16 12 202 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/d0ac7cca5ce04f67a19cc3ab147a33d3.jpg 35254106f74f6a5ff0dd424cfb758dff 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 Isabella I. of Castile, Queen of Castile and León, with her husband Ferdinand II of Aragon. Creator An entity primarily responsible for making the resource Unknown 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 15th century Description An account of the resource In the fifteenth century, Castile was the largest kingdom in the Iberian Peninsula. And the marriage of Queen Isabella I of Castille and King Ferdinand II of Aragon signified the union of two crowns as well as the power expansion of Castille. Isabella, as a woman in power, was significantly respected and critical to the Spanish Conquest later. In King Ferdinand’s Marriage Concessions in the 1469, for example, he consistently emphasized his recognition of Isabella’s power and his willingness to follow and respect her decisions. In one concession, he wrote that “I will not relinquish or give away any city, town, or fortress of these kingdoms … or anything else belonging to the royal Crown without the consent and will of Her Highness the princes” (Cowans, 8). Another concession like “All the privileges, letters, and other documents that shall be written, drawn up, or sent, by her or by me, must be signed jointly by both of us” also points out the importance of mutual agreement. Even though such marriage of state may seem to undermine women’s rights to marry freely, at the same time, it also brought Isabella to tremendous political benefit and power. The union of Isabella and Ferdinand created a mighty power in the Iberian Peninsula. By implementing the Inquisition, they reestablished the uniformity in Catholic faith in their reign. They were also able to establish colonialization in America and built up their global power by sponsoring Christopher Columbus’s voyage to the New World in 1492 which brought immense influence in Europe. Source A related resource from which the described resource is derived Unknown. Isabella I. of Castile, Queen of Castile and León, with Her Husband Ferdinand II of Aragon. 15th century. https://upload.wikimedia.org/wikipedia/commons/a/a1/IsabellaofCastile05.jpg. Rights Information about rights held in and over the resource Public Domain Castile Inquisition Prominent Women 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/756de84d7b88dc3ab6d481fabb91f572.jpeg a39664c8dcd7e590ecbcf46a69c10809 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 Slave Shackle Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1700-1899 Description An account of the resource In the 17th century, the Enlightenment burst forth on the stage of European Intellectual life. It was a movement that stood out from the Renaissance by its focus on breaking free of the past, looking for more reasoned answers to questions, both new and old (Wiesner-Hanks, 367). The Enlightenment led to discussions, debates, and the development of new ideas, particularly in the areas of politics, religion, and ethics. It was out of this age that we have inherited modern ideals of equality, democracy, secular states, and even gender parity (Taylor, 84). Slavery, and the slave trade, were vigorously debated topics during this period, with various philosophers discussing the morality of keeping slaves, and weighing it against the clear economic benefits of the slave trade for Europe. On the one hand, the rhetoric pursued by many Enlightenment thinkers was highly egalitarian such as Philosopher Marie Jean Antoine Nicolas Caritat’s calls for universal human rights, and language critical of the slave trade found in Denis Diderot’s Encyclopédie (Wiesner-Hanks, 383). Yet, on the other hand, many Enlightenment philosophers used the new ideas and reasoning techniques to cement support for slavery. David Hume, for example, asserted that scientific developments of the modern era had proved Africans to be inferior to Europeans given their geographical origins, which he used to justify their continued enslavement (Wiesner-Hanks, 387). Other philosophers during this period seemed uncomfortable with slavery, yet were unwilling to openly challenge the institution, or to call for the abolition of the slave trade. In perhaps his most famous work, Candide, Voltaire portrays slavery in its monstrous reality when his protagonist meets a Black man in Surinam who gives a very accurate description of what life is like for slaves in South America. “They give us one pair of linen trunks twice a year as our only clothing. When we work in the sugar mills and catch our fingers in the grinder, they cut off our hand. When we try to escape, they cut off our leg” (Voltaire, 81). Yet despite this blunt description of the institution, Voltaire was known for including racist comments in his other works and never publicly called for the abolition of slavery (Gordon, 13). Suppression of the Slave Trade began in the early 19th century, most notably with the British abolition of the trade in 1807, which they attempted to enforce throughout the entire Atlantic. All slavery was formally abolished in most European colonies during the 1840s. Interestingly, much of the impetus for abolition came not from Enlightenment leaders, but instead from religious groups. The movement was led largely by religious groups often considered on the fringe of society such as the Quakers and the Methodists who felt that Christian morals forbade the continuation of slavery; a consensus many Enlightenment thinkers, both Christian and secular, had failed to come to (Wiesner-Hanks, 526). Notably, the United States, a nation founded on Enlightenment principles, retained