Level V/60 Art in the Renaissance - Cloud Object Storage · Say: The Renaissance was a time when great changes happened in art and science. Two kinds of art are music and dancing

B e n c h m a r k e d u c a t i o n c o m p a n y

Theme: The Renaissance• Art in the Renaissance• Women in the Renaissance• Scientific Discovery in the Renaissance

Social Studies

Art in the RenaissanceLevel V/60

Skills & Strategies

Anchor Comprehension Strategies

• Compare and contrast

Comprehension • Makeconnections

• Summarizeinformation

• Usetextfeaturestolocateinformation

Word Study/Vocabulary • Useknowledgeofwordstructureto

determinewordmeaning

Social Studies Big Idea • TheRenaissance,aculturalmovementof

thefourteenthtoseventeenthcenturies,tookitsinspirationfromGreeceandRome,andproducedsomeofthegreatestworksofartinhistory.

TeACheR’S Guide

Page 11: Synthesize Information • Administer Ongoing Comprehension Assessment

• Summarize Information

D ay

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3

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A c t i v i t i e s

Using Navigators Chapter Books

Explicit Strategy InstructionUse the complete guide to model, guide, and support students as they apply comprehension and word-study strategies. Use portions of the guide to scaffold reading instruction for students who do not need modeled instruction.

Small-Group DiscussionsIntroduce the book and model strategies. Have the group set a purpose for reading based on the introduction. Students read the book, or parts of the book, independently. Then have them use the Small-Group Discussion Guide as they discuss the book together.

Independent ReadingHave students select titles at their independent reading levels. After reading, have students respond to the text in reader response journals or notebooks.

Core Lesson Planning Guide

Copyright © 2011 Benchmark Education Company, LLC. All rights reserved. Teachers may photocopy the reproducible pages for classroom use. No other part of the guide may be reproduced or transmitted in whole or in part in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher.

ISBN: 978-1-4108-6313-32

Pages 4–6: Model Strategies: Introduction–Chapter 1• Monitor-Reading Strategy: Make Connections

• Comprehension Strategy: Compare and Contrast

• Use Knowledge of Word Structure: Etymologies

Page 3: Prepare to Read• Build Content Background

• Introduce the Book

Pages 7–8: Guide Strategies: Chapter 2• Monitor-Reading Strategy: Make Connections


• Use Knowledge of Word Structure: Etymologies

Pages 9–10: Apply Strategies: Chapter 3–Conclusion• Monitor-Reading Strategy: Make Connections


• Use Text Features to Interpret Information: Captions

This five-day lesson plan shows one way to use the chapter book for explicit strategy instruction.

Build Content Background • Tell students they are going to read about a period in

European history called the Renaissance. Say: The Renaissance was a time when great changes happened

in art and science. Two kinds of art are music and dancing. What are other kinds of art?

(Possible answers: painting, sculpture, architecture)• Draw a pedestal words graphic organizer as shown below.

Write the words Art in the Renaissance in the top-tier box. Then write Painting, Sculpture, and Architecture in the second-tier boxes. Ask students to name three possible subtopics for each kind of art. (Possible answers: Renaissance painters, sculptors, architects; Renaissance paintings, sculptures, build-ings; How Renaissance painting, sculpture, architecture were different from earlier art)

• Ask: Why would the author include these topics and subtopics in this book?

(Possible answer: If the author wants to support the idea that great changes took place in art during the Renaissance, then he will have tell about Renaissance artists and their works and how what they did was different from what had been done before.)

Introduce the Book • Give students a copy of the book.• Have them read the table of contents. Ask: How is the book organized?

(introduction, three chapters, conclusion) What is each chapter about?

(1st: Renaissance painting; 2nd: Renaissance sculpture; 3rd: Renaissance architecture)

• Pair students and have them select a chapter to skim. Tell the pairs to focus on important (boldfaced) words and pictures that they can later describe to the group.

• To introduce Key Words and Text/Graphic Features found in this book, use the inside front cover of the book.

