10 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/4c514e24961aab4eadc2854d51c02c57.jpg 78ac755b42a0fb2e95f493e32fb0d554 https://earlymoderneurope.hist.sites.carleton.edu/files/original/7e7cbf85efecc028354f0d2ed4535523.jpg 78ac755b42a0fb2e95f493e32fb0d554 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 Pilgrims at the Tomb of St Sebastian Creator An entity primarily responsible for making the resource Josse Lieferinxe Contributor An entity responsible for making contributions to the resource Jack Williams Date A point or period of time associated with an event in the lifecycle of the resource 1492 Description An account of the resource This painting, by Josse Lieferinxe, was completed in 1497 and depicts a group of diseased and injured pilgrims visiting the tomb of St. Sebastian, the patron saint of soldiers and the plague-stricken. Lieferinxe was originally from the Southern Netherlands, and was identified by his pseudonym, The Master of St. Sebastian, until he was identified in 1942. His style was defined by the Provincial style originating in France where he spent the better part of his painting career (WGA 1). Most of Lieferinxe’s work focuses on faith stories and triumphant saints and angels. Only a few of his pieces focus on any form of everyday life, including this painting. The question this draws, is why would he choose to spend his time depicting such a sad scene? The answer seems to come from his devotion to St. Sebastian. While St. Sebastian may not be commonly known in modern times, during the late gothic and early Renaissance he was the most commonly depicted saint in paintings. This was caused by his role as the protector of those afflicted by the bubonic plague, a common worry during this time period. With this all taken into account, Lieferinxe’s depiction of the tomb, even without St. Sebastian being “physically” present, follows well with accepted theological traditions (Boeckl). It also follows accepted traditions involving healing and medicine. For the Early Modern peasant, disease and injury were often the random fact of life, and if a local healer couldn’t find a cure or method for healing any given ailment there was no other for healing than to hope for a miracle. Often times certain saints, like Sebastian, were associated with healing certain types of injuries, or types of people (Wiesner Hanks 167). Source A related resource from which the described resource is derived "Pilgrims at the Tomb of St Sebastian by LIEFERINXE, Josse." Stigmatization of St Catherine of Siena by BECCAFUMI, Domenico. Accessed September 21, 2018. https://www.wga.hu/html/l/lieferin/sebasti1.html. Rights Information about rights held in and over the resource TBC, Website says Ed use only https://earlymoderneurope.hist.sites.carleton.edu/files/original/5327ecdb5b0a98d0b20367533f7f4c6d.jpg b1d146fde1e0f0fdc409b28995be937a 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 Two Woodcuts Creator An entity primarily responsible for making the resource Jost Amman Date A point or period of time associated with an event in the lifecycle of the resource 1568 Description An account of the resource An item of crucial importance to the Protestant Reformation was the printing press. The Reformation was a popular movement, which meant that people had to know about it and be taught what the reformers stood for. Bringing this information to the public would be impossible without the printing press. Invented in the mid-15th century, the printing press allowed texts to be produced much more quickly and cheaply. This made it much easier to distribute materials that people could read and disseminate ideas throughout Europe. Without the printing press, Luther would not have been able to spread his ideas to the corners of Europe anywhere near as quickly, nor would he have had the capability to produce his translation of the Bible in later years. Colonization of the Americas would not have jolted into motion so suddenly—Matthew Restall argues in Seven Myths of the Spanish Conquest that a large part of the conquistadors’ popularity and glorified image was due to their ability to publish and spread their boastful letters sent back to the king (12). Many men still would have flocked to travel to the new world, but perhaps not as quickly without a shining image of Cortés to inspire them. One easy way to transfer information quickly was the woodcut. This allowed many copies of a work of art to be printed and distributed across Europe. These woodcuts illustrate the process of creating such an object. One figure is cutting the woodcut itself, and the other is stamping an inked woodcut onto paper. The woodcut allowed the printing press to easily convey not just words, but art, a powerful motivator. The ability