4 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/65f71f11b51129be8926d42f31494371.jpg 8ee44924342767ca24b487e48682458c 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 Early Anatomical Theater of Leiden University Creator An entity primarily responsible for making the resource Johannes Woudanus (Painting) Date A point or period of time associated with an event in the lifecycle of the resource Early 17th Century Description An account of the resource The drawing is a visual representation of the Leiden Anatomical Theater in Leiden, Netherlands. In 1597, Dutch professor Petrus put the anatomical theater into permanent use. Anatomical theaters of universities are regarded as one of the symbols of the Scientific Revolution in Europe. At the time, delving deep into understanding the human body and making sense of it was a novel concept. The move towards exploration got many individuals in the scientific communities interested and excited. In the Leiden Anatomy Theater, the dissections were carried out on the corpses of criminals and the dissection itself was regarded as a ceremony. Music accompanied the dissections and the room was covered with perfume smell ("The Anatomical..."). In these institues, mostly learned men and other members of the public would gather and discuss new ideas and theories about the human anatomy by physically experimenting and observing the human body. Dissections were carried out in public to give birth to new questions and find experimental evidence to make room for new arguments. Views on the Galenic theories and the humoral system were slowly changing and being challenged as new information and evidence came to light. The importance of blood and other bodily fluids were slowly being understood and realized ("The Anatomical..."). References: "HIS291: Leiden Anatomy Theater." Princeton University. Accessed November 18, 2018. https://www.princeton.edu/. "The Anatomical Theatre." The Kunst Kamera Museum of St. Petersburg. Accessed November 18, 2018. http://www.kunstkamera.ru/en/museum/kunst_hist/kunstkamera_building/4_3/. Source A related resource from which the described resource is derived https://en.wikipedia.org/wiki/Anatomical_theatre#/media/File:Anatomical_theatre_Leiden.jpg Rights Information about rights held in and over the resource Public Domain Contributor An entity responsible for making contributions to the resource Kaan Taskintuna https://earlymoderneurope.hist.sites.carleton.edu/files/original/e1357fdc92d8ae9e7db027e5f9737434.jpg 763bf3a55fd5c914b10ce2f76ec5b555 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Engraving 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 Early depiction of a ‘dutch telescope’ Creator An entity primarily responsible for making the resource Adriaen van de Venne Contributor An entity responsible for making contributions to the resource Adam Smart Date A point or period of time associated with an event in the lifecycle of the resource 1624 Description An account of the resource The development of the earliest telescopes is the source of some debate among historians, as numerous individuals claimed to be the inventors of the telescope. The Low Countries and Italy both emerge as potential locations for its invention, and numerous individuals claimed to have conceived of the invention or pursued patents. Hans Lippershey first applied for a patent for the telescope in the Netherlands in 1608, but the patent was denied as the patent office had identified others capable of making similar devices (van Helden 20-21). Conceptually, the telescope appeared it Italy in the writings of Giovanni Battista della Porta, who claimed to have invented the device first after hearing of Galileo’s successes with his telescope (Freedberg 101). Galileo acknowledged the primacy of an unnamed Dutch inventor in developing a telescope, but also declared he had invented the telescope, contrasting his invention as an enlightened development against a Dutch accident while making glasses (Rosen 305-306). Historian Albert van Helden approaches the declaration of a sole inventor cautiously, declaring that “the telescope was not invented, so to speak, ex nihilo” (van Helden 24). In other words, the telescope did not suddenly appear as a new invention, but instead emerged from a much larger history of lens-making and optics. Van Helden restates the question of “Who invented the telescope?” as “who first realized that such a device could be used for another purpose and set about adapting and improving it in order to obtain the greatest magnification possible?” (van Helden 24-25). This approach to analyzing the development of the telescope acknowledges the process as ingrained in the wider context of optical developments. Historian Engel Sluiter, alternatively, approaches the invention of the telescope as a development that began with Lippershey’s invention and attributed the source to the Low Countries alone, stating “its dispersion