14 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/6385ed762232a116e62084ccbea42acd.jpg 42a75d81646c31d7441345e353367eae 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 Joseph and Potiphar's Wife Creator An entity primarily responsible for making the resource Properiza de’ Rossi Contributor An entity responsible for making contributions to the resource Changlan Wang Date A point or period of time associated with an event in the lifecycle of the resource 1520s Description An account of the resource During the Renaissance period, countless outstanding architects, sculptors and artists emerged; however, “all of the most famous and most prolific Renaissance artists were male” (Wiesner-hanks, 158). Properzia de’ Rossi (1490-1530) is the only female sculptor whose name is known. This sculpture Joseph and Potiphar's Wife was deemed to be the most beautiful sculpture done by Properiza de’ Rossi and the one that she was most satisfied with “since with this figure from the Old Testament she felt she had expressed in part her own most burning passion” (Vasari, 341). Properiza de’ Rossi is also one of the few female artists being mentioned in Vasari’s The Lives of the Artists. Though the Renaissance period was of bursting intelligent artists, the societal constrains for women to learn to paint and make sculptures still greatly hindered the flourishing of women artists. For example, “women were not allowed to study the male nude, which was viewed as essential if one wanted to paint large history paintings with many figures” and “neither did women learn the technique of fresco,” because the work of applying colors directly to wet plaster walls was judged in appropriate for women (Wiesner-hanks, 159). As a result, the few known women artists were either the daughters of painters or coming from aristocratic families. The difficult career as women artists was closely related to the difficulties as women to receive education in general compared to men. Since religious institutions, for example, Jesuits college and municipal schools were still the primary resources of offering education to kids, and usually only boys. The only two ways of women receiving education were either being cloistered as women religious, or through private tutor for the vernacular. Both ways require either a huge amount of religious commitment or a privileged family background, which were uncommon and thus made it hard to achieve the prevalence for girls’ education. However, it is also important to notice that Vasari, as an important figure in the intellectual world, had started to recognize the role and power of women artists in his book, which also planted the seed for future humanistic discussion about the capability and role of women in the early modern period. Source A related resource from which the described resource is derived Rossi, Properiza de’ . Joseph and Potiphar’s Wife. 1520s. https://commons.wikimedia.org/wiki/File:Joseph_and_wife.jpg. Rights Information about rights held in and over the resource Public Domain Prominent Women Renaissance https://earlymoderneurope.hist.sites.carleton.edu/files/original/03783eeab88f5f4bb415115a1d43eaeb.jpeg f19b645e4dc77c9651328c0f8db37d7e 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 This image has been taken from scan 000027 from "[Through Spain: a narrative of travel and adventure. ... Illustrated.]". The title and subject terms of this image have been generated from tags, created by users of the British Library's flickr photostream. Physical Dimensions The actual physical size of the original image 1207x1536px 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 Cortes Armor (from the Royal Armory) Creator An entity primarily responsible for making the resource Publisher: R. Bentley & Son 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 1886 Source A related resource from which the described resource is derived “Aztec Empire from ‘[Through Spain: A Narrative of Travel and Adventure. ... Illustrated.].’” Europeana Collections. Accessed November 13, 2018. https://www.europeana.eu/portal/record/9200387/BibliographicResource_3000117289164.html. Matthew Restall, Seven Myths of Spanish Conquest, (New York, NY: Oxford University Press, 2003) Rights Information about rights held in and over the resource Public Domain Marked Description An account of the resource Hernán Cortes was a prominent Spanish Conquistador who went on an expedition against the Aztec empire. The attached image is of the armor he used during the trip. It was placed in a Spanish museum to honor his legacy and represents some of the mythos surrounding him. Cortés legacy was built on letters to the King that allowed him to become one of “…the most recognizable of God’s agents… [due to their] rapid publication and wide circulation…” (Restall, 14). He became a symbol of imperial policy, and his accounts were a justification of imperial