7 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/082daa85ca3ef9ac12d6526b79f41fd3.jpg 983a1e1fb0eda6311ec0a5bc38cc147b 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 Clement IX Creator An entity primarily responsible for making the resource Gerard Edelinck (1640-1677) 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. 1666-1668 Source A related resource from which the described resource is derived <em>Portret van paus Clemens IX, Gerard Edelinck, 1666 - 1668</em>, from Rijksmuseum. Original image <a href="https://www.rijksmuseum.nl/nl/collectie/RP-P-BI-7480" target="_blank" rel="noreferrer noopener">here</a>. Rights Information about rights held in and over the resource Public Domain, with full license available <a href="https://creativecommons.org/publicdomain/mark/1.0/" target="_blank" rel="noreferrer noopener">here</a>. Description An account of the resource The papacy of Clement IX lasted only thirty months, from the summer of 1667 to December 1669. His papacy is primarily remembered if at all for a truce of sorts in the Jansenist controversy, discussed later in this exhibit, but Clement IX was also active in the less spiritual elements of the papal office throughout the Early Modern period, serving as head of state of the Papal States, as well as a leading political ruler in Europe at a time of constant warfare and fighting across the continent. Yet Clement IX is not remembered as a “Warrior Pope” like Julius II of the sixteenth century; his involvement with this century of wars comes as a peacemaker. The War of Devolution between France and Spain (with support from a Triple Alliance of the Dutch Republic, England, and Sweden) started weeks before Guilio Rospigliosi became Clement IX, and a year later the Bishop of Rome was chosen to mediate the Treaty of Aix-la-Chapelle between the two sides. Voltaire, hardly the papacy’s most enthusiastic cheerleader, noted that the pope served as a figure trusted to bring peace, although he characteristically claimed in the next paragraph the “Court of Rome… left no means untried to gain the honor of being arbitrator… in order to hide its weakness under an appearance of power” (Voltaire, 114). The short reign of Clement IX thus illustrates the papacy’s continued relevance in European political life through the seventeenth century. It further shows the unity the papacy could bring amongst Catholic nations, along with division and schism. Finally, it shows that this authority was hardly predicated on the individual worth or longevity of any other pontiff. https://earlymoderneurope.hist.sites.carleton.edu/files/original/520a4e3f988bb47db476adf62fb2e36a.jpg ea008f3f8ebf33f1ba9963063561e627 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ratification of the Treaty of Munster Creator An entity primarily responsible for making the resource Gerard ter Borch Date A point or period of time associated with an event in the lifecycle of the resource 1648 Description An account of the resource The Ratification of the Treaty of Munster was a pivotal event in the Peace of Westphalia, which brought an end to the Thirty Years’ War in Europe. The treaty was signed in 1648, alongside the Treaty of Osnabruck, and they established two major precedents which would have a permanent effect on the way politics and balance of power would be structured in Europe. The Holy Roman Empire was fragmented in the treaties into smaller states controlled by the Germanic princes which had been under the umbrella of the Holy Roman Empire’s rule. More importantly, these rulers of smaller individual states would have the role of choosing which of the three religions recognized in the treaty--Catholicism, Lutheranism, and Calvinism--would be the official religion of their state. No outside power could interfere with this decision and it would only be applicable to the individual state of the specific ruler. This non-interference agreement in the Peace of Westphalia established the modern idea of state-sovereignty as it is known today: that states have sovereignty over almost all their domestic decisions and no external state has the right to interfere with those decisions and actions under international law. Source A related resource from which the described resource is derived National Gallery London via Wikimedia Commons Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/ff61ccb71efcd4d45befe42773fc5824.jpg 6a35516804feb4b9f75fc6694de96b6c 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 Height: 45.4 cm Width: 58.