Informal Assessment Tips

1. Assess students’ ability to skim a chapter.

2. Document informal observations in a folder or notebook.

3. Keep the folder or notebook at the small-group reading table for handy reference.

© 2011 Benchmark Education Company, LLC 3

Meeting Individual Needs

For students who struggle with skimming, model by skimming the first chapter using the chapter title, subheads, pictures, captions, bold-faced words, and special features and explaining what they tell you about the chapter.

Have students go through the book with a partner, pointing out pictures of paintings or sculptures they can identify. Tell students to explain the significance of a few pictures to their partner.

Display a world map or globe and point out the country of Italy. Explain that the changes that spread across Europe during the Renaissance began in Italy.

Write the word Renaissance on the board. Tell students that this word comes from the French word renaitre, meaning “to be born again.” This period in history (about 1350–1700) was a time when new ideas in poetry, philosophy, music, drama, architec-ture, and art were born.

Prepare to Readnglish anguage earnersE L L

Art in the

Renaissance

Painting Sculpture Architecture

Before ReadingMonitor-Reading Strategy: Make Connections• Say: Good readers make connections as they read. They often

make connections between what they read and their own lives. This type of connection is called a text-to-self connection. Text-to-self connections help them better understand what they are read-ing.

• Use a real-life example of making connections.

Say: I recently read a book about artists. It told about different subjects they study, such as anatomy and history. That reminded me of a painting in my favorite restaurant. The people in the paint-ing look real, so I know the artist has studied the human body. The clothing and details in the painting are from the early 1900s, so the artist had to study history, too. I could make a text-to-self con-nection between the information in the book and what I already knew from personal experience. That will help me remember what I read.

Say: Yesterday we previewed the book Art in the Renaissance. Today we will make text-to-self connections as we learn about Renaissance paintings.

• Read pages 2–3 aloud while students follow along.

Say: Once I sketched a “dream house” I’d like to build someday. I spent time looking at interesting buildings in our community, but I was eager to use my own ideas, too. This helps me understand how the artists in the Renaissance felt. I’ll write this information on a self-stick note and place it on the page where I made the connection.

During Reading Set a Purpose for Reading• Ask students to read pages 4–11 silently. Have them write

any connections they make between the text and their own experiences on self-stick notes and place them in their books. Explain that they will share their text-to-self connections after reading the chapter.

4 © 2011 Benchmark Education Company, LLC

ABOUT THE STRATEGY Make Connections

What? Good readers make connec-tions when they link what they are reading to something they already know. Readers make three types of connections.

1. Text-to-self: a personal connection with the text

2. Text-to-text: a connection between the text being read and a previously read text

3. Text-to-world: a connection between the text and something in the world at large

Why? Making connections gets readers more involved with the text and helps them understand and remember what they read.

When? Good readers make connections before reading to set a purpose. They make connections dur-ing reading to monitor and clarify their understanding. They refer back to con-nections after reading to reflect on what they have read and to deepen and extend their understanding.

How? Good readers pause and wonder about the text. They ask them-selves questions that help make the three types of connections including

1. Text-to-self: This reminds me of something I already know about. That is . . .

2. Text-to-text: This book has similar information to that in . . .

3. Text-to-world: What’s going on in this book is like what’s happening in the world right now in . . .

They note these connections in a journal or on self-stick notes.

Model Strategies: Introduction–Chapter 1

After Reading Discuss the Reading• Ask students to share the connections they made with the

information in the text. Point out that because these are connections to personal experiences, students are writing about themselves, and their notes should contain the words I, me, and my.

• Discuss with students how making connections with their own lives—their knowledge and their experiences—helps them better understand the text.

• Ask: What did you already know about Renaissance painters and their work? What information did the text add to what you know?

• For text-dependent comprehension practice, ask the questions for the Introduction and Chapter 1 found on the Comprehension Through Deductive Reasoning Card for this chapter book.

