12 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/04dd74d1d67d6b98d2dc093a6a27474b.jpg 27510c677125e5b0764ee672a16f0b20 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 Engraving Physical Dimensions The actual physical size of the original image 17 x 13 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 Fort Bourtange (Vesting Bourtange) Creator An entity primarily responsible for making the resource Matthäus Merian 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 First built 1593, continually expanded until 1742. Engraving is of the fortress in its original state. Description An account of the resource Fort Bourtange (Vesting Bourtange in Dutch) is a textbook example of the “star fort” or “bastion” fortification type which grew to prominence in the later Renaissance. Construction began during the Dutch Revolt in 1580 under the orders of William of Orange, who wanted a fort on the road between the Spanish-held city of Groningen and the German border in order to prevent the Spanish from controlling the only easily-traveled route through what was otherwise marshy country. Due to its (at the time) modern design, which combined the traditional moats and ditches with a series of angular fortifications, Fort Bourtange was able to withstand an attack by Spanish forces soon after its completion in 1593. Over the next several centuries the fort was continually expanded and served as part of the Netherland’s network of border defenses, before it was eventually decommissioned in 1851. In 1960 the village on the site, facing depopulation and economic woes, restored the bastion to its appearance circa 1750 (Fort Bourtange, History of the Fortress). The existence of Fort Bourtange is testament to both the sad necessity of architecture in war as well as peacetime and to the technological advancements which had begun to occur at an accelerating pace during the Renaissance and which were put to deadly effect during the Wars of the Reformation. Due to the adoption and improvement of firearms, both handheld and artillery, in Europe during the 15th and 16th centuries, military engineers were forced to find ways to counter the new threat posed to their fortifications by the stone-shattering power of cannon as well as waves of shoddily-trained but numerous arquebusiers and, later, musketmen. The solution which Italian engineers developed was the star fort or bastion, a design which replaced the rounded turrets of medieval castles with pointed structures that served two purposes: first, they allowed attackers nowhere to hide from defenders’ fire by eliminating “blind spots,” placing every part of the exterior wall’s base within view of another section of the wall; and second, they forced cannon to be moved between two of the fort’s projections in order to line up a perpendicular shot at the wall, exposing the slow-moving siege engines and their crews to fire from multiple directions. The walls of these forts were also made shorter and thicker in order to further frustrate cannoneers. This new design rapidly spread from Italy to the rest of the continent, and was critical in several conflicts over the next centuries (Britannica, Bastion). Among these were, of course, the Wars of the Reformation, and indeed Fort Bourtange was built as part of the rebellion of the Protestant territories of the Netherlands against their Catholic overlords in Spain (Fort Bourtange, History of the Fortress). Even today, mainland Europe is littered with quaint villages built among old walls on star-shaped islands, the legacy of the many turmoils of the Early Modern period. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Bourtange_1657_Merian.jpg Vesting Bourtange, Fortress: History, 2018. https://www.bourtange.nl/bezoekersinformatie/de-vesting Bastion, Encyclopaedia Britannica, 2018. https://www.britannica.com/technology/bastion-fortification Rights Information about rights held in and over the resource Public domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/e6c4222d0614c55d276975317176da3a.pdf c1ab41f0381c9668e58ee1933af462f5 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 the Early Modern Papacy Creator An entity primarily responsible for making the resource Matthew Walsh https://earlymoderneurope.hist.sites.carleton.edu/files/original/4f910df3a1e1ec313f968b282bcae974.png b797433a9dfc467633a1aa90036e0217 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 Graph Physical Dimensions The actual physical size of the original image N/A 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 Slaves Embarked on Voyages by Nation During the Trans-Atlantic Slave Trade Creator An entity primarily responsible for making the resource McLain Sidmore Contributor An entity responsible for making contributions to the resource All data from The Trans-Atlantic Slave Trade Database Date A point or period of time associated with an event in the lifecycle of the resource 2018 Source A related resource from which the described