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ratification of the Treaty of Münster, 15 May 1648. Creator An entity primarily responsible for making the resource Gerard ter Borch 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 1648 Description An account of the resource The Peace of Westphalia, as represented in the above image of the ratification of the treaty of Münster, finally brought an end to the 30 years war in 1648. (Wiesner-Hanks 323). This peace had major impacts on all of Europe, but especially the political landscape of the Holy Roman Empire. Protestantism was reaffirmed in the North and larger principalities became effectively sovereign, thus ending Hapsburg hopes of forming a unified German state (Wiesner-Hanks 323). In addition to these impacts, the Peace of Westphalia also played a major role in shaping German politics, culture, and society all the way through the demise of the Holy Roman Empire in 1806. However, there is some dispute regarding the exact outcome it caused. Many historians in the mid 20th century, such as A. J. P. Taylor and Geoffrey Barraclough, believed that there was an extended period of societal and cultural deterioration in Germany following the peace of Westphalia. Barraclough would go on to claim. “for a century and more after 1648 Germany stagnated. Petty dynasties, class-bound nobilities and corrupt oligarchies, all guided by narrow motives of self-interest, exercised a harsh and oppressive domination over a peasantry and a middle class both ruined by the Thirty Years War.” (Blanning 2). These bleak views of a backward empire that exploits its own people are then epitomized by Taylor when he says that when the Empire finally fell in 1806 that, “it left no gap, for it had been a nullity since 1648.” (Blanning 2). In stark contrast to this old view, contemporary historians, like Tim Blanning, assert that the Peace of Westphalia allowed Germany to flourish, both culturally and politically, as it never had before. Blanning believes that the positive impact of the Peace of Westphalia, apart from ending the war, it that it acted as a durable written constitution for the Holy Roman Empire that would last until the Empire’s fall (Blanning 3). Furthermore, Blanning supports the belief that this is actually a parliamentary constitution that resulted in an active and transparent form of government where the rule of law prevailed over absolutism (Blanning 4). Moreover, Blanning claims that the autonomy granted to various German principalities following the Peace resulted in a de facto Freedom of the Press in Germany because, “what could not be published in Prussia could be published in Württemberg, and what could not be published in Hamburg could be published ten paces away in [Danish-ruled] Altona.” (Blanning 7). Thus, not only does Blanning claim Germany enjoys the freedom of the press, but also that it stems from the peace of Westphalia itself. Regarding the two opposing views on the status of the Holy Roman Empire during its later years, I concur with Blanning. While the opposition is correct in saying that the Peace of Westphalia ended any chance of the formation of a unified German state, this idea is not inherently linked to the deterioration of society. On the contrary, the weakened centralized government allowed Germany to flourish in many ways. Since Hapsburg hopes of forming a nation were ended, their rule would go on to be characterized by an emphasis on their own domain rather than the empire. This can be linked to Austrian state development that occurred in the 17th century and the enlightened ideals that took place there. The following decades would also see the rise of Prussia; a state that was even able to challenge the power of the Hapsburgs and also contributed to the spread of the enlightenment. Thus, although the Holy Roman Empire was forever changed following the Peace of Westphalia, this event should be viewed more as a transition for the empire rather than the end of its story. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Westfaelischer_Friede_in_Muenster_(Gerard_Terborch_1648).jpg Rights Information about rights held in and over the resource Public Domain 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/9a2739649f694bf9ecd0c8d72c2d1242.jpg 24d9c6b5715c46d8c583a3f3b6c928dd Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 De Contagione et Contagiosis Morbis Creator An entity primarily responsible for making the resource Girolamo Fracastoro Contributor An entity responsible for making contributions to the resource Jack Williams Date A point or period of time associated with an event in the lifecycle of the resource 1546 Description An account of the resource Considered by many to be the masterpiece of Girolamo Fracastoro, an Italian poet, physician, astrologist and geologist, this manuscript was the first text to suggest the idea of germ theory. In it Fracastoro suggests the idea of disease-causing particles known as “fomites” which rapidly multiply and cause disease. His ideas were widely praised at the time of this book’s publishing, but were largely discounted until 300 years later, when his theories were properly proved by Koch and Pasteur. Fracastoro is a classic example of the “renaissance man” a scientist whose many disparate studies covered the gamut of renaissance science. Fracastoro was a colleague of Copernicus, and likely studied astronomy with the famous astronomer (Nutton). What makes this book interesting in the overall idea of the scientific revolution is its startling accuracy even in a time of superstitious medicine. In it Fracastoro successfully predicts the true cause of disease many centuries before this was properly discovered, and like much of renaissance medicine his ideas are noted but not acted upon. This is what I found the most interesting about medical discoveries in this age, their seeming purposeful ignorance. Even though he suggests a different way of looking at medicine, humoral medicine is still practiced throughout this period. And even though his advice is enough, at one time, to convince the Pope himself to move a vital religious group to avoid disease, the Council of Trent, he is still unable to spread his ideas into common culture (Nutton). Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/9200332/ABO__2BZ165423609.html?q=++De+contagione+et+contagiosis+morbis Rights Information about rights held in and over the resource No Copyright-NonComercial use Only https://earlymoderneurope.hist.sites.carleton.edu/files/original/f70b3afc8c61ac0dd4ccd781f2bdbd68.jpg c686d5fce5ead61c268e7f22c3e8a965 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 Height: 700mm Width: 580mm 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 Vertumnus Creator An entity primarily responsible for making the resource Giuseppe Archimboldo 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 1591 Description An account of the resource Rudolph II was a Hapsburg who served as Holy Roman Emperor from 1576 - 1612. While his reign is mostly remembered for his strange behavior and his lack of political competence, he was also one of the most important patrons to the arts and sciences in Europe during his time. Two of his most prominent clients were Tycho Brahe and Johannes Kepler, both of whom made major developments in the field of astronomy (Bos). Additionally, Rudolph combined his interest in science with an emphasis on magic, especially alchemy (Bos). Lastly, Rudolph II was also fascinated in Renaissance and Humanist artwork, an interest that is perhaps best exemplified by in his self-portrait Vertumnus in which Rudolph is depicted using various foods. Despite his role in the development of Northern Renaissance art and the launching of the scientific revolution, Rudolph is most remembered for his mental deterioration and political incompetence. Over the course of his reign, Rudolph developed a sense of paranoia that turned him into a recluse, causing him to retreat from public affairs (Rudolph II). Additionally, he would occasionally suffer fits of uncontrollable rage and experience mental breakdowns (Bos). Rudolph’s political infamy is a result of his role in causing the 30 Years War in 1618 (Rudolph II). This role is evident in that the Protestant Union, a military alliance that played a crucial role in the escalation of the 30 Years war, formed under Rudolph's reign (Wiesner-Hanks 321). He also reversed many of the tolerant religious policies that were passed by his father, Maximilian II, and sought to limit the privileges of Protestant estates, resulting in even more tension between Protestant and Catholic territories in Germany (Rudolph II). Due to Rudolph’s deteriorating mental condition his brother Mattias, supported by the rest of his family, would go on to seize control of Hapsburg holdings in 1608, leaving Rudolph with only his imperial title until his death in 1612 (Rudolph II). Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Vertumnus_årstidernas_gud_målad_av_Giuseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503.tiff Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/7a810b0c90b3014816bcf78b8db2da35.png 57a487c44afd6e7221ff7cb264bf55e6 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 Memoirs by Glikl bas Judah Leib Creator An entity primarily responsible for making the resource Glikl bas Judah Leib 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 1719 Description An account of the resource Glikl was a Jewish businesswoman who advised her husband on business matters while raising their twelve children. She took over the whole business at his death, rescued “her eldest son from repeated bankruptcies, and expanding into new markets” (Wiesner-hanks, 