Comprehension Strategy: Compare and Contrast• Remind students that comparing is telling how two things are

alike, and contrasting is telling how two things are different. Authors often compare and contrast to show differences and similarities between two or more people, places, or things or to point out changes over time. They may use clue words such as too to compare or but to contrast. Other times read-ers think about comparisons and contrasts they find on their own.

• Say: This book tells about different artists and styles of art during the Renaissance. As I read, I can use what the author tells me to compare and contrast these artists and styles. I will ask myself, “How are these things alike? How are they different? How do I know?” Then I can write this information in a chart and use it to help compare and contrast.

• Pass out the graphic organizer “Compare and Contrast” (blackline master, page 14). You may want to use a chart-size copy of the graphic organizer or use a transparency.

• Explain that as students read, they will complete the first five rows together. They will complete the last two rows in pairs or independently.


1. Watch students as they write connections on self-stick notes or in their journals.

2. In a folder or notebook, jot down what you see each student doing.

3. Students should be making connec-tions with their own lives as they read. Document students who are and are not using this monitor-reading strategy.



For students who struggle with this activity, model the strategy again and remind them that making connections between the text and their own experi-ences will help them better understand what they are reading.

Rapid readers can expand on their notes and write in their journals in more detail about their connections to the text.

Introduction–Chapter 1 (continued)


Comprehension Strategy: Compare and Contrast (cont.)• Have students turn to page 3. Read the second paragraph aloud

and say: The author says that before the Renaissance, most artwork featured religious themes. During the Renaissance, humanists wanted to study more than religion. I know that this is a contrast because I see the word but. It signals a contrast, a difference between two things.

Write this information in the first row on the chart.• Have students turn to page 5. Read this page aloud. Say: Here the author is contrasting the pre-Renaissance style of art

with the style that introduced perspective and the use of landscapes. I know that this is a contrast because I see the word however. This word signals that two things are being contrasted, or shown how they are different.

Write this information in the second row on the chart.• Use the completed graphic organizer on this page to help

students find the comparison on page 10.• Encourage students to look for comparisons and contrasts as

they read Art in the Renaissance.

Use Knowledge of Word Structure: Etymologies• Have students find the word perfected on page 3. Say: The base word in perfected is perfect, and perfect has two

Latin roots. Learning the meanings of these roots can help us figure out the meaning of the word. The Latin prefix per- means “thorough-ly.” If you knew that fect came from the Latin word facere, which means “to make or do,” what would you guess perfect means? (to make or do thoroughly)

• Draw this word bench on the board.

Say: A word’s etymology is its history. Knowing the history of a word can sometimes help you understand its meaning. If you don’t recognize the word parts from words you already know, you can look in a dictionary to learn about the word’s etymology.

• Ask students to find the word dissection on page 7. Point out that the base word is dissect. Have students use dictionaries to find the etymology of dissect. Discuss their findings and say: The Latin prefix dis- means “apart.” If you knew that sect comes from the Latin word secare, which means “to cut,” what would you guess dissect means? (to cut apart)

• Encourage students to look for word parts and to use these to figure out the meanings of unfamiliar words as they read.

Reader Response

How could patrons influence the artists they supported? What impact did this patronage have on the art that was created? Write a response in your journal and share your thoughts with a group member.

perfected

definition: made or done thoroughly; removed all flaws

per- Latin for

“thoroughly”

facereLatin for

“to make or do”

Art done before the Renaissance with art done by humanists during the Renaissance

Most art had religious themes before the Renaissance. Humanists painted peo-ple and places.

Page What Is Being

Compared or

Contrasted?

How Are They Alike

or Different?

Is This a Comparison

or a Contrast?

Realistic art of the Renaissance with pre-Re-naissance paintings

Perspective and the use of landscapes made Renaissance art more realistic.

3

5

Michelangelo and Leonardo da Vinci

Both under-stood human anatomy and movement.

contrast

contrast

comparison10

Before ReadingMonitor-Reading Strategy: Make Connections• Have students look at their self-stick notes or in their journals

to review the connections they made yesterday. Discuss how the connections helped them understand the text.

