Thursday, October 13, 2016

Ben Franklin's Code of Morality




From Intellectual Takeout Written by Jon Miltimore Published June 15, 2016

Ben Franklin had a strong aversion to church services, despite the fact that he believed in God. Franklin took morality seriously, and he found himself wondering how he could possibly complete his “bold and arduous project of arriving at moral perfection” minus the administrative structure of formal religion.

I soon found I had undertaken a task of more difficulty than I had imagined. While my care was employed in guarding against one fault, I was often surprised by another; habit took the advantage of inattention; inclination was sometimes too strong for reason. I concluded, at length, that the mere speculative conviction that it was our interest to be completely virtuous was not sufficient to prevent our slipping, and that the contrary habits must be broken, and good ones acquired and established, before we can have any dependence on a steady, uniform rectitude of conduct.

Frankin created his own code of morality. Here are the 13 virtues from Benjamin Franklin's Code of Morality:

1. Temperance: Eat not to dullness; drink not to elevation.

2. Silence: Speak not but what may benefit others or yourself; avoid trifling conversation.

3. Order: Let all your things have their places; let each part of your business have its time.

4. Resolution: Resolve to perform what you ought; perform without fail what you resolve.

5. Frugality: Make no expense but to do good to others or yourself; i.e., waste nothing.

6. Industry: Lose no time; be always employ'd in something useful; cut off all unnecessary actions.

7. Sincerity: Use no hurtful deceit; think innocently and justly, and, if you speak, speak                                                accordingly.

8. Justice: Wrong none by doing injuries, or omitting the benefits that are your duty.

9. Moderation: Avoid extremes; forbear resenting injuries so much as you think they deserve.

10. Cleanliness: Tolerate no uncleanliness in body, cloaths, or habitation.

11. Tranquility: Be not disturbed at trifles, or at accidents common or unavoidable.

12. Chastity: Rarely use venery but for health or offspring, never to dullness, weakness, or the injury of your own or another's peace or reputation.

13. Humility: Imitate Jesus and Socrates.


Madonnas attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi

Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Adoration of the Child with Saints 1460-65

Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Adoration of the Child with Saints c 1463

Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Adoration of the Child

Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child Enthroned with Saints c 1430


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child

Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Adoration of the Magi c 1445


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Adoration of the Shepherds


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Detail Madonna of Humility


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child Enthroned with 2 Angels c 1437


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child Enthroned with 2 Angels c 1437


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child with Saints and a Worshiper c 1437


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child with St Freianus and St Augustine 1437


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Madonna and Child with Stories from the Life of Anne


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Madonna and Child


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Madonna del Ceppo 1453


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Madonna Enthroned with Saints c 1445


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Madonna Enthroned


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Nativity 1467-69


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Nativity


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  Tarquinia Madonna 1437


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi,  The Virgin Appears to St Bernard 1447


Attributed to Fra Filippo Lippi (Italian Renaissance painter, c 1406–1469) also called Lippo Lippi, Virgin with Child Detail Scenes from the Life of St Anne 1452

In this blog, I try to begin each day with a painting of the Madonna & Child. It centers me; connects me to the past; & encourages me to post some of the religious paintings which were a large part of the core of early Western art.  In the 4C, as the Christian population was rapidly growing & was now supported by the state, Christian art evolved & became grander to suit new, enlarged public spaces & the changing contemporary tastes of elite private clients.