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新GRE写作名人素材库：贞德
贞德 Joan of Arc 1412 -- 1431
Heroine, French resistance leader in the last phase of the Hundred Years War. The life of Joan of Arc must be considered against the background of the later stages of the Hundred Years War (1339-1453). The war, which had begun in 1339 and continued intermittently till the 1380s, had caused severe hardship in France. In 1392 the insanity of the French king, Charles VI, had provided the opportunity for two aristocratic factions to struggle for control of the King and kingdom. The leader of one of these, John the Fearless, Duke of Burgundy, finally assumed control, and both factions appealed for help to England. Henry V of England invaded France on the Burgundian side in 1415 and inflicted a shattering defeat upon the French at Agincourt in the same year. The English and Burgundians entered Paris in 1418, and the murder of John the Fearless in 1419 strengthened Burgundian hatred for the Armagnac faction.
In 1420 Charles VI, Henry V, and Philip the Good of Burgundy agreed to the Treaty of Troyes, according to which Henry was to act as regent for the mad Charles VI, marry Charles's daughter, and inherit the throne of France on Charles's death. The treaty thus disinherited Charles VI's son, the Dauphin Charles (later Charles VII). Charles VI also implied that the Dauphin was illegitimate. In 1422 both Henry V and Charles VI died, leaving Henry VI, the infant son of Henry, as king of both kingdoms. Henry VI, through his regent, the Duke of Bedford, ruled uncontested in Normandy and the Ile-deFrance. The Duke of Burgundy followed an independent policy in the territories he was assembling to the north and east of France. The Dauphin was reduced to holding the south of France, threatened with Anglo-Burgundian invasion, and taunted with the title "King of Bourges," from which city he ineffectively ruled what was left of his kingdom. He was in perpetual fear that the key city of Orleans, the gateway to his lands, might be captured by the English. In the autumn of 1428 the English laid siege to Orleans. Charles, dominated by the infamous favorite Georges de la Tremoille, naturally apathetic, and lacking in men and money, could do nothing. By the spring of 1429 the city appeared about to fall and with it the hopes of Charles VII.
Joan was born (some sources say) January 6, 1412 to a peasant family in Domremy, a small town near Vaucouleurs, the last town in the east still loyal to Charles VII. "As long as I lived at home," she said at her trial in 1431, "I worked at common tasks about the house, going but seldom afield with our sheep and other cattle. I learned to sew and spin: I fear no woman in Rouen at sewing and spinning."
Some time in 1425 Joan began to have visions: "When I was thirteen, I had a voice from God to help me govern myself." The voice was that of St. Michael, who, with St. Catherine and St. Margaret, "told me of the pitiful state of France, and told me that I must go to succor the King of France." Joan twice went to Robert de Baudricourt, the captain of Vaucouleurs, asking for an escort to Charles VII at Chinon. The third time she was granted an escort, and she set out in February 1429, arriving 11 days later at Chinon. She was immediately examined for orthodoxy and two days later was allowed to see the King.
A contemporary described her: "This Maid ... has a virile bearing, speaks little, shows an admirable prudence in all her words. She has a pretty, woman's voice, eats little, drinks very little wine; she enjoys riding a horse and takes pleasure in fine arms, greatly likes the company of noble fighting men, detests numerous assemblies and meetings, readily sheds copious tears, has a cheerful face..." Joan appears to have been robust, with dark brown hair, and, as one historian succinctly remarked, "in the excitement which raised her up from earth to heaven, she retained her solid common sense and a clear sense of reality." She was also persuasive. In April 1429 Charles VII sent her to Orleans as captain of a troop of men--not as leader of all his forces. With the Duke d'Alencon and Jean, the Bastard of Orleans (later Count of Dunois), Joan relieved the city, thus removing the greatest immediate threat to Charles and for the first time in his reign allowing him a military triumph.