resource is derived The Trans-Atlantic Slave Trade Database Rights Information about rights held in and over the resource Free Re-use Description An account of the resource No exploration of maritime history in the early modern period would be complete without a look at the largest driver of maritime trade during the later part of this period, the trade in human slaves. The history of African slavery in the Americas began not long after the European discovery of the West Indies. Early Spaniards in the New World attempted to keep native Americans in slavery to work, both in mines and large-scale agricultural ventures, through the encomienda system, however this proved unsustainable given the unprecedented death rates among the natives. Instead the Spaniards (and soon the Portuguese) turned to the use of African laborers to work in the emerging sugar industry in the West Indies and Brazil (Wiesner-Hanks, 260). With the expansion of exploration and colonization by other nations in the Americas, the profitable slave trade exploded with most Western European nations taking part in the expansion of slave trading. The slave trade is often conceptualized in the simplified idea of the ‘triangular trade,’ a trading network that brought European manufactured goods to the West coast of Africa where European merchants exchanged these goods for slaves. These slaves were then carried across the Atlantic on a dangerous voyage that has become known as the infamous ‘Middle Passage’ on the way to the Americas. The final leg of this journey brought raw materials such as sugar or cotton from the new world back to Europe for the production of manufactured goods. Of course, unsurprisingly, this international trading network was much more complicated than this simplified triangle. There was tremendous trade within Europe during this time that was tangentially related to the slave trade. Iron, for instance, which was an important trade item for the English and Dutch in the slave trade, had to be sourced in Sweden or Germany, two areas that did not independently participate in the transatlantic slave trade but affected it through their metal exports (Evans & Rydén, 42). Inter-African trade was also common during this period with slave raiders often trading slaves over large areas, both along the coast, and from interior areas within the continent. Later, with the ascendance of the British colony in North America, and later the United States, the triangular trade began to look more like a square with the growth of industry in the Northeastern U.S. where ships were built, and perhaps more importantly, rum was made from the sugar brought up from the Caribbean before being shipped back across the Atlantic. https://earlymoderneurope.hist.sites.carleton.edu/files/original/bdb570da42fbc4eb9aa8f508fc33b3f6.pdf 433cd70895f9556a875ae7f20c6b6e89 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 pdf 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 Creator An entity primarily responsible for making the resource McLain Sidmore Date A point or period of time associated with an event in the lifecycle of the resource 11/18/2018 Description An account of the resource An Introduction to "Maritime History in Early Modern Europe (1492-1807)." https://earlymoderneurope.hist.sites.carleton.edu/files/original/c36a9b97bd1f2d16ee0033b0ec77a6e2.jpg ada91a522bd6613c05d16a116769b764 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 Tomb of Pope Julius II Creator An entity primarily responsible for making the resource Michelangelo 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 1505-1545 Source A related resource from which the described resource is derived Image by Erik Drost, available <a href="https://www.flickr.com/photos/edrost88/6995025663/" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Free reuse (CC BY 2.0) with <a href="https://creativecommons.org/licenses/by/2.0/legalcode" target="_blank" rel="noreferrer noopener">link to license</a> here. Description An account of the resource This large architectural project took Michelangelo and many assistants four decades to complete from the date of its commissioning. In fact, it was completed in a radically different form than originally envisioned over thirty years after its original patron died. This piece is an example of the challenges of being a Renaissance artist as described by Vasari, such as fickle, ever-changing patrons; Michelangelo and Pope Julius II fell out repeatedly (Wiesner-Hanks, 154). The Tomb of Julius II is also an excellent example of the power and prestige that came with the papacy during the sixteenth century, being commissioned by the same pontiff who ordered the painting of the Sistine Chapel and the reconstruction of St. Peter’s Basilica. Julius II was the last pre-Reformation pope. He is particularly known for his patronage of the arts, but the papacy throughout this period was a major financier of artistic endeavors by famous artisans like Michelangelo. Of course the temporal interests of the popes of this time extended beyond sculpture. Julius II has earned the moniker “Warrior Pope” for his constant campaigning as ruler of the lands of the Papal States. Revenues from these lands helped fund massive artistic endeavors such as the Tomb, although as Vasari often points out, payment by important persons like Julius II could often be greatly delayed making it to the artists (Vasari, np). https://earlymoderneurope.hist.sites.carleton.edu/files/original/b0e0715b027797235f8ad6e5a2dd0b2f.jpg ce5c7ea51509ac93acd196a7f856dc02 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 Saint Peter's Basilica Creator An entity primarily responsible for making the resource Michelangelo, et. al. 