legal slavery in parts of the country until 1863, several decades beyond most European nations. Source A related resource from which the described resource is derived Rijksmuseum, Amsterdam, Netherlands Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/25555af35c4f8aef41a4eafcb85f0772.JPG 8fde51c60acd52f9768f0790e3eaa218 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 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 Coffeehouses during the Enlightenment 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 17th Century Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Interior_of_a_London_Coffee-house,_17th_century.JPG Rights Information about rights held in and over the resource Public Domain Description An account of the resource The painting is of a London coffeehouse during the Enlightenment in the late 17th century. England was famous for its coffeehouses during the time. These places were public spheres where men (women were excluded) would exchange ideas and join discussions. Many historians regard the English coffee houses during the 17th and 18th centuries as the most important Enlightened public sphere in England, One could enter the coffeehouse with a penny, get their cup off coffee, and become part of that day's intellectual discussions. A penny would also grant the patrons access to newspapers. In fact, coffeehouses in Oxford earned a name for becoming "penny universities". They offered an alternate way of learning and passing on information that was different from the traditional classroom or court education. What made coffeehouses special and a symbol of the Age of Enlightenment was the fact that the coffee-house was not limited to a specific socio-economic or social class. They were open for everyone from a variety of classes to participate in and become engaged in the conversation. The price of coffee, a penny, brought people together and facilitated conversation. People could come to coffee houses and bring their diverse backgrounds and ideas with them to engage in debates. With the free and unrestricted flow of ideas in coffeehouses, rational discourse was possible (Calhoun). The coffeehouses played a significant role in the formation of the Enlightenment legacies as they are known today. Perhaps some of the most important ones that coffeehouses contributed to was to think freely, rationally, and openly. Historiographical debate: Historians have had varying opinions on the social significance of coffeehouses on the intellectual development of England (Calhoun). Initially, they were interpreted (under the Whig school of thought) as a catalyst in England's march towards a constitutional monarchy. These views were expressed during the times coffeehouses were in their golden age. However, Cowan, in 2005 argues that "the acceptance of coffee drinking was not a foregone conclusion but instead became socially legitimate through the new virtuoso culture of curiosity and an increasingly commercial world" (Calhoun 78). According to Calhoun, Cowan's interpretation does not get stuck on the Whig ideology and tries to look at the coffeehouse from a more objective standpoint. References: Calhoun, Bonnie. "Shaping the Public Sphere: English Coffeehouses and French Salons and the Age of the Enlightenment." Colgate Academic Review 3 (June 29, 2012): 75-99. https://earlymoderneurope.hist.sites.carleton.edu/files/original/c41757dbb920aac7e390cf833aa8e4e6.jpg 595bb4987aea92e1986fdc050ec47441 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images of the Plague in Rome, 1656 Creator An entity primarily responsible for making the resource Unknown 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 c. 1656 Source A related resource from which the described resource is derived <em>Episodes in the plague in Rome of 1656. Etching</em>, from Wellcome Collection. Original image <a href="https://wellcomecollection.org/works/uqzjdac7" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Free reuse (CC BY 4.0), with full license available <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" rel="noreferrer noopener">here</a>. Description An account of the resource Created sometime around the plague outbreak, this set of engravings show the suffering and response of Roman authorities to the spread of disease through the city in 1656. Rome, like the rest of Italy, underwent steep population and economic decline in the seventeenth century, driven in large part by multiple outbreaks of the plague. Although it proved more resilient than many of the cities of Italy, these scenes make clear the disease wreaked havoc in Rome (Alfani, np). Rome served as the center of the Papal States, the sprawling territory controlled directly by the pope, and the example of plague shows that the papacy, in its earthly role, was forced to confront the economic stagnation and decline that faced the whole of Italy (Hanlon, 208-209). The symbols of Christendom are present throughout the engravings, and although specific characters are difficult to discern, there are surely clerics walking the streets, carrying out their spiritual and sacramental duties. The Bishop of Rome confronted such outbreaks as the head of one branch of Christendom, but he confronted the seventeenth century’s economic and social upheaval not only as a pan-European leader, but as an Italian head of state. If there is any doubt of the Early Modern papacy’s implicit connection to the Italian peninsula, it should be remembered that when the Dutch Adrian VI died in 1523 it would be 455 years until a non-Italian sat on the Chair of Saint Peter. https://earlymoderneurope.hist.sites.carleton.edu/files/original/6541195885a37321fc9788de2b2cae60.jpg b382edb8e3fd9b15756e9e5a0da21db5 