1 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/8bca363b4c1acdd5100d2bb19a1c1244.jpg de5dfe2d8fefff1b2be287ad6dcc87cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Philosopher Lecturing on the Orrery Description An account of the resource This is a print from the original painting by Joseph Wright depicting a philosopher lecturing on the orrery, or mechanical model of the solar system, and intellectuals used them “as pedagogical devices used exclusively for demonstration” (Barker 31). Enamored by the relationship between light and dark, Wright mimics that contrast in his painting with an unidentifiable light source that illuminates the orrery while casting shadows on the philosopher and the children. This coincided with the scientific revolution and increased communication across Europe through the network of the Republic of Letters as well as characterized the Enlightenment period and its science scene. The various ages and sexes depicted in the painting also corresponds with the Enlightenment and specifically Locke ideas that human knowledge comes from sense experience, such as this visual representation that the children see in the lecture from the painting. Kant’s definition of Enlightenment and having the “courage to use your own understanding” demonstrates the increased resonance of the responsibility of individuals for their education, and interactive components of children’s education encouraged such a concept. This painting becomes emblematic of the communication and interaction of notable philosophers within Europe as opposed to just foreign communication with individual countries. Creator An entity primarily responsible for making the resource Joseph Wright, painter William Pether, printmaker Source A related resource from which the described resource is derived <a href="https://library.unimelb.edu.au/teachingobjects/objects/a-philosopher-giving-a-lecture-on-the-orrery-by-william-pether" target="_blank" rel="noreferrer noopener">The University of Melbourne</a> Date A point or period of time associated with an event in the lifecycle of the resource 1768 (painting) Contributor An entity responsible for making contributions to the resource Rylyn Monahan England Painting print Republic of Letters https://earlymoderneurope.hist.sites.carleton.edu/files/original/742ee6d0f1e4d4a08aee6e68a2ab8d02.jpg e6b622a6e13a3af5d6a996dfa5523d97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vase and Cover Description An account of the resource During the 18th century, another example of the phenomenon of chinoiserie, the European interpretation or imitation of Chinese art or other traditions from East Asia, was this vase. The Yuan dynasty experienced technological developments in the creation of porcelain in the imperial kilns at Jingdezhen in the 14th century. It is worth noting that “taste for underglaze blue porcelain may have been both stimulated and enabled by the international connections of the Yuan regime,” which flourished under the Mongol rule and allowed for the importation of the particular blue glaze from Persia (Vinograd and Thorp 299). The technique of making porcelain required specific materials and firing techniques that Europe did not have access to, and they set about making their own imitations like Delftware and Meissenware, and this soft paste porcelain vase is decorated in the underglaze blue and white style with a Chinese landscape design on the vase that highlights elements of nature with swathes of blank space for the water and air. The shape itself is also an elongated version of a Chinese vase (V&A description). In England, these type of ceramics “were first encountered as ‘curiosities’ and then altered to make them less curious,” and after that they appeared as tableware and decoration, and as chinoiserie developed as fashionable, Chinese ceramics continued to be copied in European ceramic shops as well as collected (Stacey 23). This vase, then, emerges out of a long history of cultural hybridization to appeal to a European consumer. Creator An entity primarily responsible for making the resource Richard Chaffers Factory, England Source A related resource from which the described resource is derived <a href="https://collections.vam.ac.uk/item/O8093/vase-and-cover-richard-chaffers-factory/" target="_blank" rel="noreferrer noopener">Victoria and Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1758-1762 Contributor An entity responsible for making contributions to the resource Rylyn Monahan ceramics China England https://earlymoderneurope.hist.sites.carleton.edu/files/original/3b4e07e654267ac47626b50136740da0.jpg bf086c49a84dfee52020280f6d3131d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Chinese Garden (or Vue d'un jardin chinois) Description An account of the resource Francois Boucher, a notable rococo painter of the 18th century, developed a keen interest for ‘the Orient,’ and produced a variety of paintings depicting Chinese subject matter, architecture, and themes. Being an armchair traveler, he based his prints off other drawings and paintings by European authors such as Montanus, whose seated woman in Women with fans and a dog he quotes in the central seated female in the painting (Stein 603). Image grafting, or keen observation of other prints to build up his paintings does not imply ethnographic accuracy because a lot of the prints he looked at were by others who were not from China. For example, the “illustrations to Montanus… were originally intended to portray Japan, not China” (Stein 603). Perrin’s writing also reveals a level of communication between Boucher and notable philosophers of the time like Diderot who might have been disturbed by Boucher’s simple lifting of motifs to place them in the Rococo style and