was entirely from the Low Countries outward” (Sluiter 228). Sluiter divides the development of the telescope into “phases,” where the first phase spans its “invention to dispersion over Europe,” and ends with Galileo’s use of the telescope (Sluiter 223). This interpretation characterizes the development of the telescope as a more revolutionary event that initiated a phase of rapid dispersion and innovation. While Sluiter’s interpretation aligns more neatly with the perceived speed at which the telescope was spread across Europe (which Sluiter himself tracks in detail), van Helden’s wider look at the intellectual and practical roots of the development of the telescope supports and acknowledges the complexity in even identifying a singular inventor of the device. Works Cited Freedberg, David. “The Telescope: Imperfection in the Heavens.” The Eye of the Lynx.101-117. University of Chicago Press, 2002. Rosen, Edward. "Did Galileo Claim He Invented the Telescope?" Proceedings of the American Philosophical Society 98, no. 5 (1954): 304-12. <a href="http://www.jstor.org/stable/3143908">http://www.jstor.org/stable/3143908</a>. Sluiter, Engel. “The Telescope Before Galileo.” Journal for the History of Astronomy 28, no. 3 (1997): 223-234. doi:10.1177/002182869702800302. Van Helden, Albert. "The Invention of the Telescope." Transactions of the American Philosophical Society 67, no. 4 (1977): 1-67. doi:10.2307/1006276. Source A related resource from which the described resource is derived <a href="https://commons.wikimedia.org/wiki/File:Emblemata_1624.jpg">https://commons.wikimedia.org/wiki/File:Emblemata_1624.jpg</a> Rights Information about rights held in and over the resource This item is in the public domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/677268bf95ea801c181a974c8ada35e2.pdf 18cc6468c9c5747d0a885acb9296fdce Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edict of Restitution Creator An entity primarily responsible for making the resource Ferdinand II Contributor An entity responsible for making contributions to the resource Andrew Fitch Date A point or period of time associated with an event in the lifecycle of the resource 1629 Description An account of the resource The Edict of Restitution was published by Holy Roman Emperor Ferdinand II in 1629. It laid out a set of orders that had the potential to marginalize Protestantism in the Holy Roman Empire and pave the way for a centralized and unified Germany. Ferdinand’s intended audience was for this edict was the Protestant estates scattered throughout Germany. In the Edict, Ferdinand framed his points and orders as being unbiased and done in the name of justice. He did this by claiming that Protestant estates were in direct violation of the principles laid out in the Peace of Augsburg and the Treaty of Passau, citing the illegal conversion of Catholic territories to Protestantism (Brady 2). Furthermore, any grievances that the Protestant states made were refuted by Ferdinand using these same principles (Brady 2). Yet despite his attempts to feign objectiveness, he was clearly biased towards Catholicism due to his end goal of building a more unified Catholic state in Germany. This goal is evident when viewed through the relevant historical context of the time. Over the last eleven years, the Catholic League was having immense success against the Protestant Union in the early years of the 30 Years War (Wiesner-Hanks 322). This shows that Ferdinand’s marginalization of Protestants was an attempt to capitalize on his recent victories by consolidating and expanding his power. Perhaps the most significant portion of the Edict is the last few paragraphs in which Ferdinand declares that lands, including bishoprics, hospitals, and monasteries, that had converted to Protestantism since the Peace of Augsburg in 1555 must be returned to Catholic rule (Brady 3). Again, Ferdinand didn’t frame this order as an attempt to seize and consolidate power, but as an issue “on which the Peace principally depends”. Another important passage is Ferdinand’s reaffirming of the unlawfulness of other Protestant sects, particularly Calvinism, when he says, “adherents of the Confession of Augsburg have no grounds for complaint that their fellow religionists, who possess or desire to take over ecclesiastical foundations, bishoprics, and prelacies immediate to the Empire” (Brady 2). This again shows Ferdinand's goal of undermining Protestantism in Germany. Unfortunately for Ferdinand, the string of victories that inspired him to pass his Edict would not last as other countries banded against him in order to prevent his dream of a powerful, centralized German state of coming to fruition (Wiesner-Hanks 322). Source A related resource from which the described resource is derived “The Catholic Triumph - The Edict of Restitution (March 6, 1629)”, a document by Ferdinand II. Translated by Thomas Brady Jr. In From the Reformation to the 30 Years War (1500 1648), edited by Gunther Fraz, volume 1. German History in Documents and Images, German Historical Institute, Washington, DC (http://ghdi.ghi-dc.org/docpage.cfm?docpage_id=5403). Rights Information about rights held in and over the resource Used with permission https://earlymoderneurope.hist.sites.carleton.edu/files/original/2069767cba843ec28da8147d45d8fec6.jpg c7e58d9bc600e8976946dfa5156d68d1 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 Eggenberg Palace Creator An entity primarily responsible for making the resource Architect: Giovanni Pietro de Pomis Photo: Hiltibold 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 Completed 1635 Photo: 2015 Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Schloss_Eggenberg_--_Eggenberg_Palace_(21653950146).jpg Lippman, Wolfgang. "Architecture at the Time of the Thirty Years' War: Churches and Castles in the German-Speaking Countries." 1998. http://archiv.ub.uni-heidelberg.de/artdok/3347/1/Lippmann_Architecture_in_the_time_of_the_Thirty_Years_War_1998.pdf "Schloss Eggenberg." Universalmuseum Joanneum. Accessed October 26, 2018. https://www.museum-joanneum.at/en/palace-and-gardens-schloss-eggenberg Rights Information about rights held in and over the resource Creative Commons 2.0, free re-use Description An account of the resource The Eggenberg Palace, begun in 1625 by Hans Ulrich von Eggenberg, is a very interesting exhibition of the way one man's life was changed by political power in the context of the Thirty Years' War. Before Hans' alterations, this was a rather modest medieval family residence, which was incorporated in the much newer and more grandiose palace that stands today. The design was inspired by El Escorial in Spain (Lippman), and echoes its strict symmetry: Eggenberg Palace is rectangular, almost fortress-like, with stout towers at each corner and a central chapel as well. Within the palace is a small and square courtyard, onto which face three floors of open hallways with clerestory arches. The state rooms inside are tiled with black and white marble and feature a curved ceiling decorated by beautiful paintings laid in opulent stucco surrounds; the culmination of these rooms is the Planetary Room, in which a cycle of astrology-themed paintings line the walls ("Schloss..."). Further paintings display mythological, ancient, biblical, and modern history. Many of the more ostentatious aspects of the decor were actually added by later Eggenbergs, but Hans himself did not shy away from ornamentation. Eggenberg Palace is very much a product of its owner. It had always been the family estate, and the old medieval residence had sufficed, until Hans Ulrich von Eggenberg became an Imperial prince and later Governor of Inner Austria. Coming from a relatively simple Protestant upbringing, Hans converted to Catholicism in order to serve at court and became one of Ferdinand II's closest confidantes, vastly increasing his power and prestige in the process ("Schloss..."). With his new status as a European statesman, the rather modest old estate would need to be transformed into a lavish princely one, representative of his new standing––hence the drive to expand and create a true palace (Lippman). The entirety of the construction took place during the Thirty Years' War, a marked difference from most construction projects during the period, which were largely interrupted by the war. Hans was part of a minority that personally benefitted from the events of the war, as his ascension to power attests; this new power in the context of a wartorn Germany allowed him the capacity to undertake and complete such an expensive and impressive project during a period of such instability. Hans Ulrich von Eggenberg and his castle thus exemplify the importance of individual power in the context of the Thirty Years' War. https://earlymoderneurope.hist.sites.carleton.edu/files/original/1feb2220e41926824e07d7ba0ed62bed.jpg 35b7ed22cc9d8a4f979224e52f86f116 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 19x32 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource El Escorial Creator An entity primarily responsible for making the resource Painting: Michel Ange Houasse Architect: Juan Bautista de Toledo Contributor An entity responsible for making contributions to the resource Brendan Glenn Date A point or period of time associated with an event in the lifecycle of the resource Completed 1584 Description An account of the resource The Monastery of San Lorenzo de El Escorial (usually referred to simply as “El Escorial”) might be seen as the physical embodiment of the Spanish Golden Age. At once austere and ornate, martial and scholarly, tradition-stamped and forward-looking, it reflects the conflicted but unquestionably vibrant culture and outlook of the nation which produced it. Located at the foot of a mountain 28 miles from the Spanish capital of Madrid, El Escorial was built starting in 1563 by the architect Juan Bautista de Toledo. The