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 Engraving of the Sorbonne Description An account of the resource This image is of the Sorbonne, a famous building constructed in 1257 as part of the University of Paris. The university was founded in the latter half of the 12th century, one of the first such institutions to be established in Europe (“University of Paris”). The powerful connection between education and the church (hyperlink to previous page!) remained in many ways, an explicit example being that the members of universities were technically considered clergy (Wiesner-Hanks 35). These universities were attended by the elite and cultivated a culture of scholars who could communicate and share ideas with others around the world, as they were all educated in Latin. The number of universities grew steadily, from fifteen or twenty in 1300 to more than fifty only two centuries later (Wiesner-Hanks 35). In <em>Early Modern Europe, 1450-1789</em> Merry Wiesner-Hanks provides a quote from a 1442 petition to establish a university that demonstrates some of the reasons that they flourished in this time (36). The petitioners highlight the amount of influence and fame that a university would bring in from around the world, and that it will not only develop the wit of their own citizens but attract strangers from other lands to share their own knowledge. The curriculum in these universities focused on “law, medicine, theology, and philosophy […] along with a more general curriculum—the ‘liberal arts’” (Wiesner-Hanks 35). As the Renaissance gained momentum, university teachers began to embrace humanistic education, which focused on the literature and history of the Greeks and Romans. Humanistic education and thought would propagate itself, and it did, becoming one of the defining characteristics of the Renaissance (Wiesner-Hanks 37). Creator An entity primarily responsible for making the resource Unknown (Engraving) Date A point or period of time associated with an event in the lifecycle of the resource 17th Century Contributor An entity responsible for making contributions to the resource Benjamin Wightman Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Sorbonne_17thc.jpg https://earlymoderneurope.hist.sites.carleton.edu/files/original/155dccab612e82b4a49b7e465fdbe31c.jpg 857faac67cb85a097a2bd6d1b0e72b01 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 Engraving of the Jesuit Theater in the Collège de Clermont Creator An entity primarily responsible for making the resource Unknown (Engraving) Contributor An entity responsible for making contributions to the resource Benjamin Wightman Date A point or period of time associated with an event in the lifecycle of the resource Unknown Description An account of the resource With this image of the Jesuit theater in the Collège de Clermont, we return to one of the oldest established places of education in Europe—the University of Paris. The Collège de Clermont was one of the earliest schools established by the Jesuits, who were incredibly influential in shaping education in Europe. The Jesuits were a rigid and hierarchical Catholic sect that followed the teachings of Ignatius Loyola. They greatly valued education and founded schools across Europe where not just religious, but also scholastic teachings were embraced (Wiesner-Hanks 188). The Jesuits were rigorously trained, and this training was reflected in the effectiveness of their teaching. The Jesuit curriculum heavily promoted “languages and literature—the arts of communication” (Gordon 11). Communication may have been important to the Jesuits because of their large role in converting various peoples to Catholicism, which they did quite successfully in Eastern Europe (Wiesner-Hanks 189). The Collège de Clermont was one such Jesuit school, at which various influential figures studied, including the famous Voltaire. His education in these “arts of communication” is evident, becoming one of the most influential European writers of his time. His relationship with the Jesuits, however, was complicated, and for most of his life the Jesuits and Voltaire regarded each other with absolute animosity. One of Voltaire’s reasons for this was that “his Jesuit teachers had sexually used him when he was a schoolboy” (Gordon 9-10), a claim that reveals one problem in the Jesuit system. Because education was so tied to religion, and the Jesuits were the religious authority in the schools, they were the only authority present—there was no check present to stop them from abusing their students. While education had improved tremendously by this time, it was still powerfully tied to religion, and not always a safe environment for pupils. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Th%C3%A9atre_j%C3%A9suite_au_coll%C3%A8ge_de_Clermont.JPG 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. https://earlymoderneurope.hist.sites.carleton.edu/files/original/d7d1ba43c4f2cd8dffe0e714244cc22a.jpg f84b4bd42e936184e3dd6208928d6903 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 Engraving of Queen Elizabeth I, William Cecil and Sir Francis Walsingham Creator An entity primarily responsible for making the resource William Faithorne 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 1655 Description An account of the resource This picture depicts Queen Elizabeth I sitting in the middle, Willim Cecil and Sir Francis Walsingham, two major secretaries of Elizabeth, sitting on her side. William Cecil, who is sitting on her left, is a major figure to help her carry out the Elizabethan Big Science projects and review the petitions. During Queen Elizabeth I’s reign, England experienced great transformation “financially, militarily