5 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/7d63ba038a11980b3f89eefe3389fd01.jpeg a290632f395c77997632370ec08533d0 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 Dedication Page of De revolutionibus orbium coelestium Creator An entity primarily responsible for making the resource Copernicus, Nicolaus Contributor An entity responsible for making contributions to the resource Matthew Walsh Date A point or period of time associated with an event in the lifecycle of the resource c. 1543 Source A related resource from which the described resource is derived Gallica.bnf.fr, Bibliothèque Nationale de France, original text available <a href="https://gallica.bnf.fr/ark:/12148/bpt6k3350p/f6.image" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Non-Commercial Reuse. Full terms available <a href="https://gallica.bnf.fr/html/conditions-dutilisation-des-contenus-de-gallica" target="_blank" rel="noreferrer noopener">here</a>. Description An account of the resource This is the dedication page of Polish astronomer Nicolaus Copernicus’ seminal work, De revolutionibus orbium coelestium, “On the Revolutions of the Celestial Spheres,” which he published in 1543 just months before he died. In it he presents observations which challenge the geocentric model of the universe widely accepted since the time of Ptolemy. He instead argues that Earth and the other planets orbit the Sun. On this page Copernicus dedicates his work to Pope Paul III. The book’s dedication did little to prevent the ensuing criticism from religious leaders (Catholic and Protestant), and some seventy years later with the Galilean controversy beginning to pick up, the text was placed on the Index Librorum Prohibitorum, the Catholic Church forbidding its production, purchase, or reading (Wiesner-Hanks, 376-378). Galileo himself references the dedication Copernicus made to Pope Paul III in his own letter to the Grand Duchess Christina, in which Galileo attempts to present himself and his theories as in line with the true interpretation of Scripture and Christian doctrine (Galileo, np). Copernicus’ papal dedication is a piece of evidence marshaled to show that the observations of astronomers like Copernicus and Galileo were not meant to subvert religion or the Catholic Church. Nonetheless, the hostile reaction to Copernicus’ work, despite its dedication, reveals that the papacy during the Scientific Revolution both supported scientific advancement by scholars affiliated with the Church (particularly Jesuits) and pushed back on certain theories that attacked the underpinnings of philosophy and all thought commonly accepted at the time. Thus the papacy was an institution which both supported and was deeply skeptical of the conclusions of the Scientific Revolution. 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/963301cb80984999f57478baacefa133.jpg ad7c19ac0f0bd34135a5b47de7a66903 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 1,577 × 2,124 pixels Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tobacco jar in the Trophy series, Real Fabrica de Alcora, Castellon, Spain, second period, 1764-1775 AD, ceramic (From Museo Nacional de Artes Decorativas in Madrid, Spain) Creator An entity primarily responsible for making the resource Daderot Contributor An entity responsible for making contributions to the resource Teddy Wolfe Date A point or period of time associated with an event in the lifecycle of the resource 10 October 2014, 07:01:17 Source A related resource from which the described resource is derived Daderot. English: Exhibit in the Museo Nacional de Artes Decorativas, Madrid, Spain. This Work Is in the Public Domain Because the Artist Died More than 100 Years Ago. Photography Was Permitted in the Museum without Restriction. October 10, 2014. Own work. https://commons.wikimedia.org/wiki/File:Tobacco_jar_in_the_Trophy_series,_Real_Fabrica_de_Alcora,_Castellon,_Spain,_second_period,_1764-1775_AD,_ceramic_-_Museo_Nacional_de_Artes_Decorativas_-_Madrid,_Spain_-_DSC08302.JPG. Marcy Norton, “Encountering Novelties” in Sacred Gifts, Profane Pleasures: A History of Tobacco and Chocolate in the Atlantic World, (Ithaca, NY: Cornell University Press, 2008), 44-62 Marcy Norton, “Tasting Empire: Chocolate and the European Internalization of Mesoamerican Aesthetics,” American Historical Review 111 (June 2006): 660-91. Peter Musgrave, “Europe’s Place in the World” in The Early Modern European Economy, (New York City, NY: St. Martin’s Press, 1999), 162-196 Rights Information about rights held in and over the resource Creative Commons CC0 1.0 Universal Public Domain Dedication. Description An account of the resource The first documented case of European tobacco initiation came in 1518 during Juan de Grijalva’s expedition of the Yucatán Peninsula (Norton, 48). As such, tobacco