actions, as they showed him spreading civilization and Christianity throughout the New World. Yet, it’s important to remember that these were HIS texts. They were biased. Despite this, subsequent historians held them up, as seen with his armor being placed in a museum, and from this quote by historian Charles Gibson in 1966, “Although no conquistador rivaled Cortés in military skill or in the capacity to control the conquest aftermath, all subsequent campaigns were… modeled upon the conquest of the Aztec empire” (Restall, 19). Yet, Cortés was not the first to use many of his now-famous tactics, as plenty were commonly used or simply myth— like burning his ships. Furthermore, much of the credit for the invasion should be given to the native warriors who fought alongside him. He had plenty of native allies, as many other groups like the Huejotzincans sought to exploit the Spanish arrival to challenge the Aztécs. These groups, “…saved Spaniards from starvation, rescued individual Spaniards, acted as spies, and fought along with Spanish horsemen in sorties against the besiegers” (Restall, 49). Without these services, Spaniards most likely wouldn’t have been able to get a foothold in the New World— as they had no idea how to speak the languages or what was edible among the new plants and animals. Colonialism Conquistadors Cortes Native Americans spain https://earlymoderneurope.hist.sites.carleton.edu/files/original/e6f53205af77e5a6215b9fb3d3be5e5d.jpg 38caf4ebd044486b21e6609ba81c40db 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 39 cm x 27.1 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 Portrait of Desiderius Erasmus | Massijs, Quinten (I) Creator An entity primarily responsible for making the resource Quinten Massijs 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 1535 Source A related resource from which the described resource is derived <a href="https://www.europeana.eu/portal/en/record/90402/SK_A_166">https://www.europeana.eu/portal/en/record/90402/SK_A_166</a> Rights Information about rights held in and over the resource This work is in the Public Domain. Description An account of the resource This painting of Desiderius Erasmus captures the character of the Dutch humanist writer and demonstrates the strong humanist presence in the Low Countries. Erasmus situated himself in a central position in the intellectual world of the Renaissance. Merry Wiesner-Hanks declares outright that Erasmus was “the most famous scholar of his time in all of Europe” (Wiesner-Hanks 141). Erasmus fashioned a distinct image for himself through his writings and even through paintings such as this one. St. Jerome served as the inspiration for these depictions of Erasmus (Jardine 4), which shows how Erasmus wanted to be viewed in his time: as a scholarly man and prolific writer concerned with theology and spirituality. In connection to this inspiration from St. Jerome, Erasmus was a Christian humanist thinker. He translated and compiled many religious works, including a translation of the New Testament into Latin, and wrote many other works and letters that addressed his ideas on Christian living. Erasmus placed a higher value in the spiritual individual and connection to the Gospels over physical representations of holiness such as relics. He also constructed a circle of other Christian humanist thinkers such as Thomas More, Juan Luis Vives, and Lèfevre d’Etaples, with whom he communicated and debated through numerous letters (Wiesner-Hanks 141). This strain of humanist thought focused on religious reform can be seen as a precursor to later Protestant and Catholic reform movements (Wiesner-Hanks 143). A key location in Erasmus's life was Louvain, a city in the Low Countries. The scholars located in Louvain criticized many of the Christian humanist ideas espoused by Erasmus. Historian Erika Rummel relates that Erasmus eventually moved to Louvain partly in order to "keep his critics in check" (Rummel 3). Erasmus also promoted other members in humanist circles, such as Juan Luis Vives, while in Louvain (Jardine 17). Through this example one can see that Erasmus was not only of Dutch heritage, but also engaged in the geographic location of the Low Countries. Alongside his presence in the Low Countries, Erasmus’s influence flourished in other areas of Europe, such as England, where his ideas contributed to the English Reformation (Jardine 12), and Spain, where Erasmus enjoyed immense popularity among intellectuals and members of the Spanish court during the 1520s (Elliot 151-152). Ultimately, Erasmus occupied both a important position locally and internationally in the intellectual world of his time. Works Cited Elliot, J.H. Imperial Spain 1469-1716, 151-152. London, Edward Arnold Ltd., 1963. Jardine, Lisa. Erasmus, Man of Letters : The Construction of Charisma in Print. Princeton: Princeton University Press, 2015. Accessed November 