to spread knowledge throughout the world is incredibly important for educating the general public, and is why I have chosen these woodcuts as an item. Contributor An entity responsible for making contributions to the resource Benjamin Wightman Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Woodcut,_early_demo.jpg https://earlymoderneurope.hist.sites.carleton.edu/files/original/4c6d11134d3358427b8ee1e523f91b3b.JPG dc295bc446507f30f23d8ce364f26ba7 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 10,800 × 2,332 pixels 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 Universidad de Salamanca Creator An entity primarily responsible for making the resource Juan Carlos Cera Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource 2 September 2014, 18:48:33 Description An account of the resource The University of Salamanca was founded in 1218, and is the oldest University in Spain. The university peaked in 1584, when it had nearly 7,000 students, before declining starting by the end of the 16th century until the early 19th century (Britannica). One of its students was Benito Feijóo, who targeted it and many other Spanish institutions for their lack of effective learning in a 1745 letter titled Cartas eruditas y curiosas (Barker, 17). In the letter, Benito called professors “persistently ignorant” with no regard for new philosophy (Cowans, 212). These teachers clung to the Bible over everything else, perhaps out of self-interest and the fact that the Inquisition encouraged them to not go against Catholicism. This limited understanding of modern ideas at the University of Salamanca was most likely a cause of its decline, as the Inquisition blocked the acquisition of certain books so that new ideas were harder to come by (Cowans, 197). Feijóo also believed this backwardness was in part rooted in Spanish pride, as they believed in their own superiority over philosophers from other European nations. Perhaps Spanish attempts at conquest throughout the New and Old World had generated this, as the citizens sought to refute others in their quest for domination. Thus, Feijóo’s criticism may extend to Spanish policy as well. In summary, the University’s decline parallels Spain’s decline, and how its pride and Inquisition limited the acquisition of new ideas at great cost. Source A related resource from which the described resource is derived Cera, Juan Carlos. Español: Edificio de La Universidad de Salamanca, La Universidad Más Antigua de España. September 2, 2014. Own work. https://commons.wikimedia.org/wiki/File:Universidad_de_Salamanca_-_University_of_Salamanca.JPG. “University of Salamanca | University, Salamanca, Spain.” Encyclopedia Britannica. Accessed October 28, 2018. https://www.britannica.com/topic/University-of-Salamanca. Joanna M Barker, "Benito Jerónimo Feijoo and the Defence Of Women." In In Defence of Women, 17. Cambridge, United Kingdom: Modern Humanities Research Association, 2018. http://www.jstor.org/stable/j.ctv4ncnzd.4. Benito Feijóo, “Causes of Spain’s Backwardness (1745)” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 212 “Laws of the Habsburg Monarchy” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 197 Rights Information about rights held in and over the resource CC-BY-SA-3.0-ES Debate Education Reform spain https://earlymoderneurope.hist.sites.carleton.edu/files/original/b95a7d5886e4cf7b7636c064034477ce.jpeg 5e5cf8cc195fd65c140e4430a033e98e 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 Images of Saint Ignatius of Loyola and Pope Paul III Creator An entity primarily responsible for making the resource Juan de Mesa (1583-1627) Contributor An entity responsible for making contributions to the resource Matthew Walsh Date A point or period of time associated with an event in the lifecycle of the resource 1610 Source A related resource from which the described resource is derived Sterfbed van Ignatius, Karel van Mallery, naar Juan de Mesa, 1610, from Rijksmuseum. Original image <a href="https://www.rijksmuseum.nl/nl/collectie/RP-P-1963-290" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Public Domain, with full license available <a href="https://creativecommons.org/publicdomain/mark/1.0/" target="_blank" rel="noreferrer noopener">here.