Renaissance in Scotland
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The Renaissance in Scotland was a
The court was central to the patronage and dissemination of Renaissance works and ideas. It was also central to the staging of lavish display that portrayed the political and religious role of the monarchy. The Renaissance led to the adoption of ideas of imperial monarchy, encouraging the Scottish crown to join the
In the sixteenth century, Scottish kings – particularly
Definitions and debates
In the twentieth century, historians disputed the validity of the concept of a Renaissance as unique, as a reaction against the "dark age" of the Medieval, as a clear break with the past
Court and kingship
The court was central to the patronage and dissemination of Renaissance works and ideas. It was also central to the staging of lavish display that portrayed the political and religious role of the monarchy. This display was often tied up with ideas of
During her brief personal rule,
New ideas also affected views of government, described as new or Renaissance monarchy, which emphasised the status and significance of the monarch. The Roman Law principle that "a king is emperor in his own kingdom", can be seen in Scotland from the mid-fifteenth century. In 1469, Parliament passed an act declaring that
Education
Schools
In the early Middle Ages, formal education was limited to monastic life, but from the twelfth century new sources of education had begun to develop, with
The humanist concern with widening education was shared by the Protestant reformers, with a desire for a godly people replacing the aim of having educated citizens. In 1560, the
There was also a large number of unregulated "adventure schools", which sometimes fulfilled a local need and sometimes took pupils away from the official schools. Outside the established burgh schools, a master often combined his position with other employment, particularly minor posts within the kirk, such as clerk.
Universities
The
As early as 1495 some Scots were in contact with the leading figure in the
After the Reformation, Scotland's universities underwent a series of reforms associated with
Major intellectual figures in the Reformation included George Buchanan. He taught in universities in France and Portugal, translated texts from Greek into Latin, and was tutor to the young Mary, Queen of Scots for whom he wrote Latin courtly poetry and masques. After her deposition in 1567, his works De Jure Regni apud Scotos (1579) and Rerum Scoticarum Historia (1582) were among the major texts outlining the case for resistance to tyrants.[4] Buchanan was one of the young James VI's tutors and although he helped in producing a highly educated Protestant prince, who would produce works on subjects including government, poetry and witchcraft, he failed to convince the king of his ideas about limited monarchy. James would debate with both Buchanan and Melville over the status of the crown and kirk.[22]
Literature
In the late fifteenth century, Scots prose also began to develop as a genre and to demonstrate classical and humanist influences.[23] Although there are earlier fragments of original Scots prose, such as the Auchinleck Chronicle,[24] the first complete surviving work includes John Ireland's The Meroure of Wyssdome (1490).[25] There were also prose translations of French books of chivalry that survive from the 1450s, including The Book of the Law of Armys and the Order of Knychthode and the treatise Secreta Secetorum, an Arabic work believed to be Aristotle's advice to Alexander the Great.[26]
The establishment of a
As a patron,
In the 1580s and 1590s
Architecture
The influence of the Renaissance on Scottish architecture has been seen as occurring in two distinct phases. The selective use of
The extensive building and rebuilding of royal palaces probably began under James III, accelerated under James IV, reaching its peak under James V. These works have been seen as directly reflecting the influence of Renaissance styles. Linlithgow was first constructed under James I, under the direction of master of work John de Waltoun. From 1429, it was referred to as a palace, apparently the first use of this term in the country. This was extended under James III and began to correspond to a fashionable quadrangular, corner-towered Italian seignorial palace of a palatium ad moden castri (a castle-style palace), combining classical symmetry with neo-chivalric imagery. There is evidence of Italian masons working for James IV, in whose reign Linlithgow was completed and other palaces were rebuilt with Italianate proportions.[38]
James V encountered the French version of Renaissance building while visiting for his marriage to
New military architecture and the
Particularly influential was the work of
From about 1560, the Reformation revolutionised church architecture in Scotland. Calvinists rejected ornamentation in places of worship, with no need for elaborate buildings divided up by ritual, resulting in the widespread destruction of Medieval church furnishings, ornaments and decoration.