454). This paragraph is an excerpt from her memoir. Glikl was proved to be a very unusual women, partly because her religious affiliation as a Jewish. “Because Jews were prohibited from staying in most inns run by Christians” and “Judaism prized the life of a scholar more than that of a merchant,” Glikl had a rather wide “networks of friends with whom women can stay safely” and was freer to “run businesses than their Christian neighbors” (Wiesner-hanks, 454). However, from a different perspective, particularly in comparison to the working status of married and unmarried women in Sweden during approximately the same time period. Glikl’s opportunity and success could also be partially credited to the importance of marriage, especially for women, in the 16-19th century. For example, in 16-18th century Sweden, although women in general were in the same industries or occupations as men did, except military, married and unmarried women had very different occupations. For example, ever-married women were much more visible in “administrative and managerial work, trade in real estate, general trade and credit transactions” (Lindstrom et al., 243). On the other hand, married women were relatively “inconspicuous in categories such as unspecified work, agriculture, transport, other specified work, and theft and misappropriation” where the presence of unmarried women were more profound (Lindstrom et al. 243). Thus, Glikl’s success as a businesswoman could also be associated with the opportunities for married women. Woman obtains the role of head of household when she marries and thus is conferred with more resources like land and other legal capacity. Although the necessity of marriage for women to be in these higher levels of occupations created a sense of women’s dependency on men, the autonomy and relative independency that women gained after marriage also shouldn’t be underestimated. As Lindstrom and others argued that, “marriage put both women and men in a position where they could use the labor of other people for their own benefits” (Lindstrom et al., 245). Women may not be in an inherently dispositional disadvantage in marriage. Source A related resource from which the described resource is derived Judah Leib, Glickl bas. Memoirs. Translated by Marvin Lowenthal. New York: Schocken, 1987. Rights Information about rights held in and over the resource Public Domain Prominent Women https://earlymoderneurope.hist.sites.carleton.edu/files/original/e3bbb567ae162c21b234ab254b8f7b1f.png 701775853a601e646806f108042cb431 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 Noli Me Tangre Creator An entity primarily responsible for making the resource Hans Holbien the Younger Contributor An entity responsible for making contributions to the resource Astrid Steiner-Manning Date A point or period of time associated with an event in the lifecycle of the resource 1526-28 Description An account of the resource This painting by Han Holbein the Younger is titled "Noli me Tangere" and is an example of art from the Protestant Reformation period. The period was characterized by a change in art in both Catholic and Protestant regions, though the change in Northern Europe was more noticeable. There was also variation in the art produced by different types of Protestants because different sects had radically different views of how art related to religion. Luther and his follows believed that art was an essential part of religion and that it should evolve, but not be eliminated, At the same time in other groups there was a wave of iconoclasm, the destruction of religious imagery. Many pieces of Catholic art, from altering pieces and stain-glass windows, were destroyed by Protestants or hidden by people sympathetic to the Catholic cause. Reform leaders of the Calvinist tradition pushed for the removal of all art from religious spaces and were especially hostile to large paintings and sculptures. More specifically, Protestants disproved of art that depicted religious subjects from the Bible and relating to Mary and other saints. Instead, prints and book illustrations that could be spread widely, religious scenes that included landscapes, and images of moral-based lives were preferred. Paintings were still done in churches, but often put in less prominent places, and the subject matter was sometimes changed. For example, in Protestant churches, the image put by the altar was more likely to depict the last supper than the crucifixion, as was popular in Catholic churches. This painting by Hans Holbein the Younger depicts Mary Magdalen's reaction to Christ’s resurrection. The phrase Noli me Tangre means “Don’t touch me” in Latin, and is what Jesus told Mary when she saw him. This painting is