4 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/4a5d9c217f6eff377b347ab72169baee.jpg d226bed60c1a81c68c436c097ffdc5bf 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 Etching 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 Accused heretics standing before a tribunal of the Spanish Inquisition in Sevilla Creator An entity primarily responsible for making the resource Edouard Moyse 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 1481 Description An account of the resource Shortly after the publication of Martin Luther’s complaints against the Catholic Church in the early 16th century, Protestant religions rapidly spread across the European continent through printed documents as well as traveling preachers (Wiesner-Hanks 185). In many places, such as the Holy Roman Empire and France, the new alternative religions were able to spread due to favorable political climates (Wiesner-Hanks 185) and the growing discontentment with the Catholic clergy (Wiesner-Hanks 166). Spain is a notable exception in this era as Protestantism never managed to gain a foothold. Staunch defenders of Catholicism, the Spanish government had recently gained experience in extinguishing non-Catholic faiths across the country. The Spanish Inquisition, originally formed in the 1480s, was tasked with suppressing heretical beliefs, which included investigating claims that converted Jews and Muslims covertly practiced their former religion (Weisner-Hanks 111). When the Protestant Reformation reached Spain, the authorities already had an organization prepared to meet this new threat. The Inquisition utilized its censorship powers to stem the flow of Protestant literature into Spain and punish people found guilty of holding Protestant beliefs (Kinder 63-64). Although the Inquisition was designed to appear as a religiously motivated organization, it was controlled by the Spanish state instead of a religious authority, such as the pope (Weisner-Hanks 108). This enabled the Inquisition to targeting individuals for political reasons, sometime branding them as “Protestants” (Lynch 30). While the Spanish Inquisition was not the only factor responsible for preventing the spread of Protestantism in Spain, it certainly made a contribution (Kinder 62). The lasting affect of these institutions was to restrict the influence of other faiths on Spanish culture, which remains largely Catholic-centric. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/9200579/z9cghdjj.html?q=spanish+inquisition Kinder, A. Gordon. "Protestantism in Sixteenth-Century Spain." Mediterranean Studies 3 (1992): 61-70. http://www.jstor.org/stable/41166816. Lynch, J. "Philip II and the Papacy." Transactions of the Royal Historical Society 11 (1961): 23-42. doi:10.2307/3678749. Wiesner-Hanks, Merry E. Early Modern Europe, 1450-1789. Cambridge, UK: Cambridge University Press, 2013. Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/68fa359a87e0f5aeffb3e30cc3f31593.jpg ea2679a43a6f449fef3fa2c09675d8e1 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 Portrait of Erasmus Date A point or period of time associated with an event in the lifecycle of the resource 1535 Description An account of the resource After 1450, humanism began to spread from its roots in Florence -- long regarded as a hub for scholars -- to Vienna, Heidelberg, and the royal seats of England, France, and Spain (Wiesner-Hanks, 140). Scholars traveled all over Europe, carrying their ideas with them, but more permanent humanist academies and social groups were also established. Desiderius Erasmus, a prominent humanist with an appreciation for Plato and the classics, saw his works circulate throughout Europe in this fashion. Though Erasmus hailed from the Netherlands, his works were an important influence on English thinking during the Renaissance. One of these traceable links involves English humanist Thomas More, with whom Erasmus regularly corresponded. Wiesner-Hanks asserts that at the height of the humanist movement, travel to Italy was unnecessary because up-and-coming scholars such as More could learn about the classics in their home countries. This lends some sense of scope to the humanist movement during More’s lifetime, which spanned from 1478 to 1535 (Wiesner-Hanks, 141). Due in part to the invention of the printing press and the machination of humanist writers themselves, the basic tenets of humanism (the emphasis on revisiting the classics, revising political theory, and propagating the liberal arts in education) were able to cross country borders. More learned Latin without leaving his home country but saw his works circulated outside of it, as Erasmus did (Wiesner-Hanks, 141). Now regarded as one of the most well-known English humanists, his 1516 novel Utopia speaks to this very philosophy in its questioning of political theory and satiric undertones. More’s position relative to the “center” of humanist action at the time is a testament to the spread of ideas. Source A related