building was commissioned by Philip II of Spain in order to serve two purposes: its secular function was to serve as a palace for Philip and as a tomb for his parents, Holy Roman Emperor Charles V and Isabella of Portugal, while its religious function was as a monastery, school, and the location of a basilica (Patrimonio Nacional, Royal Site of San Lorenzo de El Escorial). Seen from the exterior, El Escorial is a strikingly austere building of grey-brown stone and sharp angles. The squat, square towers at its corners and regiments of rectangular windows standing at attention on its walls create the impression less of a palace than of a fortress. Nonetheless, El Escorial is hardly crude. The facade is reminiscent of those constructed for contemporary Renaissance churches, built in the style of a Greco-Roman temple, which is to say proportioned according to the Golden Ratio and boasting two rows of pilasters and a pediment on top. It isn’t as colorful or ornate as some Italian churches, but it signals that this is a building created by people in touch with tradition as well as with high culture. The incredibly ornate altar of the Real Basílica de San Lorenzo, however, makes up for the subtlety of El Escorial’s facade. The church, which was the central building in the palace/monastery complex, has a richly-painted altar screen which stands more than 80 feet tall and is flanked by bronze statues, and the ceiling is also painted with scenes of heaven (Monasterio del Escorial, Basílica). Still, the basilica’s style, with its simple Romanesque arches and towering grey walls, is less extravagant than the Baroque churches which were beginning to be built in the later 1500s, and again reinforces El Escorial’s almost martial asceticism. The design of the El Escorial complex twines together the religious, military, and royal in the same way that Spain had done under Philip II and his predecessors and would continue to do throughout its Golden Age. This was the land of the most famous and brutal Inquisition, the country rapidly on its way to ruling a good fraction of the Earth, and the most powerful bastion of Catholicism outside Rome. What is more emblematic of that than a fortress-like mountain palace filled with monks training to defend the faith? Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Vista_del_Monasterio_de_El_Escorial,_por_Michel-Ange_Houasse.jpg Patrimonio Nacional, Royal Site of San Lorenzo de El Escorial, 2018. http://www.patrimonionacional.es/real-sitio/real-sitio-de-san-lorenzo-de-el-escorial?language=en Monasterio del Escorial, Basilica, 2018. http://monasteriodelescorial.com/basilica/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/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/af0651fc26a2439e41f4ba67ee9893b1.jpeg 36fde1821d93a0fa51a8f3ddf3068b13 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 Emile, or On Education Creator An entity primarily responsible for making the resource Jean-Jacques Rousseau 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 1762 Description An account of the resource “The male is male only at certain moments; the female is female her whole life… everything constantly recalls her sex to her, and to fulfill its functions, an appropriate physical constitution is necessary to her… she needs a soft sedentary life to suckle her babies. How much care and tenderness does she need to hold her family together!... The rigid strictness of the duties owed by the sexes is not and cannot be the same.” ——Rousseau, Emile As the Enlightenment thinkers started to theorize about humanity in general, gender became an unavoidable topic. As anatomical studies on the human bodies developed, understanding about the foundational physical constitution between men and women had already widely gained recognition. Because of the physiological makeup of the reproductive system of women, there were an “increasing stress on women’s unique fitness for the role of wife and mother” (Outram, 83). In the contrast, the anatomical studies that argued that women had a smaller brain size compared to men “demonstrated their unfitness for intellectual pursuits” (Outram, 82). The difference in biological construct thus further led to the contrast of social identity between women and men, as Rousseau suggests in Emile. The softness of women that came along their nature to bring up children were increasingly being considered as femininity and they were viewed as “social glue” because they were able to “correct that rudeness which passion and pride introduce into the company of men (Taylor, 82). "Their delicate hand smoothes the asperities of life” (Taylor, 82). Women were considered as the civilizer of men and guardian of the society. At the same time, women were also the consumer of the society. The luxury that they acquired “had been depicted as a quintessentially feminine vice, with critics from Cato to Augustine to Montesquieu loud in their denunciations