• Say: Today we will make another type of connection called a text-to-text connection. We will make connections between information about Renaissance sculptors and their work and what we have read about these or other sculptors in other books or magazine articles.

• Read pages 12–13 aloud while students follow along.

Say: As I read about Lorenzo Ghiberti and the bronze doors he sculpted for the Florence Baptistry, I can connect that information to something I have read about another famous artist. I read a book about Antonio Gaudi, a modern architect who decorated a church in Barcelona with the most unusual sculptures. This reminds me that throughout history sculptors have created art to adorn churches.

• Ask students to tell about any connections they can make between the information in Chapter 2 and what they have read about other sculptors or sculptures.

During Reading Set a Purpose for Reading • Have students finish reading Chapter 2. Remind them to jot

down text-to-text connections they make on self-stick notes and place them in the appropriate places in their book. For example, students may connect the subjects of Cellini’s sculptures to myths they have read about Roman gods and goddesses.

After Reading Discuss the Reading • Have students share their text-to-text connections and talk

about how the connections helped them better understand the text.

• Ask: What have you learned about sculptors during the Renaissance?

• Have students locate the checkpoint on page 13. Explain that making connections to things we have seen is a good way to understand and remember the text. Have students discuss the prompt with a partner.

• For text-dependent comprehension practice, ask the questions for Chapter 2 found on the Comprehension Through Deductive Reasoning card for this chapter book.


Monitor ELL students as they read Chapter 2 to see whether they are jotting down connections. If they are not, it may be because they do not understand the strategy. Model it again, using information from Chapter 2. If students are writing connections, make sure they can explain how the connections link to the text.


For students who struggle with the strategy, model it again. Then assign them one section in Chapter 2 and ask them to think of one connection between the text in their section and something they have read. Review how the two things are connected.

Rapid readers can review and catego-rize their connections. For example, they might divide the connections into three groups depending on the kind of text they read: books, newspaper and magazine articles, and Internet web sites.

Guide Strategies: Chapter 2

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Chapter 2 (continued)

Reader Response

Which do you think would be more interesting: to be an artist or to be an art restorer? Why? Write a response in your journal and share your thoughts with a group member.


Comprehension Strategy: Compare and Contrast• Remind students that compare means to tell how things are

alike and contrast means to tell how things are different.

• Have students turn to page 16. Read aloud the first paragraph.

Say: Here the author tells how two sculptures by Donatello are alike. What key word signals the comparison? (both)

Discuss what the comparison is and then complete the row for page 16 on the graphic organizer.

• Have students work in pairs to find a comparison or contrast on page 18. Provide support for students who are struggling with this strategy.

• Write students’ responses on the graphic organizer. Use the completed graphic organizer on this page for suggested answers.

Use Knowledge of Word Structure: Etymologies• Remind students that understanding a word’s history, or

etymology, can sometimes help them figure out the meaning of the word.

• Have students find the word revealed on page 15.

Say: The word reveal has two Latin roots. The Latin prefix re- means “back.” If you knew that veal came from the Latin verb velare, which means “to veil,” what would you guess revealed means? (to unveil; to show)

• Point out the word symmetrical on page 17. Have students look up the word in a dictionary to find its etymology and defi-nition. (It has two Greek roots: sym- or syn-, which means “like, same,” and metron, which means “measure.” Symmetrical means “having same measures” or “having a balanced arrange-ment of parts.”)

• For additional practice, have students complete the blackline master called Use Knowledge of Word Structure: Etymologies.

1. a standing apart; a place far away

2. chief builder; person who designs buildings

3. to advise or urge thoroughly; to make willing by urging

4. to bend back; to throw back heat, light, or sound from a surface

5. same name; a word that means the same or almost the same as another word

6. to make or do by hand; to make or do by hand or by machine

Donatello’s sculptures Saint George and Gattamelata

Both are good examples of Donatello’s style of force-ful realism.