15, 2018. ProQuest Ebook Central. Rummel, Erika. "ERASMUS AND THE LOUVAIN THEOLOGIANS — A STRATEGY OF DEFENSE." Nederlands Archief Voor Kerkgeschiedenis / Dutch Review of Church History 70, no. 1 (1990): 2-12. http://www.jstor.org/stable/24009249. Wiesner-Hanks, Merry E. “Cultural and intellectual life, 1450-1600.” In Early Modern Europe, 1450-1789, 141-143. Cambridge University Press, 2013. https://earlymoderneurope.hist.sites.carleton.edu/files/original/7991c4b760b454675b1470b6efb206f4.jpeg 12272b39df1ad818109e63df74da3dbb 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 Fotoreproductie van het fresco De school van Athene door Rafaël; The School of Athens Creator An entity primarily responsible for making the resource Raffaello Sanzio da Urbino (Raphael) Date A point or period of time associated with an event in the lifecycle of the resource 1530 - 1582 Description An account of the resource “The School of Athens” is considered by many as one of Raphael’s greatest artistic creations. Raphael was drawing on the rebirth of the analytical questioning of the classics and the works of the “ancient” peoples. In this image, Raphael paints some of the most significant people who contributed to Western thinking including, Plato, Socrates, Aristotle, and many others. Raphael paints Plato and Aristotle close together to signify their different camps of philosophy and to show their divergence in their philosophical beliefs. This painting was created around the time of many political changes such as the shift away from the church and more towards individual rulers. This would have caused many people to look towards the past and would have inspired many of them to write about it. This reexamining of the past would play an important role inspiring political commentators, such as Machiavelli, who argued against ideas presented by Aristotle about the role of ethics in politics (Harrison). It was necessary for a reemergence of “ancient ideas” in to take place to create a catalyst that would initiate an era of new thoughts. “ School of Athens’ was not an isolated painting that conveyed a political messages. Giotto di Bondone, arguably the individual who first developed renaissance techniques of art. This artwork would be used for political means to portray a sense of power from the Vatican and other Italian city states. The statue of David was “commissioned by the Florentine city council as a symbol of the city”, which portrays the significance of art as a political message (Weisner Hanks 154). Art represented a states wealth and security, which was why it was so heavily encouraged by the Italian city-states. Source A related resource from which the described resource is derived Urbino, Raffaello. The School of Athens. 1530-1582. Rijksmuseum, Netherlands. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/0ae5fc484d9646f3c45db93b662b6476.jpg c7401f4b51fa944af6608c5819e9264e 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 379.5 cm x 453.5 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 The Company of Frans Banning Cocq and Willem van Ruytenburgh, known as the ‘Night Watch’. Creator An entity primarily responsible for making the resource Rembrandt van Rijn 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 1642 Description An account of the resource This painting by Rembrandt highlights the emerging class of city elites in the Netherlands during the early modern period, and the social mobility which characterized the economic climate of the Netherlands at this time. The main subject of the painting, Frans Banning Cocq, participated in the city council of Amsterdam and eventually became the burgomaster of the city. This prestigious career had humble beginnings, however, as Cocq was the son of an immigrant from Northern Germany and was allegedly impoverished in the early years of his stay in Amsterdam (Haley 56). This rise to power demonstrates the degree to which the citizens of Amsterdam and migrants from abroad could move up in social and economic status within the Dutch Republic: through economic successes or from strategic marriages into the existing urban circles of the time, one could become a member of powerful institutional structures in Amsterdam (Haley 53). Rembrandt painted portraits of many members of this prominent class, many of whom had also risen up the social ladder of Amsterdam society. Elias Trip, for example, migrated to Amsterdam from Germany and became a prominent arms dealer and investor in the Dutch East India Company (Haley 56). In this way, Rembrandt’s artistic world differed from the Renaissance. While Rembrandt sometimes painted for the stadtholder of the Dutch Republic (Israel 561), the large number of urban elites also commissioned individual works from the Dutch master. Alongside urban and political patrons, Rembrandt utilized the growing number of art dealers to sell his paintings which were