characteristic of a Protestant work during this period because it is a smaller scope, and is naturalistic in style. The artist also seems to have tried to avoid explicit references to iconic images by painting the halo very vaguely. Source A related resource from which the described resource is derived https://www.flickr.com/photos/marupress/40483548545/in/photolist-24FoLyi-7Cn43M-24Km2rM-kYXAW-qvEv1Q-5PmS5v-5DjX8B-qzKydw-c4kLob-pic5rg-aNDy5R-jsMVaw-5bgz2K-9wETPf-6f5Nxw-74Ma7j-uHQJR-qtgudG-6J2FTh-26ubYcj-qU2eTS-ipbZb3-m1zBDK-dACcEr-qLcWd8-2aJULxX-qPmYkJ-rYhHdH-ot1hf8-23RZcJU-Fp3cZi-2GZXYB-5nYdx1-7opRUv-T2MXAt-HUQffk-36zvB4-26HmCQY-HT4mqd-7ZPQ7H-deCTiJ-8ax4P1-ao9Vut-a3EhBU-6isDRc-b6UR1P-qp64VW-7b7Ked-cEnjgN-bFnccV Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/eb9186d52971a45b5ae055f2100491fb.png 18ae66c25558a2c82c50683a6b5a7828 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 Cross Cultural Interaction and Early Modern European Art Description An account of the resource This collection examines the advancements in maritime trade and foreign contact and how this impacted art during Early Modern Europe. Creator An entity primarily responsible for making the resource Rylyn Monahan Date A point or period of time associated with an event in the lifecycle of the resource 1500-1800 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 Mechanical Galleon Description An account of the resource This late 16th century German automaton mimics in miniature a masted galleon that would have sailed across the Atlantic to the New World. Designed to carry troops and guns, the actual galleon was specifically manufactured for a European navy with seafaring in mind and by proxy, the mechanical galleon, a gilded ship which set sail across the dining table of the Holy Roman Emperor Rudolf II, represented the beginnings of Imperialism and colonization. During the late 15th and 16th centuries, “Europe's view of the world and of its place in it was completely transformed” because of the influx of new information about people, plants, and animals coming from foreign countries (BBC). A metaphor in motion, the galleon likened the ship to state, since the word “‘governor’ comes from the Latin for ‘helmsman’ - ‘gubernator,’ so while the royals and elites admired the galleon, they recognized their state’s power in the maritime setting as well as the technological prowess of producing an instrument that served as a clock, an automaton, and a music player (BBC). The materials for the galleon, brass and steel, as well as the intricacy of its construction illustrates the Hapsburg’s increased wealth from the silver trade in the Americas. This interest in the mechanical extended to other automata during the late 16th century, and princely collectors kept them in kunstkammen or art chambers with limited access (Keating 14). The extreme interest in an object in motion reflected contemporary European interests in animating the inanimate and controlling the inhuman. Creator An entity primarily responsible for making the resource Hans Schlottheim Source A related resource from which the described resource is derived <a href="https://www.britishmuseum.org/collection/object/H_1866-1030-1" target="_blank" title="British Museum" rel="noreferrer noopener">https://www.britishmuseum.org/collection/object/H_1866-1030-1</a> Date A point or period of time associated with an event in the lifecycle of the resource 1580-1590 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas automaton clock Germany https://earlymoderneurope.hist.sites.carleton.edu/files/original/86e7025d4b5359d7d5afe4f9e97f1aa6.jpg a35df2137f0d786b37cbb9c6c7ccc3d9 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 taken by Harrie Gielen of the inside of Saint Willibrord's Basilica Physical Dimensions The actual physical size of the original image (1,880 × 2,816 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 A Photo of the Inside of Saint Willibrord's Basilica Creator An entity primarily responsible for making the resource Harrie Gielen 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 14 September 2009 Source A related resource from which the described resource is derived Gielen, Harrie. Nederlands: Koorkerk van de Sint-Willibrordusbasiliek Te Hulst. [object HTMLTableCellElement]. Own work. https://commons.wikimedia.org/wiki/File:Willibrordus_Hulst_01.jpg. Jonathan Israel, The Dutch Republic: its Rise, Greatness, and Fall 1477–1806 (Oxford, Clarendon Press, 1995), pp. 27-28. “Sint-Willibrordusbasiliek Saint Willibrord’s Basilica.” Wikipedia, n.d. https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.com&sl=nl&sp=nmt4&u=https://nl.wikipedia.org/wiki/Sint-Willibrordusbasiliek&xid=17259,15700023,15700124,15700149,15700186,15700190,15700201,15700214&usg=ALkJrhg7pTbaDBDCnyhRtV7CKP0606P0Sg#cite_note-2. “Netherlands