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CLAIMS AND EVIDENCE IN WRITTEN SOURCES

Christine de Pizan, The Treasure of the City of Ladies

Christine de Pizan’s The Treasure of the City of Ladies (1405) unnecessary and extravagant expense, as many tradesmen do,
Use the AP® Claims and Evidence in provides moral suggestions and practical advice on behavior especially in Paris. By treating him kindly she should protect
and household management for women of all social classes. him as well as she can from this. It is said that three things
Visual Sources and AP® Claims and Most of the book is directed toward princesses and court drive a man from his home: a quarrelsome wife, a smoking
fireplace and a leaking roof. She too ought to stay at home
ladies (who would have been able to read it), but Christine
Evidence in Written Sources features also includes shorter sections for the wives of merchants and gladly and not go every day traipsing hither and yon gossip-
artisans, serving-women, female peasants, and even prosti-
ing with the neighbours and visiting her chums to find out
to practice analyzing and interpreting tutes. Excerpted here is her advice to the wives of artisans, what everyone is doing. That is done by slovenly housewives
roaming about the town in groups. Nor should she go off on
such as blacksmiths, bakers, or shoemakers.
different types of sources. these pilgrimages got up for no good reason and involving a
lot of needless expense. Furthermore, she ought to remind
this sample.
her husband that they should live so frugally that their
All wives of artisans should be very painstaking and dil- expenditure does not exceed their income, so that at the end
Bedford, Freeman & Worth Publishers.
igent if they wish to have the necessities of life. They of the year they do not find themselves in debt.
ecisely wher Worth Publishers.
should encourage their husbands or their workmen to get If she has children, she should have them instructed and
to work early in the morning and work until late, for mark taught first at school by educated people so that they may
our words, there is no trade so good that if you neglect know how better to serve God. Afterwards they may be put to
your work you will not have difficulty putting bread on some trade by which they may earn a living, for whoever gives
the table. And besides encouraging the others, the wife
the table. And besides encouraging the others, the wife
the table. And besides encouraging the others, the wife a trade or business training to her child gives a great posses-
For review purposes only. Not for redistribution.
olv
ed in the wor
k to the extent that
herself should be involved in the work to the extent that sion. The children should be kept from wantonness and from
herself should be inv
herself should be involved in the work to the extent that
she knows all about it, so that she may know how to over-
she knows all about it, so that she may know how to over-
Uncorrected proofs have been used in
CLAIMS AND EVIDENCE IN VISUAL SOURCES she kno ws all about it, so that she may kno w ho w to o v er- voluptuousness above all else, for truly it is something that
see his workers if her husband is absent, and to reprove
see his workers if her husband is absent, and to reprove
see his wor kers if her husband is absent, and to r epr o v e most shames the children of good towns and is a great sin of
them if they do not do well. She ought to oversee them to mothers and fathers, who ought to be the cause of the virtue
them if they do not do well. She ought to oversee them to
them if they do not do w
he ought to o
ell. S
v
ersee them to
Andrea Mantegna, Adoration of the Magi , ca. 1495–1505 om idleness, for thr ough car eless wor kers the and good behavior of their children, but they are sometimes
keep them fr
keep them from idleness, for through careless workers the
keep them from idleness, for through careless workers the
master is sometimes r
uined. And when customers come to
master is sometimes ruined. And when customers come to the reason (because of bringing them up to be finicky and
master is sometimes ruined. And when customers come to
Applying his study of ancient Roman relief sculpture to compress figures into a shallow space, Mantegna her husband and try to drive a hard bargain, she ought to indulging them too much) for their wickedness and ruin.
e a har
d bargain, she ought to
her husband and tr
her husband and try to drive a hard bargain, she ought to
y to driv
painted this scene of the three wise men coming to visit the infant Christ. The three wise men represent warn him solicitously to take care that he does not make a
warn him solicitously to take car
e that he does not make a
warn him solicitously to take care that he does not make a
the entire world — that is, the three continents known to medieval and Renaissance Europeans: Europe,
bad deal. She should advise him to be chary of giving too
bad deal. She should advise him to be chary of giving too
Asia, and Africa. They also symbolize the three stages of life: old age, middle age, and youth. As in most bad deal. S he should advise him to be char y of giving too
by Bedford, Freeman & eason to join the n sparked primarily by dynastic accidents in many coun-
depictions, Melchior, the oldest, his large cranium symbolizing wisdom, represents Europe. He offers much cr edit if he does not kno w pr e and to EVALUATE THE EVIDENCE
much credit if he does not know precisely where and to
much credit if he does not know precisely where and to
gold in a Chinese porcelain cup. Balthazar, with a dark beard and Turkish turbaned hat, represents Asia whom it is going, for in this way many come to po v er ty ,
whom it is going, for in this way many come to poverty,
whom it is going, for in this way many come to poverty,

