2 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/1f8db77c3b3e3af00410da7fd1ffc654.jpeg fe7f1042b477f9ce2d8d611dcabd6240 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 Marco Polo - Portrait | Severin Worm-Petersen Creator An entity primarily responsible for making the resource [Unknown] Photograph by Severin Worm-Petersen Contributor An entity responsible for making contributions to the resource Zach Irvin Date A point or period of time associated with an event in the lifecycle of the resource 1477 Description An account of the resource First published in Nuremberg in 1477, this woodcut portrait of Marco Polo describes the famous Venetian merchant as a “Great Traveller” and a discoverer of the “Great Wonders of the World”. Polo’s extensive travels to Asia in the late 13th century demonstrated the true scope of Europe’s emerging merchant capitalist model, marking the beginning of a global economic order and ushering in the “Age of Discovery” that accelerated a new era of globalization. Venice and other coastal cities quickly became bustling cultural centers, facilitating the rapid movement of wealth and intellectual discourse that characterized the changing social and political landscape of early modern Europe. With the distribution of his famous travelogue <em>Book of the Marvels of the World</em>, Polo continued to be a popular figure in Europe nearly two centuries after his death. As humanist thinking continued to dominate scholarly spheres, Marco Polo’s ambitious travels embodied the values of exploration and discovery, and expanded the European imagination to new and uncharted lands.  Source A related resource from which the described resource is derived Unknown. Marco Polo - Portrait, 1477. Woodcut, Norsk Teknisk Museum. <a href="https://www.europeana.eu/portal/en/record/2022608/NTM_NTM_UWP_07987.html?q=marco+polo">https://www.europeana.eu/portal/en/record/2022608/NTM_NTM_UWP_07987.html?q=marco+polo</a> Rights Information about rights held in and over the resource CC BY Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/c21658abefe0fc7486fd2f61dcc76168.jpeg 38f1ff671754e512beb64a0406bc940e 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 Print Physical Dimensions The actual physical size of the original image Height 179 mm Width 237 mm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El Escorial Creator An entity primarily responsible for making the resource Giacomo Lauro 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 1638 Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/90402/RP_P_2016_671_34.html?q=el+escorial+san+lorenzo El Escorial. Accessed November 16, 2018. https://el-escorial.com/. "Monastery and Site of the Escorial, Madrid." UNESCO World Heritage Centre. Accessed November 16, 2018. https://whc.unesco.org/en/list/318. Rights Information about rights held in and over the resource Free Re-use Description An account of the resource Spanish history has long been intertwined with the Catholic faith. Spain is famous for spreading and defending the religion wholeheartedly, and its Catholic tendencies are etched into its cultural identity. The devotion of King Philip II (reign 1556-1598), the monarch of Spain during the height of the nation’s influence, to Catholicism led him to view himself as the defender of the faith against threats such as the Protestant Reformation. This marriage between the crown and Catholicism inspired the creation of the Royal Monastery of San Lorenzo de El Escorial, an imposing combination of a church, a palace, a monastery, a college, and a royal burial site. Given this mix of functions, the Escorial, as the complex is commonly known, is a perfect cultural representation of the amalgamation of the Catholic Church and Spanish state during the sixteenth century. The symbols of the monarchy, namely the palace and royal crypt, surround a noticeably centrally located basilica. Renaissance values had a clear impact on the design of the Escorial, which is unsurprising given the first architect, Juan Bautista de Toledo, was once a student of Michelangelo and based the design of the basilica on St. Peter’s Basilica in Rome. While the grid layout of the compound is a potential reference to the martyrdom of St. Lawrence (San Lorenzo in Spanish), who was grilled alive, it also follows the city planning principles of era, which were inspired by ancient Roman building practices. The sober and monumental design of El Escorial implemented by the second architect, Juan de Herrera, continued to influence Spanish architecture even after the Renaissance period came to an end. https://earlymoderneurope.hist.sites.carleton.edu/files/original/520d8028c37abb114840913008935cf4.jpeg 067272f92471c1a210c4adef1cf310d6 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 (Oil on Canvas) Physical Dimensions The actual physical size of the original image Dimensions Netto : 56.2 x 49.7 