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By Root 1657 0

seem to radiate from a set of paintings in the Franciscan monastery at Assisi. Although the frescoes of the church depicted events from the life of Christ, more than a thousand years before the Mongol Empire, or the life of Saint Francis, only shortly before Mongol contact, the artists depicted many of their subjects as Mongols or used Mongol dress and cloth for them: “In the fresco cycle, Saint Francis’s life is literally wrapped in silk—almost every scene depicts painted and figured textiles either defining the stories, or draped below in imaginary swaths.” In addition to simple silks, they portray the elaborate brocades that the Mongols liked and sent to the pope and kings as gifts. The artists placed Mongols in a variety of Christian paintings with their distinctive clothing, headgear, and bows. Horses began to appear in the art in the style of Chinese drawings made popular through Mongol commerce. The pictures also showed a strong Asian influence in the depiction of rocky crags and trees. European art, which had been flat and unidimensional throughout the Middle Ages, produced a new hybrid that was neither strictly European nor strictly Asian; it was a style of depth, light, textiles, and horses that became later known as Renaissance art.

By themselves, the images probably represented no more than a new awareness by the artists of the variety of human faces in the world, but in a 1306 illustration of the Robe of Christ in Padua, the robe not only was made in the style and fabric of the Mongols, but the golden trim was painted in Mongol letters from the square Phagspa script commissioned by Khubilai Khan. In the same church, the Vice of Infidelity appeared as a woman wearing the pith helmet style hat favored by Khubilai Khan. Old Testament prophets were depicted holding scrolls open to long, but undecipherable, texts in Mongol script. The direct allusions to the writing and clothing from the court of Khubilai Khan showed an undeniable connection between Italian Renaissance art and the Mongol Empire.

In the same way that Mongol faces and script began to appear in the art of Renaissance Europe, the Mongol ideas also began to show up in the literary and philosophical works of the era. The provocative nature of Mongol ideas and policies appeared decisively in the work of the German cleric Nicolaus of Cusa, whose 1440 essay “On Learned Ignorance” might be considered as the opening of the European Renaissance. He had spent time on church business in Constantinople shortly before its fall to the Ottomans, and, as his subsequent writings revealed, he was well acquainted with the ideas of the Persian, Arab, and Mongol civilizations. In 1453, he wrote a long essay “On the Peace of Faith,” in which he presented imaginary dialogues among representatives of seventeen nations and religions concerning the best way to promote global peace and understanding. The author shows some more than superficial awareness of Mongol religious ideology when he quotes the Tatar representative as describing his nation as “a numerous and simple people, who worship the one God above others, are astounded over the variety of rites which others have, who worship one and the same God with them. They deride the custom by which some Christians, all Arabs and Jews are circumcised, that others are marked on their brows with a brand, others are baptized.” He also notes the Mongol puzzlement at Christian ritual and theology, in particular that “among these various forms of sacrifice there is the Christian sacrifice, in which they offer bread and wine, and say it is the body and blood of Christ. That they eat and drink this sacrifice after the oblations seems most abominable. They devour what they worship.”

The fictional Tatar in the debate echoed precisely the words of Mongke Khan to the French envoy when he denounced the pernicious enmity among the religions of the world: “It is proper to keep the commandments of God. But the Jews say they have received these commandments from Moses, the Arabs say they have them from Muhammad, and the Christians from Jesus.