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 1626 Source A related resource from which the described resource is derived Wikimedia Commons, original image available <a href="https://commons.wikimedia.org/wiki/File:Petersdom_von_Engelsburg_gesehen.jpg">here.</a> Rights Information about rights held in and over the resource Public domain, with full license information available at image page above. https://earlymoderneurope.hist.sites.carleton.edu/files/original/d733d152f9b430aa90c17569b924c98b.jpg d95fb4f3c45ffea14cc789ff911cf62e 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 Westminster Abbey Creator An entity primarily responsible for making the resource Original architect: unknown Drawing: Thomas Picken 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 Originally built in 960. Rebuilt in 1517. Drawing: 1851 Description An account of the resource Westminster Abbey is certainly not a structure built during the Protestant Reformation, nor the English Reformations, but its history is inextricably entangled with Protestantism and Anglicanism, so it has earned its spot in this era. The original building was the first church in England built in the romanesque style; from about 1245 to 1517, construction on the current church was underway, and the current structure is largely Gothic ("History of..."). (The towers came later, in the 18th century.) During that period, the Abbey became the coronation site of Norman kings and often had some political influence due to its proximity to the Palace of Westminster. So, by the 16th century, Westminster Abbey was well established as an important site for the English monarchy ("History of..."). Then, of course, came Henry VIII, and the beginnings of the English Reformations, and the dissolution of the monasteries. Westminster Abbey is a peculiar case in this situation. While most of the dissolved and seized monasteries were either destroyed or left to waste away by Henry VIII, he chose to grant the Abbey the status of a cathedral, sparing it from destruction and ruin. This choice clarifies that he knew very well the Abbey's specific importance to the English crown and was unwilling to let it fall from grace (and usefulness) with all the rest of the monasteries in England. After ten or so years as a cathedral, the very Catholic Mary I came into the throne and restored Westminster Abbey to the Benedictines. This was reversed, of course, when her successor Elizabeth I took the throne, and in 1560 Elizabeth designated the Abbey a "Royal Peculiar" ("History of..."): a church of the Church of England that was directly under the sovereign, not responsible to a bishop (as would normally be the case). Westminster Abbey has since then continued to be the coronation site of every English monarch, and has also been the site of many royal weddings (largely since the early 20th century, but nonetheless). The fascinating history of Westminster Abbey, transformed by Protestantism's rise in England, thus saw it change functions very quickly and ultimately very permanently: from an abbey to a cathedral back to an abbey to a Protestant church to one of the most important churches in the Anglican religion. It is a prime example of how a shift in culture or politics can alter the entire purpose and function of a building. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Opactwo_Westminster_w_Londynie.jpg "History of Westminster Abbey." Westminster Abbey. Accessed September 28, 2018. https://www.westminster-abbey.org/about-the-abbey/history/history-of-westminster-abbey/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/27cdaa32325c0a6a22ae6d97a11df40f.jpg 848945683404d8b4f45595a4f1f4c17c 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 62 x 72 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 Mauritshuis, the Hague Creator An entity primarily responsible for making the resource Painting: Bartholomeus Johannes van Hove Architect: Jacob van Campen 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 1644 Description An account of the resource In the 1600s the young Dutch Republic was the envy of Europe. Despite their small size and decentralized government structure, the United Provinces of the Netherlands managed to make themselves