In architecture, the huge profits of the spice trade financed a sumptuous composite style in the first decades of the 16th century, the Manueline, incorporating maritime elements.[89] The main painters being Nuno Gonçalves, Gregório Lopes and Vasco Fernandes. In music, Pedro de Escobar and Duarte Lobo, and four songbooks, including the Cancioneiro de Elvas. In literature, Sá de Miranda introduced Italian forms of verse, Bernardim Ribeiro developed pastoral romance; Gil Vicente plays fused it with popular culture, reporting the changing times, and Luís de Camões inscribed the Portuguese feats overseas in the epic poem the Lusiads. Travel literature specially flourished: João de Barros, Castanheda, António Galvão, Gaspar Correia, Duarte Barbosa, Fernão Mendes Pinto, among others, described new lands and were translated and spread with the new printing press.[88] After joining the Portuguese exploration of Brazil in 1500, Amerigo Vespucci coined the term New World,[90] in his letters to Lorenzo di Pierfrancesco de' Medici. The intense international exchange produced several cosmopolitan humanist scholars: Francisco de Holanda, André de Resende and Damião de Gois, a friend of Erasmus who wrote with rare independence on the reign of King Manuel I; Diogo and André de Gouveia, who made relevant teaching reforms via France. Foreign news and products in the Portuguese factory in Antwerp attracted the interest of Thomas More[91] and Dürer to the wider world.[92] There, profits and know-how helped nurture the Dutch Renaissance and Golden Age, especially after the arrival of the wealthy cultured Jewish community expelled from Portugal. |
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