Although Charles VII appears to have accepted Joan's mission梐fter having had her examined several times at Chinon and at the University of Poitiers梙is attitude toward her, on the whole, is ambiguous. He followed her pressing advice to use the respite provided by the relief of Orleans to proceed to his coronation at Reims, thereby becoming king in the eyes of all men. After a series of victorious battles and sieges on the way, Charles VII was crowned at Reims on July 18, 1429. Joan was at his side and occupied a prominent place in the ceremonies following the coronation. From the spring of 1429 to the spring of 1430, Charles and his advisers wavered on the course of the war. The choices were those of negotiation, particularly with the Duke of Burgundy, or taking the military offensive against English positions, particularly Paris. Joan favored the second course, but an attack upon Paris in September 1429 failed, and Charles VII entered into a treaty with Burgundy that committed him to virtual inaction. From September 1429 to the early months of 1430, Joan appears to have been kept inactive by the royal court, finally moving to the defense of the town of Compiegne in May 1430. During a skirmish outside the town's walls against the Burgundians, Joan was cut off and captured. She was a rich prize. The Burgundians turned Joan over to the English, who prepared to try her for heresy. Charles VII could do nothing.
Joan's trial was held in three parts. Technically it was an ecclesiastical trial for heresy, and Joan's judges were Pierre Cauchon, the bishop of Beauvais, and Jean Lemaitre, vicar of the inquisitor of France; both were aided by a large number of theologians and lawyers who sat as a kind of consulting and advising jury. From January to the end of March, the court investigated Joan's "case" and interrogated witnesses. The trial itself lasted from April to nearly the end of May and ended with Joan's abjuration. The trial was both an ecclesiastical one and a political one (because Joan was kept in an English prison rather than in that of the archbishop of Rouen and because the English continually intervened in the trial). Joan was charged with witchcraft and fraud, tested by being asked complicated theological questions, and finally condemned on the grounds of persisting in wearing male clothing, a technical offense against the authority of the Church. Joan's answers throughout the trial reveal her presence of mind, humility, wit, and good sense. Apparently Joan and her accusers differed about the nature of her abjuration, and two days after she signed it, she recanted. The third phase of her trial began on May 28. This time she was tried as a relapsed heretic, conviction of which meant "release" to the "secular arm"; that is, she would be turned over to the English to be burned. Joan was convicted of being a relapsed heretic, and she was burned at the stake in the marketplace of Rouen on May 30, 1431.
From 1450 to 1456, first under the impetus of Charles VII, then under that of Joan's mother, and finally under that of the Inquisition, a reinvestigation of Joan's trial and condemnation was undertaken by ecclesiastical lawyers. On July 7, 1456, the commission declared Joan's trial null and void, thereby freeing Joan from the taint of heresy. The Joan of Arc legend, however, did not gather momentum, and then only intermittently, until the 17th century. The 19th and 20th centuries were really, as a historian has called them, "the centuries of the Maid." In spite of her legend, Joan was not canonized until May 16, 1920.
GRE写作名人素材库：达芬奇
da Vinci, Leonardo 1452 -- 1519
Painter, sculptor, inventor. Born April 15, 1452 near the village of Vinci, Italy. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, who had no other children until much later. Ser Piero raised his son himself, a common practice at the time, arranging for Leonardo's mother to marry a villager. When Leonardo was 15, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and a characteristic talent of the early Renaissance. A sculptor, painter, and goldsmith, Verrocchio was a remarkable craftsman, and his great skill and passionate concern for quality of execution, as well as his interest in expressing the vital mobility of the human figure, were important elements in Leonardo's artistic formation. Indeed, much in Leonardo's approach to art was evolutionary from tradition rather than revolutionary against it, although the opposite is often true of his results.
After completing his apprenticeship, Leonardo stayed on as an assistant in Verrocchio's shop, and his earliest known painting is a product of his collaboration with the master. In Verrocchio's Baptism of Christ (ca. 1475), Leonardo executed one of the two angels, a fact already recorded in the 16th century, as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not, as was usual, a slightly less skilled version of Verrocchio's manner of painting but an original approach altering it. It completely possesses all the fundamental qualities of Leonardo's mature style and implies a criticism of the early Renaissance. By changing hard metallic surface effects to soft yielding ones, making edges less cutting, and increasing the slight modulations of light and shade, Leonardo evoked a new flexibility within the figures. This "soft union," as Giorgio Vasari called it, is also present in the special lighting and is emphatically developed in the spiral turn of the angel's head and body and the vast depth of the landscape.