</a> Description An account of the resource Spanish artist Juan de Mesa created this print in 1610, and it features three images from the life and death of Saint Ignatius of Loyola as part of a larger series on the life of Ignatius. Ignatius experienced a deeply spiritual conversion experience while convalescing from wounds sustained in war with the French. He is most well-remembered for the foundation of the Society of Jesus, the Jesuits, whose members have come to be described as “God’s soldiers.” In addition to standard vows of poverty, chastity, and obedience, the Jesuits required a special promise of obedience to the pope, thus establishing the order as one of the fiercest defenders of the Catholic Church and the most diligent in spreading the faith in places near and far (Wiesner-Hanks, 256). In the upper right corner of this print is the scene of Ignatius receiving papal approval for the Society from Pope Paul III in 1540. As the Council of Trent and ensuing Catholic Reformation picked up steam in the coming years the Jesuits came to be heavily associated with the papacy as they sent priests covertly into Anglican England and evangelized in faraway nations like Japan. This image demonstrates the centrality of the papacy in the Catholic faith which emerged after the Reformation, as well as the zeal the various popes had for spreading Catholicism and their authority far and wide across the globe. He is most well-remembered for the foundation of the Society of Jesus, the Jesuits, whose members have come to be described as “God’s soldiers.” In addition to standard vows of poverty, chastity, and obedience, the Jesuits required a special promise of obedience to the pope, thus establishing the order as one of the fiercest defenders of the Catholic Church and the most diligent in spreading the faith in places near and far. In the upper right corner of this print is the scene of Ignatius receiving papal approval for the Society from Pope Paul III in 1540. As the Council of Trent and ensuing Catholic Reformation picked up steam in the coming years the Jesuits came to be heavily associated with the papacy as they sent priests covertly into Anglican England and evangelized in faraway nations like Japan. This image demonstrates the centrality of the papacy in the Catholic faith which emerged after the Reformation, as well as the zeal the various popes had for spreading Catholicism and their authority far and wide across the globe. https://earlymoderneurope.hist.sites.carleton.edu/files/original/e4dac1437461a4b0489bde9b363b8a8d.jpeg 56cd88182c07f7ce30855cd9ed7feb64 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Physical Dimensions The actual physical size of the original image Not available. 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 Three Books on the Soul and Life Creator An entity primarily responsible for making the resource Juan Luis Vives, Veit Amerbach Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource 1555 Description An account of the resource Juan Luis Vives was a Spanish humanist who wrote about reforming the church and deepening spiritual life. One of his most prominent works was “Three Books on the Soul and Life,” a collection of writings about the soul and its relationship to the body. The various pieces included therein reflect on functions of reproduction, senses, emotion, and memory, which have caused some to label him the father of modern empirical psychology (Casini, 497). Vives’ writing is also notable as somewhat of a challenge to the church, as he states the soul’s functions as more physical, rather than spiritual. Furthermore, he states that the soul is not revealed solely through introspection, but is something that is always concealed— informally challenging the church’s practice of confession (Casini, 502). Vives wasn’t the only humanist to critique the church. His friend Erasmus also wrote numerous satire pieces about the problems of following church doctrine, and how many chose to only obey it in parts. This criticism, in turn, may have eventually led to the Protestant Reformation— a revolutionary change in the state of world religion (Wiesner-Hanks, 141). Finally, a lot of Vives’ ideas built off Plato and Aristotle’s writings on the soul, meaning Vives' writing provides an important example of humanism— where various scholars studied classic writings and discussed the ideas in further detail. For instance, his definition of the soul as "...the principal agent that inhabits a body equipped for life" comes from a combination of Platonic and Aristotelian ideas (Casini, 503). Source A related resource from which the described resource is derived “Ioannis Lodovici Vivis Valentini de Anima & Vita : Libri Tres ; Eivsdem Argvmenti Viti Amerbachii de Anima Libri IIII, Ex Ultima Autorum Eorundem Recognitione | Juan Luis Vives - Europeana Collections.” Accessed November 13, 2018. https://www.europeana.eu/portal/en/record/2022701/lod_oai_minerva_usc_es_10347____13315_ent0.html?q=De+anima+et+vita+libri+tres+. Merry E. Wiesner-Hanks, "Cultural and Intellectual Life, 1450-1600" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 141 Lorenzo Casini. "'Quid Sit Anima': Juan Luis Vives on the Soul and Its Relation to the Body." Renaissance Studies 24, no. 4 (2010): 