of female extravagance and indulgence” (Taylor, 79). While Voltaire could be considered as a representation of thinkers who agreed with the natural distinction between men and women, there were also radical Enlightenment thinker who “denounced misogyny barbaric and argued that traditional female vice —weakness, silliness, frivolity— were either male inventions or products of oppression” (Taylor, 83). Such radical thinking seemed to reconcile the central paradox in Enlightenment thinking about the inconsistent roles and ability of women. It also showed the rudiment of the modern gender equality thinking. Source A related resource from which the described resource is derived Rousseau, Jean-Jacques. Emile, or On Education, 1762. https://commons.wikimedia.org/wiki/File:EmileTitle.jpeg. Rights Information about rights held in and over the resource Public Domain enlightenment Rousseau https://earlymoderneurope.hist.sites.carleton.edu/files/original/fda3ac76f38c70cf59c70889083fa3cf.jpg 1aa144b1d158fa1c2cad0375972e884f 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 Empress Maria Theresia of Austria Creator An entity primarily responsible for making the resource Martin van Meytens 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 1759 Description An account of the resource During the era of constantly changing political power and international affair, the Austrian Habsburg faced a succession problem after the death of Charles VI who had no sons. The succession of a women emperor in Europe was generally rare during the early modern period. Although the imperial law, which was based on the Salic Law, officially prohibited the emperorship passing to a woman, Charles managed to issue a Pragmatic Sanction, allowing his eldest daughter, Maria Theresa, to inherit (Weisner-hanks, 351). However, despite the fact that a number of states within the Empire and most other European countries agreed on the imperial decree, several breached their promises, attacked Austria and tried to claim parts of the territory of Maria Theresa (Weisner-hanks, 351). The social norm of having a male emperor and the conception that woman is weak or incapable of bearing the responsibility of ruling a country put Maria into a vulnerable and dangerous situation. The view of women in the political world is indispensable from the social hierarchical order that women was positioned into. For example, French lawyer sought to exclude both women and heirs who had inherited through the female line during a succession controversy (Weisner-hanks, 351). Moreover, the concept of women being foundationally different and weaker than men is also correlated with humoralism, which considered feminine complexion as fundamentally weaker (Earle, 41). Thus, women should be treated differently, particularly when they were in power, because of the inherent weakness they had. The contrasting reaction of the initial agreement and later breaking their promises of the European countries once Charles VI died make it even more obvious that the power of women was considered less authoritative compared to men’s. Source A related resource from which the described resource is derived Meytens, Martin van. Empress Maria Theresia of Austria. 1759. https://upload.wikimedia.org/wikipedia/commons/3/3e/Kaiserin_Maria_Theresia_%28HRR%29.jpg. Rights Information about rights held in and over the resource Public Domain Prominent Women https://earlymoderneurope.hist.sites.carleton.edu/files/original/e675fd021843bbddf2323ee5640aec53.jpg 2d878bec8f229367cc9683df67431ab4 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 English Bill of Rights 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 1689 Source A related resource from which the described resource is derived Wikimedia Commons (https://commons.wikimedia.org/wiki/File:English_Bill_of_Rights_of_1689_(middle).jpg) 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 The English Bill of Rights was a revolutionary document that afforded more authority to Parliament. It was written as a response to the absolutist ideas and actions of the Stuart monarchs. Absolutism dictated that a monarch’s power was God-given, which meant the monarch retained most of the state’s power, and, in the case of England, left very little for Parliament (Wiesner-Hanks, 318). In 1689, England was still plagued with religious and financial conflicts. After James II followed his brother Charles in assuming the English throne and appointed Catholics to several important positions within the government, the worried English Parliament put young Protestant rulers William and Mary on the throne (Wiesner-Hanks, 342). William and Mary conceded to the terms laid out in the Bill of Rights, and agreed in part to tentative religious toleration (Wiesner-Hanks, 343). This period was known as the “Glorious Revolution.” Among other things, the Bill of Rights called for freedom of speech during Parliament debates and free election of