not commissioned (Wiesner-Hanks 396). Rembrandt’s artistic innovations include the development of “fine painting,” where artists created colorful artwork using expensive dyes and polishes which appealed to art enthusiasts. Rembrandt also painted in a style which evoked drama through lighting and the positioning of figures, which can be seen in works such as the “The Night Watch” (Israel 560-561). “The Night Watch” and the careers of both Rembrandt and Frans Banning Cocq serve as examples of the changing social and artistic climates of the Dutch Republic, and Europe, during the 17th century. Works Cited: 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. Wiesner-Hanks, Merry E. “Cultural and intellectual life, 1600-1789” In Early Modern Europe, 1450-1789, 366-404. Cambridge University Press, 2013. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:The_Nightwatch_by_Rembrandt.jpg Rights Information about rights held in and over the resource This image is in the Public Domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/742ee6d0f1e4d4a08aee6e68a2ab8d02.jpg e6b622a6e13a3af5d6a996dfa5523d97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vase and Cover Description An account of the resource During the 18th century, another example of the phenomenon of chinoiserie, the European interpretation or imitation of Chinese art or other traditions from East Asia, was this vase. The Yuan dynasty experienced technological developments in the creation of porcelain in the imperial kilns at Jingdezhen in the 14th century. It is worth noting that “taste for underglaze blue porcelain may have been both stimulated and enabled by the international connections of the Yuan regime,” which flourished under the Mongol rule and allowed for the importation of the particular blue glaze from Persia (Vinograd and Thorp 299). The technique of making porcelain required specific materials and firing techniques that Europe did not have access to, and they set about making their own imitations like Delftware and Meissenware, and this soft paste porcelain vase is decorated in the underglaze blue and white style with a Chinese landscape design on the vase that highlights elements of nature with swathes of blank space for the water and air. The shape itself is also an elongated version of a Chinese vase (V&A description). In England, these type of ceramics “were first encountered as ‘curiosities’ and then altered to make them less curious,” and after that they appeared as tableware and decoration, and as chinoiserie developed as fashionable, Chinese ceramics continued to be copied in European ceramic shops as well as collected (Stacey 23). This vase, then, emerges out of a long history of cultural hybridization to appeal to a European consumer. Creator An entity primarily responsible for making the resource Richard Chaffers Factory, England Source A related resource from which the described resource is derived <a href="https://collections.vam.ac.uk/item/O8093/vase-and-cover-richard-chaffers-factory/" target="_blank" rel="noreferrer noopener">Victoria and Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1758-1762 Contributor An entity responsible for making contributions to the resource Rylyn Monahan ceramics China England https://earlymoderneurope.hist.sites.carleton.edu/files/original/ed587f56b3d16752ff34601a17b5377e.jpg e6a333ac234e0a45e4a5f90015115680 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 Merode Altarpiece Annunciation Triptych Creator An entity primarily responsible for making the resource Robert Campin Date A point or period of time associated with an event in the lifecycle of the resource 1428 Description An account of the resource The triptych is a significant art-piece of the Northern Renaissance that stresses the ideas of Northern Humanism, specifically individual and personal study of the Bible. Campin achieves this message through targeted imagery and symbolism, specifically the depiction of a significant Biblical scene, the Annunciation, in a traditional Flemish home and town of the area. By placing the scene in a familiar setting for viewers of the piece, as well as incorporating symbolism of Christian Humanism through the open Bible in the center being studied, and the presence of the Holy Spirit in the central panel. These reinforced ideas of Christian Humanism play a crucial role in, and boldy foreshadow, the later development of political ideologies in Europe, specifically Liberalism. The focus on the potential of the individual to study and interpret the Bible for oneself which is exhibited in this piece, and in works of the Northern Renaissance and Christian Humanism, are parallel to Liberalism, which similarly focuses on the potential of the individual in society with limited control by a greater source of authority/the government (or in the case of Christian Humanism, the Church). Source A related resource from