496-517. http://www.jstor.org/stable/24419585. Rights Information about rights held in and over the resource Free Re-Use Humanism Soul spain Vives https://earlymoderneurope.hist.sites.carleton.edu/files/original/652a2c6ea67ccda90d5a59af6247190f.jpg fe654a434daf685ed044e131a0ecf99f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image Framed- 41 5/16 x 49 5/8 x 1 1/2 in. (104.9 x 125.98 x 3.81 cm); Unframed- 39 1/2 x 47 1/2 in. (100.3 3 x 120.65 cm) 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 Casta Painting Creator An entity primarily responsible for making the resource Juan Patricio Morlete Ruiz Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource circa 1760 Description An account of the resource Casta paintings were family portraits displaying different Spanish colonial couples and their children that were often crafted around the 1700s. The paintings are important for a number of reasons related to race and status. The first is how they portray domestic violence or, in some cases, female aggression. This was meant to symbolize power dynamics within the family, and drew from stereotypes about certain races. For instance, most images of female aggression had black women— implying their strength (Martinez, 235). Thus, the paintings allowed outsiders to see a bit of how gender dynamics occurred (or at least were displayed) within the colonial family. These paintings also represented the Spaniards’ biggest fear— that their blood could be ‘corrupted’ by outside influences. For instance, blackness was viewed as a permanent stain on the family tree— a sin passed down through the Biblical story of Ham (Martinez, 235). These racial signifiers manifested themselves as traits which were dictated by a child’s heritage. For instance, one painting has text at the bottom that declares a child’s, “proud nature and sharp wits of the Mulatto woman come from the White [male] and Black woman who produce her…” (Martínez, 233). In the language of the painting, these children were considered Spaniards, but less so because of their added traits. This differentiation was representative of a larger tension within Spanish colonial policies to both assimilate and differentiate Native Americans from their settlers. They wanted to integrate and ‘civilize’ these Natives— thus integrating them— yet also keep them separate so that they couldn’t adopt the same privileges as the Spaniards (Earle, 179). In summary, these paintings represent many of the tensions of Spanish colonialism, and how Spaniards struggled to understand race and gender within this new landscape. Source A related resource from which the described resource is derived Ruiz, Juan Patricio Morlete. X. From Spaniard and Return Backwards, Hold Yourself Suspended in Mid Air (De Español Y Torna Atrás, Tente En El Aire) (Image 1 of 6). circa date QS:P571,+1760- -00T00:00:00Z/9,P1480,Q5727902 1760. Framed- 41 5/16 x 49 5/8 x 1 1/2 in. (104.9 x 125.98 x 3.81 cm); Unframed- 39 1/2 x 47 1/2 in. (100.3 3 x 120.65 cm). Los Angeles County Museum of Art. https://commons.wikimedia.org/wiki/File:X._De_espanol_y_torna_atras,_tente_en_el_aire_(Casta_painting)_LACMA_M.2011.20.3_(1_of_6).jpg. Maria Elena Martínez, “Changing Contours: ‘Limpieza de Sangre’ in the Age of Reason and Reform” in Genealogical Fictions: Limpieza de Sangre, Religion, and Gender in Colonial Mexico, (Stanford, CA: Stanford University Press, 2008), 227-264 Rebecca Earle, “Mutable Bodies in Spain and the Indies” in The Body of the Conquistador: Food, Race and the Colonial Experience in Spanish America, 1492-1700, (Cambridge, UK: Cambridge University Press, 2012), 187-216 Rights Information about rights held in and over the resource Public Domain Colonialism Paintings Relationships spain https://earlymoderneurope.hist.sites.carleton.edu/files/original/29e83ca9ec5df201836e8d08524952a2.jpg fd7aa5be2b6b6cf838d3e3ae9943bb4f 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 Historia de la composicion del cuerpo humano Creator An entity primarily responsible for making the resource Juan Valverde de Amusco Contributor An entity responsible for making contributions to the resource Jack Williams Date A point or period of time associated with an event in the lifecycle of the resource 1556 Description An account of the resource This manuscript was an anatomical manual drawn by Juan Valverde de Amusco, a Spaniard born in 1525. Very few of the images were Valverde’s originals, only 4 of 42, but all were corrected to create a more accurate image of the dissected human body (WDL). All the images are striking in their particular artistry, the most famous of which being a model showing human muscle holding his own skin in his hand. What makes this book particularly interesting is the context in which