claiming them as his own (Stein 602). This communication with members of the Enlightenment circle highlights the connectivity between intellectuals and artists during this time. It is worth noting that the Qing dynasty welcomed many European artists during its reign, most notably the ItalianJesuit Giuseppe Castiglione, known as Lang Shining in China, who also altered Chinese art in mimicking European oil painting techniques. This demonstrates that the hybridity of subject matter and style traveled in both directions in the 18th century. Creator An entity primarily responsible for making the resource François Boucher Source A related resource from which the described resource is derived <a href="https://enfilade18thc.com/2019/12/29/exhibition-la-chine-revee-de-francois-boucher/" target="_blank" rel="noreferrer noopener">https://enfilade18thc.com/2019/12/29/exhibition-la-chine-revee-de-francois-boucher/</a> Date A point or period of time associated with an event in the lifecycle of the resource 1742 Contributor An entity responsible for making contributions to the resource Rylyn Monahan China France Painting https://earlymoderneurope.hist.sites.carleton.edu/files/original/17081415be2452336075eae0a9e403a1.png e7911d865fb14ff0555de0d6548d1e7b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with a Porcelain Jar Description An account of the resource Foreign art objects also piqued the interest of European clientele, and this painting depicts a Chinese porcelain vase in addition to other fruits and items acquired through trade. The painting highlights the assortment of items on the table by darkening the border of the painting and illuminating the art objects. Kalf combines exotic imported goods, such as the Qing dynasty vase, the lemon and peel which likely came from the Mediterranean, the Turkish rug, and the Venetian glass, with locally produced goods like the silver tray and wine glass to highlight Amsterdam as a central European trading site. During the early 17th century, the Dutch Republic founded the Wisselbank in Amsterdam as part of their emphasis on banking and trade “as central to the power structure of the state” (Soll 221). The Dutch people’s sophisticated ideas of finance helped bolster their trading relations and their marketplace “was famous for its luxury products and treasures” (Soll 222). This flourishing trade community allowed for an influx of exotic and foreign items that were appreciated by the elite. Only the upper classes could afford such luxury items, and their inclusion signaled not only Holland’s prosperity for trade but also the wealth of the owner of the painting. Creator An entity primarily responsible for making the resource William Kalf Source A related resource from which the described resource is derived <a href="http://collection.imamuseum.org/artwork/57562/" target="_blank" rel="noreferrer noopener">Indianapolis Museum of Art</a> Date A point or period of time associated with an event in the lifecycle of the resource 1669 Contributor An entity responsible for making contributions to the resource Rylyn Monahan China Holland Painting https://earlymoderneurope.hist.sites.carleton.edu/files/original/31578359205047b3909fa7a299212d60.jpg 1473828b53dbcbf5dc5d71a4ec8c785c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ouratea Guyannensis (Plate 152) in Histoire des plantes de la Guiane Francoise Description An account of the resource The interest in botany and accurate renderings of plant life permeated all of Europe, not just in England. In France, Jean Fusée Aublet boasts a collection of almost 400 copperplate engravings showing the Histoire des Plantes de la Guiane françoise which systematically records the plants of the Amazon basin region. This particular plate displays ouratea guyannensis, or malmani in its common name. Indigenous people used their roots for digestive and stomach problems, and the leaf for antitussive decoction (Medicinal Plants 212). Aublet worked closely with indigenous individuals to record not only the body of the plant itself, but also the plant’s uses, names for species, and other information (Plotkin, Boom, and Allison 216). Medicinal plants take up the majority of Aublet’s engravings, and these engravings demonstrate the influx of Old World Species into the Guianas as well as an interest in the native botany. Aublet engraved these plants during the Enlightenment which experienced an intense relationship with the continuation of the scientific revolution. Ideas about nature and its relationship with God reinforced the significance of the study of botany, which showed up in European gardens, collections, artwork (like Mary Delany’s prints), and more genuine scientific studies like this one. Creator An entity primarily responsible for making the resource Jean Baptiste Christophe Fusée Source A related resource from which the described resource is derived <a href="https://figshare.com/articles/figure/Plate_152_in_Histoire_des_plantes_de_la_Guiane_Fran_oise_Tome_III/6372376" target="_blank" rel="noreferrer noopener">https://figshare.com/articles/figure/Plate_152_in_Histoire_des_plantes_de_la_Guiane_Fran_oise_Tome_III/6372376</a> Date A point or period of time associated with an event in the lifecycle of the resource 1775 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas engraving France https://earlymoderneurope.hist.sites.carleton.edu/files/original/6196b402f61d544ce5fc5eb007753fe3.jpg e14643890eb1567d1272dba4f8ce8dcf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helianthus Annuus (Great Sun-Flower) Description An account of the resource This collage of colored papers combines to accurately form a sunflower, a flower originally from Mexico that was introduced to Europe in the late 16th century. Botanists