THE SOCIAL HISTORY OVA) Ac) ivrriteme | Renaissance, Manner ARNOLD HAUSER TREN CUO [TK BOO AG IE XY SOT OSESHORT Lo AN THE SOCIAL HISTORY OF ART Renaissance, Mannerism and Baroque ARNOLDWUAUSER SS VOLUME II R LONDON ate LIBRARY OF THE > C EU CENTRAL EUROPEAN UNIVERSITY BUDAPEST aaFirst published in two volumes 1951 Reprinted 1952 This edition Published in four volumes 1962 by Routledge & Kegan Paul ple Reprinted four times Reprinted 1989, 1992 by Routledge 11 New Fetter Lane, London EC4P 4EE Text printed in Great Britain by Hartnolls Limited Bodmin, Cormwall, England A member of the Martins Printing Group Plates printed in Great Britain by Headley Bros. Ltd., Ashford, Kent Translated in collaboration with the Author by Stanley Godman ISBN 0 415 04579 7 CONTENTS 1. THE CONCEPT OF THE RENAISSANCE page 1 The liberal-individualistic and the aesthetic- sensualistic concept of the Renaissance, page 3; National and ethnographic criteria, page 6; The uniformity of the representation as a formal principle, page 8; The continuity between the Middle Ages and the Renaissance, page 10; The rationalism of the Renaissance, page 12 2, THE DEMAND FOR MIDDLE-CLASS AND COURTLY ART IN THE QUATTROCENTO page 13 The class struggles in Italy at the end of the Middle Ages, page 13; The struggle for the guilds, page 15; The rule of the Medici, page 18; From the heroic age of capitalism to the age of the rentier, page 19; Giotto and the Trecento, page 21; The romantic-chivalric art of the North Italian courts, page 25; The middle-class natur- alism of the Florentine Quattrocento, page 27; The change of style around the middle of the century, page 29; The guilds as the trustees of public artistic activity, page 32; From the founder to the collector, page 34; The patronage of the Medici, page 37; Lorenzo and Bertoldo, page 39; The courtly culture of the Renaissance, page 40; The stratification of the art public, page 42; The cultural élite, page 44 3, THE SOCIAL STATUS OF THE RENAISSANCE ARTIST page 46 Art and craftsmanship, page 46; The art market, page 50; The emancipation of the artist from the v