Page What Is Being

Compared or

Contrasted?

How Are They Alike

or Different?


or a Contrast?

Sculptures of other artists with those of Michelangelo

Others used decorative elements; Michelangelo’s work was simpler.

16

18

comparison

contrast


Apply Strategies: Chapter 3–Conclusion

Before ReadingMonitor-Reading Strategy: Make Connections• Have students look at their self-stick notes or in their journals

to review the text-to-text connections they made yesterday. Discuss how the connections helped them understand the text.

• Say: Today we are going to make connections between the book we are reading and something in the world.

• Read pages 20–21 aloud while students follow along. Ask: Architects in Italy borrowed elements such as the vault, dome,

and column to use in their buildings. Can you think of other buildings in other places in the world where these same elements are used?

(Possible answer: domed mosques in the Middle East; columns in monuments in Washington, D.C.; vaulted cathedrals in Europe)

• Ask students to tell about any connections they can make between the text and the world in Chapter 3.

During ReadingSet a Purpose for Reading • Have students read the rest of the book silently. Ask them to

write down at least two text-to-world connections as they read. Encourage them to write the connections on self-stick notes and place them in their books. For example, students might connect the importance of architecture in Renaissance Italy with the importance of architecture in the world today.

After ReadingDiscuss Reading• Have students share their text-to-world connections with

the group. Discuss how the connections helped them better understand the text.

• Ask: What have you learned about architecture during the Renaissance?

• Have students locate the checkpoint on page 24. Point out that reading more about a topic is another way to improve their understanding of the topic. Ask students to follow the prompt independently.

• For text-dependent comprehension practice, ask the questions for Chapter 3 found on the Comprehension Through Deductive Reasoning card for this chapter book.

Teaching Tips

After discussing the reading, have students remove self-stick notes from their books and place them in their journals on a page titled “Make Connections.” Use this page to review making connections throughout the year.

Comprehension Strategy: Compare and Contrast• Review the graphic organizer that students have been complet-

ing. Explain that they will find comparisons and contrasts in Chapter 3 in pairs or independently. Remind them to look for words that signal comparisons, such as similar, like, and as, and words that signal contrasts, such as but and however, as they look for comparisons and contrasts on pages 22 and 27.

• Ask if students have any questions before they begin. Monitor their work and help them with any difficulty. Discuss students’ responses together.

• For more practice with comparing and contrasting, have students complete the blackline master “Compare and Contrast” on page 15.

Use Text Features to Interpret Information: Captions• Ask students to tell what a caption is. (a sentence that accompanies

and tells about a picture) Explain that a caption may briefly describe the picture, or it may give additional information that is not in the main text.

• Have students look at the pictures and read the captions on pages 26–27.

Ask: What information do the captions give us? (The caption on page 26 tells about the architectural details on a building designed by Leon Battista Alberti. The caption on page 27 tells the name and location of a villa designed by Andreas Palladio.)

How do these captions help us understand the information in the text? (They provide additional information on the accomplishments of the two architects discussed on these pages.)

• Have students find and discuss other captions in Chapter 3. For each caption, ask the same two questions: What does the caption tell us? How does it support information in the text?

Chapter 3–Conclusion (continued)



1. Watch students as they compare and contrast. Ask yourself: How have students progressed with this strategy? What problems are they still having?

2. Watch students as they complete the graphic organizer. Ask yourself: Who is still struggling with this strategy? How can I help them?

3. Jot down your thoughts in your fold-er or notebook. For students who struggle with comparing and contrast-ing, review the strategy using the Comprehension Strategy Poster: Compare and Contrast.

Reader Response

Which element of classical architecture do you think is the most beautiful? Why? Write a response in your journal and share your thoughts with a group member.

Designs by Brunelleschi and architec-ture in ancient Greece and Rome

They both have design elements in the classical style.

Page What Is Being

Compared or

Contrasted?