Art
Little is known about native Scottish artists in the Middle Ages. As in England, the monarchy may have had model portraits of royalty used for copies and reproductions, but the versions of native royal portraits that survive from the late Middle Ages are generally crude by continental standards.
Surviving stone and wood carvings, wall paintings and
In 1502 Henry VII sent his Flemish portrait painter Maynard Wewyck to the court of James IV and Margaret Tudor.[59] Later in the sixteenth-century anonymous artists made portraits of important individuals, including the Earl of Bothwell and his first wife Jean Gordon (1566), and George, 7th Lord Seton (c. 1575).[60] The tradition of royal portrait painting in Scotland was probably disrupted by minorities and regencies between 1513 and 1579.[61] James VI employed two Flemish artists, Arnold Bronckorst (floruit, in Scotland, 1580–1583) and Adrian Vanson (fl. 1581–1602), who have left us a visual record of the king and major figures at the court. Anna of Denmark brought a jeweller Jacob Kroger (d. 1594) from Lüneburg, a centre of the goldsmith's craft.[62] The first significant native artist was George Jamesone of Aberdeen (1589/90–644), who became one of the most successful portrait painters of the reign of Charles I and trained the Baroque artist John Michael Wright (1617–94).[58]
Music
The captivity of James I in England from 1406 to 1423, where he earned a reputation as a poet and composer, may have led him to take English and continental styles and musicians back to the Scottish court on his release.[63] In the late fifteenth century a series of Scottish musicians trained in the Netherlands, then the centre of musical production in Western Europe, before returning home. They included John Broune, Thomas Inglis and John Fety, the last of whom became master of the song school in Aberdeen and then Edinburgh, introducing the new five-fingered organ playing technique.[64] In 1501, James IV refounded the Chapel Royal within Stirling Castle, with a new and enlarged choir and it became the focus of Scottish liturgical music. Burgundian and English influences were probably reinforced when Henry VII's daughter Margaret Tudor married James IV in 1503.[65] The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver (c. 1488–1558), a canon of Scone Abbey. Five masses and two votive antiphons have survived in his choirbook. One of the masses provides the only example of the use of the continental fashion of the cantus firmus to have survived in Britain. The antiphon "Oh Bone Jesu" was scored for 19 voices, perhaps to commemorate the 19th year of the reign of James V. His complex polyphonic music could only have been performed by a large and highly trained choir such as the one employed in the Chapel Royal. James V was also a patron to figures including David Peebles (c. 1510–79?), whose best known work "Si quis diligit me" (text from John 14:23), is a motet for four voices. These were probably only two of many accomplished composers of their times, their work surviving largely in fragments.[66]
In this era Scotland followed the trend of Renaissance courts for instrumental accompaniment and playing. Accounts indicate that there were lutenists at the court from the reign of James III and in the houses of the great lords and clergymen. Instruments also appear in art of the period, with a ceiling at
The Reformation would severely affect church music. The song schools of the abbeys, cathedrals and collegiate churches were closed down, choirs disbanded, music books and manuscripts destroyed and organs removed from churches.
