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The Renaissance in Rome was a season that goes from the late 15th to the mid-16th centuries, when the Papal city was the most important place of artistic production of the entire continent with masters who left an indelible mark on Western figurative art, such as Michelangelo and Raphael. Historical background The fourteenth century, with the absence of the popes during the Avignon Papacy, was a century of neglect and misery for the city of Rome, which dropped to its lowest level of population. With the return of the papacy to Rome repeatedly postponed because of the bad conditions of the city and the lack of control and security, it was first necessary to strengthen the political and doctrinal aspects of the pontiff. When in 1377 Gregory XI was in fact returned to Rome, he also found a city in anarchy because of the struggles between the nobility and the popular faction, and in which his power was now more formal than real. There followed four decades of instability, characterized by the local power struggle between the commune and the papacy, and internationally by the great Western Schism, at the end of which was elected Pope, by mutual agreement between the parties, Martin V of the Colonna family. He managed to bring order to the city, laying the foundations of its rebirth.〔Ludovico Gatto, ''History of Rome in the Middle Ages'', Rome, Newton & Compton, 1999. ISBN 88-8289-273-5〕 == Martin V (1417–1431) == Martin V, in the Apostolic reinsediatosi in 1420, was the first pope who could care for a revitalization of the city in terms monumental and artistic. In 1423 was called a jubilee to celebrate the rebirth of the town. His plan was to restore that luster to the city that also had a clear political purpose: to recover the glory of Imperial Rome he also proclaimed his successor and direct heir.〔Zuffi, cit., P.. 200.〕 martin IV The first sites to be open about essentially the two poles of the Lateran (with frescoes – now lost – in the Basilica di San Giovanni where between 1425 and 1430 employees Gentile da Fabriano and Pisanello) and Vatican, where he was transferred to the papal residence, beginning the transformation of the area beyond the Tiber from a suburban area〔 enormous project. Meanwhile, the city had begun to be a magnet for artists wishing to study and compare with the classical tradition of its ruins. The earliest reports of a journey made by foreign artists to try and study the forms and techniques of ancient Rome is that of 1402 when you went to the Florentines Brunelleschi and Donatello, who returned several times to find inspiration for what was the Renaissance art.〔Elena Capretti, Brunelleschi, Giunti Editore, Florence 2003, p. 22–23. ISBN 88-09-03315-9〕 Pisanello and his assistants also frequently takes its inspiration from ancient remains, but their approach was essentially cataloging, interested in acquiring the most varied repertoire of models to be exploited later in different combinations and compositions, without an interest in understanding the essence of ancient art.〔De Vecchi-Cerchiari, cit., p. 13.〕 The pope, who had stayed in Florence, called to participate in its program Florentine artists such as Masaccio and Masolino, although the contribution of the first innovation was panned by premature death.〔John T. Spike, Masaccio, illustrated books Rizzoli, Milano 2002 ISBN 88-7423-007-9〕 In 1443–1445 Leon Battista Alberti wrote the ''Descriptio urbis Romae'', where he proposed a system for a geometric arrangement of the city centered on the Capitol. In any case one can not yet speak of a "Roman school" because the actions of artists, almost exclusively foreigners, were still largely tied to their cultural matrix, without specific contact information or addresses common.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Roman Renaissance」の詳細全文を読む スポンサード リンク
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