and geopolitically by investing in science and technology” (Harkness, 143). One significant systematic change was the “governmental and industrial patronage of science and technology that led to big budgets, big staffs, big machines, and big laboratories,” which is now described as Elizabethan “Big Science” (Harkness, 143). The motivation of such huge amount of investment includes the development of highly utilitarian technologies, for example, mining and alchemy techniques, glass making and salt manufacturing industries and maritime technologies, so that England would be able to equip itself with more secured trade routes and armed forces and increased the economic profit that came alongside with prosperous industries. Another reason for such investment was largely to promote understanding and exploration, which might be accompanied by exploitation, of the New World. This move was largely influenced by the European colonization after the Spanish Conquest of the New World. Elizabeth, as the second women monarch in England history, through the promotion of Big Science, planted the seed of the larger Scientific Revolution and encouraged new inventions to improve technological advancement and productivity. Though the system eventually collapsed because of defects of the patent system and financial crisis, and London technicians and investors were mainly committed to private profits instead of public profits, the urban sensitivity (Harkness, 180). Source A related resource from which the described resource is derived Faithorne, William. Queen Elizabeth I; Sir Francis Walsingham; William Cecil, 1st Baron Burghley. William Faithorne. https://upload.wikimedia.org/wikipedia/commons/a/ae/Queen_Elizabeth_I%3B_Sir_Francis_Walsingham%3B_William_Cecil%2C_1st_Baron_Burghley_by_William_Faithorne_%282%29.jpg. Rights Information about rights held in and over the resource Public Domain England Prominent Women Scientific Revolution https://earlymoderneurope.hist.sites.carleton.edu/files/original/595bf0beda72d8b8abed67669a240326.png 5f3e4e83532d11a2ef56b7eaf551bdf5 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 Moses Brought Before Pharaoh's Daughter Creator An entity primarily responsible for making the resource William Hogarth Contributor An entity responsible for making contributions to the resource Claire Guang Date A point or period of time associated with an event in the lifecycle of the resource 1746 Description An account of the resource During the 18th century, landscape became increasingly popular. Additionally, a new interest was placed on history painting. These pieces usually depict a moment in a story which were often moments in religious narratives. This particular piece by Hogarth depicts Moses being given away by his birth mother to the Egyptian princess, his new adopted mother. We don’t see a lot of religious works during this time, as the Anglican Church has become lax and complacent during the 18th century. Unlike previous centuries, religion was respected and tensions between religious groups were not high. Thus, interest in religion during this time was more academic and pragmatic. Although a religious piece, Hogarth does not use this moment to depict morals values, but rather to allude to the themes of childhood, charity, and adoption. This piece was given to the Foundling Hospital, and is one of Hogarth’s more uplifting pieces. His other pieces tended to focus on satire, and dark humor to point out the flaws of society. Source A related resource from which the described resource is derived https://www.wikiart.org/en/william-hogarth/moses-brought-before-pharaoh-s-daughter-1746 https://artuk.org/discover/artworks/moses-brought-before-pharaohs-daughter-191926 Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/17081415be2452336075eae0a9e403a1.png e7911d865fb14ff0555de0d6548d1e7b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with a Porcelain Jar Description An account of the resource Foreign art objects also piqued the interest of European clientele, and this painting depicts a Chinese porcelain vase in addition to other fruits and items acquired through trade. The painting highlights the assortment of items on the table by darkening the border of the painting and illuminating the art objects. Kalf combines exotic imported goods, such as the Qing dynasty vase, the lemon and peel which likely came from the Mediterranean, the Turkish rug, and the Venetian glass, with locally produced goods like the silver tray and wine glass to highlight Amsterdam as a central European trading site. During the early 17th century, the Dutch Republic founded the Wisselbank in Amsterdam as part of their emphasis on banking and trade “as central to the power structure of the state” (Soll 221). The Dutch people’s sophisticated ideas of finance helped bolster their trading relations and their marketplace “was famous for its luxury products and treasures” (Soll 222). This flourishing trade community allowed for an influx of exotic and foreign items that were appreciated by the elite. Only the upper classes could afford such luxury items, and their inclusion signaled not only Holland’s prosperity for trade but also the wealth of the owner of the painting. Creator An entity primarily responsible for making the resource William Kalf Source A related resource from which the described resource is derived <a href="http://collection.imamuseum.org/artwork/57562/" target="_blank" rel="noreferrer noopener">Indianapolis Museum of Art</a> Date A point or period of time associated with an event in the lifecycle of the resource 1669 Contributor An entity responsible for making contributions to the resource Rylyn Monahan China Holland Painting