How Are They Alike

or Different?


or a Contrast?

comparison

born in Anchiano, 1452apprentice at 15engineer, mathemati-cian, philosopherart with religious and nonreligious themesdied in France at 67

born in Caprese, 1475

apprentice at 13poet

art with religious themes

died in Italy at 89

born in Italyremembered for real-

istic works of artapprentices and col-

leagues in Florencepainters, architects,

sculptorsstudied anatomydevoted to their

work, never married

Leonardo da Vinci MichelangeloBoth

Villas and tem-ples

Their design is similar, includ-ing elements such as col-umns.

22

27 comparison

Administer Ongoing Comprehension Assessment• Have students take Ongoing Assessment #9 on pages 54–55 in

the Comprehension Strategy Assessment Handbook (Grade 6).

Summarize Information• Remind students that nonfiction material often contains many

facts to read and remember. Writing a summary is one way to remember key ideas from the text.

• Tell students they will take notes so they can use them to write a summary of one chapter. You may want to group students and assign each group one chapter to summarize.

• Model the process of summarizing information by picking out the key ideas from Chapter 1 with students. Explain that this is the first step to writing a good summary.

Say: This chapter describes the style of painting that emerged during the Renaissance. What key ideas can I write down from this chapter?

(Artists began to incorporate perspective and realism into their paintings. Artists worked under commission, sometimes support-ed by patrons.)

• Encourage students to work together to select key ideas and use them to write a summary. When students are finished, have one member from each group read aloud the group’s summary.

• If students struggle with this activity, review summarizing infor-mation using the Summarize Information Comprehension Strategy Posters for Grade 6.



1. Score assessments and determine if more instruction is needed for this strategy.

2. Keep group assessments in a small-group reading folder.

3. Look closely at students’ responses. Ask yourself: Why might this student have answered the question in this manner? For in-depth analysis, dis-cuss responses with individual stu-dents.

4. If needed, reteach this strategy and administer Ongoing Assessment #10 on pages 56–57 in the Comprehension Strategy Assessment Handbook (Grade 6).

5. Use Ongoing Assessments to document growth over time, for parent/teacher conferences, or for your own records.

Allow ELL students to work with a partner in their group to review their notes and determine the key ideas in each chapter. Have ELL stu-dents dictate their summary to the partner, who acts as a scribe and records the summary. Ask students to read their summaries aloud. Note whether or not they have included all the key ideas from the chapter they are summarizing.

Synthesize Information

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Write a Personal Response Invite students to respond to the book in a way that is meaningful

to them. The prompts below provide a variety of alternatives.

• If you were a Renaissance artist, what specialty would you have chosen: painting, sculpture, or architecture? Why? (text-to-self)

• How has the art of the Renaissance affected the world? (text-to-world)

• Who was the most interesting artist you read about in this book? Explain your choice. (personal response)

• Compare this book about art in the Renaissance to other books you have read about the Renaissance. (text-to-text)

• What main ideas did you find in this book? (synthesize information)

• Would you recommend this book to a friend who did not know anything about Renaissance art? Why or why not? (evaluate)

• What parts of this book did you find the most challenging? (self-monitor)

• What other artists or works of art did you think about while you were reading this book? (make connections)

Write to a Text PromptUse the prompt below as a timed writing activity. Students have a maximum of one hour to draft, revise, and edit a response. Use the rubric provided in the sidebar to score students’ writing.

Write to a Picture PromptUse the following picture prompt to develop students’ visual writing abilities.

Reading/Writing Connections

Teaching Tips

Transfer personal response prompts to a piece of large chart paper and hang it in the room. Students can refer to the list throughout the year.

The prompt is well developed. There is strong evidence of focus, organization, voice, and correct conventions.

The prompt is developed. There is adequate evidence of focus, organization, voice, and correct conventions.

The prompt is somewhat devel-oped. There is minimal evidence of focus, organization, voice, and correct conventions.

The prompt is weakly developed. There is little evidence of focus, organization, voice, and correct conventions.

