11 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/e3bbb567ae162c21b234ab254b8f7b1f.png 701775853a601e646806f108042cb431 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 Noli Me Tangre Creator An entity primarily responsible for making the resource Hans Holbien the Younger Contributor An entity responsible for making contributions to the resource Astrid Steiner-Manning Date A point or period of time associated with an event in the lifecycle of the resource 1526-28 Description An account of the resource This painting by Han Holbein the Younger is titled "Noli me Tangere" and is an example of art from the Protestant Reformation period. The period was characterized by a change in art in both Catholic and Protestant regions, though the change in Northern Europe was more noticeable. There was also variation in the art produced by different types of Protestants because different sects had radically different views of how art related to religion. Luther and his follows believed that art was an essential part of religion and that it should evolve, but not be eliminated, At the same time in other groups there was a wave of iconoclasm, the destruction of religious imagery. Many pieces of Catholic art, from altering pieces and stain-glass windows, were destroyed by Protestants or hidden by people sympathetic to the Catholic cause. Reform leaders of the Calvinist tradition pushed for the removal of all art from religious spaces and were especially hostile to large paintings and sculptures. More specifically, Protestants disproved of art that depicted religious subjects from the Bible and relating to Mary and other saints. Instead, prints and book illustrations that could be spread widely, religious scenes that included landscapes, and images of moral-based lives were preferred. Paintings were still done in churches, but often put in less prominent places, and the subject matter was sometimes changed. For example, in Protestant churches, the image put by the altar was more likely to depict the last supper than the crucifixion, as was popular in Catholic churches. This painting by Hans Holbein the Younger depicts Mary Magdalen's reaction to Christ’s resurrection. The phrase Noli me Tangre means “Don’t touch me” in Latin, and is what Jesus told Mary when she saw him. This painting is characteristic of a Protestant work during this period because it is a smaller scope, and is naturalistic in style. The artist also seems to have tried to avoid explicit references to iconic images by painting the halo very vaguely. Source A related resource from which the described resource is derived https://www.flickr.com/photos/marupress/40483548545/in/photolist-24FoLyi-7Cn43M-24Km2rM-kYXAW-qvEv1Q-5PmS5v-5DjX8B-qzKydw-c4kLob-pic5rg-aNDy5R-jsMVaw-5bgz2K-9wETPf-6f5Nxw-74Ma7j-uHQJR-qtgudG-6J2FTh-26ubYcj-qU2eTS-ipbZb3-m1zBDK-dACcEr-qLcWd8-2aJULxX-qPmYkJ-rYhHdH-ot1hf8-23RZcJU-Fp3cZi-2GZXYB-5nYdx1-7opRUv-T2MXAt-HUQffk-36zvB4-26HmCQY-HT4mqd-7ZPQ7H-deCTiJ-8ax4P1-ao9Vut-a3EhBU-6isDRc-b6UR1P-qp64VW-7b7Ked-cEnjgN-bFnccV Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/0904dbee32620a7ef1c7ec77fc623fec.JPG 4857e62ac219f9117ea5e6ed96f8488f 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 Old San Juan Creator An entity primarily responsible for making the resource Unknown 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 Early 16th Century Description An account of the resource As the Spanish colonial endeavour to the New World began, so did the spread of Spanish culture, power, and influence on these new lands. As the Spaniards arrived at the Caribbean, their main objectives included carrying the Spanish flag into new parts of the world, evangelizing the local population, establishing settlements, and benefitting from local resources to aid the growth of the empire ("Juan Ponce de León"). The building in the picture is one of many at the area of San Juan, Puerto Rico's capital, known as "Old San Juan". The settlement was founded in 1508 by Spanish explorer Juan Ponce de Léon. It is oldest urban colonial settlement within Puerto Rico. In the New World, Old San Juan is the second oldest urban settlement ("Old San Juan"). As the Spanish colonizers established themselves in the New World, they brought their cultural and artistic visions with them. The Old San Juan district, naturally, contains elements of Spanish urban architecture. While one of the prime examples of Spanish colonial architecture would be the Catholic cathedrals or churches, the built space in which people lived was just as important to discovering the relationship and parallels between colonial life and life in mainland Spain. During the establishment of the colony, the colonizers had to deal with issues surrounding their health, being in a completely foreign land, lack of Old World food, and pressure from the crown to make the colonial effort profitable. Almost all of the colonizers were men. Entering into relationships with indigenous women created complications with the colonized society, not just with the crown, but also internally. Wiesner-Hanks describes the complications within the society in her chapter about the new world: "Spanish and Portuguese authorities, and the Catholic Church, were forced to develop policies and institutions to regulate a society very different from the one they had envisioned." (Wiesner-Hanks 267). References: "Juan Ponce De León." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. "Old San Juan, Puerto Rico." Puerto Rico Tourism: San Juan. Accessed November 18, 2018. https://sanjuanpuertorico.com/old-san-juan/. Wiesner-Hanks, Merry E. Early Modern Europe 1450-1789. Cambridge: Cambridge University Press, 2016: 263-267 Source A related resource from which the described resource is derived https://upload.wikimedia.org/wikipedia/commons/e/e1/Spanish_Colonial_architecture_of_Old_San_Juan%2C_Puerto_Rico.JPG Rights Information about rights held in and over the resource (CC BY-SA 4.0), Free to share with appropriate credit https://earlymoderneurope.hist.sites.carleton.edu/files/original/3bc1d473c86b30d5273fd89de116cb57.jpg c7be14740f03aae449c20ddfead7abb5 https://earlymoderneurope.hist.sites.carleton.edu/files/original/618b2370fd1371f3dd275aee11599b72.jpg f42091780405e63eded2f3ba37ad9229 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 Image 1: Photograph Image 2: 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 Ons' Lieve Heer op Solder Creator An entity primarily responsible for making the resource Unknown 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 Mid-17th Century Description An account of the resource Ons' Lieve Heer op Solder (Our Lord in the Attic) is a clandestine Catholic church located in Amsterdam, Netherlands. The building itself had been an ordinary canal house since the 14th century. However, its interior was converted to a secret Catholic Church following the religious conflicts and social tension within the Netherlands in the mid-1600s ("Museum..."). When the Reformation wave with Lutheranism began, Netherlands' religious structure was not shaken as much as other countries. The Catholic Church held its ground and was aiming to increase their dominance. However, Calvinism was much more influential and successful compared to Lutheranism. When Calvinism struck Netherlands about two decades after Lutheranism (around 1540s), the religious tension within Dutch society led to a surge of iconoclasm in 1566. This sudden explosion of iconoclasm during the Reformation became known as the "Beeldenstorm" which translates to "statute storm" in English. Catholicism was now being oppressed as its was being attacked in an aggressive and riotous manner ("Netherlands"). Calvinism's and the Dutch Reformed Church's forceful rise to dominancy meant the defeat of the Catholic Church in the Netherlands (both socially and territoralily). Ons' Lieve Heer op Solder, in a sense, is a symbol of the change and chaos brought by the Reformation. Although this clandestine church was not built in the same century, the Reformed Church continued their dominancy. It represents the oppressive atmosphere of the time period in which religious tolerance was not present. References: "Museum Ons' Lieve Heer Op Solder." Ons' Lieve Heer Op Solder. November 02, 2017. Accessed November 16, 2018. https://www.opsolder.nl/en. "Netherlands." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. Source A related resource from which the described resource is derived Image 1: https://en.wikipedia.org/wiki/Ons%27_Lieve_Heer_op_Solder#/media/File:Ons%27_Lieve_Heer_op_Solder_2396.jpg Image 2: https://upload.wikimedia.org/wikipedia/commons/8/84/Onze_lieve_heer_op_zolder.jpg Rights Information about rights held in and over the resource Image 1: Courtesy of Amsterdam Municipal Department for the Preservation and Restoration of Historic Buildings and Sites (bMA). Permission to use as long as the copyright holder is given credit Image 2: CC BY-SA 4.0, Free to share https://earlymoderneurope.hist.sites.carleton.edu/files/original/d0f7af1d118cfa55fe269eae4acf50b3.jpg c9ddcec30b3676dbb2056b0c86edff08 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 Ospedale degli Innocenti 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 1419 Description An account of the resource Filippo Brunelleschi (1377-1446), one of the most prominent architects of early Renaissance, designed Ospedale degli Innocenti. The "Hospital of the Innocents" was built in mind for infants who had been abandoned by their parents and is one of the most notable examples of early Italian Renaissance architecture (Wiesner-Hanks 153). With Ospedale degli Innocenti, Brunelleschi meticulously sought to achieve balance and harmony. The design is a visual representation of the transition from the Byzantine Era to the Renaissance. The planning includes rounded arches, windows with equal proportions, detailed carvings of religious figures, and elements that are placed according to geometric and mathematical calculations. The height of the columns, for example, is the same length as the space between each column ("Arcade"). Besides being an important work of art, what makes this Brunelleschi's design with Ospedale degli Innocenti significant in the big picture is the fact that the cultural and artistic transition started finding its place in the lives of ordinary people. The return to classical antiquity was beginning to physically manifest itself in the built space of societies. References: "Arcade, Architecture." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. Wiesner-Hanks, Merry E. Early Modern Europe 1450-1789. Cambridge: Cambridge University Press, 2016. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/9200369/webclient_DeliveryManager_pid_6349043_custom_att_2_simple_viewer.html?q=Ospedale+degli+Innocenti Creator An entity primarily responsible for making the resource Filippo Brunelleschi Rights Information about rights held in and over the resource Unrestricted online access (CC BY-SA 4.0) 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/4138b092831d62ca23cee3842775cd46.jpg 34c876bf37931eae161e95ce54580c8e 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 Palace of Versailles Creator An entity primarily responsible for making the resource Architects: Louis Le Vau and Jules Hardouin-Mansart Photo: Pierre Lepautre Contributor An entity responsible for making contributions to the resource Maddie Gartland Date A point or period of time associated with an event in the lifecycle of the resource Louis XIV's enlargements completed around 1710 Drawing: 1715 Description An account of the resource The Palace of Versailles began its life in 1624 as the hunting lodge of Louis XIII, which he later made into a chateau, moving also to vastly expand the lands of the estate. His successor, Louis XIV, had little interest in the chateau until the early 1660s, when he became very passionate about the site and decided to enlarge it substantially. The palace has a vaguely U-shaped layout, the center of which houses the preserved chateau facade; from here, secondary symmetrical wings form an extensive courtyard called the Royal Court, flanked by two immense asymmetrical wings. While the original chateau was built in the Louis XIII style, Louis XIV's extensive additions and modifications were largely in line with the French classical style, and Louis XVI's alterations in the mid-1700s were neoclassically inclined; thus architecturally, Versailles is a true mixture of French stylistic impulses over the course of a century ("Palace of..."). Italian baroque inspiration and influence is also present in the palatial ornamentation added by the various architects. In addition, the intricate, expansive gardens on the palace grounds were a herculean feat of landscaping; flowers were planted in exquisite patterns, numerous elaborate water features accompanied the green spaces, and impressive themed groves resembled outdoor rooms with greenery for walls. Architecturally and aesthetically, Versailles was a place of great opulence and extensive style. Along with being a physical representation of the wealth and power of King Louis XIV, Versailles became a powerful political center, with unprecedented importance in the establishment and maintenance of the Sun King's power. First and foremost, the palace's stunningly ostentatious ornamentation was intended to impress visitors and incite in them a sense of awe for the king's wealth and power, that he could afford to live so lavishly, practically drowning in the richness of the atmosphere ("Versailles:..."). On the more strategic side of things, Louis XIV's fixation on Versailles took him outside of Paris, where previous kings and courts had conducted political business. This was a potentially risky move, but it only increased the king's power: the successful reestablishment at Versailles meant that his authority was respected, and that his court and political institutions were willing to follow him. It also forced those who sought an audience with the king to come specifically to him, even his own nobles and political players, in contrast to being located conveniently in Paris ("Courtiers"). This remote quality also meant that a staggering number of nobles remained at Versailles practically all the time in order to be close to the king, and to take advantage of every single opportunity to display loyalty and reverence to him personally. This system allowed Louis XIV, who was very wary of noble power, to keep his nobles close and in some ways confined, so that he could keep a close eye on them ("Courtiers"). The Palace of Versailles is thus an ideal example of architecture's place in state-building, and also of a building with a variety of purposes and characteristics appealing to a complicated functional goal. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Pierre_Lepautre_-_Les_Plans,_Profils,_Et_Elevations,_Des_Ville,_Et_Ch%C3%A2teau_De_Versailles_-_1714_et_1715_-_Vue_du_Chate%C3%A2u_Royal_de_Trianon_dans_le_parc_de_Versailles.jpg "Versailles: A Political Landscape." Radford University. Accessed October 20, 2018. https://www.radford.edu/~rbarris/art216upd2012/Versailles.html "Palace of Versailles." Encyclopaedia Britannica. Last modified October 17, 2018. https://www.britannica.com/topic/Palace-of-Versailles "Courtiers." Chateau de Versailles. Accessed October 20, 2018. http://en.chateauversailles.fr/discover/history/key-dates/courtiers Rights Information about rights held in and over the resource Public Domain, free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/0975a79f3a82d926f6559d44512322cb.JPG bb58be121474d3f88af360abab580ecd 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 Palazzo Pitti Creator An entity primarily responsible for making the resource Architect: Filippo Brunelleschi Photograph: sailko Contributor An entity responsible for making contributions to the resource Brendan Glenn Date A point or period of time associated with an event in the lifecycle of the resource Originally built circa 1440 Description An account of the resource If the Florence Cathedral is symbolic of the religious architecture of the early Renaissance, then the facade of the Palazzo Pitti, also built by the architect Filippo Brunelleschi, is its secular counterpart. Initially commissioned by a banker and then sold to the powerful Medici family, the palace, which was built starting in 1440 and has been continually expanded over the past half-millennium, has on its face an archetypical example of Renaissance design. The towering facade of the Palazzo Pitti consists of three tiered series of arches that run the length of the building, each tier receding slightly behind the one below. The immediate impression that this creates is that of similarity to a Roman aqueduct; this is intentional. Almost every component of the design is intended to remind the viewer of classical architecture. The windows of the first floor are topped with pediments in the style of Greek or Roman temples, the stone is rusticated (i.e. roughened) in the Roman fashion, and the arches are composed of thin plates of rusticated stone arranged in imitation of Roman arches. To view the Palazzo Pitti from the front is to be confronted by an intimidatingly solid, rough, and altogether imposing structure rendered nonetheless elegant by its many windows and the high arches which contain them. This combination of power and grace, while certainly slightly Machiavellian, was also exactly what the people of the classical world were presumed to have possessed by the humanist thinkers whose writing spurred the Renaissance. As such, the Palazzo Pitti (or at least its facade) can be seen as an enactment of the humanist vision of a reestablished classical aesthetic. Vasari describes the Palazzo Pitti as both “ambitious and magnificent” (Vasari, 91), and he’s correct to: this palace is a bold statement, a private citizen declaring that he shared the qualities of the revered ancients. This, like the Florence Cathedral, is one of the first examples of wealthy, powerful people in the Renaissance era cementing their status through association with the new humanist project and the respected classical world. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Palazzo_pitti_01.JPG Giorgio Vasari, Lives of the Artists Rights Information about rights held in and over the resource Licensed under creative commons. https://earlymoderneurope.hist.sites.carleton.edu/files/original/fc85822cd2a3e27cb66f7e83378ec011.jpg ef0ac8e0f62ac7c8b9ea23067f22fc04 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 Physical Dimensions The actual physical size of the original image 2800 x 1900 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 Panthéon, Paris Creator An entity primarily responsible for making the resource Photograph: Camille Gevaudon Architect: Jacques-Germain Soufflot Contributor An entity responsible for making contributions to the resource Brendan Glenn Date A point or period of time associated with an event in the lifecycle of the resource Built starting 1757 Description An account of the resource The philosophy of the Enlightenment is nothing if not versatile. This can be readily observed in the contemporary world, with every side of any political fight claiming that “rights” and “reason” lend support to their arguments. This modern pervasiveness of Enlightenment thinking is perhaps a testament to its versatility, since no system of philosophy would be accepted by almost everybody if it couldn’t be adapted to serve a wide variety of ideologies. There is little better evidence for this fact than the popularity of Neoclassical