and herbalists recorded this flower, and it was grown by John Gerard in 1597 who states 'it hath risen up to the height of fourteene foote in my garden, where one flower was in waight three pounde and two ounces' (British Museum). Mary Delany, an English artist who became fascinated with recording flowers with collages of paper, accepted donations from friends to complete her collection of almost 1,000 papercut flowers. She was influenced by her friend the Duchess of Portland, who, like many elites by this time, was “a humanitarian and avid collector of natural history and antiques” (British Museum). This project and album reflects broader trends of the scientific revolution and increased interest in scientific accuracy and naturalism, but it also demonstrates the increased interaction between the New World and Europe that produced lasting effects for centuries. Creator An entity primarily responsible for making the resource Mary Delany Date A point or period of time associated with an event in the lifecycle of the resource 1772-1782 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas England papercut collage https://earlymoderneurope.hist.sites.carleton.edu/files/original/b0390844a591cf0cce67f20370e5e3f9.jpg b1c1d233eedb2adb2dbec164a746f41b https://earlymoderneurope.hist.sites.carleton.edu/files/original/be23cf928c15b1dbc9ec83d283526e21.png 58aa330ebafc4aa71fa831dc2e761683 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Carta Marina, with Detail of Opossum and Cannibals Description An account of the resource A variety of flora and fauna existed in the New World that differed from European plants and animals. One notable example is the opossum, which, according to Hugh Honour, revealed the “strangeness” of the Americas “while parrots and toucans represented the brilliance and beauty of nature in the New World” (Parrish 485). Enamored by its uniqueness, European naturalists noted the quadruped as having feet in the front and hands in the back, backwards from other four-legged creatures (Parrish 477). The opossum hung upside down, leading observers to hypothesize about the inversion of its organs. Initial descriptors wrote of the animal “as a composite creature fitted with a strange anatomical part” which coincided with Biblical notions of female monsters representing corrupt populuses like in Revelation 17 (Parrish 477). These notions of animosity were consistent with then current polarizing ideas about the New World’s abundance and monstrosity. Maps, like this 16th century one, and their accuracy in general became increasingly important as maritime travel became more and more popular, but in this engraving cannibals pair with opossums to reinforce the concept of barbarism present in the minds of Europeans that was influenced by indigenous Americans' different ways of structuring society, food habits, and religion. Like the rhinoceros from India, one of Columbus’s ship commanders Vincent Yanez Pinzon presented a mother opossum to the king in Granada (Parrish 485). Ideas about environmental determinism and the humoral theory led to the expectation that the new landscape of the Americas would alter Europeans, and debates about whether nature in America was blessed, diabolical, or somewhere in between all used the opossum as proof of their arguments because of its strangeness, fertility, and pouch (Parrish 513-514). It became emblematic of metamorphosis even while its negative traits like its smell, interesting self-defense habit, and sheer novelty led to its ultimate lack of typological significance. Creator An entity primarily responsible for making the resource Martin Waldseemuller Source A related resource from which the described resource is derived <a href="https://www.faena.com/aleph/waldseemulers-carta-marina-understanding-the-ancient-world-in-a-single-glance" target="_blank" rel="noreferrer noopener">https://www.faena.com/aleph/waldseemulers-carta-marina-understanding-the-ancient-world-in-a-single-glance</a> Parrish, Susan Scott. “The Female Opossum and the Nature of the New World.” The William and Mary Quarterly, vol. 54, no. 3, 1997, pp. 475–514. JSTOR, www.jstor.org/stable/2953837. Accessed 25 May 2021. (Specific Image: Courtesy of the William J. Clements Library, Ann Arbor, Michigan) Date A point or period of time associated with an event in the lifecycle of the resource 1516 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas Germany map https://earlymoderneurope.hist.sites.carleton.edu/files/original/b2d2e51280957b845779231c28be3135.png c55da4f27e81a0bd5a8d483259a80356 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Dovizia Description An account of the resource This tapestry was the first work from Florence of a new tapestry workshop founded by Duke Cosimo de’Medici in the 1540s. Around two meters tall, it was likely used as a door hanger, and a later inventory lists it as a “dovizia with a landscape,” dovizia meaning abundance, but the name also also “encompasses the idea of wealth, prosperity, and fecundity” (Markey 17). An already common allegorical figure in Florentine art, Dovizia is now accompanied by a turkey in the center of the tapestry. While the other animals and details carry other meanings such as the turtle which reflected Augustus' ancient motto "make haste slowly," the turkey redefined some of the symbolism of the flora and fauna from America (Markey 17). The Duke and his wife experienced these items secondhand if at all, but they were avid appreciators and collectors of American goods which led to the Duke's development of the first botanical garden of Pisa. Other New World goods also were woven into the fabric of tapestries, such as maize which was cultivated “in Rome as early as the 1510s” and then appeared on