it is created, that of Spanish humoral medicine. In early renaissance Spain the idea of humoral medicine was prominent. People were believed to have certain humors in their body which defined their personality and health. Humors could change due to a variety of circumstances such as food, weather, and sleep, and an overbalance of humors was the cause of most illness and other physical hardship (Earle 26-27). What makes this book astounding then is its accuracy in drawings of the brain, eye, and larynx, as it sits situated in a world of superstitious medicine. The world of Renaissance medicine exists in a peculiar blend of science and superstition. On the one hand, doctors and learned people from all levels of society truly believed that to fix a fever, bleeding or a diet of sugar or other foods was necessary. On the other hand, however, they performed dissections and investigations that revealed a complex, and detailed understanding of the human physiology. This book is an excellent example of this era of medicine, as it shows the more detailed and analytical side of Renaissance medicine, that may be more easily missed if only an investigation of humoral medicine is taken. Source A related resource from which the described resource is derived https://www.nlm.nih.gov/exhibition/historicalanatomies/valverde_home.html Rights Information about rights held in and over the resource Publlic Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/b014929510eff09af2f57192b9a7380c.png a51d1b4d36262b59187972e33869335e https://earlymoderneurope.hist.sites.carleton.edu/files/original/19afff7fdefe7a942b1d566057129057.png a420bac44be58cde1257ba2901d10df6 https://earlymoderneurope.hist.sites.carleton.edu/files/original/5c6b3ff532f75729e9a4d91c39621b3b.png c7b17de07c406cb0b7baf388ae8cd964 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Printed Book Physical Dimensions The actual physical size of the original image Unknown 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 Letter from Lady Mary Wortley Montague to Mrs. S.C. on Smallpox Inoculations Creator An entity primarily responsible for making the resource Lady Mary Wortley Montague Contributor An entity responsible for making contributions to the resource Printed by Pierre Diderot Date A point or period of time associated with an event in the lifecycle of the resource Originally Printed 1800, not dated Description An account of the resource The Scientific Revolution, often described as lasting from the mid 16th century to the end of the 17th century, brought tremendous changes to Europe and redefined the way that they interacted with and understood the natural world. But, though this period is often discussed as the result of the creative thinking of a few notable standouts (Galileo and Newton likely foremost among them,) it was also deeply rooted in the culture and circumstances of Europe during this period. Firstly, it is hardly coincidental that this broad expansion in the understanding of the natural world occurred shortly after the European conception of the worlds size and diversity doubled with the encounter of the Americas. This sparked a deep interest, not only in the economic potentials of the New World, but in the scientific exploration of it as well (though often these two goals were inextricably linked). Spanish discovery of gold, silver, and other precious metals in Central America, for instance led to English investment in new technologies that could be used for the enrichment of the crown and continued defense against the Spanish. They even explored the possibility of alchemy to keep up with the new found wealth of the Spaniards (Harkness, 142). In addition to this broadening of the known world, the Scientific revolution was spurred, and in turn, encouraged a more cohesive scientific and cultural community across Europe. This led to an expansion in communication between intellectuals in different parts of Europe and the increased travel of the nobility and aristocracy for exploration and intellectual betterment (Wiesner-Hanks, 368-369). All of these factors enabled the spread of ideas across much larger areas that served to increase general knowledge throughout the continent and to allow individuals to more efficiently apply their time by reducing the redundancy of study in different corners of the continent. This transmission of knowledge can be seen in the a letter sent home to a friend in England by Lady Mary Wortley Montague, an English aristocrat and the wife of the ambassador to the Ottoman Empire. She writes home of an early method she has learned of for vaccinating children against smallpox which she intends to try to prevent serious illness in her own children. “People send to one another to know if any of their family