16 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/03c95bb349d4a2611e054a555ab34bdc.jpg e3ebb718fbdea3775ccf1c54742f58d9 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 The Wealth of Nations Creator An entity primarily responsible for making the resource Adam Smith Date A point or period of time associated with an event in the lifecycle of the resource 1776 Description An account of the resource Adam Smith’s quintessential work of classical economic philosophy, Wealth of Nations, is seen as one of the most influential philosophical works of the entire Enlightenment era. In it, Smith bashes Mercantilist economic policies for their backward, unproductive effect on economies. Instead, he advocates for what he calls Laissez-Faire economics, meaning that the government plays a minimal, if not non-existent, role in their state’s economy. These theories could be seen as the birth of economic Liberalism, building off of John Locke’s treatises which advocate minimal government involvement in the everyday lives of its citizens. Smith goes further to say that the government should not touch the economy in any way in a capitalist system to have a genuinely productive and Liberal economy. Though Smith’s arguments could be seen to have developed in, and only in, a period of intellectual vitality such as the Enlightenment, it could be argued the period preceding the enlightenment had enough intellectual virtue to incubate Smith’s philosophical developments. Historian, Joel Mokyr argues that the developments and intellectual exuberance of the Scientific Revolution, which occurred before periods of liberal economic theory when mercantilism still reigned chief, were vital in setting the stage for the Industrial Revolution, which has a direct correspondence with the enlightenment in England based on their time periods (roughly the second half of the 18th Century)(1). 1. Mokyr, Joel. “Accounting for the Industrial Revolution.” Chapter. In The Cambridge Economic History of Modern Britain, edited by Roderick Floud and Paul Johnson, 1:1–27. Cambridge: Cambridge University Press, 2004. doi:10.1017/CHOL9780521820363.002. Source A related resource from which the described resource is derived Wikimedia Commons Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/12996978a7dca2a85ac8b72819c83ae3.jpg a16c5bfd1d41e1640197df38a5a08482 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 267 cm by 293 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 Wedding Creator An entity primarily responsible for making the resource Francisco Goya Contributor An entity responsible for making contributions to the resource Elliot Cahn Date A point or period of time associated with an event in the lifecycle of the resource Between 1791 and 1792 Description An account of the resource Philosopher Immanuel Kant defined the Enlightenment, an 18th century intellectual movement, as “man’s emergence from his self-imposed…inability to use…understanding without another’s guidance” (Jacob 203). Kant argues that there are two ways to use Enlightened reasoning: public use and private use. The former, which is the public expression of one’s view, is acceptable. Private use of reasoning, which occurs when one questions their occupation or obligation to society (such as upholding the law or paying taxes) to the point of disobedience, should be restricted according to Kant (Jacob 205). A good example of someone who adhered to Kant’s view on Enlightenment is the Spanish painter Francisco Goya. Goya eventually became a royal painter, but his first employment at the court, beginning in 1775, was to paint sketches for royal tapestries. The process of creating tapestries eliminated the detailed side of sketches, something Goya was able to exploit. He began adding subtle social criticisms to his work while producing paintings that would still lead to perfectly acceptable and uncontroversial tapestries. In a sense, Goya was communicating his condemnations of society without allowing his perspectives to influence the final product. The painting pictured above, titled The Wedding, is one such instance of Goya “voicing” his critiques. In it, Goya depicts a seemingly merry scene of a bride and husband exiting a church following their wedding. Closer examination, however, reveals the tragedy of the whole situation. The bride, who is young and beautiful, stands in stark contrast to the husband, who is older and ugly (which Goya uses to convey his immorality). Behind them, the father of the bride, dressed in green, finalizes his daughter’s sale to the husband by giving the local priest his share of the money. Source A related resource from which the described resource is derived https://upload.wikimedia.org/wikipedia/commons/6/64/Francisco_de_Goya_y_Lucientes_-_The_Wedding_-_WGA10010.jpg Jacob, Margaret C. The Enlightenment: A Brief History with Documents. Boston: Bedford/St. Martins, Macmillan Learning, 2017. Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/31fb1129bad100a779943fcbee544b74.jpg 9d97f49c73446c487313103bb2bead71 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 Thomas More's Utopia Creator An entity primarily responsible for making the resource Thomas More Contributor An entity responsible for making contributions to the resource Cassidy Bins Date A point or period of time associated with an event in the lifecycle of the resource 1516 Source A related resource from which the described resource is derived Photo: Wikimedia Commons More, Thomas. "Utopia." Project Gutenberg, https://www.gutenberg.org/files/2130/2130-h/2130-h.htm. Wiesner-Hanks, Merry. Early Modern Europe: 1450-1789. Cambridge University Press, 2013. Print. Rights Information about rights held in and over the resource Public domain. Description An account of the resource In 1516, English humanist Thomas More published one of his most famous and controversial works, a novel called Utopia. In it, More described an independent, law-abiding community living on an island. His community was devoid of crime and disagreement, but it also barred freedom of expression in the form of rebellion. More went into painstaking detail describing the layout of the island, the professions of its citizens, the Magistrates they were ruled by, and the manner in which they lived. Of particular note is the way governance was established in More’s Utopia. A “Prince” still sat at the top of the hierarchy, but he was chosen via anonymous vote, with the basis of election resting on his merit as a leader (More). More also warned against the Prince and his immediate subordinates plotting against their people, and placed priority on the debate of issues in council prior to enactment. Whether or not the book was written as satire, it provided commentary on European politics of More’s time (Wiesner-Hanks, 141). As Europe moved from Renaissance to reformation, class divisions were established and inflexible. In More’s native England, peasants farmed the land of noblemen, with their yields tapped into by the crown. In Utopia, the residents of the island farmed for subsistence, wore the same clothes no matter their “rank,” and did not assign nearly as much value to money (More). Yet, there is still irony to the fact that More’s invented world required slave labor to function. Utopia was influential for two main reasons: one, it circulated as a veiled criticism of England’s, and by extension Europe’s, condition involving social class at the time of its writing; and two, it introduced the underpinnings of socialism/communism which would later take hold in European literature. https://earlymoderneurope.hist.sites.carleton.edu/files/original/e4dac1437461a4b0489bde9b363b8a8d.jpeg 56cd88182c07f7ce30855cd9ed7feb64 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Physical Dimensions The actual physical size of the original image Not available. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Three Books on the Soul and Life Creator An entity primarily responsible for making the resource Juan Luis Vives, Veit Amerbach Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource 1555 Description An account of the resource Juan Luis Vives was a Spanish humanist who wrote about reforming the church and deepening spiritual life. One of his most prominent works was “Three Books on the Soul and Life,” a collection of writings about the soul and its relationship to the body. The various pieces included therein reflect on functions of reproduction, senses, emotion, and memory, which have caused some to label him the father of modern empirical psychology (Casini, 497). Vives’ writing is also notable as somewhat of a challenge to the church, as he states the soul’s functions as more physical, rather than spiritual. Furthermore, he states that the soul is not revealed solely through introspection, but is something that is always concealed— informally challenging the church’s practice of confession (Casini, 502). Vives wasn’t the only humanist to critique the church. His friend Erasmus also wrote numerous satire pieces about the problems of following church doctrine, and how many chose to only obey it in parts. This criticism, in turn, may have eventually led to the Protestant Reformation— a revolutionary change in the state of world religion (Wiesner-Hanks, 141). Finally, a lot of Vives’ ideas built off Plato and Aristotle’s writings on the soul, meaning Vives' writing provides an important example of humanism— where various scholars studied classic writings and discussed the ideas in further detail. For instance, his definition of the soul as "...the principal agent that inhabits a body equipped for life" comes from a combination of Platonic and Aristotelian ideas (Casini, 503). Source A related resource from which the described resource is derived “Ioannis Lodovici Vivis Valentini de Anima & Vita : Libri Tres ; Eivsdem Argvmenti Viti Amerbachii de Anima Libri IIII, Ex Ultima Autorum Eorundem Recognitione | Juan Luis Vives - Europeana Collections.” Accessed November 13, 