resource from which the described resource is derived Photo: Rijksmuseum (https://www.rijksmuseum.nl/nl/collectie/SK-A-166) 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. Contributor An entity responsible for making contributions to the resource Cassidy Bins https://earlymoderneurope.hist.sites.carleton.edu/files/original/7991c4b760b454675b1470b6efb206f4.jpeg 12272b39df1ad818109e63df74da3dbb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fotoreproductie van het fresco De school van Athene door Rafaël; The School of Athens Creator An entity primarily responsible for making the resource Raffaello Sanzio da Urbino (Raphael) Date A point or period of time associated with an event in the lifecycle of the resource 1530 - 1582 Description An account of the resource “The School of Athens” is considered by many as one of Raphael’s greatest artistic creations. Raphael was drawing on the rebirth of the analytical questioning of the classics and the works of the “ancient” peoples. In this image, Raphael paints some of the most significant people who contributed to Western thinking including, Plato, Socrates, Aristotle, and many others. Raphael paints Plato and Aristotle close together to signify their different camps of philosophy and to show their divergence in their philosophical beliefs. This painting was created around the time of many political changes such as the shift away from the church and more towards individual rulers. This would have caused many people to look towards the past and would have inspired many of them to write about it. This reexamining of the past would play an important role inspiring political commentators, such as Machiavelli, who argued against ideas presented by Aristotle about the role of ethics in politics (Harrison). It was necessary for a reemergence of “ancient ideas” in to take place to create a catalyst that would initiate an era of new thoughts. “ School of Athens’ was not an isolated painting that conveyed a political messages. Giotto di Bondone, arguably the individual who first developed renaissance techniques of art. This artwork would be used for political means to portray a sense of power from the Vatican and other Italian city states. The statue of David was “commissioned by the Florentine city council as a symbol of the city”, which portrays the significance of art as a political message (Weisner Hanks 154). Art represented a states wealth and security, which was why it was so heavily encouraged by the Italian city-states. Source A related resource from which the described resource is derived Urbino, Raffaello. The School of Athens. 1530-1582. Rijksmuseum, Netherlands. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/e61a6bb5f8de7b6b17aefae5ec4f66a4.jpeg 358416a44e8c102a99c55a03ad9a4210 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 Portret van Martin Luther Creator An entity primarily responsible for making the resource Cornelis Koning Date A point or period of time associated with an event in the lifecycle of the resource 1608 - 1671 Description An account of the resource This engraving of Martin Luther depicts him mostly likely after he wrote the 95 thesis. The engraving of Martin Luther is shaped as an oval with Latin and Dutch sentences below it talking about Luther’s beliefs. This piece was likely used as propaganda for the Protestant cause in what is today the Netherlands. Luther appears well fed and comfortable in the painting, which indicates his status of living and was used to try and gain respect. It is interesting to note that there are no religious emblems on Luther, which indicates his separation from the church. The engraving also reflects Luther’s political importance. Luther significantly altered the political landscape throughout Italy by separating from the church. Luther rocked rocked the Papal States with his critiques of the church and forced heated political discussions among church leaders, which can be seen with pope Julius III. In addition to this, the wars ranging from The German Peasant War of 1524-25 to the end of the Thirty Years War in 1648. (Wiesner Hanks 180). These religious roles drastic shaped the papal states political policy towards other european state, which led to a nearly continuous call for the eradication of the protestants from the Catholic church. The religious wars were more of a political strategy under the Papal States to try and retain their significant control over the other european states. This can be seen in the “complicated political maneuvering among many of the great power of Europe” where the Papal States broke alliances and tried to regain their sway over Europe (Wiesner Hanks 181). Source A related resource from which the described resource is derived Koning, Cornelis. Portret Van Martin Luther. 1608-1671. Rijksmuseum, Netherlands. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/d40446c48c297270c13a471a7e7e7c4d.jpg 285f25bad4fbad598745d6186abb5876 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 Saint Angela Merici Creator An entity primarily responsible for making the resource Pietro Calzavacca 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 Mid-19th century Description An account of the resource A religious educator as depicted in this picture, Angela Merici (1474-1540) was the founder of the Company of St.Ursula, “a group of lay single women and widows [who are] dedicated to the poor” (Wiesner-Hanks, 189). The company “received papal authorization, and later in the century became a religious order focusing increasingly on girls’ education” (Weisner-Hanks, 189). However, they were under increasing pressure to become cloistered nuns after being a religious organization. The story of Angela Merici and the Ursulines reflects multiple layers of social construct around women during the religious reformation. The facts that the Ursulines are mostly “single women and widows” and they were soon under pressure to became nuns indicate that worldly religious women weren’t really an option. Woman is either wife in a household or a nun. However, since men were still the dominant force in the debate about religion, the population of women priest and nuns were relatively small. Thus, this again emphasizes women’s importance in a household. When Jesuits and other priests preached under the threat of arrest and execution in England, “they were often sheltered by women from prominent Catholic families,” because according to common law, married women “controlled no property and imprisoning a woman would disrupt family life” (Wiesner-Hanks, 189). Similarly, in the Protestant point of view, marriage and women’s role in a household are just as important. Marriage was considered to serve as a “‘remedy for the unavoidable sin of lust,” to “provide site for the pious rearing of the next generation of God-fearing Christians”, and to “offer companionship and consolation” (Wiesner-Hanks, 179). Women are the crucial formation of such family unit with “the proper social hierarchy of husbandly authority and wifely obedience” (Wiesner-Hanks, 179). Thus, in the religious reformation, women were not expected to participate as actively as men; however, they were considered to be an indispensable part of family life, which lots of religious learning and progression were made around. Source A related resource from which the described resource is derived Calzavacca, Pietro. Saint Angela Merici. 1850s. https://commons.wikimedia.org/wiki/File:Saint_Angela_Merici.jpg. Rights Information about rights held in and over the resource Public Domain Religion Religious Reformations https://earlymoderneurope.hist.sites.carleton.edu/files/original/ff198c8528489e573f989e28abcd9c02.png 042a754be0f9550857fdac1203ae01c5 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 the University of Wittenberg Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 19th Century Description An account of the resource This is an illustration of a building at the University of Wittenberg, which was founded in 1502 by Frederick the Wise, a powerful elector in the Holy Roman Empire (“Wittenberg”). Like many universities, it was created from a pre-existing monastery. The University of Wittenberg in particular helps demonstrate the impact of education on Early Modern Europe. It was made famous by one of its teachers, Martin Luther, who had studied briefly at the university only to return a few years later (Roper 63). Luther was an educated man, familiar with religious dogma from his time as a monk but well-read from his studies outside the monastery. He was awarded a doctorate in October 1512, which Lyndal Roper writes gave Luther “a public persona” and allowed him to integrate with the intellectuals in Wittenberg (72). A few centuries ago, this could never have happened—Luther would not have a doctorate, would not have as extensive an education, and there would be no universities for him to study or teach at. The opportunity to interact with his intellectual peers and further cement his religious philosophy doubtlessly facilitated Luther’s ability to argue and support his later religious claims. This position also gave him security, access to an Elector, and a base of operations. The university became a site where young men could come to learn from Luther and his colleagues, and to then go out into the world and spread those ideas further. Without the power that education offered, the Protestant Reformation would have looked very different. 