the middlemen of the world in the 17th century by leveraging their capable shipbuilders and shrewd merchants to create a trade network that spanned the world. Being the site of the full flowering of merchant capitalism has its benefits, of course, and the Dutch Golden Age is defined as such because the massive wealth accrued by the Netherlands produced an average standard of living far higher than that of other European nations (Britannica). The greatest beneficiaries of this increased prosperity were, of course, those who already possessed a great deal of money: the landed aristocracy and the urban merchant class. The way that these groups reacted to their new status as, bar certain powerful nobles, the richest people in Europe while also acknowledging the uniquely democratic (well, oligarchic) nature of their government can be most clearly seen in the houses which they chose to live in, of which the Mauritshuis is emblematic. Built in 1644 during its owner Johan Maurits’ term as governor of the Dutch colony in Brazil on behalf of the Dutch West India Company, the Mauritshuis is a townhouse designed to convey both Maurits’ wealth as well as his respectably refined taste (History Mauritshuis). The roughly square building is situated at the heart of the Hague, the Netherlands’ political center, and is deliberately noticeable: the four facades are set with Ionic pilasters and garlands whose bright white stone (which is also used for the windowsills) complements the pinkish brick which forms the rest of the wall, and which contrasts pleasantly with the bluish-grey tiles of the elegantly-sloped roof. Still, the Mauritshuis isn’t ostentatious. It has only two main stories and an attic level, and though the colors are pleasant (the house was nicknamed the “sugar palace” (History Mauritshuis)), they aren’t dazzling, nor are the classical decorations very elaborate. The most highly-ornamental part of the house are the pediments over the entrance and on the opposite facade, which bring to mind a Greek temple and are likely meant to reference the democratic ideals of what was at the time Europe’s most successful republic. There are smaller pediments on the second-story windows, and while these are most likely meant to provide verticality to what otherwise might be a fairly boxy structure they can also be seen as reinforcing this message, announcing that despite Johan Maurits’ status as a nobleman of middling rank (he was a count (History Mauritshuis)), he was most importantly a man whose power and wealth came from his own success as a merchant. The Mauritshuis communicates its owner’s wealth and taste, as well as the appropriate political beliefs for a public figure of the Dutch Golden Age. These effects would have been important for the new bourgeois class of merchants coming to dominate the Netherlands, and which would soon become preeminent throughout Europe, whose members needed a way to negotiate their new status--hence the expensive decorations--while also seeming to be moral and respectful of their betters, and thus restricted in their aesthetic sensibility. Despite, therefore, the fact that the Mauritshuis’ owner was noble, it is no coincidence that buildings like it served as the houses for most of the Netherlands’ merchant class. Source A related resource from which the described resource is derived "Netherlands." Encyclopedia Britannica. 2018. https://www.britannica.com/place/Netherlands/Cultural-life#ref35839 https://commons.wikimedia.org/wiki/File:Bartholomeus_Johannes_van_Hove,_Het_Mauritshuis_te_Den_Haag.jpg "History Mauritshuis." Mauritshuis. 2018. https://www.mauritshuis.nl/en/discover/mauritshuis/history-of-the-building/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/1feb2220e41926824e07d7ba0ed62bed.jpg 35b7ed22cc9d8a4f979224e52f86f116 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 19x32 in 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 El Escorial Creator An entity primarily responsible for making the resource Painting: Michel Ange Houasse Architect: Juan Bautista de Toledo 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 Completed 1584 Description An account of the resource The Monastery of San Lorenzo de El Escorial (usually referred to simply as “El Escorial”) might be seen as the physical embodiment of the Spanish Golden Age. At once austere and ornate, martial and scholarly, tradition-stamped and forward-looking, it reflects the conflicted but unquestionably vibrant culture and outlook of the nation which produced it. Located at the foot of a mountain 28 miles from the Spanish capital of Madrid, El Escorial was built starting in 1563 by the architect Juan Bautista de Toledo. The building was commissioned by Philip II of Spain in order to serve two purposes: its secular function was to serve as a palace for Philip and as a tomb for his parents, Holy Roman Emperor Charles V and Isabella of Portugal, while its religious function was as a monastery, school, and