was initially viewed as a brokering tool, not as a commodity. Yet, it gradually grew in importance through published journals on Native Americans lives in the 1530s, being codified as a tool of the devil (Norton, 58). Thus, religious figures in Spain opposed its initial usage, alongside many New World goods like chocolate. Colonial Inquisition cases even revealed a link between chocolate and sorcery, as many women were prosecuted for chocolate-based cures or potions (Norton, 688). Despite the initial opposition, colonial goods were eventually brought over to Spain where they gradually built up local support. It’s unclear why these commodities gained support in Europe, but Marcy Norton suggests that it was a symbol of colonists’ continued independence, and the influence that they had on the Spanish metropole (Norton, 691). These colonists were coming to Europe as traders or for employment and forming communities where they used these goods, allowing them to spread in the wider area through local relationships and trade, despite the church’s opposition. These commodities also represented colonial independence through their production, as increased consumption in Spain led to the growth of massive industries which gave colonies new autonomy through financial power. As Norton notes, “…whereas in 1559 ‘non-European groceries’ accounted for less than 9 percent of the total value of English imports, by 1800 that proportion had risen to almost 35 percent” (Norton, 665). This increased production power meant a lesser reliance on European goods, allowing many to later push for independence (Musgrave, 185). Thus, tobacco represents a political and religious struggle led by the Spanish metropole to assert dominance over the colonies that ultimately failed, leaving behind independent colonies. Colonialism Independence spain Tobacco https://earlymoderneurope.hist.sites.carleton.edu/files/original/3f3b105801b98eadb9355231300ed9d1.pdf 7733f5e3296755c9697541d4617ecf57 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. 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 Introduction to Tracing Political Ideology in Early Modern Europe Creator An entity primarily responsible for making the resource Deren Owji Date A point or period of time associated with an event in the lifecycle of the resource 2018 Description An account of the resource An Extended Introduction to the Exhibit which traces the growth of political thought and ideology in the early modern period of Europe. https://earlymoderneurope.hist.sites.carleton.edu/files/original/bf88878a114a6843056f962c8fcae5a8.jpg d39843e693056aec2c2d439fc7196c8d 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 313 cm by 239 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 Equestrian Portrait of the Count-Duke of Olivares Creator An entity primarily responsible for making the resource Diego Velazquez 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 1636 Description An account of the resource Philip IV’s reign in Spain is also marked by attempts to centralize power, as was the trend in other European nations (most notably France behind the leadership of the Cardinal Richelieu). The man most associated with this centralization is Don Gaspar de Guzmán, Count-Duke of Olivares, the king’s longtime advisor. The image above is a rendering of the duke by the famed painter Diego Velázquez. When King Philip, aged 22 at the time, was three years into his reign, Olivares laid out his absolutist ideology in a document directed to the young king titled Instructions on Government (1624). The document explains the different levels of the socioeconomic hierarchy of Spain and gives the king instructions on how to handle its members. For instance, he suggests restricting the grandees, who were noblemen of the highest rank, by preventing them from communicating with other grandees or government ministers (Cowans 154). Olivares also recommended that King Philip create rivalries between grandees and the rest of the aristocracy by “[making] it clear that you esteem some of the titled lords as much as the grandees” (Cowans 155). Olivares also mentions “punishing [the people]…and intimidating them so that they do not get out of control” (Cowans 156). The intention of the Instructions on Government is to remove potential threats from to power and make the entirety of the Spanish state dependent on the king. Olivares sought a strong monarchy that could effectively collect tax revenue and raise a unified army, which was important for the continuation of Olivares’ war-reliant foreign policy designed to make Spain a dominant European power again. To do this, the crown would have to reduce the autonomy of the different provinces of Spain. These reforms caused revolts in Catalonia and Portugal that heavily hindered Spain’s success in European warfare (Bradbury 11). Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Count-Duke_of_Olivares.jpg Bradbury, Ian. "OLIVARES." Teaching History, no. 43 (1985): 9-11. http://www.jstor.org/stable/43256344. Olivares, Count-Duke of, “Instructions on Government (1624)” in Early Modern Spain: A Documentary History, ed. Jon Cowans. Philadelphia, PA: University of Pennsylvania Press, 2003. Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/9cc9b5e46b1680b3b3be9d599806cf75.jpg f61dcff678c501236e9b952ceeb90c10 https://earlymoderneurope.hist.sites.carleton.edu/files/original/57965784f1e210bd54e4148e16c57266.jpg 985357dc0534eb03c6188a8591648ebb 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 Reflections on the Revolution in France Smelling Out a Rat Creator An entity primarily responsible for making the resource Edmund Burke James Gillray Date A point or period of time associated with an event in the lifecycle of the resource 1790 Description An account of the resource In “Reflections on the Revolution in France,” Edmund Burke critiques the revolution that had recently occurred in France as irrational and impractical. Burke, a pillar of 18th-century conservatism, advocated for a well-supported divine right monarchy and uses the French Revolution as an opportunity to re-spark an earlier debate in England about the “right” (or lack thereof) of the people of a state to overthrow their divine monarch. Burke distinctly opposes any such overthrowing or revolution, and instead advocates for incremental changes in government or society to promote stability. A similar distinction can be drawn between Socialism and Communism. Communism, being a radical form of socialism, argues for a revolution to implement the political changes which socialist ideology argues should be incrementally incorporated. Burke critiques Enlightenment thinkers as simplistically reducing societies’ inherent complexities to fit their own philosophies, which fueled much of the French Revolution. Such philosophies do not account for the great nuances of a state and society, argues Burke, and perhaps carelessly encourage sudden revolutionary changes which ultimately result in chaos and disorder. He points to the “Reign of Terror” in France following the revolution as an example of the instability and tyranny it had caused. Though Burke’s theories became widely influential in later conservatism, they were initially received poorly and with outrage in England. Burke was seen as a monarchical loyalist and deeply conservative and oppressive voice in English politics. In James Gillray’s political cartoon “Smelling Out a Rat,” printed shortly after “Reflections” was published, Gillray depicts Burke as a figure ascending from a mysterious smoke with a massive nose and inspecting spectacles, intended to expose an “atheistic revolutionary.” Burke holds a large cross in one hand and a crown in the other, reaffirming the narrative of his conservative advocacy of a supreme divine right monarchy. Source A related resource from which the described resource is derived Wikimedia Commons Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/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/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/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/87c678b1d0e3fe581b5085c0401d356a.jpg f17f0da8005f1ef540a91b2480b0b655 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 Dialogos sobre el comercio de trigo Creator An entity primarily responsible for making the resource Ferdinando Galiani Date A point or period of time associated with an event in the lifecycle of the resource 1775 Source A related resource from which the described resource is derived Galiani, Ferdinando. Dialogos Sobre El Comercio De Trigo. Madrid: Por D. Joachin Ibarra, 1775. Rights Information about rights held in and over the resource Public Domain Description An account of the resource Italian economic political theory played an important role during the age of crisis and throughout the enlightenment. Economic theorist Ferdinando Galiani focuses on Value and Interest theory as well as Economic Policy (Ferdinando). He specifically argued that the commodity demand was inversely proportional to the price and compared relative scarcity to diminishing marginal utility (Ferdinando). In addition to Value Theory, he contemplated over the morality of interest loans and eventually came to the conclusion that interest “compensates the lender for the risk entailed in parting with his money” and is therefor legal and moral (Ferdinando). He also argues for a lesser degree of mercantilism protectionist international trade policy regarding specific products (Ferdinando). His view of economic policies during the age of crisis and the rise of the Northern Europe play an instrumental role