which the described resource is derived Workshop of Robert Campin [Public domain], via Wikimedia Commons Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/0e687b667ba0786e8b3a6c19ebd1988d.jpg a2ac0f9513f2b77df8517db7ca5f0dfb 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 copper engraving 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 Portrait of Menasseh Ben Israel (1604-1657) rabbi, philosopher and printer. Creator An entity primarily responsible for making the resource Salomo d’Italia 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 1642 Description An account of the resource Menasseh ben Israel, a Sephardic Jewish rabbi from Amsterdam, embodies aspects of the religious environment of the Dutch Republic during the 17th century. Throughout the 17th century, Jewish communities from both Iberia (Sephardic) and Germany immigrated to cities like Amsterdam, (Israel 1995, 657-658) and contributed to the intellectual and economic worlds of the Dutch Republic. Menasseh ben Israel serves as an example of this intellectual participation. He wrote texts which discussed the Bible, and actively debated with Christians. These debates brought on struggle, however, as many Christian thinkers were only really concerned with converting the Jewish communities instead of debating religious concepts (Israel 1995, 580-581). The fact that these debates and publications occurred, albeit with cultural friction, is a testament to growing tolerance in the Dutch Republic. Another aspect of the Dutch religious climate involved the influence of English Quakers, which also interacted with Menasseh ben Israel and other Dutch and Jewish intellectuals such as Spinoza. Margaret Fell, a leading member of the Quakers, published an open letter directed at Menasseh ben Israel in an attempt to convert the Jewish community to Christianity (Popkin 18). The Quakers also interacted with Spinoza, who translated some of their works into Hebrew while in Amsterdam (Popkin 15). Another Quaker, Benjamin Furly, settled in the city of Rotterdam and prepared migrations to North America while also engaging in Enlightenment debates with a wide variety of thinkers (Laborie 359-360). Through figures such as Spinoza and Furly, the Enlightenment, Dutch religious tolerance, and the growing Jewish communities in the Netherlands are all linked. Works Cited Israel, Jonathan, The Dutch Republic. Oxford: Clarendon Press, 1995. Laborie, Lionel, “Radical tolerance in early enlightenment Europe.” History of European Ideas 43, no. 4 (2017): 359-375. doi: 10.1080/01916599.2016.1203600 Popkin, Richard H. “Spinoza’s Relations with the Quakers in Amsterdam.” Quaker History 73, no. 1 (Spring 1984): 14-28. doi: <a href="https://doi.org/10.1353/qkh.1984.0016">10.1353/qkh.1984.0016</a> Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Menasseh_ben_Israel_1642.jpg Rights Information about rights held in and over the resource This image is in the Public Domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/1b222356a6ec0051c67360cc7577ffb1.pdf 227023114cdf3b6b74320241f2d00eab 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 paper 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 12 Articles of the Upper Swabian Peasants Creator An entity primarily responsible for making the resource Sebastian Lotzer Contributor An entity responsible for making contributions to the resource Andrew Fitch Date A point or period of time associated with an event in the lifecycle of the resource 1525 Description An account of the resource While Charles V may have been the Holy Roman Emperor in the 1500s, the German princes were nearly completely autonomous with regards to rule over their own holdings. This political structure left the peasants and serfs essentially no opportunity to protest decisions made by their princes nor improve their standing in society. Then in 1524, in light of new restrictions on hunting, increasing taxation, and new labor obligations, a peasant protest began that soon escalated into rebellion and war against their princes and local rulers (Wiesner-Hanks 178). As the rebellion grew, one peasant group published the document "The Twelve Articles of the Upper Swabian Peasants" which rapidly spread through Europe. This document, which lists the grievances and demands of the peasant army, was inspired by Luther’s ongoing protestant reformation. Despite not having Luther’s personal support in their revolution, the peasants claimed that the Protestant ideal of individual faith and the sola scriptura (scripture alone) supported their claims. Accordingly, nearly all of the peasants’ arguments made in "The Twelve Articles" stem from their interpretation of the Bible or their belief that their oppression lacks biblical justification (Baylor 21). Article three exemplifies this when it asserts that because Christ has already redeemed humanity that peasants cannot be the physical