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The Catholic view on Renaissance humanism has generally been positive, understanding it as an important cultural and intellectual movement that enriched Christian civilization. It especially views its 13th- through 15th-century forms as compatible with faith, where most of its works were grounded in the dignity of the human person created in God’s image (imago Dei). It celebrated human potential, classical learning, the beauty of nature, and realism in art—all of which could strengthen one’s appreciation of God’s creation.
Many Catholic figures played a key role in it: St. Francis of Assisi praised nature in his Canticle of Brother Sun (1224–1225); St. Thomas Aquinas integrated ancient philosophy with Catholic doctrine; and popes patronized grand projects by humanist artists. Works like Giotto’s Lamentation advanced art and remained profoundly Christian as well.
The Shift from Medieval to Renaissance Aesthetics
This period saw a shift away from medieval aesthetics—an aesthetic best exemplified by Suger and his Abbey of St. Denis (c. 1135–1144). Notable figures such as the 14th-century poets Petrarch and Dante turned back to ancient works of literature, history, and art as sources of inspiration.
This emphasis on ancient thought and art led to a renewed interest in morality and modes of behavior, which came to be known as humanism. The new humanists believed that the answers to their modern-day problems could be found by examining the classical past. This would all have a profound impact on art and European culture because it would encourage artists to look at nature and the human condition as valid subjects for art.
Additionally, theological forces were at play that would push these artists at the dawn of the Renaissance in the same direction. Primarily, these included the Dominicans’ love of classical learning (exemplified best by St. Thomas) and that of the Franciscans, whose charismatic founder saw God everywhere through the beauty of nature.
The Dominican and Franciscan Influences on Humanism
Two very important things are occurring as we break away from the medieval period and begin to see Renaissance humanism emerging. First, there is an undeniable elevation of the dignity of man. In this view, man is seen as the apex of creation. Secondly, there is an unmistakable emphasis on the splendor of nature.
The first point can be seen fully developed in Giovanni Pico della Mirandola’s Oration on the Dignity of Man (1486). In his oration, Pico says that “man is the most fortunate living thing worthy of all admiration.” In his view, man is “to be envied not only by the brutes but even by the stars and by minds beyond this world.” Man is given so much praise because of his eager desire for the “highest things” and because of his willingness to toil with all his strength to obtain them. How far we have come, from the chained and imprisoned masses of Plato’s cave, to the elevated position of man to be envied even by the angels!
The second point on the splendor of nature is best exemplified by St. Francis’s Canticle of Brother Sun. In it, St. Francis praises Sir Brother Sun, “who is the day and through whom You give us light. And he is beautiful and radiant with great splendor; and bears a likeness to You.” The moon, stars, wind, and water are all praised by St. Francis in this canticle for their splendor.
It is very much like the experience that Abbot Suger, the 12th-century French abbot widely credited with creating the first truly Gothic structure, wished to create for those who entered his abbey. Except that St. Francis does not need to walk into the Abbey of St. Denis. This mystical experience—that radiates the beauty of the Creator—is there to be seen in all of His creation.
Renaissance Humanism and Theology in Giotto’s Lamentation
The appearance of Renaissance humanism in visual art can be seen by examining Giotto’s fresco The Lamentation at the Arena Chapel in Padua (c. 1305), which depicts the moment of last farewell between Mary and Christ shortly after His death on the cross.
The tragic mood and deep emotion created by the work are powerful and unmistakable. The mourners, frozen in their grief and hunched over, stare at the figure of Mary holding the dead body of her Son. The grief-stricken Mary embraces, almost clings to, her Son’s lifeless body and stares deeply into His face.
In dramatic realism, a figure with his back to us holds up the back of the lifeless head so as to emphasize the point that without him there, the head would fall limp toward the floor and be unable to return His mother’s gaze.
The somberness of the scene is underscored by the cool colors and bare sky. The barren downslope of the terrain focuses the eye to the lower left, to the mother holding her Son. That is the focus of the work.
Here, there is none of St. Francis’s splendor in nature. Even the lifeless and barren tree in the distance shares in the unimaginable grief of the scene unfolding below its limbs. Giotto contrasts the somberness of the human grief with the flailing and crying angels who appear to be tumbling out of the sky.
All these elements, very indicative of the new Renaissance humanism, serve to underscore that all of reality—humanity, nature, and the angels—is linked and crying out in intense emotion because of what has just occurred.
It would be hard to overestimate Giotto’s importance and influence over the generation of artists that were to follow him. His Lamentation underscores how the new humanist realism in art (rooted in imago Dei) was not only compatible with Catholic doctrine but actively deepened it, transforming his depiction of human suffering into a powerful affirmation of Christ’s redemptive love.
Image from Wikimedia Commons