2018. https://www.europeana.eu/portal/en/record/2022701/lod_oai_minerva_usc_es_10347____13315_ent0.html?q=De+anima+et+vita+libri+tres+. Merry E. Wiesner-Hanks, "Cultural and Intellectual Life, 1450-1600" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 141 Lorenzo Casini. "'Quid Sit Anima': Juan Luis Vives on the Soul and Its Relation to the Body." Renaissance Studies 24, no. 4 (2010): 496-517. http://www.jstor.org/stable/24419585. Rights Information about rights held in and over the resource Free Re-Use Humanism Soul spain Vives https://earlymoderneurope.hist.sites.carleton.edu/files/original/0f8096b533bdf5ee6e9aa1ef0f40e5f8.jpg 07800f9e1941ca70a96f50f1e3d1c2c1 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 Title Page of <em>A Vindication of the Rights of Woman</em> Creator An entity primarily responsible for making the resource Mary Wallstonecraft 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 1792 Description An account of the resource This is the title page of Mary Wollstonecraft’s <em>A Vindication of the Rights of Woman</em>, which was published in 1792. Wollstonecraft was a prolific English writer and powerful advocate for women’s rights, as the title of this book suggests. Chapter XII, titled “On National Education,” is the most pertinent section of this book to this exhibit. This document is incredibly useful for evaluating the state of education—in particular women’s education—at the end of the 18th century. In this chapter, Wollstonecraft identifies several vices resulting from purely public and purely private education as well as from educating members of either sex in isolation of the other. Her reasons for this are laid out in a powerful statement: “If marriage be the cement of society, mankind should all be educated after the same model, or the intercourse of the sexes will never deserve the name of fellowship, nor will women ever fulfill the peculiar duties of their sex, till they become enlightened citizens, till they become free by being enabled to earn their own subsistence, independent of men” (Wollstonecraft, "On National Education"). The language Wollstonecraft uses is clearly directed towards a male audience, as she speaks of women failing to fulfill the “duties of their sex.” These duties have been defined by men, and it would concern primarily men if women were not fulfilling their “wifely duties.” Wollstonecraft argues for women to be educated in the same manner as and together with men, evidence that this was surely not happening at this time. The entire chapter lays out well-structured defenses for equality between men and women in education, proving that such a thing did not exist, but that the idea of it was circulating. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Wollstonecraft-right-of-woman.jpg https://earlymoderneurope.hist.sites.carleton.edu/files/original/4fb468c2f039dfc2b4d52c6d69edc4fd.jpg cdbda4d7ae96b62eca30e6443c9fd458 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 Title Page of the Index Librorum Prohibitorum, 1564 Creator An entity primarily responsible for making the resource Pope Pius IV, 1564 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 1564 Source A related resource from which the described resource is derived Wikimedia Commons, original image available <a href="https://commons.wikimedia.org/wiki/File:Index_Librorum_Prohibitorum_1.jpg" target="_blank" rel="noreferrer noopener">here.</a> Rights Information about rights held in and over the resource Public Domain, full license available <a href="https://creativecommons.org/publicdomain/mark/1.0/deed.en" target="_blank" rel="noreferrer noopener">here</a>. Description An account of the resource In the face of a proliferation of Protestant books and other writings across the European continent, the papacy created the Index Librorum Prohibitorum, “the Index of Banned Books.” By outlawing the ownership and reading of works that expressed opinions counter to the teachings of the Catholic Church, sixteenth century popes like Paul IV and Pius IV, who authorized this particular version, hoped to stem the spread of Protestantism (Wiesner-Hanks, 187). Although the Index began in the sixteenth century as an anti-Protestant measure, the burgeoning “Enlightenment” of the seventeenth and eighteenth centuries produced another glut of works running afoul of Catholicism’s intellectual and spiritual guideposts. So during the Enlightenment the Index was printed again and again, each time updated with new works, like Voltaire’s Candide, which features promiscuous friars and perhaps most notably an old woman who is the illegitimate daughter of Pope Urban X (Voltaire, Ch. 11). There has never been an Urban X, and creating a fake pope served as an attempt to escape serious punishment for impugning the dignity of the papacy. Candide nevertheless made it onto the Index. The Index highlights the hostile response of papacy and Catholicism more generally to the intellectual developments of the seventeenth and eighteenth century, when individualism, personal liberties, and a belief in