Scoring Rubric

4

3

2

1

What does Renaissance art tell us about people’s beliefs and values at that time? Use information from the book to support your answer.

Look at the pictures on page 18. What details did Michelangelo use in his sculptures that made them so lifelike? Write a response in your journal and share your thoughts with a group member. Use details from the picture to support your answer.


© 2011 Benchmark Education Company, LLC

Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Date _ _ _ _ _ _ _ _ _ _ _

Directions: Use this sheet to talk about the book.

Word Study: Write words you did not know. Discuss the meanings with your group. Use the text to clarify the meanings.

Questions:Write two or three questions you had while reading this book. Discuss the questions and answers.

Make Connections:Write three connections you made with the text. Discuss them with your group.

Adapted from Literature Circles: Voice and Choice in the Student-Centered Classroom, Harvey Daniels (Portland, ME: Stenhouse Publishers, 1994).

Rules for a Good Discussion:1. Be prepared.

2. Pay attention to the person who is talking and do not inter-rupt him or her.

3. Think about what others are saying so you can respond.

4. Use inside voices.

5. Let everyone in the group have a turn to speak.

6. Be respectful of everyone’s ideas.

Adapted from Guiding Readers and Writers (Grades 3–6): Teaching Comprehension, Genre, and Content Literacy, Irene C. Fountas and Gay Su Pinnell (Portsmouth, NH: Heinemann Publishing Co., 2001).

Ways to Make ConnectionsText-to-Self: This reminds me of a time when I . . .

Text-to-World: What’s going on in this book is like what’s happening right now in . . .

Text-to-Text: This book reminds me of another book I read called . . . . It was about . . .

Small-Group Discussion Guide


Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Date _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Compare and Contrast

Page Is This a Comparison

or a Contrast?

How Are They Alike or

Different?

What Is Being Compared or Contrasted?

3

5

10

16

18

22

27


Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Date _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Compare and ContrastDirections: Read the passage. Then complete the Venn diagram.

Renaissance ArtistsTwo of the most famous Italian artists of the Renaissance are Leonardo

da Vinci and Michelangelo Buonarroti. They are both remembered for their realistic works of art. Da Vinci was born in Anchiano in 1452, and Michelangelo was born in Caprese in 1475. The artists were colleagues in Florence.

Da Vinci came to Florence at the age of fifteen to begin his apprenticeship. He studied art and later anatomy, which influenced the realism of his artwork. His art featured both religious and nonreligious themes. Da Vinci also worked as an architect, engineer, mathematician, and philosopher. He was always focused on his many projects and never married. His work took him to France, where he died at the age of sixty-seven.

As an apprentice in Florence, Michelangelo began studying art at the age of thirteen and later worked for the Medici family. Michelangelo was usually commissioned to create religious art. He was known as a painter, architect, poet, and sculptor. Before he created his sculpture David, Michelangelo studied anatomy at a Florence hospital. Described as an “unsociable” person, Michelangelo was committed to his art. He never married and died at the age of eighty-nine in Italy.

Leonardo da Vinci MichelangeloBoth

Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Date _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _


Use Knowledge of Word Structures: Etymologies

Directions: Look at these word benches. Use the information to determine the meaning of each word. Then check your answers in a dictionary.

dis- Latin for “apart”

stareLatin for

“to stand”

distance

definition:

1.

arkhi- Greek for

“chief”

tektonGreek for “builder”

architect

definition:

2.

_____________________________________________________________

per- Latin for

“thoroughly”

suadereLatin for

“to advise, urge”

persuade

definition:

3.

re- Latin for “back”

flectereLatin for “to bend”

reflect

definition:

4.

_____________________________________________________________

syn- Greek for

“like, same”

onomaGreek for “name”

synonym

definition:

5.

manu- Latin for

“by hand”

facereLatin for

“to make or do”

manufacture

definition:

6.

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Documents

Level V/60 Art in the Renaissance - Cloud Object Storage · Say: The Renaissance was a time when great changes happened in art and science. Two kinds of art are music and dancing