The return of James V's daughter Mary from France in 1561 to begin her personal reign, and her position as a Catholic, gave a new lease of life to the choir of the Scottish Chapel Royal, but the destruction of Scottish church organs meant that instrumentation to accompany the mass had to employ bands of musicians with trumpets, drums, fifes, bagpipes and tabors.[72] Like her father, she played the lute, virginals and (unlike her father) was a fine singer.[72] She brought French musical influences with her, employing lutenists and viol players in her household.[73]
James VI was a major patron of the arts in general. He made statutory provision to reform and promote the teaching of music,[74] attempting to revive burgh song schools from 1579.[58] He rebuilt the Chapel Royal at Stirling in 1594 and the choir was used for state occasions like the baptism of his son Henry.[75] He followed the tradition of employing lutenists for his private entertainment, as did other members of his family.[76] When he went south to take the throne of England in 1603 as James I, he removed one of the major sources of patronage in Scotland. Beginning to fall into disrepair, the Scottish Chapel Royal was now used only for occasional state visits, leaving the court in Westminster as the only major source of royal musical patronage.[75]
Decline and influence
The Renaissance in Scotland has been seen as reaching its peak in the first half of the sixteenth century, between the reigns of James IV and the deposition of Mary, Queen of Scots. The loss of the church as a source of patronage in the 1560s and the court in 1603, changed and limited the further development of Renaissance ideas. In the same period civic humanism began to give way to private devotion and retreat from the world influenced by Stoicism. In art and architecture, Renaissance proportion began to give way to Mannerism and the more exaggerated style of the Baroque from about 1620.[77]
The legacy of the Renaissance can be seen in the transformation of the ruling elite in Scottish society from a warrior caste to one with more refined morals and values.[78] Humanism created an acceptance of the importance of learning, which contributed to the legacy of the Scottish school and university systems.[79] Specifically, the 1496 Education Act has been seen as establishing a precedent for a public system of education, which was taken up by the reformers in 1560 and informed later legislation and expansion.[80] The establishment of the Scottish universities, and especially the humanist reforms associated with Melville, allowed Scotland to participate in the "educational revolution" of the early modern era and would be vital to the development of the Enlightenment in Scotland.[81] These circumstances have been seen by David McCrone as making education "vital to the sense of Scottishness".[82]
The Renaissance left a legacy across intellectual fields including poetry, historical writing and architecture, which continued into the seventeenth and eighteenth centuries.[83] A growing number of Scottish scholars emerged who had an increasing confidence in their own literature.[84] Part of the explanation for the sudden flowering of the Scottish Enlightenment, is that the country already had a history of achievements in philosophy, poetry, music, mathematics and architecture and was in close touch with intellectual trends in the rest of Europe.[85] From this period Scotland would make major contributions in the fields of medicine, law, philosophy, geology and history.[81] Among these ideas the limitation of royal sovereignty over the people remained present in Scottish intellectual life and resurfaced to contribute to the major debates of the eighteenth century.[86]
See also
- Renaissance architecture in Scotland
- Early Renaissance
- Late Renaissance
Notes
- ^ ISBN 0-19-162433-0, pp. 185–7.
- ISBN 0-7486-0276-3, p. 56.
- ^ ISBN 0-19-162433-0, pp. 192–3.
- ^ ISBN 0-19-162433-0, p. 200.
- ^ ISBN 0-19-162433-0, p. 188.
- ISBN 0-14-013649-5.
- ^ Field, J., 'Dressing a Queen: The Wardrobe of Anna of Denmark at the Scottish Court of King James VI, 1590–1603', The Court Historian, 24:2 (2019), pp. 152-167, at pp. 155-7.
- ^ ISBN 1-84384-096-0, pp. 29–30.
- ^ ISBN 1-4464-7563-8, pp. 104–7.
- ^ ISBN 0-7486-0276-3, pp. 68–72.
- ISBN 0-521-89088-8, p. 5.
- ISBN 0-300-09234-2, pp. 59–62.
- ISBN 0-7486-0276-3, pp. 183–3.
- ISBN 0-7486-1625-X, pp. 219–28.
- ISBN 0-333-56761-7, pp. 119.
- ^ ISBN 0-333-56761-7, pp. 124–5.
- ^ ISBN 0-7486-0276-3, pp. 183–4.
- ISBN 0838633579, p. 28.
- ISBN 0-19-162243-5, p. 100.
- ^ ISBN 0-19-162433-0, pp. 196–7.
- ISBN 90-04-10097-0, p. 280.
- ISBN 0-19-162433-0, pp. 200–2.
- ISBN 0-19-162433-0, p. 196.
- ^ Thomas Thomson ed., Auchinleck Chronicle Archived 2016-03-06 at the Wayback Machine (Edinburgh, 1819).
- ISBN 0-7546-6273-X, p. 111.
- ^ ISBN 0-7486-0276-3, pp. 60–7.
- ISBN 1-84384-096-0, pp. 26–9.
- ISBN 0-7486-0273-9, pp. 102–3.
- ^ ISBN 0-7486-1615-2, pp. 256–7.
- ISBN 0-08-037728-9, pp. 126–7.
- ISBN 0-7073-0367-2, pp. 1–2.
- ISBN 0-08-037728-9, p. 137.
- ISBN 0-08-037728-9, pp. 141–52.