architecture in pre-Revolutionary France. Despite the fact that we in the modern day often associate the Enlightenment with the birth of democratic ideals, notions of innate equality, and other necessarily anti-monarchical notions, many absolutist monarchs, noblemen, and other necessarily pro-monarchy people were very much enamored with Enlightenment thought. Voltaire famously believed that the best leader was an “ideal monarch,” and Catherine the Great of Russia, who corresponded with Voltaire in her youth, was famous for being “enlightened” (though she banned many of his books in her later life) (Britannica, Catherine the Great). Likewise, these leaders and their supporters were fans of the same Enlightenment-inspired Neoclassical architecture which would come in later years to be associated with radical democracies. Thus, there exists in Paris a building called the Panthéon, a Neoclassical structure built in the run-up to the French Revolution by the governments of Louis XV and Louis XVI. Neoclassical architecture was well-liked during the Enlightenment for several reasons, including but not limited to nostalgia for the work of the Renaissance and a renewed interest in the Classical world, but the primary draw was that the perfect proportions and geometric regularity of Neoclassical structures seemed to be expressions of pure reason, that highest of Enlightenment virtues, in the physical world. The Paris Panthéon, like other Neoclassical buildings built under royal regimes, claimed that reason for the monarchical state. The Panthéon, built starting in 1757 and completed in 1790 (Britannica), is a large mausoleum built from white marble. Initially conceived of as a church, it was reconsecrated as a secular structure after the Revolution and renamed the “Panthéon” due to its design, which was partly modeled on the Pantheon in Rome (Britannica, Panthéon). Owing to its original function, the Panthéon is structured in the traditional cruciform fashion of a Christian church, with an east-facing entrance at the end of the long “arm”. The building possesses two features of particular note. The first of these is the dome, which like the dome of St. Paul’s Cathedral in London is placed atop a tholus (circular colonnade) of Corinthian columns, and whose design recalls the classically-inspired Tempietto of Bramante in Rome (Britannica, Tempietto). The second is its main facade, whose huge Corinthian triple colonnade supports a likewise-massive pediment that looms over the portico and the square it abuts. Despite the post-Revolutionary changes made to the structure, such as relief carvings depicting various heroes of the people and its rededication as a mausoleum for and memorial to the great citizens of France (Britannica, Panthéon), the Panthéon can be clearly read as a structure built in order to claim reason as an asset of the French crown. The visual scale of the building, emphasized by its tall, comparatively-narrow dome and the gigantic portico at its entrance, claims both space and attention for the building and therefore, by implication, the government with whose money it was built. Its cold style, meanwhile (the building is almost completely unornamented save for the Corinthian capitals of the columns) and perfect Classical proportions bring to mind a dispassionate rationality of the kind favored by the thinkers of the Enlightenment. The message is communicated simply and with great clarity: the government of France is an institution which highly values reason, and which one ought therefore to support, since according to certain strains of Enlightenment thought the most rational action one can take is to submit oneself to a rational authority. By positioning itself as that rational authority--as Voltaire’s “ideal monarch,” perhaps--the French crown was asserting that the new ideas being spread were fully in line with its continued rule. The fact of the French Revolution shows how well messages like this were taken, but nonetheless it is plainly evident that there has never been one single political philosophy which the Enlightenment could be said to unilaterally support. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Panthéon,_Paris_25_March_2012.jpg https://www.britannica.com/topic/Pantheon-building-Paris-France https://www.britannica.com/biography/Catherine-the-Great https://www.britannica.com/topic/Tempietto Rights Information about rights held in and over the resource Creative Commons 3.0; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/ad2dc7f3a0307297d1e242a542df7673.jpeg 68b7091a682d9b718126c14a40b99f0a 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 Peasants Mowing Creator An entity primarily responsible for making the resource Pietro de Crescenzi, translation by Jean Corbechon Contributor An entity responsible for making contributions to the resource Zach Irvin Date A point or period of time associated with