has a mind to have the small-pox; they make parties for this purpose and when they are met... the old woman comes with a nut-shell full of the matter of the best sort of small-pox, and asks what vein you please to have opened. She immediately rips open that you offer to her, with a large needle (which gives you no more pain than a common scratch) and puts into the vein as much matter as can lie upon the head of her needle, and after that, binds up the little wound with a hollow bit of shell, and in this manner opens four or five eins...Then the fever begins to seize them, and they keep their beds two days, very seldom three. They have very rarely above twenty or thirty [sores] in their faces, which never mark, and in eight days time they are as well as before their illness” (Wortley Montague, 109-110). This case is fascinating as it transmits knowledge of a process that Montague has personally witnessed, and therefore, is sharing evidence of its success, rather than mere hearsay. This letter illustrates the effects of the shrinking world during this period. Ideas and evidence originating with people from around the world were beginning to spread much more quickly and they had the ability to change lives throughout a wider area, thus greatly increasing the impact of the innovations of the Scientific Revolution. This ability to communicate through maritime channels is one of the great legacies of the early modern period in general, and the Scientific Revolution in particular. The advancement of technology and knowledge increases dramatically when inventors, and thinkers can build upon one another's work, no longer duplicating efforts. While this technique shared by Wortley Montague was not widely employed back home, it is representative of a shift toward world wide communications that would advance scientific and medical knowledge in the centuries to come (Wiesner-Hanks, 300). Source A related resource from which the described resource is derived Fondazione Biblioteca Europea di Informazione e Cultura Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/257e3eecb25b96e3a0f2ede3465db414.jpg 2fd4be45cb247fd4c2a4829be33cfec9 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph 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 Façade of Santa Maria Novella Creator An entity primarily responsible for making the resource Leon Battista Alberti Date A point or period of time associated with an event in the lifecycle of the resource 1470 Description An account of the resource Santa Maria Novella (New St. Mary) is a famous gothic church in Florence, Italy. The church's construction began around 1278 and was completed in 1350. The early Rennaisance-era façade of the church was completed by Leon Battista Alberti in 1470 ("Santa Maria Novella:.."). To this day, the marble façade by Alberti remains as one of the most well-known works of early Italian Renaissance architecture. Alberti took a great amount of inspiration from the Parthenon for the top section. The use of white marble, as well, pays homage to ancient Greek architecture. The attention to harmony on the façade, at the time, stood out from other, old-style, churches in Florence. Despite its simple look at first glance, there are many complex parts that come together to form an elegant unit at the end. The Greek-inspired column, for example, are spaced out according to exact values ("Santa Maria Novella."). The small arches are all identical in height and their placings are symmetrical. The main door is in the middle and everything else revolves around it. Just like Brunelleschi's architecture, the proportions were calculated according to the golden ratio and geometrical rules. Alberti, besides being an artist and a craftsman, was a classicist, poet, scientist, and mathematician. Artists like Alberti and Brunelleschi were getting praised and acknowledged for their artistic contributions to society. The "Renaissance Man", as Alberti put it, was a man who could do as he willed. Consequently, Santa Maria Novella marks a significant change in the transition from the Gothic era to the Renaissance ("Renaissance Man"). References: "Renaissance Man." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/ "Santa Maria Novella." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/ "Santa Maria Novella: Church and Cloisters." The Museums of Florence. Accessed November 18, 2018. http://www.museumsinflorence.com/musei/santa_maria_novella-cloist.html. Source A related resource from which the described resource is derived https://upload.wikimedia.org/wikipedia/commons/c/c3/Santa_Maria_Novella.jpg Contributor An entity responsible for making contributions to the resource Kaan Taskintuna Rights Information about rights held in and over the resource (CC BY-SA 3.0), Free to share with appropriate credit https://earlymoderneurope.hist.sites.carleton.edu/files/original/1d49cff491993988c24946e6b849e6a7.jpg 627191fe6f22a23c9501496f0a51b608 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 63.5 cm x 76.5 cm 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 Dutch East-Indiaman off Hoorn Creator An entity primarily responsible for making the resource Lorenzo a Castro Contributor An entity responsible for making contributions to the resource Adam Smart Date A point or period of time associated with an event in the lifecycle of the resource before 1686 Description An account of the resource This painting of a Dutch East Indiaman illustrates the prominence of the Dutch Republic in maritime trade throughout the 17th century. Dutch trade interests encompassed a large part of the globe during this time. In the European sphere, the Dutch shipped grain and timber from the Baltic, imported wool and other products from the Mediterranean (Israel 1995, 611), and imported raw metals from Scandinavia and other regions which were then manufactured into munitions such as cannons (Haley 43). Dutch industry flourished from the imports of these raw materials: shipbuilding, textile and linen manufacture, tobacco and sugar processing, and a variety of other industrial trades benefitted from the import and export economy of the Netherlands (Haley 44). European banking, investments, and financial exchanges were centered in Amsterdam as a result of this extensive maritime trade and industry (Haley 41). This trade activity contributed to increasing urbanization in Dutch society, with many rural people moving into the cities to participate in the growing trade economy (Haley 49). Outside of Europe, conflicts between the Dutch and Portuguese trade empires allowed the Dutch to profit from sugar, gold, and other natural materials, as well as from slavery, in trade with Africa and Brazil (Blackburn 192). Two trade companies were key to trade in the Netherlands: the Dutch West India Company and the Dutch East India Company (or VOC). The Dutch East India company operated in South Africa, India, China, and Southeast Asia, and dominated the spice trade, while the West India Company operated in the New World and West Africa, and focused on trading sugar (Blackburn 187-188). Dutch trade interests, industry, and financial growth all worked together to make the Dutch Republic an economic powerhouse in the early modern period. Works Cited: Blackburn, Robin, “The Dutch War for Brazil and Africa,” in The Making of New World Slavery, 185-215. New York: Verso, 1977. Haley, K.H.D., The Dutch in the Seventeenth Century, 38-64, London: Thames and Hudson, 1972. Israel, Jonathan, The Dutch Republic. Oxford: Clarendon Press, 1995. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:A_Castro,_Lorenzo_-_A_Dutch_East-Indiaman_off_Hoorn_-_Google_Art_Project.jpg Rights Information about rights held in and over the resource This item is in the Public Domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/041915dd24d6bd6d6d5788671349a4ea.jpg 3d15855f38ee494ccdc2f997a7deb024 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 "Platonism," from Diderot's Encyclopedia. Creator An entity primarily responsible for making the resource Louis de Jaucourt and Denis Diderot Contributor An entity responsible for making contributions to the resource Moses Jehng Date A point or period of time associated with an event in the lifecycle of the resource 1765 Description An account of the resource An ambitious project to compile a mass of information into several encyclopedias, Diderot’s Encyclopedia—though of the Enlightenment era and not Classical Antiquity—can be used to identify how ideas have endured throughout history. Specifically, the manner in which its entries are described reflects the attitude during them and thus the changes they have undergone. Depicted above is the entry on Platonism. Focused heavily on the individual’s soul and its enrichment (see item “Plato” in “Political Philosophy of Classical Antiquity” for more information on Platonism), Neo-Platonism was the reapplication of Platonic ideals towards Christianity. Despite Plato’s pagan religion, scholars such as Marsilio Ficino proposed Christians approach humanistic/Christian improvement through the balance of the soul advocated by Plato. Ficino highlighted similarities between Platonism and Christianity in his attempt to unite the two—for example, both are characterized by restraint concerning the vices and the perseverance of the soul beyond life. Furthermore, both featured an otherworldly focus as means of transcendence. Plato emphasized the pursuit of the abstract form of good, while Christianity encourages a focus on God. An earlier