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:Wittenberg_Universit%C3%A4t_18xx.jpg https://earlymoderneurope.hist.sites.carleton.edu/files/original/002bd65a970df91913e055d2eeaae639.jpg a9db0988cb0765e30ae2297595309603 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 Digital copy of a printed manuscript. Physical Dimensions The actual physical size of the original image n/a 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 La Historia Verdadera de la Conquista de la Nueva España (The True History of the Conquest of New Spain) Creator An entity primarily responsible for making the resource Captain Bernal Díaz del Castillo Contributor An entity responsible for making contributions to the resource Don Benito Cano (Printer) Date A point or period of time associated with an event in the lifecycle of the resource Printed 1796, Originally Published 1632 Description An account of the resource When Christopher Columbus landed in the Caribbean in 1492, he may not have found a heretofore undiscovered land, however, he did set into play a series of events that would forever alter the shape of history. Early accounts of the Spanish conquest often proposed a heroic myth of European superiority where relatively small numbers of Spaniards were able to defeat vast numbers of indigenous warriors due to exceptional characters and more advanced technology (Restall, 3). These early accounts were certainly heavily biased, however, these narratives have defined the basis of our understanding of the Spanish conquest for much of the intervening 500 years (Restall, 12). One account that seems to diverge from this narrative (though it was certainly self-aggrandizing) is Bernal Díaz’s account of the conquest of Mexico which offered a far less heroic portrayal of the infamous conquistador Hernán Cortés. This work gave an account of the conquest of Tenochtitlán, the capital of the Aztec empire and their interactions with King Montezuma, and, though it was not published until after Díaz’s death, it has become a cornerstone for historians attempting to piece together the history of the fall of the Aztecs (Díaz, 44). The conquest of Mexico became symbolic of the larger Spanish conquest of the Americas and the success of Cortés served as an inspiration for future conquistadors looking for fame and wealth in the New World, eventually leading to Spanish domain over much of the Americas (Restall, 17). Of course, all of these accounts have historically focused on individual achievements and the accomplishments of exceptional men, while ignoring other, far more important factors (disease brought to the Americas being foremost among these) and tend to overstate the importance of Spanish conquistadors. In recent decades, we have come to understand the conquest of the Americas as vastly more complicated and uncertain than the early chroniclers suggested, yet these works have characterized our perceptions of Spanish conquest for centuries. They were part of the Spanish propaganda of economic and political dominance that they hoped to, and largely did, achieve through conquest in the New World. Source A related resource from which the described resource is derived Biblioteca Digital de Castilla y León Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/bd7f682c3f662e1223d7bf2f0dd81564.jpeg 61ce343a961e9de9a6e976b1b07e304f 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 145 mm x 200 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 Front of the Alhambra in Granada Creator An entity primarily responsible for making the resource Friedrich Salathé 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 1839-1841 Description An account of the resource Among the concessions made by Ferdinand of Aragon as part of his marriage to Isabella of Castile, which began the unification process of Spain, was a clause obligating the united kingdoms to wage war on the Muslim Moors in the south, who were identified as enemies of the Church (Cowans 9). On the surface, this was a religious crusade led by two hardened Catholic monarchs. Beyond this aspect, however, the war against the Moors and the subsequent expulsion of Muslims and Jews served political purposes as well. The success of the Spanish monarchy inspired, at least publicly, Pope Alexander VI to cede to Spain the right to appoint bishops and retain church revenue, which provided the government with an economic boost (Wiesner-Hanks 112). After the Reconquista and conversions of some of the Moors, the Spanish Inquisition became an even more prominent part of Spanish society as it was now tasked with investigating accusations of heresy involving Muslim converts, called Moriscos (Wiesner-Hanks 111). While the Reconquista and later efforts to expel Muslims from the Iberian Peninsula left Spain as an almost entirely Catholic nation, prominent Moorish architecture, such as mosques and palaces, remained (in many cases, they were given Catholic or monarchical functions). The last Islamic stronghold to fall to the united kingdoms of Castile and Aragon was the Alhambra of Granada (pictured above), which surrendered after month siege on January 2, 1492. The Alhambra, which is a combination of an elaborate palace and a fortress, is renowned for the impressive artistry of its interior as well as its extensive gardens. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/90402/RP_F_2001_7_1540_12.html King Ferdinand, “Marriage Concessions (1469)” in Early Modern Spain: A Documentary History, ed. Jon Cowans. Philadelphia, PA: University of Pennsylvania Press, 2003. Wiesner-Hanks, Merry E. Early Modern Europe, 1450-1789. Cambridge, UK: Cambridge University Press, 2013. Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/3e62c0199e8859ac5c118a87c9cbb921.jpg 41207259b4b328595b5dc4ad00d5c7c2 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 Coricancha Creator An entity primarily responsible for making the resource "Architects": Incans of Cusco, Spanish conquistadors and missionaries Photo: McKay Savage 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 Complex construction: Mid-1400s Spanish destruction, and cathedral: mid to late 1500s Photo: 2012 Description An account of the resource The Andean city of Cusco, located in modern-day Peru, was the capital of the Incan empire from the 13th century until the Spanish arrival in 1533. Coricancha (literally "gold enclosure") was the Incan empire's most important temple complex, considered the most sacred site in the Incan religion, and it was also regarded as the very center of the Inca world. The original complex was built using ashlar masonry, in which finely cut stone blocks were fitted together without mortar. It housed several temples to various deities of the Incan pantheon; the most important of these was the Temple of the Sun, which was dedicated to the sun god Inti and was furnished with astonishing amounts of gold (gold artifacts, statues, and even sheets of gold which were hung on the interior and exterior walls) (Cartwright). The complex's layout was in the approximate shape of a sun, with "rays" (roads, both actual and spiritual) that radiated out from the complex. (The Inca favored this kind of symbolic planning––in fact, the city of Cusco was lain out in the shape of the sacred jaguar, with Coricancha at its tail (Cartwright).) The complex was designed to let in as much sunlight as possible, and there were several open spaces as well. Spanish colonization in Cusco changed everything. Most of the gold from the Temple of the Sun and the rest of the complex was seized and melted down for the Spanish crown, and the Spanish also wasted little time in destroying much of the original Incan complex. In its place, the Spanish conquerors built the Church of Santo Domingo, maintaining some functional continuity (it remained a spiritual center) but effectively demolishing the one religion and replacing it with the other (Cartwright). Tearing down the spiritual center of the Incan empire certainly sent a message of Spanish power and superiority, not to mention the priority of Catholicism. This new cathedral was, of course, built in the Spanish design, with Spanish materials and Spanish methods. The example of Coricancha displays the way that destroying native architecture and replacing it with colonial architecture served as a means of subjugation; here, it established a new predominant faith and the power of the Spanish to dominate even that which the native peoples found sacred. This replacement of indigenous creations with Spanish colonial ones was not uncommon in the New World, and was potentially an influential factor in the psychological subjugation of the indigenous peoples, making them feel alien in their own establishments. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Peru_-_Cusco_023_-_Qorikancha_(7084772615).jpg Cartwright, Mark. "Coricancha" last modified March 9, 2014. https://www.ancient.eu/Coricancha/ Rights Information about rights held in and over the resource Creative Commons 2.0, free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/ca728440a63d686c3cb5fda46b0452c4.jpg ce14a9441293ea6dc33c7ff4836a0d9f 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 Francis Drake's Letter to Queen Elizabeth Creator An entity primarily responsible for making the resource Francis Drake Contributor An entity responsible for making contributions to the resource Cassidy Bins Source A related resource from which the described resource is derived Photo: UK National Archives (http://www.nationalarchives.gov.uk/education/resources/elizabeth-monarchy/sir-francis-drake-to-elizabeth/) Drake, Francis. Letter. Received by Queen Elizabeth I, 8 Aug. 1588. "Francis Drake." The Ages of Exploration. Accessed October 05, 2018. https://exploration.marinersmuseum.org/subject/francis-drake/ Wiesner-Hanks, Merry. Early Modern Europe: 1450-1789. Cambridge University Press, 2013. Print. Rights Information about rights held in and over the resource Copyright clearance for publication is not required, except in the case of documents in third-party copyright. Description An account of the resource Francis Drake was a prominent English privateer and naval commander under Queen Elizabeth I, favored for his notable skirmishes against the Spanish Armada and his 1580 circumnavigation of the globe. In this letter to Elizabeth, Drake describes his most recent victory against Spain, crediting a large storm for the destruction of much of Spain’s forces and referring