an event in the lifecycle of the resource c. 1478-1480 Description An account of the resource Written in 1302, Pietro de Crescenzi’s famous “Ruralia Commodia” offers a unique perspective on rural peasant life in the early modern era. This particular illustration depicting two peasant men mowing hay was included in the book’s first publication and was widely distributed throughout Europe as a sort of gardening and horticulture manual. In fact, Henry VIII was said to have a copy of this very book in his personal library (Carley, 292). The development of merchant capitalism brought sweeping changes to rural life across Europe. With it came a fundamental reorganization of capital distribution and ownership structures. As Merry Wiesner-Hanks put it, “any discussion of the European economy must begin in the countryside” (Wiesner-Hanks, 206). And, indeed, the end of serfdom in rural Europe fundamentally transformed ideas of private property and ownership and marked the beginning of capitalism as we know it. Source A related resource from which the described resource is derived Pietro de Crescenzi. Peasants Mowing, 1478-1480, The British Library. <a href="https://www.europeana.eu/portal/en/record/9200397/BibliographicResource_3000126283275.html?q=peasants+mowing+">https://www.europeana.eu/portal/en/record/9200397/BibliographicResource_3000126283275.html?q=peasants+mowing+</a> <br /><br />Wiesner-Hanks, Merry E. Early Modern Europe, 1450-1789. Cambridge University Press, 2006. <br /><br />Carley, James P. "The Libraries of King Henry VIII : An Update of the Westminster Inventory of 1542." The Library 16, no. 3 (2015): 282-303. Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/b1b4e1cf4a4f48aa9e9ea8a18747c926.jpg 2d0038010838b6aaf4ebd82cf990d58a 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 Petrarch 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 1304-1374 Description An account of the resource Known as the “Father of Humanism,” Francisco Petrarch (1304-1374) was one of the most influential facilitators in the revitalization of classical antiquity prior to the Renaissance, thus sparking an interest that—as the exhibit will show—endured throughout Early Modern Europe. Born in Arezzo, Italy, Petrarch initially pursued legal studies at the behest of his father. However, he soon abandoned this path in favor of religious studies. Through this, he became thoroughly interested in classical texts deemed “lost” to the ages, searching monasteries across Europe for them. Having read an increasing amount of classical literature, he began to praise the values of Ancient Greece and Rome in his writings, glorifying their societies as civilized and refined. He lauded Aristotle’s approach to self-actualization, as well as the emphasis Plato placed on virtue. Simultaneously, he gained acclaim for his poetry (Whitfield). The works of Petrarch and his translations of classical texts served as inspiration for future scholars and precipitated a veneration for the classics, laying the foundations for the Renaissance (discussed in week one of HIST 139). Source A related resource from which the described resource is derived Altichiero. Portrait of Francesco Petrarca. C. 1370-80. In Wikimedia. July 7, 2007. Accessed November 18, 2018. https://en.wikipedia.org/wiki/File:Altichiero,_ritratto_di_Francesco_Petrarca.jpg. Whitfield, John Humphreys. "Petrarch." Encyclopedia Britannica. Accessed November 18, 2018. https://www.britannica.com/biography/Petrarch. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/98e56defa146ad57fe6d65789154e21f.jpg 691d5380a71c3393ad1dd0c411815e7b 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 of a coin Physical Dimensions The actual physical size of the original image 222 × 209 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 Philip V Gold Coin Creator An entity primarily responsible for making the resource Coinman62 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 21 November 2006 (original upload date); Coin is dated 1743. Description An account of the resource Early modern scholars were divided on the issue of controlling colonies in Spain. Some saw holding power over colonies as beneficial for the wealth they provided, while others saw them as a distraction. Colonies provided Spain with massive amounts of wealth. Between 1591 and 1600, treasure imported by Spain was worth approximately 14 million pesos (Hamilton, 464). Put into context, the colonial wealth accumulated between 1591-95 alone could pay the salaries and wages of all the persons in Spain for 21 and 1/3rd days (Hamilton, 464). Furthermore, many, like scholar Juan de Solórzano y Pereyra, believed it was Spain’s biblical duty to support colonization as a method of converting and civilizing Native Americans (Cowans, 164). Yet others disagreed, and wanted Spain to stop controlling colonies. These figures argued that an obsession with empire was the