature, first in Occitan and later in Italian, in northern and southern Italy. Dante Alighieri is the central figure.
In painting the Duecento represents the high water mark of the Byzantine style in Italy. By the end of the century, however, that style was being replaced by a new, realistic style pioneered by Giotto di Bondone. In sculpture the period was characterised by renewed interest in Classical forms and their revival. In architecture Gothic first began to replace Romanesque only in the mid-13th century, about a century later than elsewhere in Europe.
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[edit] Literature
[edit] Trovatori
- See also: Troubadour and List of troubadours and trobairitz
The earliest vernacular literary tradition in any Italy was not in the Italian language but rather in Occitan, a language which was spoken in parts of northwest Italy. A tradition of vernacular lyric poetry had arisen in Poitou in the early twelfth century and spread south and east eventually reaching Italy by the end of the century. The first troubadours (trovatori in Italian), as these Occitan lyric poets were called, to practise in Italy were from elsewhere, but the high aristocracy of Lombardy was ready to patronise them. It was not long before native Italians adopted Occitan as a vehicle for poetic expression.
Among the early patrons of foreign troubadours were especially the House of Este, the Da Romano, House of Savoy, and the Malaspina. Azzo VI of Este entertained the troubadours Aimeric de Belenoi, Aimeric de Peguilhan, Albertet de Sestaro, and Peire Raimon de Tolosa from Occitania and Rambertino Buvalelli from Bologna, one of the earliest Italian troubadours. The influence of these poets on the native Italians got the attention of Aimeric de Peguilhan in 1220. Then at the Malaspina court, he penned a poem attacking a a quintet of Occitan poets at the court of Manfred III of Saluzzo: Peire Guilhem de Luserna, Perceval Doria, Nicoletto da Torino, Chantarel, and Trufarel. Aimeric apparently feared the rise of native competitors.
The margraves of Montferrat—Boniface I, William VI, and Boniface II—were patrons of Occitan poetry. Peire de la Mula stayed at the Montferrat court around 1200 and Raimbaut de Vaqueiras spent most of his career as court poet and close friend of Boniface I. Raimbaut, along with several other troubadours, including Elias Cairel, followed Boniface on the Fourth Crusade and established, however briefly, Italo-Occitan literature in Thessalonica.
Azzo VI's daughter, Beatrice, was an object of the early poets "courtly love". Azzo's son, Azzo VII, hosted Elias Cairel and Arnaut Catalan. Rambertino was named podestà of Genoa between in 1218 and it was probably during his three-year tenure there that he introduced Occitan lyric poetry to the city, which was later to develop a fluorishing Occitan literary culture.
Among the Genoese troubadours were Lanfranc Cigala, a judge; Calega Panzan, a merchant; Jacme Grils, also a judge; and Bonifaci Calvo, a knight. Genoa was also the place of genesis of the podestà-troubadour phenomenon: men who served in several cities as podestàs on behalf of either the Guelph or Ghibelline party and who wrote political poetry in Occitan. Rambertino Buvalelli was the first podestà-troubadour and in Genoa there were the Guelphs Luca Grimaldi and Luchetto Gattilusio and the Ghibellines Perceval and Simon Doria.
The Occitan tradition in Italy was more broad than simply Genoa or even Lombardy. Bertolome Zorzi was from Venice. Girardo Cavallazzi was a Ghibelline from Novara. Nicoletto da Torino was probably from Turin. In Ferrara the Duecento was represented by Ferrari Trogni. Terramagnino da Pisa, from Pisa, wrote the Doctrina de cort as a manual of courtly love. He was one of the late 13th-century figures who wrote in both Occitan and Italian. Paolo Lanfranchi da Pistoia, from Pistoia, was another. Both wrote sonnets, but while Terramagnino was a critic of the Tuscan school, Paolo has been alleged as a member. On the other hand, he has much in common with the Sicilians and the Dolce Stil Novo.
Perhaps the most important aspect of the Italian troubadour phenomenon was the production of chansonniers and the composition of vidas and razos. Uc de Saint Circ, who was associated with the Da Romano and Malaspina families, spent the last forty years of his life in Italy. He undertook to author the entire razo corpus and a great many of the vidas. The most famous and influential Italian troubadour, however, was from the small town of Goito near Mantua. Sordello (1220s–1230s) has been praised by such later poets as Dante Alighieri, Robert Browning, Oscar Wilde, and Ezra Pound. He was the inventor of the hybrid genre of the sirventes-planh in 1237.