Reformed Church | Dutch Protestant Denomination.” Encyclopedia Britannica. Accessed October 20, 2018. https://www.britannica.com/topic/Netherlands-Reformed-Church. Merry E. Wiesner-Hanks, "Politics and Power, 1600-1789" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 335 “Romaanse Architectuur Romanesque Architecture.” Wikipedia, n.d. https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.com&sl=nl&sp=nmt4&u=https://nl.wikipedia.org/wiki/Romaanse_architectuur&xid=17259,15700023,15700124,15700149,15700186,15700190,15700201,15700214&usg=ALkJrhiudeXQByCygtsAXC8hX98orgBiXQ. Rights Information about rights held in and over the resource CC BY-SA 3.0 (Free to Share) Description An account of the resource Saint Wilibrord’s Basilica was built in Hulst, Netherlands sometime around 1200, before gradually being renovated and improved upon over the years (Wikipedia). The Basilica was originally Roman Catholic, with architecture in the Romanesque fashion. This style was especially prominent in France and Spain, and can be seen in the Basilica’s rounded interior arches and round arch stained-glass windows (Wikipedia). Then, in the late 15th century, the building underwent renovations from Everaert Spoorwater, one of the founding fathers of the Brabant Gothic movement. He innovated by refining the pillars, and adding a pointed arch found at the top of the structure (not seen in the photo) (Wikipedia). These architectural improvements predated the Eighty Years’ War, but signify, in part, the gradual move away from Spanish influence within the Netherlands— as they developed new styles independent of Spain. The Basilica would then further represent the shift as it moved from Roman Catholicism toward the Dutch Reformed Church by the end of the Eighty Years’ War. The Eighty Years’ War was heavily influenced by Spanish religious doctrine, as many in the Netherlands hated Spain’s attempts to create ecclesiastical hierarchies in their lands and disliked the Inquisition (Israel, 27-28). The people wanted greater control over their religion, an idea given to them in part through the Protestant Reformation that was sweeping throughout the lands around that time (Israel, 27-28). The Basilica represents this shift, both in architectural style and religion, and its gradual renovation demonstrates how new local ideas led to the Dutch revolting in 1568. Architecture Church Netherlands spain https://earlymoderneurope.hist.sites.carleton.edu/files/original/ebb60a8a5b8b2611a734c294b3566664.jpg c808a52aeb2f42a2d9f56eb4e548e041 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 "On the Nature of Man," from the Hippocratic Corpus Creator An entity primarily responsible for making the resource Hippocrates (or Polybus, his son) Contributor An entity responsible for making contributions to the resource Moses Jehng Date A point or period of time associated with an event in the lifecycle of the resource c. 400 BCE Description An account of the resource Though not entirely political in nature, "On the Nature of Man" established a concept of medicine that remained in prominence for much of European history until the Scientific Revolution, humoralism (discussed week four of HIST 139). The text proposes the existence of four humors in the body that affect appearance, temperament, and health--black bile, yellow bile, phlegm, and blood. Each was associated with one of Aristotle's elements (black bile with earth, yellow bile with fire, phlegm with water, and blood with air) and certain emotional characteristics (black bile to melancholic, yellow bile to choleric, phlegm to phlegmatic, and blood to sanguine). Whenever an issue with health occurred, the problem was identified as an imbalance of humors. As such, practices such as bloodletting enabled patients to "restore balance." Furthermore, environmental factors could affect humoral balances as well, promoting the excess or deficiency of a certain humor (black bile is dry and cold, yellow bile is hot and dry, phlegm is wet and cold, and blood is hot and wet). In her book The Body of the Conquistador, Rebecca Earle illustrates the political significance of humoralism. Having expanded into the Americas, the Spanish were encountering disease they had not developed immunities to. To explain the Spaniards’ sudden deterioration of health, scholars diagnosed an imbalance of humors due to the temperature/humidity changes of the new environment. As such, the Spanish invested significant amounts of money attempting to solve said imbalance through the transportation of traditional Spanish foods across the ocean. The consumption of a regular Spanish diet was supposed to restore balance to the