property of their lord. The peasants make similar arguments based on scripture against the practice of forced labor and restricting hunting regions (Article 4, 6). While the peasant armies saw victories early on, their revolution was doomed to fail. Over 100,000 peasants died, and the end result was more oppressive policy than before. However, contrary to common belief, the peasant army wasn’t a mob of pitchfork-wielding farmers aimlessly plundering the countryside but rather an organized military led by some men of experience that had its own political structure (Baylor 22). Should the peasants have been successful it would have meant a dramatic shift in the balance of power away from provincial officials to the local peasant communities. Source A related resource from which the described resource is derived “Grievances and Demands – The 12 Articles of the Swabian Peasants (February 7-March 1, 1525)”, a document by Sebastian Lotzer. Translated by James Harvey Robinson. In From the Reformation to the 30 Years War (1500 1648), edited by Ranier A. Muller, volume 4. German History in Documents and Images, German Historical Institute, Washington, DC (http://germanhistorydocs.ghi-dc.org/pdf/eng/Doc.52-ENG-12%20Articles_en.pdf). Rights Information about rights held in and over the resource Used With Permission https://earlymoderneurope.hist.sites.carleton.edu/files/original/d2271ad9132204742adc8dbc0bd83e7b.jpeg 30edfb4d4a79cf1c08cea77ce56494ad 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 Post medieval Spanish Coin Creator An entity primarily responsible for making the resource Seville Mint Contributor An entity responsible for making contributions to the resource Spain Date A point or period of time associated with an event in the lifecycle of the resource 1599 Source A related resource from which the described resource is derived The Portable Antiquities Act Rights Information about rights held in and over the resource Free Re-use Description An account of the resource During the early 17th Century Europe underwent a large-scale currency crisis due in large part to the near constant state of war during the century. In no place was this more apparent than in Spain where the real had undergone tremendous inflation as result of the importation of silver from Spain’s New World holdings that had flooded the market with new coins (Elliott, 329). To make matters worse, the imports of silver began to drastically decrease during the 30 years war as a result of overexploitation in American, repeated appropriation by the Spanish government, and the resultant lack of confidence among Spanish merchants (Elliott, 339). One of the clearest examples of Spain’s diminishing power during this period was its inability to control Brazil despite controlling Portugal. They were repeatedly unable to wrest control from the Dutch who had controlled Brazil since 1630 (Elliott, 333). These circumstances had profound impacts on Spain that forever changed the power structure of Europe and the Atlantic World. The economic breakdown of Spain coupled with its weak monarchy led to increased weakening in the structure of the already tenuous monarchy. Disagreements about taxes, protection, and government control led to unrest in Andalusia (where Seville is located), Aragon, and Valencia, while Catalonia and Portugal were in open revolt. The loss of Portugal in 1640 as result of an internal revolt. (Cowans, 180). Portugal went on to be one of the strongest maritime powers during the remainder of the 17th century, eclipsing the former power of Spain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/4717772a7e7037073430eb1bf4684f80.jpg 45e569330ef332154d9b35c5236849d5 Person An individual. 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 Plato (Copy of Bust of Plato by Silanion) Creator An entity primarily responsible for making the resource Silanion (Original) 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 (Bust) 370 BCE Description An account of the resource The bust (pictured above) depicts Plato. Regarded as one of the greatest thinkers of Classical Greece, the study of Plato and his works was prevalent throughout the Renaissance (one example can be seen in "The School of Athens," an item found in the collection "Political Developments and Diffusion in Early Modern Italy"). Unlike our perceptions regarding philosophers in the modern age, the philosophy of classical antiquity and the Renaissance also extended to science, mathematics, and more. Not much is known about Plato's early life. Later in life, however, he gained acclaim as a student of the philosopher Socrates. As Socrates did not write anything down himself, much of what history knows about him come from Plato's writings about him. Plato frequently wrote in the form of a dialogue, or a conversation, with Socrates as the protagonist. In these dialogues, one or more philosophical