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 Virgin and Child Creator An entity primarily responsible for making the resource Sofonisba Anguissola 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 1542-1623 Description An account of the resource Sofonisba Anguissola was a prominent court painter for Phillip II of Spain, crafting several notable portraits in her time. Her parents encouraged her to receive a humanist education in the arts and sciences and be tutored in painting by prominent artist Bernardino Campi in her early life, which afforded her the opportunity to go to Spain. She maintained a presence there from 1559 to 1580, serving as court painter and lady-in-waiting to Queen Elizabeth of Valois (Perlingieri, 10). She is considered the first Italian woman to gain international recognition for her art (Weisner-Hanks, 158). Beyond just portraits, Anguissola painted several religious scenes throughout her life. This painting in particular is important because it shows how Renaissance styles came from Italy and were modified in Spain. Much of Sofonisba’s work was influenced by her early interactions with Michelangelo, who encouraged her to paint with tense poses and a distinct emotionality. Both are seen in this scene in child Christ’s stoic pose, and Mary’s loving look (Perlingieri, 10). The Virgin and Child was a scene painted/sculpted repeatedly throughout history and multiple copies can be seen at many art museums. Therefore, it also provides a solid point of comparison for observing how accepted Spanish styles differed from others of the era. Anguissola even did other versions of the painting at different points in her life, which included more color and different poses for the pair. One such version can be found in her 1556 self-portrait, which features her painting Mary face to face with the child Christ (Wikimedia). Source A related resource from which the described resource is derived “Virgin and Child.” Europeana Collections. Accessed November 13, 2018. https://www.europeana.eu/portal/record/2020903/KMSsp77.html. “Sofonisba Anguissola.” Wikipedia, November 5, 2018. https://en.wikipedia.org/w/index.php?title=Sofonisba_Anguissola&oldid=867399751. Perlingieri, Ilya Sandra. "Sofonisba Anguissola's Early Sketches." Woman's Art Journal 9, no. 2 (1988): 10-14. doi:10.2307/1358314. Merry E. Wiesner-Hanks, "Cultural and Intellectual Life" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 158 Rights Information about rights held in and over the resource Free Painting Prominent Women Religion Renaissance spain Virgin and Child https://earlymoderneurope.hist.sites.carleton.edu/files/original/a26b840dd30492a8b84a1d962a283e72.jpeg 2ec7f49286a32164c958cdba7a7ecbf2 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 Wynkyn de Worde Papal Indulgence Creator An entity primarily responsible for making the resource Wynken de Worde Contributor An entity responsible for making contributions to the resource Zach Irvin Date A point or period of time associated with an event in the lifecycle of the resource c. 1497 Description An account of the resource Printed in Westminster in 1497, this papal indulgence was issued for the pilgrim shrine of St. James, Compostela in Spain. Throughout the late medieval age, indulgences such as this would have been paid through the Church as part of a process of penance and remission from the temporal punishments of sins. Just as empires accumulated great wealth during the Age of Discovery, so too did their churches. The evolution of Europe’s economy necessitated the adoption of common currency methods, facilitating more universal exchanges of goods and services and allowing money to become a common language throughout European empires. Much like the Church, the authority of the banknote was an unquestioned reality of early modern European life. So long as money was legitimate in the eyes of the Roman Catholic Church, churchgoers held that even grave sins could be absolved through one of these simple monetary exchanges. These exchanges did not, however, go unchallenged. Indulgences such as this would become a central critique of Martin Luther’s famous 95 Theses, as he accused the Church of commercializing the process of penance. Although Luther fundamentally challenged the foundations of the papacy, we will later see the Church continue to extend its wealth and influence throughout Europe’s growing global hegemony. Source A related resource from which the described resource is derived Wynken de Worde. Wynkyn de Worde Papal Indulgence, 1497. Printed Sheet, University of Edinburgh.