and middle age, and holds a bronze vessel with frankincense. Caspar, representing Africa and youth, 1. How would you describe Christine’s view of the ideal
although sometimes the greed to earn more or to accept a
although sometimes the gr
eed to earn mor
e or to accept a
gives myrrh in a covered cup made of agate. The three wise men were a common subject in Renaissance although sometimes the greed to earn more or to accept a artisan’s wife? The ideal family and household?
tempting proposition makes them do it.
tempting proposition makes them do it.
art, as they allowed artists to show figures from a variety of cultures wearing sumptuous clothing. tempting pr oposition makes them do it. ’ s lo v e as e 2. How are economic and moral virtues linked for Christine?

In addition, she ought to keep her husband’s love as
I
In addition, she ought to keep her husband’s love as
n addition, she ought to keep her husband
much as she can, to this end: that he will stay at home more
much as she can, to this end: that he will stay at home more
much as she can, to this end: that he will stay at home mor
willingly and that he may not hav
e any r
willingly and that he may not have any reason to join the
willingly and that he may not have any reason to join the
Source: Christine de Pizan, The Treasure of the City of Ladies, translated with an
erns and indulge i
w
ds of other y
oung men in tav
foolish crowds of other young men in taverns and indulge in
foolish crowds of other young men in taverns and indulge in
foolish cr
o
introduction by Sarah Lawson (London: Penguin Classics, 1985).

With the development of the printing press, popu-
tries, including Spain, England, Scotland, and France,
lar interest in the debate about women grew, and works
Copyright © were translated, reprinted, and shared around Europe. that led to women’s ruling in their own right or serv-
VIEWPOINTS
Prints that juxtaposed female virtues and vices were
ing as advisers to child-kings. The questions were vig-
orously and at times viciously argued. They directly
also very popular, with the virtuous women depicted as
Venice Versus Florence
Distributed
those of the classical or biblical past and the vice- ridden
concerned the social construction of gender: Could a
dressed in contemporary clothes. The favorite meta-
woman’s being born into a royal family and educated
(Fine Art Images/Heritage Images/Getty Images)
Praise of one’s own city, a form of written work that
noble blood. We are one-third Roman, one-third Frank-
to rule allow her to overcome the limitations of her
phor for the virtuous wife was either the snail or the
developed in ancient Rome, was revived and expanded in
ish, and one-third Fiesolan [three different groups that
sex? Should it? Or stated another way: Which was (or
tortoise, both animals that never leave their “houses”
Renaissance Italy. In the first selection below, written in 1493,
were all viewed as honorable]. . . . We have round about
should be) the stronger determinant of character and
and are totally silent, although such images were never
us thirty thousand estates, owned by noblemen and
the Venetian patrician Marin Sanudo (1466–1536) praises Ven-
ice in a work of praise, which was a common genre at the
merchants, citizens and craftsmen, yielding us yearly
as widespread as those depicting wives beating their
time, and in the second selection the Florentine merchant
husbands or hiding their lovers from them.
hay and wood, to the value of nine hundred thousand
and historian Benedetto Dei (DAY-ee) (1418–1492) praises his
Beginning in the sixteenth century, the debate about
ducats in cash, as you Venetians, Genoese, and Rhodi-
own city in a letter to an acquaintance from Venice.

women also became a debate about female rulers,
debate about women Debate among writers and thinkers in the

ans who come to buy them know well enough. We have
Marin Sanudo on Venice, 1493
Renaissance about women’s qualities and proper role in society.
two trades greater than any four of yours in Venice put

The city of Venice is a free city, a common home to all bread and meat, wine and oil, vegetables and cheese,
together — the trades of wool and silk. . . .
EVALUATE THE EVIDENCE men, and it has never been subjugated by anyone, as have all Our beautiful Florence contains within the city in

1. How does Mantegna use shadowing, foreshortening, and other artistic techniques to show a other cities. . . . Moreover it was founded not by shepherds as this present year two hundred seventy shops belonging
three- dimensional scene on a two-dimensional surface? Rome was, but by rich and powerful people, such as have ever