Parliament members. The Bill also sought to limit the financial and military powers of the monarch. Its adoption by the Protestant William and Mary is further proof of England’s gradual shift toward a modern nation-state. However, enduring conflict between Catholics and Protestants of the era indicates a lack of secularization in government, particularly in England. https://earlymoderneurope.hist.sites.carleton.edu/files/original/59ff7fb0ec04d0fb70d24c4180b93c25.jpg 66ca91ab6a8b5f7d700b6ee7fb33d272 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource English Bill of Rights, 1689 Creator An entity primarily responsible for making the resource Parliament of the United Kingdom Contributor An entity responsible for making contributions to the resource Matthew Walsh Date A point or period of time associated with an event in the lifecycle of the resource 1689 Source A related resource from which the described resource is derived Wikimedia Commons, original image available <a href="https://commons.wikimedia.org/wiki/File:English_Bill_of_Rights_of_1689.jpg" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Public Domain, full license information available at image page above. Description An account of the resource In order to prevent the Catholic heir of King James II from the inheriting the throne and reuniting the Anglican Church with Rome, Parliament decided to offer the throne to Dutch noble William of Orange and his wife Mary. In exchange, they drew up a list of rights that had to be afforded to subjects of the Crown. Among these rights was the right to bear arms, extended only to Protestants. The anti-Catholic nature of this document is made explicit in the final paragraph, when “papists” and all who marry a Catholic in communion with the pope are forbidden from the English throne, out of supposed concern for the safety and the security of the realm (Wiesner-Hanks, 342-343). This document illuminates several aspects of the papacy in the early modern period. First, it illustrates that the institution of the papacy came to be a central identifying feature of Catholicism. Thus the Bill of Rights uses “papist” and “Catholic” interchangeable. Yet its use as an epithet also demonstrates that the papacy continued to be a cause of criticism from Protestants and Protestant countries. While the papacy unified Catholicism, it exacerbated conflict between itself and other Christian groups. Protestant nations like England imagined an international specter, the Bishop of Rome, which loomed over them and sought to overthrow the Protestant authorities and establish Catholic tyranny within their borders. The papacy is therefore inextricably linked with many of the political conflicts and controversies of the late seventeenth century. https://earlymoderneurope.hist.sites.carleton.edu/files/original/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/6c50795642dfb0156a2a65a3464bc965.jpg c7f10f3a1c1bcc622de0ec897ea95bae 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 Gustavianum Creator An entity primarily responsible for making the resource Fredrik Akrel 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 c. 1770 Description An account of the resource This is an engraving of the Gustavianum, the oldest standing building in Uppsala University. It owes both its name and construction to Gustavus Adolphus, a Swedish king who enacted many reforms in the country. Sweden was largely ignored by Europe, but Gustavus Adolphus changed this by building a massive army and leading his country in several victorious campaigns in the 30 Years’ War (Wiesner-Hanks 353). Gustavus Adolphus’s vision was to make Sweden a prestigious European nation that other powers could not afford to ignore. One way that he aimed to increase Sweden’s authority was through education. Gustavus Adolphus “increased the number of faculty severalfold, and donated over three hundred manors from the royal domain to provide for its upkeep” (Lockhart 86). He also imported art and other artifacts from European powers to increase the prestige of his court—evidence of this exists in the Gustavianum today in the Augsburg Art Cabinet. The king also established secondary schools across his nation, and began a trend of founding new universities to further the education of his citizens (Lockhart 86). He had several motivations to do so: education of the country’s clergy would allow them to better defend their faith, and educating his newly-formed bureaucratic system would improve its efficiency, but increasing the size and reputation of Uppsala University was also an attempt to increase prestige and prove that Sweden was not as backwards as other European countries might think it was (Lockhart 86). That education was a metric of prestige shows how important it had become, and how ingrained education now was in European society. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Gustavianum_with_garden_-_from_Busser,_Om_Upsala_Stad_etc.jpg