The troubadours had a connexion with the rise of a school of poetry in the Kingdom of Sicily. In 1220 Obs de Biguli was present as a "singer" at the coronation of the Emperor Frederick II, already King of Sicily. Guillem Augier Novella before 1230 and Guilhem Figueira thereafter were important Occitan poets at Frederick's court. Both had fled the Albigensian Crusade, like Aimeric de Peguilhan. The Crusade had devastated Languedoc and forced many troubadours of the area, whose poetry had not always been kind to the Church hierarchy, to flee to Italy, where an Italian tradition of papal criticism was begun. Protected by the emperor and the Ghibelline faction criticism of the Church establishment flourished.
[edit] Sicilian School
The Sicilian School was a small community of Sicilian and, to a lesser extent, peninsular Italian poets gathered around the Emperor Frederick II, most of them belonging to his court, the Magna Curia. Headed by Giacomo da Lentini, they produced more than three-hundred poems of courtly love between 1230 and 1266, the experiment being continued after Frederick's death by his son, Manfred. This school included Enzo of Sardinia, Pier delle Vigne, Inghilfredi, Stefano Protonotaro, Guido and Odo delle Colonne, Rinaldo d'Aquino, Giacomino Pugliese, Arrigo Testa, Mazzeo Ricco, Perceval Doria, and Frederick II himself. The Sicilian school was heavily influence by the trovatori. Perceval Doria wrote in both Occitan and Italian.
The Sicilian School was conventional in theme and content, but innovative in wording, rather like the trobar clus style of the troubadours. Figures of speech, like metaphors, are frequent. The greatest and most lasting innovation of the school, however, was the sonnet, invented probably by Giacomo da Lentini and adopted by trovatori in the north and eventually by the stilnovisti. The mutual influence of the troubadours and the Siclians and the influence of both on the Dolce Stil Novo constitute the central interactions of the literary Duecento.
[edit] Tuscan School
The Tuscan School began with Guittone d'Arezzo. The early followers of Guittone were called guittoniani.
[edit] Dolce Stil Novo
The Dolce Stil Novo ("sweet new style") was the most important development of the Duecento. The genre was named by Dante Alighieri in his Divine Comedy. The artists of the stil novo are called stilnovisti.
The Stil Novo was influenced by both Sicilian and Tuscan poetry and also by the troubadours. Paolo Lanfranchi da Pistoia was a transitionary poet between the Tuscans and the stilnovisti. The Provençal Guilhem de Montanhagol, through his contact with Sordello and his "new" concept of love, blending courtly love and Christian charity, was perhaps an influence as well. As with Guilhem, Lanfranc Cigala laid emphasis on loyalty and had high praise for women: both characteristics of the Stil Novo.
The chief topoi of the new style are amore (love) and gentilezza (noblemindedness).
[edit] Visual arts
[edit] Byzantinism
- See also: Byzantine art
[edit] Proto-Renaissance
[edit] Sculpture
- See also: Cosmatesque
[edit] Architecture
[edit] Outside the arts
[edit] Philosophy
- See also: Thomism
[edit] Politics
[edit] 13th-century Lombard chansonniers
| Image | Troubadour manuscript letter | Location (library, city) | Manuscript name/number | Notes |
|---|---|---|---|---|
| A | Biblioteca Vaticana, Rome |
Latin 5232 | ||
 |
D | Biblioteca Estense, Modena |
α, R.4.4 | Dated 1254. |
 |
G | Biblioteca Ambrosiana, Milan |
R 71 sup. | Possibly Venetian. Contains troubadour music. |
| H | Biblioteca Vaticana, Rome |
Latin 3207 | ||
 |
I | Bibliothèque nationale de France, Paris |
BN f.f. 854 | |
 |
K | Bibliothèque nationale de France, Paris |
BN f.f. 12473 | |
 |
S | Bodleian Library, Oxford |
Douce 269 | |
| T | Bibliothèque nationale de France, Paris |
BN f.f. 15211 |
[edit] Figures (for incorporation)
- Brunetto Latini
- Cimabue
- Giotto
- Guido Guinizelli
- Guido Cavalcanti
- Dante Alighieri
- Arnolfo di Cambio
- Nicola Pisano
- Guglielmo Agnelli
- Giovanni Pisano
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