concepts would be explained or hinted at using a series of questions asked by Socrates to another person (though many do not arrive at concrete conclusions). Following Socrates' execution in 399 BCE (which would later give Plato a disdain for the judgement of the masses as it was democratically-decided), Plato opened a school of philosophy called the Academy. This would provide the basis for later educational institutions. During Plato's life, he would take on several students of his own, the most notable being Aristotle. It is unknown how Plato died, as there are many accounts (Meinwald). Plato introduces his own concept of morality, starting with virtue theory. Justice is one of them, along with temperance, prudence/wisdom, and courage. Justice to Plato is a type of harmonious living in which each person does their own role within society without infringing on others (specialization). On a personal level, it is a harmony of the soul based on intellectual pursuits and the exercise of temperance. Temperance is the restraint of vices. Prudence is the application of reason for good judgement. Courage is approaching problems without unnecessary fear (not cowardice but not foolhardiness either). Plato then proceeds to explain his theory of forms. In short, everything has an ideal form. Take a chair. According to Plato, there is an ideal chair; all chairs that exist on Earth share some qualities that make them chairs. The ideal chair is the embodiment of these qualities, the embodiment of the concept of "chair." Likewise, the greatest form is the form of good. To understand what is good and what good is, the philosopher must study it (The Republic, Book IV). The rebirth of these ideals, occurring prior to and in the Renaissance, manifested into the school of thought known as Platonism/Neo-Platonism (see item “‘Platonism’ from Diderot’s Encyclopedia” in “Political Philosophy of Classical Antiquity). Having been popularized by Petrarch during the Renaissance, the Platonic philosophy helped bridge the gap between to ideologically disparate time periods—pre- and post-Reformation (as discussed in week two of HIST 139). Despite his harsh condemnation of the Catholic Church, Martin Luther still retained Platonic values such as a focus on the soul and aesthetics (Mattes). Source A related resource from which the described resource is derived 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. Nguyen, Marie-Lan. Plato (Copy of Silanion). 370 bc. Wikimedia, Capitoline Museums, Rome. In Wikimedia. September 16, 2009. Accessed November 15, 2018. https://commons.wikimedia.org/wiki/File:Plato_Silanion_Musei_Capitolini_MC1377.jpg. Plato. The Republic. Translated by Richard W. Sterling and William C. Scott. New York, NY: W. W. Norton & Company, 1996. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/0705bab615aa4e6ea5f532c55d25c4fd.jpg 396ec109e409ef161fdc7bbf664ee3bd 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 Fountain Court of Hampton Court Palace Creator An entity primarily responsible for making the resource Sir Christopher Wren 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 1689-94 Rights Information about rights held in and over the resource CC BY-SA 3.0, Free to share with appropriate credit Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Hampton_Court_Palace,_Fountain_Court.jpg#/media/File:Hampton_Court_Palace,_Fountain_Court.jpg Description An account of the resource The Fountain Court is located on the grounds of the Hampton Palace in London. The Hampton Palace was built in 1504. When William III and Mary II sat on the throne in 1689, they utilized the services of Sir Christopher Wren to design a new baroque palace for them. Wren originally planned to demolish most of the Tudor palace. However, he later changed his plans and started by building the Fountain Court The Fountain Court's construction began in 1689 and it was completed in 1694. William III envisioned to rival the Palace of Versailles of Louis XIV with the baroque renovation of the Hampton Palace ("Hampton..."). The architectural structure of the Fountain Court bears a striking resemblance to that of the Palace of Versailles. A long series of arches with large windows above them are among the most noticeable similarities between the two structures. The power struggles of Europe were reflected into architecture by Sir Christopher Wren. And of course, this was a time period marked by a struggle between the strong monarchs of Europe. Although William and Mary were constitutional monarchs in contrast to the more extreme and absolutist rule of Louis XIV, the Fountain Court is a symbol of the show of power between enemies ("Historic Royal..."). References: "Hampton Court Palace." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. "Historic Royal Palaces: Hampton Court Palace." Historic Royal Palaces. Accessed November 19, 2018. https://www.hrp.org.uk/.