the location of a basilica (Patrimonio Nacional, Royal Site of San Lorenzo de El Escorial). Seen from the exterior, El Escorial is a strikingly austere building of grey-brown stone and sharp angles. The squat, square towers at its corners and regiments of rectangular windows standing at attention on its walls create the impression less of a palace than of a fortress. Nonetheless, El Escorial is hardly crude. The facade is reminiscent of those constructed for contemporary Renaissance churches, built in the style of a Greco-Roman temple, which is to say proportioned according to the Golden Ratio and boasting two rows of pilasters and a pediment on top. It isn’t as colorful or ornate as some Italian churches, but it signals that this is a building created by people in touch with tradition as well as with high culture. The incredibly ornate altar of the Real Basílica de San Lorenzo, however, makes up for the subtlety of El Escorial’s facade. The church, which was the central building in the palace/monastery complex, has a richly-painted altar screen which stands more than 80 feet tall and is flanked by bronze statues, and the ceiling is also painted with scenes of heaven (Monasterio del Escorial, Basílica). Still, the basilica’s style, with its simple Romanesque arches and towering grey walls, is less extravagant than the Baroque churches which were beginning to be built in the later 1500s, and again reinforces El Escorial’s almost martial asceticism. The design of the El Escorial complex twines together the religious, military, and royal in the same way that Spain had done under Philip II and his predecessors and would continue to do throughout its Golden Age. This was the land of the most famous and brutal Inquisition, the country rapidly on its way to ruling a good fraction of the Earth, and the most powerful bastion of Catholicism outside Rome. What is more emblematic of that than a fortress-like mountain palace filled with monks training to defend the faith? Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Vista_del_Monasterio_de_El_Escorial,_por_Michel-Ange_Houasse.jpg Patrimonio Nacional, Royal Site of San Lorenzo de El Escorial, 2018. http://www.patrimonionacional.es/real-sitio/real-sitio-de-san-lorenzo-de-el-escorial?language=en Monasterio del Escorial, Basilica, 2018. http://monasteriodelescorial.com/basilica/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/e805b64f24549481aa8f573cf74b80e7.jpeg d7fa3063ea3e7accbf1027d8a4156b5f 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 Medieval Coin Creator An entity primarily responsible for making the resource Papal States Date A point or period of time associated with an event in the lifecycle of the resource 1469 Description An account of the resource This coin was a common currency for the Papal states during the mid to late 15th century. Politically currency was important to the Papal States so they could continue to hold sway over the italian city states and rest of Europe. However between 1300s-1600s, it is clear Italy is the poster child of child of economic decline, which needs to be seen through a political lens. Italian city-states, such as Florence were dependent on agriculture as well as luxury industry, which primarily dealt with high quality textiles (Lachmann 354). It was partly due to the fact that Italian textiles were costlier to produce in comparison to Britain (Hanlon 205). In addition, the shift to trading in the Atlantic dried up many of the city states main consumers leaving them with a much smaller number of potential consumers. Ironically, the Italian city-states were at the height of their power regarding there influence in trading with their neighbors. Once the Atlantic began, Italian city states suffered a massive decrease in there trading profits. Economic developments in the Italian city states, were grounded, by the inability of the political elite to create political policies, that could reform their economic system and help them survive economic disasters. The economic hardships Italian, such as Florence, faced, were due to mainly political reasons. In Florence, it was mainly due to the consolidation of economic power under the Medici’s and the “continuing power of guilds that supported the ruling elites” (Lachmann 357). The political policies adopted by Italian city states had an adverse effect on Italy’s economic growth in the early modern period. Economic developments in the Italian city states, were grounded, by the inability of the political elite to create political policies, that could reform their economic system and help them survive economic disasters. The economic hardships Italian, such as Florence, faced, were due to mainly political reasons. In Florence, it was mainly due to the consolidation of economic power under the Medici’s and the “continuing power of guilds that supported the ruling elites” (Lachmann 357). The political policies adopted by Italian city states had an adverse effect on