8 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/a23164388b7d584b0bbcb1faa1dd55a8.jpg 86af04db21f39d7d03225599c081fb6d 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 Louis XIV Creator An entity primarily responsible for making the resource Hyacinthe Rigaud Date A point or period of time associated with an event in the lifecycle of the resource 1702 Description An account of the resource Hyacinthe Rigaud’s “Portrait of Louis XIV” serves as an idyllic artistic illustration of the mechanisms of Absolutism which Louis XIV established in France. The monarch, who was well into his sixties during the time of this portrait, is depicted in the classic style of an Absolutist ruler. His robes are accessorized with gold "Fleur de Lis" crests, symbolic of the French monarchy and nation. A golden sword is slung by his waist, representing his control over the military and the scepter in his right-hand serves as yet another reminder of his power over France, with another "Fleur de Lis" on the bottom edge of it. During his reign, Louis XIV made every effort to create a centralized government with an intricate bureaucracy revolving around himself. He had moved the royal palace from within Paris to just outside of it, at Versailles. The palace housed many of the bureaucrats who served him as well as institutions for the arts, such as an opera. Louis XIV wanted all of his constituents to understand that all matters involving the state were centralized around him, including the government, the military, and patronage of the arts. Absolutism was a widely developing concept in Europe by this time. Many distinct features of Absolutism had been outlined and upheld in Thomas Hobbes’s “Leviathan,” in which Hobbes ultimately theorized that the best form of government is one which is unified and substantially centralized around an Absolute monarch. Louis XIV nearly perfectly represents the type of ruler which Hobbes would argue: strengthens the state and the well-being of the nation through Absolutism. Source A related resource from which the described resource is derived Musée du Louvre via Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Hyacinthe_Rigaud_-_Louis_XIV,_roi_de_France_(1638-1715)_-_Google_Art_Project.jpg) Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/6c4a93ed6a762d2b5c4c625673b0ac5e.JPG d8b4e554c390c00d470a000f168fa7b7 https://earlymoderneurope.hist.sites.carleton.edu/files/original/bbb91137611e777133388fc015c4af18.jpg e0754d9eef6cfb938a77ef2476f38e39 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 interior: photograph exterior: photograph Physical Dimensions The actual physical size of the original image interior: 6000 x 5230 exterior: 2447 x 2423 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 St. Paul's Cathedral, London Creator An entity primarily responsible for making the resource Interior view: David Illif Exterior view: Steve Cadman Architect: Christopher Wren 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 1710 Description An account of the resource St. Paul’s Cathedral in London is a magnificent building, a titanic Latin cross of ornately-carved white limestone capped by a lead dome which soars 280 feet (not counting its lantern or its cross) over the streets of London (Britannica). The Baroque cathedral combines a Continental architectural sensibility with a distinctly English attitude to architecture, religion, and even secular power. St. Paul’s Cathedral is built on the site of several older buildings, mostly older cathedrals of St. Paul but also including, supposedly, a Roman temple to the goddess Diana. This latest iteration of the structure was planned and built under the supervision of the architect Christopher Wren after the previous St. Paul’s Cathedral, which had been badly damaged after the troops of Lord Protector of England James Cromwell had used it as a barracks, burnt down during the 1666 Great Fire of London. Wren was commissioned by the English government, which had itself recently been restored from Cromwell’s Protectorate to a monarchy ruled by Charles II, to create a new cathedral to replace the one which had been destroyed, and he did so with aplomb. Aside from the aforementioned massive dome (which is actually composed of three layers: the outer lead dome, an inner masonry dome adorned with frescoes, and a hidden brick cone in between the two to provide structural support), the cathedral boasts a Greco-Roman-style facade, with a two-story Corinthian colonnade and pediment. The Corinthian columns continue around the exterior of the cathedral, sometimes as full columns on the semicircular porticos which open from the secondary facades at the ends of the transept and sometimes as pilasters which frame the building’s windows in sets of two. The tholus (circular colonnade) beneath the cathedral’s dome and the pediments over the second-story windows also refer to classical architecture. The building is marked as baroque, however, by the ornate designs which cover it (e.g. relief carvings of garlands), by