fresco borders (Markey 21). Even while not playing an active role in American conquest, the Duke promoted artwork including grottos, frescoes, and this tapestry, which transformed the American turkey into an idea of abundance. Creator An entity primarily responsible for making the resource Agnolo Bronzino Source A related resource from which the described resource is derived “A Turkey in a Medici Tapestry.” Imagining the Americas in Medici Florence, by Lia Markey, Penn State University Press, University Park, Pennsylvania, 2016, pp. 17-27. Museo degli argenti, Florence, Italy Date A point or period of time associated with an event in the lifecycle of the resource 1545 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas Italy Tapestry https://earlymoderneurope.hist.sites.carleton.edu/files/original/7300da647472178497be050b0d78ed38.jpg a75fa5fcefb0d79a9fd15d8b9e0d5179 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Rhinoceros Description An account of the resource In 1515, Albrecht Durer, a notable German painter of the Renaissance, produced a woodcut engraving of a rhinoceros that the Sultan of Gujarat gifted to Europe. It made its way to the King of Portugal and almost to Pope Leo X before a shipwreck caused its drowning. The interest in the animal stemmed first from an interest in antiquity and the Roman Empire since the rhino matched the description of Pliny’s beast, and it also demonstrated the intrigue in communications with the East (BBC). The Ottomans “dominated the eastern Mediterranean,” and to maintain the traditional spice trade between western Europe and the Indian Ocean, Spain and Portugal embarked on the Atlantic Ocean (BBC). The rhinoceros traveled via the sea to its desired new location, representing feats of engineering to carry an almost two ton animal. Depicted with an armored skin and an additional horn, the rhino that Durer drew came from another sketch and not the real animal. Later, the print revolution enabled this print to be widely disseminated to the public. Sketches of the animal and Durer’s print became widely accessible to the general public instead of just the elites, and Europeans became enamored by its exoticism. Creator An entity primarily responsible for making the resource Albrecht Durer Source A related resource from which the described resource is derived <a href="https://www.artic.edu/artworks/30283/the-rhinoceros" target="_blank" rel="noreferrer noopener">Art Institute of Chicago</a> Date A point or period of time associated with an event in the lifecycle of the resource 1515 Contributor An entity responsible for making contributions to the resource Rylyn Monahan engraving Germany India Portugal https://earlymoderneurope.hist.sites.carleton.edu/files/original/eb9186d52971a45b5ae055f2100491fb.png 18ae66c25558a2c82c50683a6b5a7828 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mechanical Galleon Description An account of the resource This late 16th century German automaton mimics in miniature a masted galleon that would have sailed across the Atlantic to the New World. Designed to carry troops and guns, the actual galleon was specifically manufactured for a European navy with seafaring in mind and by proxy, the mechanical galleon, a gilded ship which set sail across the dining table of the Holy Roman Emperor Rudolf II, represented the beginnings of Imperialism and colonization. During the late 15th and 16th centuries, “Europe's view of the world and of its place in it was completely transformed” because of the influx of new information about people, plants, and animals coming from foreign countries (BBC). A metaphor in motion, the galleon likened the ship to state, since the word “‘governor’ comes from the Latin for ‘helmsman’ - ‘gubernator,’ so while the royals and elites admired the galleon, they recognized their state’s power in the maritime setting as well as the technological prowess of producing an instrument that served as a clock, an automaton, and a music player (BBC). The materials for the galleon, brass and steel, as well as the intricacy of its construction illustrates the Hapsburg’s increased wealth from the silver trade in the Americas. This interest in the mechanical extended to other automata during the late 16th century, and princely collectors kept them in kunstkammen or art chambers with limited access (Keating 14). The extreme interest in an object in motion reflected contemporary European interests in animating the inanimate and controlling the inhuman. Creator An entity primarily responsible for making the resource Hans Schlottheim Source A related resource from which the described resource is derived <a href="https://www.britishmuseum.org/collection/object/H_1866-1030-1" target="_blank" title="British Museum" rel="noreferrer noopener">https://www.britishmuseum.org/collection/object/H_1866-1030-1</a> Date A point or period of time associated with an event in the lifecycle of the resource 1580-1590 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas automaton clock Germany https://earlymoderneurope.hist.sites.carleton.edu/files/original/5243684edc708116043ed4cf3a2585a5.pdf d74c3629e6c708de9054223672c72066 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Introduction to Development of Education in Early Modern Europe Creator An entity primarily responsible for making the resource Benjamin Wightman Contributor An entity responsible for making contributions to the resource Benjamin Wightman Date A point or period of time associated with an event in the lifecycle of the resource 2018 https://earlymoderneurope.hist.sites.carleton.edu/files/original/399493e7620c376716d2963f95927524.pdf a10e019fe674143e84384c784579d8dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Moses and Michael's Final Paper