cause of Spain’s woes. As José Campillo y Cossío wrote in 1762, “The treasures Spain possess in America now do more harm than good. For nine-tenths [of the proceeds] go to foreign nations” (Cowans, 218). Campillo believed that the colonies were lucrative, but that they were woefully mismanaged— breeding corruption. Yet, he still believed they could be fixed. Adam Smith, on the other hand, simply believed in removing all support sent to the colonies, writing “The colonies of Spain and Portugal… give more real encouragement to the industry of other countries than to that of Spain and Portugal” (Smith). In other words, the colonies only helped themselves and weren’t worth the headache. In summary, all the scholars agreed that colonies were lucrative. The issue was whether or not their sometimes frustrating management was worth it, which was debated frequently. Beyond this argument, it is important to mention that these scholars weren’t the only ones studying the issue. There are entire schools of thought devoted to studying the impacts of colonialism— and not just on how it impacted Spain, but how it influenced the colonies themselves. Those ideas lie outside the scope of this passage, but are worth studying to truly understand the wide-spread impact of colonialism on different power dynamics. Source A related resource from which the described resource is derived Coinman62. English: Gold Half Escudo Coin of Philip V of Spain, Dated 1743.English: Χρυσό Νόμισμα Που Απεικονίζει Τον Φίλιππο Ε’ Της Ισπανίας. November 21, 2006. Transferred from en.wikipedia; transferred to Commons by User:MARKELLOS using CommonsHelper. https://commons.wikimedia.org/wiki/File:PhilipVGoldCoin.jpg. Hamilton, Earl J. "Imports of American Gold and Silver Into Spain, 1503-1660." The Quarterly Journal of Economics 43, no. 3 (1929): 436-72. http://www.jstor.org/stable/1885920. Juan de Solórzano y Pereyra, “Indian Policy (1648)” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 163-167. José Campillo y Cossío, “A New Economic Policy for America (1762)” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 217-224. “Adam Smith From The Wealth of Nations 1776 The Cost of Empire < 1776-1785 < Documents < American History From Revolution To Reconstruction and beyond.” Accessed November 13, 2018. http://www.let.rug.nl/usa/documents/1776-1785/adam-smith-from-the-wealth-of-nations-1776-the-cost-of-empire.php. Rights Information about rights held in and over the resource Public Domain Colonialism Scholars spain Wealth https://earlymoderneurope.hist.sites.carleton.edu/files/original/944dad6db18db91531b576eea10265ca.jpg 9c6c080fbcc28eeba181c026967d06c3 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 Piazza Santissima Annunziata in Florence. Ospedale degli innocenti, frontside. Architect: Filippo. Brunelleschi Creator An entity primarily responsible for making the resource Warburg. Contributor An entity responsible for making contributions to the resource Susannah Ottaway Date A point or period of time associated with an event in the lifecycle of the resource 1419-1447 (from commission to opening of the building). Renaissance. Description An account of the resource This building was designed by Filippo Brunelleschi (1377-1446), who oversaw its construction for the first decade after the start of its commission in 1419. It is both an excellent example of Renaissance architecture by a recognized master artist, and an example of a major way in which European cities during the Renaissance cared for the poor. As Merry Wiesner-Hanks explains, this hospital for orphans and abandoned children was designed so that "all proportions - of the windows, height, floor plan, and covered walkway with a series of rounded arches - were carefully thought out to achieve a sense of balance and harmony" (Wiesner-Hanks, 153). Brunelleschi, who most famously designed the dome of the Florence Cathedral, an accomplishment that led Giorgio Vasari to claim, "his genius was so commanding that he can surely say he was sent by heaven to renew the art of architecture" (Vasari, 133). Several aspects of the building reflect typical Renaissance approaches to social welfare provision. The hospital was commissioned by the silk-workers' guild, which makes it one of many urban institutions that were initiated by secular or religious organizations, rather than by political authorities. It targeted a group of "worthy" poor, those "innocents" who, through no fault of their own, had been left dependents of the state. Finally, the highly specific nature of the charitable foundation was characteristic of an era that targeted individual needs of discrete urban populations, rather than sought to create general social welfare policies. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:UNICEF_Innocenti_Research_Centre.jpg Rights Information about rights held in and over the resource Licensed under creative commons.