to himself and his men as “your Majestie’s force" (Drake). Drake’s deferment to Queen Elizabeth reflects the system of patronage present in monarch-privateer relationships, wherein privateers (in essence, English pirates) plundered for the crown (Wiesner-Hanks, 269). As the race to claim land, labor, and other resources in the Americas intensified, these relationships -- in line with the trend toward centralization that had seized many European monarchies -- became more common. For example, Genoese explorer Christopher Columbus secured funding from Queen Isabella of Spain before setting sail for the Indies, parts of which he would later claim for Spain. Drake was not Elizabeth’s only privateer. England’s attempts to intercept Spanish forces were representative of the larger competitive aspect to conquest and colonization of the New World. For the most part, the English ignored the “Tordesillas line” put in place by the pope in order to divide the Americas to Spain’s and Portugal’s advantages, instead claiming land for their kingdom as they came across it (Wiesner-Hanks, 252). Drake’s defeat of the Spanish Armada, in particular, helped give rise to a superior English navy and increased opportunities for England to exert its influence in the New World. Date A point or period of time associated with an event in the lifecycle of the resource 1588 https://earlymoderneurope.hist.sites.carleton.edu/files/original/090dde0b7cd53a6c6119b027f139937f.jpeg 97d92e569a29546b9ec416628ab12abb 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 engraving Physical Dimensions The actual physical size of the original image 387 mm x 520 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 Map of Flanders and Hainaut, 1555, Jacob Bos, after Gerardus Mercator, after Jacob van Deventer, 1555 Creator An entity primarily responsible for making the resource Jacob Bos (printer) 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 1555 Description An account of the resource <p><span style="font-weight:400;">This map of Flanders and Hainaut was constructed by Mercator following surveys by Jacob van Deventer. The above engraving is one of many engravings of this map, which became the standard map for the region. Historians have postulated that the depiction of the entire region of Flanders as unified was politically motivated, especially considering the anti-Spanish revolts in the city of Ghent which occurred during the map’s creation (Karrow 380). This situation reveals how maps reflect the view individuals had on their political situation. Historian Barbara E. Mundy examined the relationship between individual cityscapes (chorographic maps) and geographic maps in the early modern period. According to Mundy, this relationship “followed the fault lines between regionalism and nationalism [during the 16th century]” (Mundy 5). Maps were tools to reinforce a specific attitude about the power structures in Europe: individual cityscapes stressed the city as the location of power, while national maps attempted to create a picture of a broader, unified nation-state.</span></p> <p><span style="font-weight:400;">Mercator and van Deventer were both mapmakers from the Low Countries. Mercator’s most famous contribution to mapmaking was his world map projection, which was published in 1569. The projection used on this map was most useful to sailors (Karrow 389), however it has since become popular (and criticized) outside of this context. Van Deventer’s works illustrate the duality of chorographic and geographic maps well. Earlier in his career, Van Deventer worked on projects which mapped wider regions and provinces in the Low Countries. In the latter part of van Deventer’s career, King Philip II of Spain hired him to create maps of cities in the Netherlands (Karrow 142). In van Deventer’s life the creation of both wider regional maps meant to inspire provincial unity and insular cityscapes which reinforced the independence of the city can be seen.</span></p> <p><span style="font-weight:400;">Works Cited:</span></p> <p><span style="font-weight:400;">Karrow, Robert W., Jr,</span><i><span style="font-weight:400;"> Mapmakers of the Sixteenth Century and Their Maps</span></i><span style="font-weight:400;">. 142-158, 376-406. Speculum Orbis Press, 1993.</span></p> <p><span style="font-weight:400;">Mundy, Barbara E., “Spain and the Imperial Ideology of Mapping,” </span><i><span style="font-weight:400;">The Mapping of New Spain: Indigenous Cartography and the Maps of the Relaciones Geográficas</span></i><span style="font-weight:400;">. 1-9. University of Chicago Press, 1996.</span></p> Source A related resource from which the described resource is derived <p><a href="https://www.europeana.eu/portal/en/record/90402/RP_P_BI_2756.html"><span style="font-weight:400;">https://www.europeana.eu/portal/en/record/90402/RP_P_BI_2756.html</span></a></p> 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/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