Italy’s economic growth in the early modern period. Source A related resource from which the described resource is derived Papal States. MEDIEVAL COIN. 1464. A Papal States Coin, Papal States Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/59ff7fb0ec04d0fb70d24c4180b93c25.jpg 66ca91ab6a8b5f7d700b6ee7fb33d272 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 English Bill of Rights, 1689 Creator An entity primarily responsible for making the resource Parliament of the United Kingdom 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 1689 Source A related resource from which the described resource is derived Wikimedia Commons, original image available <a href="https://commons.wikimedia.org/wiki/File:English_Bill_of_Rights_of_1689.jpg" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Public Domain, full license information available at image page above. Description An account of the resource In order to prevent the Catholic heir of King James II from the inheriting the throne and reuniting the Anglican Church with Rome, Parliament decided to offer the throne to Dutch noble William of Orange and his wife Mary. In exchange, they drew up a list of rights that had to be afforded to subjects of the Crown. Among these rights was the right to bear arms, extended only to Protestants. The anti-Catholic nature of this document is made explicit in the final paragraph, when “papists” and all who marry a Catholic in communion with the pope are forbidden from the English throne, out of supposed concern for the safety and the security of the realm (Wiesner-Hanks, 342-343). This document illuminates several aspects of the papacy in the early modern period. First, it illustrates that the institution of the papacy came to be a central identifying feature of Catholicism. Thus the Bill of Rights uses “papist” and “Catholic” interchangeable. Yet its use as an epithet also demonstrates that the papacy continued to be a cause of criticism from Protestants and Protestant countries. While the papacy unified Catholicism, it exacerbated conflict between itself and other Christian groups. Protestant nations like England imagined an international specter, the Bishop of Rome, which loomed over them and sought to overthrow the Protestant authorities and establish Catholic tyranny within their borders. The papacy is therefore inextricably linked with many of the political conflicts and controversies of the late seventeenth century. https://earlymoderneurope.hist.sites.carleton.edu/files/original/28945b38ff747bedc0c72189ab967251.jpg 8a926c8c055689f29dac985174ae98a3 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 Die Medizin indes zu verachten ist nicht Dummheit, sondern Frevel By Melanchthon Creator An entity primarily responsible for making the resource Phillip Melanchthon 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 1497-1560 Description An account of the resource Any discussion on the impact of the Protestant reformation on the study of the body, and medicine as a whole, must begin with a discussion of Protestant education. Melanchthon, a contemporary and friend of Luther’s, is widely considered to be responsible for the reformation of Protestant education as a whole (Helm 84). As a professor at Wittenberg he was a key part of its transformation into a powerful educational landmark, as well as how its students studied the body and anatomy. One key difference at the time between Catholic and Protestant studies of anatomy and other sciences was the intended purpose of the education. For the Catholic anatomy was an old art, often studied theoretically, and only forced into more common use in the latter half of the 16th century (Helm 88). There it was commonly used as a method by which to train medical professionals, not often for other reasons. In the Protestant camp however, which was heavily influenced by Melanchthon’s emphasis on natural philosophy, the study of anatomy was seen as a way to understand an ordered world created by an ordered god. Melanchthon himself believed that all Christians should study anatomy, not just those planning to use it at some point in their lives. The outgrowth of this new Protestant education method was quick throughout Germany, and many universities took up the liberal arts model of Wittenberg, as well as its emphasis on the importance of anatomy (Helm 86. What is worth noting is that against what one might expect, religion still plays a major part in the discovery and teaching of medicine, Melanchthon believes it should be studied because “The whole world order is a wonderful theatre, in which God wants to be looked at, and he wishes that the obvious testimonies of his presence, his wisdom and his goodness will be considered here.” (Helm, other 55) Source A related resource from which the described resource is derived http://www.europeana.eu/portal/en/record/07931/diglit_schosser1558.html?q=Melanchthon Rights Information about rights held in and over the resource CC BY SA