Apparently Leonardo had painted one extant work, the Annunciation in Florence, before this. It is much nearer to Verrocchio in the stability of the two figures shown in profile, the clean precision of the decorative details, and the large simple shapes of the trees, but it already differs in the creamier modeling of the faces. A little later is Leonardo's portrait of Ginevra de' Benci, the young wife of a prominent Florentine merchant, in which her oily face with softly contoured lips is seen against a background of mysteriously dark trees and a pond.
About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of spectators, with odd and varied faces, flutters around and peers at the main group of the Virgin and Child, and there is a strong sense of continuing movement. In the background the three horses of the kings prance among intricate architectural ruins. However, the painting also illustrates Leonardo's strong sense of the need for a countervailing order: he placed in the center of the composition the Virgin and Child, who traditionally in paintings of this theme had appeared at one side of the picture, approached by the kings from the other side. Similarly, the picturesque ruins are rendered in sharp perspective.
The simultaneous increase in both the level of activity and the organized system which controls it will climax later in Leonardo's Last Supper, and it shows us his basically scientific temperamentne concerned with not only adding to the quantity of accurate observations of nature but also subjecting these observations to newly inferred physical or mathematical laws. In their paintings earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this principle to two others: perspective of clarity (distant objects progressively lose their separateness and hence are not drawn with outlines) and perspective of color (distant objects progressively tend to a uniform gray tone). He wrote about both of these phenomena in his notebooks.
The Adoration of the Magi was, as noted above, left unfinished. In his later career Leonardo often failed over a period of years to finish a work, essentially because he would not accept established answers. For example, in his project for a bronze equestrian statue he began his work by delving into such matters as the anatomy of horses and the method by which the heavy monument could be transported from his studio to its permanent location. In the case of the Magi altarpiece, however, the unfinished state may merely result from the fact that Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by the leading Florentine masters of the older generation, Verrocchio and Antonio Pollaiuolo, who went to Venice and Rome to execute commissions larger than any available in their native Florence.
Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering, asserting that he had worked out improved methods for shooting catapults and diverting rivers. Such inventions, as well as the remarkable machinery that Leonardo produced in Milan for stage pageants, point to his profound interest in the laws of motion and propulsion, a further aspect of his interest in living things and their workings. Again, this preoccupation differs from older artists only in degree.
Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It exists in two versions: the one in Paris is earlier and was executed by Leonardo; the one in London is later, and there is controversy as to whether Leonardo participated in its execution. A religious brotherhood in Milan commissioned an altarpiece from Leonardo in 1483, and it is also a matter of argument as to which version is the one commissioned. Some scholars believe that it is the London work and that the Paris version was painted while Leonardo was still in Florence. But this view requires some remarkable coincidences, and the more usual opinion is that the picture in Paris is the original one executed for the Milanese commission and that it was taken away by Leonardo's admirer the king of France and replaced in Milan by the second painting.
Although the Virgin of the Rocksis a very original painting, it makes use of a venerable tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in depicting nature and in dimmed light, which fuses the outlines of separate objects. The artist once commented that one should practice drawing at dusk and in courtyards with walls painted black. The figures in the painting are grouped in a pyramid.
The other surviving painting of Leonardo's Milanese years is the Last Supper (1495-1497), commissioned by the duke for the refectory of the convent of S. Maria delle Grazie. Instead of using fresco, the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful; the paint did not adhere well to the wall, and within 50 years the scene was reduced to a confused series of spots. What we see today is largely a later reconstruction, but the design is reliable and remarkable. The scene seems at first to be one of tumultuous activity, in response to the dramatic stimulus of Christ's words "One of you will betray me," which is a contrast to the traditional static row of figures. But the 12 disciples form four equal clusters around Christ, isolated as a fifth unit in the middle. Thus, Leonardo once again enriches the empirical observation of vital activity but simultaneously develops a containing formula and emphasizes the center. This blend of the immediate reality of the situation and the underlying order of the composition is perhaps the reason the painting has always been extraordinarily popular and has remained the standard image of the subject.