2. How does Mantegna use clothing, headgear, and jewelry to depict Caspar (right) as distinctively been since that time, with their faith in Christ, an obstacle to to the wool merchants’ guild. . . . It contains also eighty-
three rich and splendid warehouses of the silk merchants’
African and — to European eyes — unfamiliar and mysterious? How does this portrayal of him
relate to Europeans’ changing attitudes about race during this era? barbarians and attackers. . . . For it takes pride of place before guild, and furnishes gold and silver stuffs, velvet, bro-
all others, if I may say so, in prudence, fortitude, magnificence, cade, damask, taffeta, and satin to Rome, Naples, Cata-
benignity and clemency; everyone throughout the world testi- lonia, and the whole of Spain, especially Seville, and to
fies to this. . . . It is, then, a very big and beautiful city, excelling Turkey and Barbary. . . . The number of banks amounts
problems. Like many Renaissance artists, Dürer was In the early sixteenth century, the center of the new over all others, with houses and piazze [public squares] founded to thirty-three; the shops of the cabinetmakers, whose
open to new ideas, no matter what their source. Late in art shifted from Florence to Rome, where wealthy upon salt water, and it has a Grand Canal. . . . On either side business is carving and inlaid work, to eighty-four; and
his life he saw the first pieces of Aztec art shipped back cardinals and popes wanted visual expression of the are houses of patricians and others; they are very beautiful, the workshops of the stonecutters and marble workers in
to Europe from the New World and commented in his church’s and their own families’ power and piety. costing from 20,000 ducats downwards. . . . The Venetians, the city and its immediate neighborhood, to fifty-four.
diary about how amazing they were.

Renaissance popes expended enormous enthusiasm

Practice comparison with AP® Viewpoints, just as they were merchants in the beginning, continue to trade There are forty-four goldsmiths’ and jewelers’ shops,
every year; they send galleys to Flanders, the Barbary Coast,
thirty goldbeaters, silver wire-drawers, and a wax- figure
63 Beirut, Alexandria, the Greek Lands, and Auiges-Mortes [a city maker. . . . Sixty-six is the number of the apothecaries’
which pairs two written or visual sources in southern France]. . . . Here, on the Canal, there are embank- and grocer shops; seventy that of the butchers, besides
ments where on one side there are barges for timber, and on eight large shops in which are sold fowls of all kinds, as
that show contrasting or complementary the other side wine; they are rented as though they were shops. well as game and also the native wine called Trebbiano,
There is a very large butchery, which is full every day of good
from San Giovanni in the upper Arno Valley; it would
meat, and there is another one at St. Mark’s. The Fishmarket awaken the dead in its praise.
perspectives on a particular issue. overlooks the Grand Canal; here are the most beautiful fish,
high in price and of good quality. . . . And in the city nothing
grows, yet whatever you want can be found in abundance. And QUESTIONS FOR ANALYSIS
this is because of the great turnover in merchandise; everything 1. What qualities do the two men choose to highlight in

comes here, especially things to eat, from every city and every praising their hometowns?
part of the world, and money is made very quickly. This is 2. How do these praises of Florence and Venice represent

because everyone is well-off for money. new values that emerged in the Renaissance?
Benedetto Dei on Florence, 1472 Sources: David Chambers, Brian Pullan, and Jennifer Fletcher, eds., Venice: A
Documentary History, 1450–1630 (Oxford: Basil Blackwell, 1992), pp. 4–5 , 11, 13;
Florence is more beautiful and five hundred forty Gertrude R. B. Richards, ed., Florentine Merchants in the Age of the Medici (Cam-
years older than your Venice. We spring from triply bridge, Mass.: Harvard University Press, 1932).
In the fifteenth century five powers dominated the
xxx Italian peninsula: Venice, Milan, Florence, the Papal the states of northern Europe were moving toward cen-
tralization and consolidation, the world of Italian poli-
States, and the kingdom of Naples ( Map 2.1 ). The tics resembled a jungle where the powerful dominated
major Italian powers controlled the smaller city-states, the weak. Venice, with its enormous trade empire,
such as Siena, Mantua, Ferrara, and Modena, and com- was a republic in name, but an oligarchy of merchant-
peted furiously among themselves for territory. While aristocrats actually ran the city. Milan was also called a
48
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