- ISBN 0-7190-6636-0, pp. 38–9.
- ISBN 0-08-037728-9, pp. 137–8.
- ^ ISBN 0-7486-0849-4, pp. 3–4.
- ISBN 0-19-162433-0, p. 190.
- ISBN 0-7486-0849-4, p. 9.
- ISBN 0-19-162433-0, p. 195.
- ISBN 0-7486-0276-3, p. 5.
- ^ ISBN 0-19-162433-0, p. 189.
- ISBN 0-19-162243-5, p. 102.
- ISBN 0-521-44461-6, pp. 391–2.
- ISBN 0-19-162433-0, pp. 201–2.
- ^ Amadio Ronchini, 'Lorenzo Pomarelli' in Atti e memorie delle RR. Deputazioni di storia patria per le provincie Modenesi e Parmensi (Modena, 1868), pp. 264-5, 271: Marcus Merriman, The Rough Wooings (East Linton, 2000), pp. 324-330: David Potter, Renaissance France at war: armies, culture and society, c.1480-1560 (Woodbridge, 2008), pp.181-2
- ^ ISBN 0-300-05886-1, pp. 502–11.
- ISBN 978-0-486-24898-1, p. 224.
- ISBN 978-1-84176-962-2, p. 33.
- ISBN 0-300-05886-1, p. 502.
- ^ Royal Institute of British Architects, Kirks throughout the ages, architecture.com, archived from the original on 14 October 2007, retrieved 13 January 2010
- ISBN 0-415-16357-9, p. 517.
- ^ ISBN 0-7486-0276-3, pp. 57–9.
- ^ ISBN 0-333-56761-7, pp. 127–9.
- ISBN 0-9503117-1-5, p. 84.
- ISBN 0-7509-3527-8, p. 90.
- ISBN 0-11-491310-2, p. 21.
- ^ Michael Pearce, 'A French Furniture Maker and the 'Courtly Style' in Sixteenth-Century Scotland', Regional Furniture vol. XXXII (2018), pp. 127-36.
- ^ ISBN 0-19-162433-0, pp. 198–9.
- ISBN 978-1-107-60544-2, p. 159: J. W. Clark, "Notes on the tomb of Margaret Beaufort", Proceedings Cambridge Antiquarian Society, 45 (1883), pp. 267–8.
- ISBN 1-4051-3740-1, pp. 455–6.
- ISBN 1-4051-3740-1, pp. 455–6.
- ^ Mary Anne Everett Green, Calendar State Papers Domestic, Addenda 1580-1625 (London, 1872), pp. 364-5.
- ISBN 0-563-12192-0, pp. 8–12.
- ISBN 0-7486-0276-3, pp. 58 and 118.
- ISBN 90-04-13690-8, p. 163.
- ISBN 0-7486-1455-9, p. 118.
- ISBN 0-19-518838-1, pp. 451–2.
- ISBN 0-7614-4483-1, p. 39.
- ISBN 0-7614-7650-4, p. 1264.
- ^ ISBN 0-7486-0276-3, pp. 187–90.
- ISBN 0-19-162433-0, p. 198.
- ^ Mary Queen of Scots(London: Book Club Associates, 1969), pp. 206–7.
- ISBN 0-19-518838-1, p. 452.
- ^ R. D. S. Jack (2000), "Scottish Literature: 1603 and all that Archived 2012-02-11 at the Wayback Machine", Association of Scottish Literary Studies, retrieved 18 October 2011.
- ^ ISBN 0-521-29418-5, pp. 83–5.
- ISBN 0-521-79273-8, pp. 280, 300, 433 and 541.
- ISBN 0-19-162433-0, pp. 193–4.
- ISBN 0-7486-1299-8, p. 226.
- ISBN 1-85285-186-4, p. 48.
- ISBN 0-415-15835-4, p. 111.
- ^ ISBN 0-521-89167-1, p. 33.
- ISBN 0-7453-1608-5, p. 53.
- ISBN 0-19-921917-6, p. 499.
- ISBN 0-7486-0438-3, p. 32.
- ISBN 0-85411-101-8, p. 17.
- ISBN 0-7486-0438-3, p. 39.
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