In its own time, the Last Supper was perhaps less well known than the project for a bronze equestrian statue of the previous Duke of Milan, on which Leonardo worked during most of his Milanese years. He wanted to show the horse leaping, a technical problem of balance in sculpture that was solved only in the 17th century. Numerous drawings of the project exist. Besides apparatus for pageants and artillery, architectural projects also occupied Leonardo in Milan. He and the great architect Donato Bramante, also a recent arrival at the court, clearly had a mutually stimulating effect, and it is hard to attribute certain innovative ideas to one of them rather than the other. The architectural drawings of Leonardo, very similar to the buildings of Bramante, mark the shift from the early Renaissance to the High Renaissance in architecture and show a new interest in and command of scale and grandeur within the basic harmonious geometry of Renaissance structure. No buildings can be attributed with certainty to Leonardo.
When Leonardo's patron was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and Mantua. He planned a portrait of Isabella d'Este, Duchess of Mantua, one of the most striking personalities and great art patrons of the age. The surviving drawing for this portrait suggests that the concept of the later Mona Lisa had already been formulated.
In 1500 Leonardo returned to Florence, where he was received as a great man. Florentine painters of the generation immediately following Leonardo were excited by his modern methods, with which they were familiar through the unfinished Adoration of the Magi, and he also now had a powerful effect on a still younger group of artists. Thus it was that a younger master passed on to Leonardo his own commission for the Virgin and Child with St. Anne, and the monks who had ordered it gave Leonardo a workroom. Leonardo's large preparatory drawing was inspected by crowds of viewers. This theme had traditionally been presented in a rather diagrammatic fashion to illustrate the family tree of Christ; sometimes this was done by representing Anne, the grandmother, in large scale with her daughter Mary on her knee and with Mary in turn holding the Christ Child. Leonardo sought to retain a reference to this conceptual pattern while drawing sinuous, smiling figures in a fluid organic interrelationship. Several varying designs exist, the last version being the painting of about 1510 in Paris; this variety suggests that Leonardo could not fuse the two qualities he desired: an abstract formula and the immediacy of life.
During his years in Florence (1500-1506), even though they were interrupted in 1502 by a term as military engineer for Cesare Borgia, Leonardo completed more projects than in any other period of his life. In his works of these years, the emphasis is almost exclusively on portraying human vitality, as in the Leda and the Swan (lost; known only through copies), a spiraling figure kneeling among reeds, and the Mona Lisa, the portrait of a Florentine citizen's young third wife, whose smile is mysterious because it is in the process of either appearing or disappearing.
Leonardo's great project (begun 1503) was the battle scene that the city commissioned to adorn the newly built Council Hall of the Palazzo Vecchio. In the choice of theme, the Battle of Anghiari, patriotic references and the wish to show off Leonardo's special skills were both apparently required. Leonardo depicted a cavalry battle of small skirmish won by Florentine troops in which horsemen leap at each other, churning up dust, in quick interlocking motion. The work today is known through some rapid rough sketches of the groups of horsemen, careful drawings of single heads of men which are extraordinarily vivid in suggesting immediate response to a stimulus, and copies of the entire composition. Leonardo began to paint the scene, experimenting with encaustic technique (the paint is fused into hot wax on the surface of the panel), but he was called back to Milan before the work was completed. A short time thereafter, the room was remodeled and the fragment was destroyed.
Both the Battle of Anghiari and the Mona Lisa contain their animation in neatly balanced designs. In the battle scene, the enemies are locked in tense symmetry; in the portrait, the crossed arms form the base of a pyramid capped by the head, which gives the lady her quality of classic rightness and prevents the less than full-length portrait from seeming incomplete and arbitrarily amputated at the lower edge.
