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- What posture toward the Islamic world does this painting represent? Does it convey resistance to Ottoman expansion, or does it hold out the hope for the peaceful conversion of that powerful empire? - What is the significance of the large Ottoman turban at the foot of the steps? - Why might the legend of Saint George provide a potent symbol for European interaction with the Islamic world in the circumstances of the early sixteenth century? - Compare this urban scene with that of Visual Source 12.2. What common features do you notice? Apart from any religious meanings, what do these paintings suggest about Venetian interests in the Islamic world?

- What posture toward the Islamic world does this painting represent? Does it convey resistance to Ottoman expansion, or does it hold out the hope for the peaceful conversion of that powerful empire? - What is the significance of the large Ottoman turban at the foot of the steps? - Why might the legend of Saint George provide a potent symbol for European interaction with the Islamic world in the circumstances of the early sixteenth century? - Compare this urban scene with that of Visual Source 12.2. What common features do you notice? Apart from any religious meanings, what do these paintings suggest about Venetian interests in the Islamic world?

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CONSIDERING THE EVIDENCE / VISUAL SOURCES: ISLAM AND RENAISSANCE EUROPE 60 al Source 12.4 Saint George Baptizes the Pagans of Jerusalem (Scuola di San Giorgio degli Schiavoni, ce/Giraudon/The Bridgeman Art Library) I What posture toward the Islamic world does this painting represent? Does it convey resistance to Ottoman expansion, or does it hold out the hope for the peaceful conversion of that powerful empire? I What is the significance of the large Ottoman turban at the foot of the steps? I Why might the legend of Saint George provide a potent symbol for European interaction with the Islamic world in the circumstances of the early sixteenth century? 1 Compare this urban scene with that of Visual Source 12.2. What common features do you notice? Apart from any religious meanings, what do these paintings suggest about Venetian interests in the Islamic world? An even more vitriolic anti-Muslim sensibility had long circulated in Eu- rope, based on the fear of Islamic power, the distortions growing out of the Crusades, and the perception of religious heresy. In the early fourteenth cen- tury, the Italian poet Dante, author of the Divine Comedy, placed Muhammad in the eighth circle of hell, where the "sowers of discord" were punished and CHAPTER 12 / THE WORLDS OF THE FIFTEENTH CENTURY mutilated. To many Christians, Muhammad was a "false prophet," sometimes portrayed as drunk. Protestants such as Martin Luther on occasion equated their
Transcribed Image Text:CONSIDERING THE EVIDENCE / VISUAL SOURCES: ISLAM AND RENAISSANCE EUROPE 60 al Source 12.4 Saint George Baptizes the Pagans of Jerusalem (Scuola di San Giorgio degli Schiavoni, ce/Giraudon/The Bridgeman Art Library) I What posture toward the Islamic world does this painting represent? Does it convey resistance to Ottoman expansion, or does it hold out the hope for the peaceful conversion of that powerful empire? I What is the significance of the large Ottoman turban at the foot of the steps? I Why might the legend of Saint George provide a potent symbol for European interaction with the Islamic world in the circumstances of the early sixteenth century? 1 Compare this urban scene with that of Visual Source 12.2. What common features do you notice? Apart from any religious meanings, what do these paintings suggest about Venetian interests in the Islamic world? An even more vitriolic anti-Muslim sensibility had long circulated in Eu- rope, based on the fear of Islamic power, the distortions growing out of the Crusades, and the perception of religious heresy. In the early fourteenth cen- tury, the Italian poet Dante, author of the Divine Comedy, placed Muhammad in the eighth circle of hell, where the "sowers of discord" were punished and CHAPTER 12 / THE WORLDS OF THE FIFTEENTH CENTURY mutilated. To many Christians, Muhammad was a "false prophet," sometimes portrayed as drunk. Protestants such as Martin Luther on occasion equated their
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