philosopher, Plotinus, even went as far as to merge the two, recognizing God and the form of good as synonymous. Diderot’s entry of Platonism lauds Plato and the contributions his philosophy have to Christianity, painting the two as complimentary (albeit Christianity being central and Platonism an ornament). This approach regarding Neo-Platonism in Diderot’s Encyclopedia was also a result of the Protestant Reformation (discussed in week three of HIST 139). Christianity had already become deeply intertwined with the ideas of Plato and Aristotle, with Thomas Aquinas adopting a number of their proposals regarding the soul in his commentaries on the work of Aristotle. Additionally, Aquinas interpreted Plato to be in support of the conception of the holy trinity (Aquinas Institute), a position that Diderot and Martin Luther echo. During the Reformation, though a considerable amount of previous doctrine was condemned by Luther, many aspects of Platonism nonetheless endured in Luther’s theories. Luther’s concern with aesthetics and music as means of coming closer to God (Mattes) resonate with Plato’s position on the higher nature of the arts. Furthermore, he tends to view the Bible through an allegorical perspective, once again echoing Plato’s allegories. Rights Information about rights held in and over the resource Photo is Public Domain Source A related resource from which the described resource is derived Aquinas, Thomas. "Commentaries on Aristotle." Aquinas Institute. Accessed November 14, 2018. https://aquinas.institute/operaomnia/aristotle/. Cover of the "Encyclopédie, Ou Dictionnaire Raisonné Des Sciences, Des Arts Et Des Métiers". 1751. Wikimedia. In Wikimedia. March 31, 2014. Accessed November 14, 2018. https://commons.wikimedia.org/wiki/File:Encyclopedie_de_D'Alembert_et_Diderot_-_Premiere_Page_-_ENC_1-NA5.jpg. De Jaucourt, Louis. "Platonism." Encyclopédie. Compiled by Denis Diderot. Accessed November 10, 2018. http://xn--encyclopdie-ibb.eu/index.php/science/1111734492-philosophie/975165967-PLATONISM. Mattes, Mark. "Martin Luther’s Theological Aesthetics." Oxford Research Encyclopedia of Religion. Accessed November 14, 2018. http://religion.oxfordre.com/view/10.1093/acrefore/9780199340378.001.0001/acrefore-9780199340378-e-350. https://earlymoderneurope.hist.sites.carleton.edu/files/original/14f0c2e7da7567901e876588e1bbba31.jpg 958636b7373cc35dc964c15758e6ce15 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Collège des Quatre-Nations (College of the Four Nations) Creator An entity primarily responsible for making the resource Louis Le Vau Contributor An entity responsible for making contributions to the resource Kaan Taskintuna Date A point or period of time associated with an event in the lifecycle of the resource 1662-1684 Description An account of the resource Collège des Quatre-Nations, was one of the colleges of the University of Paris. The building itself was built with baroque influences by Louis Le Vau (1612-1670). The completion of the college, its construction, and its opening in 1688 all happened during Louis XIV's reign (1643-1715). Le Vau proposed to the executors of the estate that the college be placed on the left bank of the Seine River so that Louis XIV would have a clear view of it from his apartments ("Paris"). The starting and ending dates of the Enlightenment is generally considered to be late 17th century and early 19th century, or rather an "extended 18th century". The college was built around the times that the Enlightenment began in Western Europe. In 1666, King Louis XIV had founded the learned society he named the French Academy of Sciences. The man who suggested the foundation of this society to Louis XIV was Jean-Baptiste Colbert, the same man who was one of the executors of the College ("Academy..."). The French Royal Academy of Sciences was one of many of the learned societies/acadèmies that started to emerge at the time. The ever-growing participation in these academies, not only the Sciences, was a symbol of the emphasis on reason, individualism, and skepticism. In 1805, the Collège des Quatre-Nations was given to the Institut de France which had five academies (Humanities, Sciences, Fine Arts, Architecture, and Political Sciences) under its name. Institut de France still runs the building and is the site is also a museum. References: "Academy of Sciences: French Organization." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. "Paris." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. Source A related resource from which the described resource is derived https://upload.wikimedia.org/wikipedia/commons/1/14/03_Institut_de_France.jpg Rights Information about rights held in and over the resource Attribution-ShareAlike 2.0 Generic (CC BY-SA 2.0)