the primacy of scientific reasoning were on the rise thanks to John Locke, Denis Diderot, and other giants of the Enlightenment. If the Council of Trent illustrates the Church’s openness to moderate change, the Index demonstrates the papacy’s reactionary instincts. https://earlymoderneurope.hist.sites.carleton.edu/files/original/963301cb80984999f57478baacefa133.jpg ad7c19ac0f0bd34135a5b47de7a66903 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 1,577 × 2,124 pixels Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tobacco jar in the Trophy series, Real Fabrica de Alcora, Castellon, Spain, second period, 1764-1775 AD, ceramic (From Museo Nacional de Artes Decorativas in Madrid, Spain) Creator An entity primarily responsible for making the resource Daderot 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 10 October 2014, 07:01:17 Source A related resource from which the described resource is derived Daderot. English: Exhibit in the Museo Nacional de Artes Decorativas, Madrid, Spain. This Work Is in the Public Domain Because the Artist Died More than 100 Years Ago. Photography Was Permitted in the Museum without Restriction. October 10, 2014. Own work. https://commons.wikimedia.org/wiki/File:Tobacco_jar_in_the_Trophy_series,_Real_Fabrica_de_Alcora,_Castellon,_Spain,_second_period,_1764-1775_AD,_ceramic_-_Museo_Nacional_de_Artes_Decorativas_-_Madrid,_Spain_-_DSC08302.JPG. Marcy Norton, “Encountering Novelties” in Sacred Gifts, Profane Pleasures: A History of Tobacco and Chocolate in the Atlantic World, (Ithaca, NY: Cornell University Press, 2008), 44-62 Marcy Norton, “Tasting Empire: Chocolate and the European Internalization of Mesoamerican Aesthetics,” American Historical Review 111 (June 2006): 660-91. Peter Musgrave, “Europe’s Place in the World” in The Early Modern European Economy, (New York City, NY: St. Martin’s Press, 1999), 162-196 Rights Information about rights held in and over the resource Creative Commons CC0 1.0 Universal Public Domain Dedication. Description An account of the resource The first documented case of European tobacco initiation came in 1518 during Juan de Grijalva’s expedition of the Yucatán Peninsula (Norton, 48). As such, tobacco was initially viewed as a brokering tool, not as a commodity. Yet, it gradually grew in importance through published journals on Native Americans lives in the 1530s, being codified as a tool of the devil (Norton, 58). Thus, religious figures in Spain opposed its initial usage, alongside many New World goods like chocolate. Colonial Inquisition cases even revealed a link between chocolate and sorcery, as many women were prosecuted for chocolate-based cures or potions (Norton, 688). Despite the initial opposition, colonial goods were eventually brought over to Spain where they gradually built up local support. It’s unclear why these commodities gained support in Europe, but Marcy Norton suggests that it was a symbol of colonists’ continued independence, and the influence that they had on the Spanish metropole (Norton, 691). These colonists were coming to Europe as traders or for employment and forming communities where they used these goods, allowing them to spread in the wider area through local relationships and trade, despite the church’s opposition. These commodities also represented colonial independence through their production, as increased consumption in Spain led to the growth of massive industries which gave colonies new autonomy through financial power. As Norton notes, “…whereas in 1559 ‘non-European groceries’ accounted for less than 9 percent of the total value of English imports, by 1800 that proportion had risen to almost 35 percent” (Norton, 665). This increased production power meant a lesser reliance on European goods, allowing many to later push for independence (Musgrave, 185). Thus, tobacco represents a political and religious struggle led by the Spanish metropole to assert dominance over the colonies that ultimately failed, leaving behind independent colonies. Colonialism Independence spain Tobacco 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/a87e7675062de762c8674de6444e23cb.jpg ae5c3e648ae65f8d452a6d69f55a84b6 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 Town Hall (now the Royal Palace) of Amsterdam Creator An entity primarily responsible for making the resource Architect: Jacob van Campen Photo: C messier 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 Built 1648-1665 Photo: 2017 Description An account of the resource What is now the Royal Palace of Amsterdam was originally inaugurated in 1665 as the Town Hall of the City of Amsterdam, to be the "eighth wonder of the world". With the newfound independence from Spain thanks to the Peace of Westphalia, and with the Dutch Golden Age in full swing, the dilapidated medieval town hall no longer sufficed. Amsterdam was rapidly becoming Europe's most important and successful trade center, and according to its burgomasters, its town hall needed a revamp in order to represent the city's new status