<a href="https://www.europeana.eu/portal/en/record/9200261/BibliographicResource_3000058482938.html?q=Wynkyn+de+Worde+Papal+Indulgence">https://www.europeana.eu/portal/en/record/9200261/BibliographicResource_3000058482938.html?q=Wynkyn+de+Worde+Papal+Indulgence</a> Rights Information about rights held in and over the resource CC BY Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/2f504e7a0dd9477c8ffa9bf0c99970be.jpg 2851ea77d728573e4f9d1202d3cd70bf https://earlymoderneurope.hist.sites.carleton.edu/files/original/2c12d19e85cfc7511aaab41537e8ecec.jpg 11a83857f0b4ce711260a6d2f8e1db95 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 Uffizi complex Creator An entity primarily responsible for making the resource Architect: Giorgio Vasari Photos: Sebastien Amiet, Samuli Lintula 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 Construction began in 1560; it was completed in 1581. Photos: 2016 Description An account of the resource The Uffizi complex, while not as ornate or grandiose as many other hallmark examples of Renaissance architecture, encompasses many of the more subtle and social aspects of Renaissance art. It was commissioned by Cosimo de Medici to accommodate the offices of Florentine magistrates, but the top floor was made into a gallery for family and friends to see the Medici art collection ("History"). Structurally, Vasari's design is ripe with classical aspects; a long internal courtyard bisects the complex and leads to the street, and inside, gallery rooms open off of wide hallways resembling modified Greek stoa. Arched entryways are bordered with Doric columns, several rooms have their own pendentive domes, and the screen between the street and the courtyard mimics the open spaces that can be seen in ancient agoras, while still articulating the space. The expert symmetry and emphasis of perspective is a notable detail connecting this building to the Renaissance style that was so focused on living up to classical perfection. However, the building's uses are even more indicative of its era. Although it was designed and constructed to serve an administrative purpose, housing offices and official spaces for the Florentine judiciary, the plans included space for an art gallery from the get-go, portraying the ubiquitous importance that art held in Renaissance society for those who could afford it. (As the years went on, more and more of the space became dedicated to showing art, and the initial administrative purpose of the space took on a secondary role ("History").) According to Vasari himself, the Uffizi became a site where great artists like Leonardo da Vinci and Michelangelo gathered to appreciate the space and the company of others in the art world. It's important, too, to note that the patron was one of the most powerful players in Florence during the Renaissance: Cosimo de Medici, one of the most active and influential members of one of the most dominant dynastic families in Italy at the time. It's difficult to get a closer view of the patronage system in the Renaissance art world than this: great famed artists (like Vasari) would design and create works of art and architecture that met the specifications of wealthy and powerful people (like Cosimo), almost like contractors. Such was the art world of the Renaissance. In addition: the Uffizi complex stayed in Medici hands for many years, until the building and the Medici collections were gifted to the city of Florence by the last Medici heiress in the mid-1700s. Now, the Uffizi is one of the largest and most visited art museums in the world. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Galleria_degli_Uffizi_court_crop.JPG https://commons.wikimedia.org/wiki/File:Gallerie_des_Offices_Florence_(28941190940).jpg "History: The Uffizi." Le Gallerie degli Uffizi. Accessed September 24, 2018. https://www.uffizi.it/en/the-uffizi/history Rights Information about rights held in and over the resource Creative Commons 3.0, free re-use Creative Commons 2.0, free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/92b533c3ce2f3c4d297f133009bca309.jpeg c3a0fa5000f9a4571b4abc56eed28b08 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 Oil on canvas Physical Dimensions The actual physical size of the original image 448 x 301 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 Martirio de San Mauricio Creator An entity primarily responsible for making the resource El Greco 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 1580-1582 Description An account of the resource Despite being born in Crete, Doménikos Theotokópoulos is perhaps the most recognizable Spanish painter from the 16th century. Known as El Greco, the artist moved from Venetian Greece to Venice itself to study sometime between the ages of 19 and 25, becoming a student of Titian. Eventually, El Greco moved to Rome, where he became acquainted with the work of previous masters such as Michelangelo and Raphael (Braham 307). During his time in Italy, El Greco became acquainted with prominent humanist intellectuals. After he relocated to Spain, El Greco became friends with numerous Spanish humanists and maintained a personal collection of works inspiring to humanists (Wethey). A major focus of humanist