humors. Additionally, the Spanish utilized humoralism to account for the phenotypic and behavioral differences between themselves and Native Americans. Observing the environments in which the Native Americans lived and the food they ate, the Spanish theorized that while they were once white (as the Bible proclaimed that humanity shared an origin), their conditions affected the balance of their humors, which in turn manifested in darker skin, less facial hair, and diminished appetites. Through this, the Spanish believed that they could “cure” the Native Americans if their lifestyles were changed to that of the Spanish. However, this also meant that the Spanish could gradually become more Native American if they followed the Native Americans’ lifestyles. In making the Native Americans more Spanish and “civilized,” the Spanish justified their colonialism as humanitarian (discussed week four of HIST 139) (Earle). Source A related resource from which the described resource is derived Earle, Rebecca. The Body of the Conquistador. Cambridge, UK: Cambridge University Press, 2012. Hippocrates. "On the Nature of Man." In Hippocrates, translated by W. Jones, 1-42. Vol. 4. Cambridge, MA: Harvard University Press, 1959. 2005. Accessed November 17, 2018. https://archive.org/stream/hippocrates04hippuoft#page/n9/mode/2up. Table of Contents in a Fourteenth-century Hippocratic Corpus Manuscript. 1525. Online Vatican Exhibit, Vatican City. In Wikimedia. June 14, 2011. Accessed November 17, 2018. https://en.wikipedia.org/wiki/File:Vat-gr-277-10v-11r.jpg. Rights Information about rights held in and over the resource Photo: Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/255e4619fcc1301eb9d39934c26be5d1.jpeg f71faf09e0bf6159ec37bed55de00b07 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 Paper Physical Dimensions The actual physical size of the original image Height: 387mm, Width: 616mm 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 Chart of Places of Action Between the English Fleet and the Spanish Armada Creator An entity primarily responsible for making the resource Hubert-François Gravelot Date A point or period of time associated with an event in the lifecycle of the resource 1739 Description An account of the resource In 1588, Spain sent out a fleet of around 130 ships that they called ‘la felícissima armada’ or ‘the most fortunate fleet,’ to attack Britain and transport troops to her shores. This failed attack took on a legendary place in British national history, though its impacts were relatively limited (Wiesner-Hanks, 195). But while this episode may be given an outsized position in the history books, the coming importance of naval warfare epitomized by the defeat of the Spanish Armada has not been overstated. Navies had been increasing in importance and equipment since the late Middle Ages when merchants and traders began to be involved in arming trading vessels to protect shipping routes and communication lines as well as ports and towns (Wiesner-Hanks, 96). This necessity was increased by the ferocity of religious wars sparked by the Protestant Reformation that led to both international conflicts, and civil wars throughout Europe during the middle of the 16th century (Holt, 63). Navies were advantageous as they could be kept in active service during peacetime when it was expensive and infeasible to keep standing armies. Mariners could simply turn their hands toward maritime trade when there were no wars to be fought which led to greater experience in many skilled positions (Wiesner-Hanks, 96). These navies were expanded by the use of conscription during wartime (especially in Northern Europe) and the use of prisoners to work in galley fleets (ships that required men to row them) especially in Southern Europe (Wiesner-Hanks, 96). During the 17th century, many nations expanded their navies focusing on heavily armed warships instead of casually maintained merchant vessels with a few guns in response to the growing number and size of wars fought on the seas (Wiesner-Hanks, 325). This adaptation became most important for nations like England that relied almost entirely on their navy for protection and later expansion, giving way to the common epigraph that Britannia Ruled the Waves. Much of the increase in naval power was in recognition of the need to protect maritime trade routes that were fast becoming an economic backbone of Europe (Wiesner-Hanks, 96). These lines of trade and communication had become far more valuable with the broadening of the known world and the increase in market. Source A related resource from which the described resource is derived Rijksmuseum; Amsterdam, Netherlands Rights Information about rights held in and over the resource Free Re-use