and prosperity (Beranek). Jacob van Campen's design was chosen for that very purpose. The new town hall was designed in the Dutch Classicist style, with particular focus on symmetry and ideal ratios––the resulting building is very orderly. The exterior of the hall sports Corinthian pilasters in sandstone (an unusual medium for the city) and above a pediment shows reliefs of the Maid of Amsterdam and the bounties of the sea, a tribute to the flourishing trade of the city. Sculptures of the allegorical figures Peace, Prudence, Justice, Temperance, and Fortitude rise from the roof (Beranek). The town hall also has a cupola, which houses a bell salvaged from the original building. Inside, the main barrel-vaulted citizen's hall stretches through most of the building, dominating the space, while two smaller interior courts flank the hall and allow light in. Structurally, it's something of a marvel; Amsterdam's soft ground rarely allowed for such large building projects, so nearly fourteen thousand wooden poles were driven into the ground to carry the weight of the new town hall ("About the Palace"). For two centuries after its construction, the hall was also the largest secular building in Europe, standing as a reflection of Amsterdam's power and prestige. The first stone of the new Amsterdam town hall was laid in 1848, shortly after the peace treaty assuring Dutch independence from Spain was finalized. Political autonomy was a crucially important for the Dutch during this period, as decentralized politics in the Netherlands opened up a plethora of avenues for economic growth––the lack of a central regulatory power resulted in significantly more freedom within the economy. It was also a definite source of pride for the people of the Dutch Republic, whose lands had been passed from hand to hand for centuries. Now that they were independent, the Dutch way could reign, and Dutch successes could remain uniquely Dutch; credit would be given were credit was due. This is absolutely exemplified by the creation of this new town hall. As soon as the Dutch Republic gained their independence, they proceeded to construct a grandiose seat of self-government that glorified their city and literally set Dutch values into stone, a veritable reflection of the pride which they held for their own achievements as a Dutch region. However, this sentiment was largely reversed when the town hall was converted into a residential palace after Napoleon asserted his power over the Republic and it was forced to accept Louis Napoleon as king in 1806. Even when power was returned to the Dutch monarchy, the old town hall remained a palace, as it was seen as important to have a palace in the capital city. Since then, it has always been a palace. But it's important not the diminish the reasons for which the town hall was originally built, and what it represented then: Dutch reclamation of their own independence, values, and prosperity in the context of their Golden Age. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Amsterdam_Royal_Palace_7299.jpg "About the Palace." Paleis Amsterdam, accessed November 2, 2018. https://www.paleisamsterdam.nl/en/about-palace/ Beranek, Saskia. "The Town Hall of Amsterdam," last modified September 7, 2017. https://smarthistory.org/amsterdam-hall/ Rights Information about rights held in and over the resource Creative Commons 4.0, free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/e94f8830de3d2670048fd1a63330ba49.jpg 50553dc89458fb813678c28169278abe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Treatises of Government Creator An entity primarily responsible for making the resource John Locke 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 1690 Description An account of the resource In Chapter 6 of Locke’s Two Treatises of Government about paternal power, he mentioned that the phrase “paternal power” seems to “place the power of parents over their children wholly in the father, as though the mother had no share in it; whereas reason and revelation both tell us that she has an equal title” (Locke, 304). He also mentioned that the one of the reasons why people would prefer “paternal” instead of “parental” is because “the monarchy wouldn’t be well supported if the very name showed that the fundamental authority from which they want to derive their government by only a single person belonged not to one person but to two” (Locke, 304). The word choice of “paternal” suggests a certain degree of absolute dominion that is only possible when one man is in power. Without any assistance or share of authority, the monarch, usually male, could yield his influence and leadership on the subordinate hierarchical orders. The association between paternal power and the political power of a monarch was built when using the word “paternal” instead of parental. By suggesting that there were fundamental differences between paternal and parental power, Locke was implying that in his view of the government, paternal power and political power should be separated, and