painters was the beauty of the human form (Cast 416). El Greco provides a fascinating contrast between the medieval and Renaissance humanist methods of painting as he grew up as a medieval-style painter on Crete but rapidly transformed his form when he arrived in Italy to mimic the work of Renaissance icons. His approach took another turn around the time he left for Spain, which is the style El Greco is most associated with. Human figures in his paintings maintained the glorified muscular form similar to that of Michelangelo, but with a height no longer proportional to their width, resulting in tall, skinny, occasionally blurry figures that communicated a certain divinity. El Greco was a devout Catholic and believed in the importance of man as a spiritual being, something which he emphasized in his religious work. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/2058612/object_maeyaert_19061999.html?q=el+greco+martirio+de Braham, Allan. "Two Notes on El Greco and Michelangelo." The Burlington Magazine 108, no. 759 (1966): 307-10. http://www.jstor.org/stable/874984. Cast, David. "HUMANISM AND ART." In Renaissance Humanism, Volume 3: Foundations, Forms, and Legacy, edited by Rabil Albert, 412-49. PHILADELPHIA: University of Pennsylvania Press, 1988. http://www.jstor.org/stable/j.ctv512qm8.16. Wethey, Harold E. "El Greco." Encyclopædia Britannica. May 30, 2018. Accessed November 16, 2018. https://www.britannica.com/biography/El-Greco. Rights Information about rights held in and over the resource Limited Re-use 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/b810a6584c72c88cea4793807c47d4ae.jpg ab0c010aa7aeb733eb01b029ca47b43e 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 Marekerk in Leiden, Netherlands Creator An entity primarily responsible for making the resource Architect: Arent van 's-Gravesande Engraving: Frederik de Wit 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 Work began in 1639 and it was completed in 1649. Engraving: around 1698 Description An account of the resource The Marekerk in Leiden is an exceptionally interesting study in how values can impact design when it comes to functional buildings, like churches. This is one of several Lutheran churches built in this style in the Netherlands, where Protestantism crescendoed in popularity from the Reformation onward. The Marekerk is a "round" church, an architectural style which diverges substantially from the traditional European church template, with a cruciform ground plan (that is, a long nave with a transept crossing through, meaning the church is shaped like a cross). This sort of symbolic architecture is given up in the round church in favor of practicality. The structure becomes octagonal, with the pulpit and altar in one corner and thus much closer to the congregation at large than it would be with a long, rectangular nave. In addition, there's little ornamentation in this church, complying with the Protestant aversion to religious iconography (Rehn Wolfman). The building is still impressive, though, emphasizing the primacy of religion above all else; it was the tallest building in the Leiden skyline for a long while, and is thus visible from far away with its attractive dome and clocktower. It's also situated on the convergence of two canals, overlooking the water and allowing for easy access. Though this church was built much later than the events of the Protestant Reformation, it is an early example of a church built as a Lutheran church (rather than adapted from an older Catholic church into a Protestant one) with the expectation of a large congregation. Both of these factors influenced the design (De Marekerk). Protestant services were very different from Catholic ones; while most Catholic services were still performed in Latin, Protestant worship was almost always in the vernacular, the goal of which being that the congregation could understand everything that was being said. It was important, then, that they could hear it. This is the main reason for the round church's shape: with the congregation situated around the priest and the altar, almost like an amphitheater, it would be much easier for a large number of people to hear and engage with the scripture readings and the homily. As a city church, the Marekerk also had to find an effective way to make sure that a large congregation could be accommodated without jeopardizing their proximity to (and potential understanding of) the service. While the circular space helped with this, it also provided for favorable acoustics, allowing the sound of the priest's voice to travel farther and more evenly than it would in the odd corridors of a traditional cruciform church. Leiden's Marekerk is thus a very interesting study in the way targeted design achieves ideal functionality. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Atlas_de_Wit_1698-pl017b-Leiden_-_Marekerk.jpg "De Marekerk (The Marekerk)." Marekerk. Accessed September 24, 2018. http://www.marekerk.nl/gebouw/de-marekerk/ Rehn Wolfman, Ursula. "Martin Luther and the Impact of the Reformation on Art, Architecture, and Music" last modified November 12, 2017. http://www.interlude.hk/front/martin-luther-impact-reformation-architecture-art-music/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/ecb4b29251b11c1bdfed1e8adc437062.jpg 71742ddac6f487d560a87001910b48cf 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 Foxe's Book of Martyrs Source A related resource from which the described resource is derived Photo: Wellcome Collection https://wellcomecollection.org/works/t4q4gswu Foxe, John. Book of Martyrs. Edited by William Byron Forbush, Christian Classics Ethereal Library, http://www.ccel.org/f/foxe/martyrs/home.html. Wiesner-Hanks, Merry. Early Modern Europe: 1450-1789. Cambridge University Press, 2013. Print. Rights Information about rights held in and over the resource Free to use with attribution (CC BY 4.0). Creator An entity primarily responsible for making the resource John Foxe Contributor An entity responsible for making contributions to the resource Cassidy Bins Description An account of the resource The image selected is an engraving of two scenes from John Foxe's Book of Martyrs. The book was originally printed via woodcut, a method of printmaking in which blocks of wood were engraved to depict a certain scene, covered with ink, and then pressed to paper. Foxe’s work was universal in the sense that the illustrations, gruesome as they were, allowed for the illiterate to fully comprehend the scope of the violence inflicted upon Protestant martyrs. The book is a response to the brutality of the Protestant Reformation (particularly under Catholic Mary Tudor's reign from 1553-8), as well as an informative and instigative tool for those who took issue with the encroachment of Catholicism upon England (Wiesner-Hanks, 9). So many Protestants were killed during this time that John Foxe began to catalogue their deaths via printmaking. Evidently in favor of the Church of England, Foxe's book remained a fixture of the English Reformation, which sought to divert Roman Catholic authority from the crown. Foxe’s Book of Martyrs exists now, as it did then, as a record of Protestant persecution: it clues readers in to one aspect of the greater religious conflicts of the Reformation years. Moreover, Foxe’s perspective represents that of a learned Protestant (learned in the sense that he studied the classics) moved to action such that he worked to disseminate all that he had witnessed across borders -- not only does he relate stories of violence from England, but the book’s twenty-two chapters cover Germany, the Netherlands, and French Protestants. In essence, Foxe’s Book of Martyrs is a prominent example of art/literature created to convey a specific religious and political message. Date A point or period of time associated with an event in the lifecycle of the resource 1563 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/37de022dcfea74d7f32af54ee93f68f2.jpg 5437e8494381e7868a843394fda6889f 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 Illustration of Westminster Abbey Description An account of the resource Before beginning the discussion of education in Early Modern Europe, Medieval education should be examined. There was institutionalized education before the development of universities, but it took a very different form. In medieval Europe, the power and onus of education lay entirely in the hands of the church. The vast majority of the people who were literate in the early Middle Ages were members of the clergy, who were trained in basic Latin. Literacy and the breadth of education began to improve towards the end of the era, but it was still entirely under the wing of the Church. Monasteries like Westminster Abbey became centers of cultural and educational life. Noble families would send their children to monasteries for the purpose of obtaining an education (Wiesner-Hanks 35). Westminster Abbey itself has since become much more than a simple monastery, but it was founded c. 960 C.E. by Benedictine monks (“History of Westminster Abbey”). The monastery was expanded several times in the following centuries by English kings. By the 16th century, parishes began to take over as the main arm of education for religious institutions, establishing schools for local children and spreading basic literacy to a wider population (Wiesner-Hanks 130). Many monasteries found themselves converted into universities, offering a more rigorous mode of education for those who wished to pursue it. Creator An entity primarily responsible for making the resource Thomas Malton Jr. Date A point or period of time associated with an event in the lifecycle of the resource 1739 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:Westminster_AbbeyMalton1793.jpg