Called to Milan in 1506 by the French governor in charge, Leonardo worked on an equestrian statue project, but he produced no new paintings; he was more intent on scientific observation. Most of his scientific concerns were fairly direct extensions of his interests as a painter, and his research in anatomy was the most fully developed. Verrocchio and other early Renaissance painters had attempted to render the human anatomy with accuracy, but Leonardo went far beyond any of them, producing the earliest anatomical drawings which are still considered valid today, although he occasionally confused animal and human anatomy and accepted some old wives' tales.
Leonardo began filling the notebooks with data and drawings, and the visual intensity that was always his starting point reveal his other scientific interests: firearms, the action of water, the flight of birds (leading to designs for human flight), the growth of plants, and geology. Leonardo's interests were not universal: theology, history, and literature moved him little. All his interests had in common a concern with the processes of action, movement, pressure, and growth; it has been rightly said that his drawings of the human body are less anatomical than physiological.
In 1513 Leonardo went to Rome, where he remained until 1516. He was much honored, but he was relatively inactive and remarkably aloof from its rich social and artistic life. He continued to fill his notebooks with scientific entries. The French king, Francis I, invited Leonardo to his court at Fontainebleau, gave him the titles of painter, architect, and mechanic to the king, and provided him with a country house at Cloux. Leonardo was revered for his knowledge and influence on younger artists more than for any work he produced in France. He died on May 2, 1519, at Cloux.
新GRE写作名人素材库：但丁
Dante (Alighieri) 1265 -- 1321
The Italian poet Dante Alighieri wrote The Divine Comedy, the greatest poetic composition of the Christian Middle Ages and the first masterpiece of world literature written in a modern European vernacular.
Dante lived in a restless age of political conflict between popes and emperors and of strife within the Italian city-states, particularly Florence, which was torn between rival factions. Spiritually and culturally too, there were signs of change. With the diffusion of Aristotle's physical and metaphysical works, there came the need for harmonizing his philosophy with the truth of Christianity, and Dante's mind was attracted to philosophical speculation. In Italy, Giotto, who had freed himself from the Byzantine tradition, was reshaping the art of painting, while the Tuscan poets were beginning to experiment with new forms of expression. Dante may be considered the greatest and last medieval poet, at least in Italy, where barely a generation later the first humanists were to emerge.
Dante was born in Florence, the son of Bellincione d'Alighiero. His family descended, he tells us, from "the noble seed" of the Roman founders of Florence and was noble also by virtue of honors bestowed on it later. His great-grandfather Cacciaguida had been knighted by Emperor Conrad III and died about 1147 while fighting in the Second Crusade. As was usual for the minor nobility, Dante's family was Guelph, in opposition to the Ghibelline party of the feudal nobility which strove to dominate the communes under the protection of the emperor.
Although his family was reduced to modest circumstances, Dante was able to live as a gentleman and to pursue his studies. It is probable that he attended the Franciscan school of Sta Croce and the Dominican school of S. Maria Novella in Florence, where he gained the knowledge of Thomistic doctrine and of the mysticism that was to become the foundation of his philosophical culture. It is known from his own testimony that in order to perfect his literary style he also studied with Brunetto Latini, the Florentine poet and master of rhetoric. Perhaps encouraged by Brunetto in his pursuit of learning, Dante traveled to Bologna, where he probably attended the well-known schools of rhetoric.
A famous portrait of the young Dante done by Giotto hangs in the Palazzo del Podest?in Florence. We also have the following description of him left us by the author Giovanni Boccaccio: "Our poet was of medium height, and his face was long and his nose aquiline and his jaws were big, and his lower lip stood out in such a way that it somewhat protruded beyond the upper one; his shoulders were somewhat curved, and his eyes large rather than small and of brown color, and his hair and beard were curled and black, and he was always melancholy and pensive." Dante does not write of his family or marriage, but before 1283 his father died, and soon afterward, in accordance with his father's previous arrangements, he married the gentlewoman Gemma di Manetto Donati. They had several children, of whom two sons, Jacopo and Pietro, and a daughter, Antonia, are known
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