could be achieved by including the mother’s responsibility of bringing up a child. He considered parental power more like a responsibility that would disappear when the children could think with reason, while submitting oneself to a political power is the voluntary will of an individual (Locke, 316). Locke’s argument, on a radical perspective, could be considered as the dissolution of the association between power and male identity. In the parental process, when women share the responsibility with men, they also share the power and influence that they have on their children with men, who was originally considered to have the sheer dominance on children, or a monarchical nation. Source A related resource from which the described resource is derived Locke, John. Two Treatises of Government, 1690. https://upload.wikimedia.org/wikipedia/commons/d/de/Locke_treatises_of_government_page.jpg. Rights Information about rights held in and over the resource Public Domain Locke Power https://earlymoderneurope.hist.sites.carleton.edu/files/original/9be8ba5a71e1ffca2630e38d146d4c95.jpg a66aa6c70defc14e49ae4582a29f79ad 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 Two Treatises of Government Creator An entity primarily responsible for making the resource John Locke Date A point or period of time associated with an event in the lifecycle of the resource 1690 Description An account of the resource In John Locke’s “Two Treatises of Government,” he breaks-down and refutes the argument of rival political philosopher Robert Filmer and establishes the framework for contract theory in civil society and the government. Specifically, in his second treatise, Locke defines the purpose of government as a protection for the “property” of individuals in civil society. He outlines the history of the development of government and illustrates how it revolved completely around property. Property is defined as “life, liberty, and the estate,” meaning it includes the individual self-determination of all synonyms. These could be seen as early elements of Liberalism, where government is seen as a vehicle for the protection of self-determination. In Liberalism, the government’s role in daily life is limited to minimize its interference in the lives of its citizens. The main role of the government is to ensure that all of its citizens have access to self-determination and individualism. In Locke’s treatise, the protection of property serves the same function as the protection of the individual will in Liberalism. Source A related resource from which the described resource is derived Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Locke_treatises_of_government_page.jpg) Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/5327ecdb5b0a98d0b20367533f7f4c6d.jpg b1d146fde1e0f0fdc409b28995be937a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two Woodcuts Creator An entity primarily responsible for making the resource Jost Amman Date A point or period of time associated with an event in the lifecycle of the resource 1568 Description An account of the resource An item of crucial importance to the Protestant Reformation was the printing press. The Reformation was a popular movement, which meant that people had to know about it and be taught what the reformers stood for. Bringing this information to the public would be impossible without the printing press. Invented in the mid-15^th century, the printing press allowed texts to be produced much more quickly and cheaply. This made it much easier to distribute materials that people could read and disseminate ideas throughout Europe. Without the printing press, Luther would not have been able to spread his ideas to the corners of Europe anywhere near as quickly, nor would he have had the capability to produce his translation of the Bible in later years. Colonization of the Americas would not have jolted into motion so suddenly—Matthew Restall argues in <em>Seven Myths of the Spanish Conquest</em> that a large part of the conquistadors’ popularity and glorified image was due to their ability to publish and spread their boastful letters sent back to the king (12). Many men still would have flocked to travel to the new world, but perhaps not as quickly without a shining image of Cortés to inspire them. One easy way to transfer information quickly was the woodcut. This allowed many copies of a work of art to be printed and distributed across Europe. These woodcuts illustrate the process of creating such an object. One figure is cutting the woodcut itself, and the other is stamping an inked woodcut onto paper. The woodcut allowed the printing press to easily convey not just words, but art, a powerful motivator. The ability to spread knowledge throughout the world is incredibly important for educating the general public, and is why I have chosen these woodcuts as an item. Contributor An entity responsible for making contributions to the resource Benjamin Wightman Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Woodcut,_early_demo.jpg