in understanding economic development during this time period. Historian Paolo Malanima, provides a unique understanding of the age of crisis in Italy with an assessment that the GDP increase, even when wars, plagues, and poor harvests decimated Italy’s population. She even goes as far to mention “specific innovations and examples of growth in Italy in these centuries” during this “so-called crisis” (Malanima 25). Other historians such as Gregory Handlon argue on the opposite side of the spectrum. He claims that due to the shift to the Atlantic, plagues, poor crop yields, and war all contributed the Italy’s collapse. Ferdinando in the midst of this debate, would recognizes the agriculture and manufacturing problems facing Italy. From a political view, these economic hardships, would prevent the Italian states form unifying and growing strong enough to establish themselves as one of the leading colonizers during the age of exploration. https://earlymoderneurope.hist.sites.carleton.edu/files/original/d0f7af1d118cfa55fe269eae4acf50b3.jpg c9ddcec30b3676dbb2056b0c86edff08 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ospedale degli Innocenti Contributor An entity responsible for making contributions to the resource Kaan Taskintuna Date A point or period of time associated with an event in the lifecycle of the resource 1419 Description An account of the resource Filippo Brunelleschi (1377-1446), one of the most prominent architects of early Renaissance, designed Ospedale degli Innocenti. The "Hospital of the Innocents" was built in mind for infants who had been abandoned by their parents and is one of the most notable examples of early Italian Renaissance architecture (Wiesner-Hanks 153). With Ospedale degli Innocenti, Brunelleschi meticulously sought to achieve balance and harmony. The design is a visual representation of the transition from the Byzantine Era to the Renaissance. The planning includes rounded arches, windows with equal proportions, detailed carvings of religious figures, and elements that are placed according to geometric and mathematical calculations. The height of the columns, for example, is the same length as the space between each column ("Arcade"). Besides being an important work of art, what makes this Brunelleschi's design with Ospedale degli Innocenti significant in the big picture is the fact that the cultural and artistic transition started finding its place in the lives of ordinary people. The return to classical antiquity was beginning to physically manifest itself in the built space of societies. References: "Arcade, Architecture." Encyclopædia Britannica. Accessed November 18, 2018. https://www.britannica.com/. Wiesner-Hanks, Merry E. Early Modern Europe 1450-1789. Cambridge: Cambridge University Press, 2016. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/9200369/webclient_DeliveryManager_pid_6349043_custom_att_2_simple_viewer.html?q=Ospedale+degli+Innocenti Creator An entity primarily responsible for making the resource Filippo Brunelleschi Rights Information about rights held in and over the resource Unrestricted online access (CC BY-SA 4.0) https://earlymoderneurope.hist.sites.carleton.edu/files/original/f6fc0025d06a172d3893a45b7937e030.jpg 58fc0b7cbd2266223be1c50648034b75 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 Epistle Dedicatory Creator An entity primarily responsible for making the resource Francis Bacon Contributor An entity responsible for making contributions to the resource Malcom Oster Date A point or period of time associated with an event in the lifecycle of the resource Early 1600's Description An account of the resource This short text, written by Francis Bacon illustrates a rather important aspect of the Scientific Revolution- that of patronage and the importance of powerful backers in scientific endeavors. While the contents of his discovery is also interesting, what is more intriguing about this text is the fact that he devotes as much time to flattery and enticement as he does to describing what the text is about. The short letter to James I is full of flattery, but also self aggrandisement. In the same breath, Bacon paints both James I and himself as contributing to the “regeneration and restoration of the sciences” (Bacon, 143). In the Early Modern period, the importance of having powerful backers was twofold. Not only did the person being backed likely get funds, but they also had protection should they choose to upset the status quo, as some of Bacon’s contemporaries, like Andreas Vesalius would hint at in their writings. These scientists walked a very fine line between discovery and upsetting the status quo. If they went to far, they would fare no better than Galileo. Source A related resource from which the described resource is derived Science in Europe, 1500-1800