Wikipedia - Carolingian Renaissance:
Kenneth Clark was of the view that by means of the Carolingian Renaissance, Western civilization survived by the skin of its teeth. A substantial portion of the classical corpus we possess today owes its survival to the copies produced by Carolingian scribes. As Conrad Leyser notes, "fewer than 2,000 Latin manuscripts survive from the period before AD 800; from the century after AD 800, we have over 7,000. For every eighth-century copy of a text that has survived, we have ten copies from the ninth century."
As important a role as the Carolingians played in collecting, copying, and disseminating ancient manuscripts and knowledge, it is equally important to remember that they did this through their own value systems. As such, it is important to recognize that although many ancient texts and ideas were preserved by the Carolingians, it is impossible to know how many others were not, whether accidental or otherwise. The Carolingians were a Christian people and certainly sought to preserve Christian documents and knowledge. Therefore, it is likely non-Christian resources were deliberately passed aside in favor of preserving Christian ones. However, this was not always the case. Secular texts and information were indeed preserved by the Carolingians, often as part of educational reforms undertaken during the Carolingian Renaissance. And none of this is to suggest that ancient Christian sources were preserved unscathed (or at all) by the same Renaissance. Indeed, these manuscripts were likely to become distorted or lost as well. For example, Christian sources might be copied so many times that their original versions were lost, separating contemporaries and those of us today from their original productions such as scripts and materials. Also, Christian authorities among the Carolingians might believe themselves experts, no longer needing entire ancient Christian texts. As such, they could purposely omit portions of ancient manuscripts no longer believed necessary for preservation and instruction.
However, the use of the term renaissance to describe this period is contested because its aims and output differ markedly from those of the 15th- and 16th-century Renaissance. The Carolingian project was a top-down initiative, driven by royal patronage and executed by literate elites who trained and served in ecclesiastical institutions, in contrast to the wide-ranging social movements of the later Italian Renaissance.
Earlier scholarship sometimes portrayed the Carolingian period as an attempt to recreate the previous culture of the Roman Empire, motivated by humanist and antiquarian interests. More recent historiography, however, tends to view the Carolingian Renaissance primarily as a religious reform project. Rather than a pure revival, Carolingian scholars described their engagement with classical learning as correctio. This notion of correctio, combined with pragmatic concerns, aimed to "correct" and transform older knowledge into something useful and suitable for a newly unified Christian society—society whose salvation Charlemagne, as its ruler, felt personally responsible for.
Kenneth Mackenzie Clark, Baron Clark (13 July 1903 – 21 May 1983) was a British art historian, museum director and broadcaster. His expertise covered a wide range of artists and periods, but he is particularly associated with Italian Renaissance art, most of all that of Leonardo da Vinci. After running two art galleries in the 1930s and 1940s, he came to wider public notice on television, presenting a succession of programmes on the arts from the 1950s to the 1970s, the largest and best known being the Civilisation series in 1969.
. . .The son of rich parents, Clark was introduced to the arts at an early age. Among his early influences were the writings of John Ruskin, which instilled in him the belief that everyone should have access to great art. After coming under the influence of the art experts Bernard Berenson and Roger Fry, Clark was appointed director of the Ashmolean Museum in Oxford aged twenty-seven, and three years later he was put in charge of Britain's National Gallery. His twelve years there saw the gallery transformed to make it accessible and inviting to a wider public. During the Second World War, when the collection was moved from London for safe keeping, Clark made the building available for a series of daily concerts which proved a celebrated morale booster during the Blitz.
. . .In 2014 the Tate held the "Kenneth Clark: Looking for Civilisation" exhibition, highlighting Clark's impact "as one of the most influential figures in British art of the twentieth century". The exhibition, drawing on works from Clark's personal collection and many other sources, examined his role as "a patron and collector, art historian, public servant and broadcaster ... bringing art in the twentieth century to a more popular audience". The BBC called him "arguably the most influential figure in 20th century British art". Clark's early and continuing insistence that Victorian architecture and art should be considered seriously contributed to a gradual change in public taste. The art historian Ayla Lepine writes that Clark's writing and his "perennial commitment to John Ruskin's output and significance" made an important contribution to the re-evaluation of Victorian art and architecture.
Video Title: Kenneth Clark's Civilisation. Episode 1, The Skin of our Teeth. Source: thecitysurfer. Date Published: June 17, 2022. Description:
The Skin of Our Teeth
Civilisation Episode 1 of 13. Non - remastered SD edition with Original 4x3 aspect ratio and color. Broadcast Sunday 23 February 1969 20:15. BBC2.
Opening music: Cesar Frank, Chorale no. 3 in A minor.
Sir Kenneth Clark begins his classic 1969 series on the history of civilisation with the re-establishment of civilisation in Western Europe, in the tenth century after the fall of Rome to barbarism. He travels from Byzantine Ravenna to the Celtic Hebrides examining aqueducts, cathedrals, the lives of the Vikings and of the Holy Roman Emperor Charlemagne.