a preference for curved lines (e.g. the aforementioned porticos and the arched windows of the first story), and by the very ornate decoration of the interior, whose soaring and elaborately-coffered vaults combine with light streaming in from the clerestory windows of the nave and the dome to produce the sort of heavenly effect for which Baroque architecture is known (All sources Britannica). Still, St. Paul’s Cathedral isn’t as flamboyantly Baroque as the churches of Italy or even France. It gains an austere quality from its stark white coloration, which lacks even the irregular, colorful veins of marble, and, though its interior is lavishly decorated, the great height of the ceilings combined with a fairly subdued (for the Baroque period) color palette means that the aesthetic of the building is less “awesome beauty” and more “solemn beauty,” a move which could be seen to anticipate the neoclassicist direction taken by the architects of the eighteenth century. The differences between St. Paul’s and contemporary European cathedrals could be attributed to the unique political situation of England at the time of the building’s construction: the monarchy had just been restored, and the creation of a building like this would have been an excellent chance to demonstrate the power and wealth of Charles II as well as his control over the Church of England. The ostentatious style and grand scale make a good deal of sense when looked at from this perspective. The comparative austerity, meanwhile, likely results from the fact that, unlike Italy, France or Spain, England was a Protestant nation, and the Stuart kings were questionably Protestant at best. Because, like other Protestants, Anglican Christians tended to prefer simple, functional church architecture to the extravagant style favored by Catholics, creating a fully Baroque cathedral replete with visual delights would have created suspicion and anger in a country already wary of their monarch’s beliefs. As such, St. Paul’s Cathedral can be seen both as an excellent example of Baroque architecture and a demonstration of the ways in which, far from being simply functional, architectural styles must be interpreted and altered according to the cultural and political environments in which architects find themselves. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:St_Paul%27s_Cathedral_Nave,_London,_UK_-_Diliff.jpg https://commons.wikimedia.org/wiki/File:St_Pauls_Cathedral_from_West_adj.JPG "Saint Paul's Cathedral." Encyclopedia Britannica. Last modified March 17, 2017. https://www.britannica.com/topic/Saint-Pauls-Cathedral-London Rights Information about rights held in and over the resource interior: CC-BY-SA 3.0 exterior: CC BY 2.0; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/549af1f7bde9beb5c410ef83269f848d.jpeg a4bab181d2c60d7ecf5cf2e29269f351 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 Duty and Advantages of Encouraging Public Infirmaries Creator An entity primarily responsible for making the resource Isaac Maddox 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 1742 Description An account of the resource In the 18th century a growing national interest in the health and safety of the poor and infirm led to the creation of a number of voluntary hospitals, charity hospitals set up by the upper class for the impoverished. One of the most famous was the London Hospital, created in 1740 by a group of druggists and surgeons primarily to service the manufacturers and seamen of the East End of London (London Lives). This sermon, given by Isaac Maddox a lord bishop at the time, was created in an effort to both encourage the government to support the work of the hospital, as well as encourage the aristocracy in attendance to help support the hospital’s mission. During the enlightenment, and over the course of the Early Modern Period as a whole, governments across Europe began to set up hospitals and other methods of general public health to help support their people. The 18th century in particular was notable for the large number of hospitals founded in the London area for the treatment of a variety of patients (Andrews). While these hospitals were originally founded by private citizens they were quickly supported and eventually controlled by the government, a change from the previous centuries where only two royal hospitals had been founded since 1530 (Andrews). This shift in thinking of the upper class is representative of a general shift towards the welfare of a nation, rather than that of a small group, which is indicative of the rise of the nation state in this time period. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/9200397/BibliographicResource_3000126278106.html?q=english+sermon Rights Information about rights held in and over the resource Free Re-Use Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/989c7f0560eab459c0b318721f995762.jpg 27bad0445622d497b013e83d24521e4a 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 Protesting licentiates marching to the Royal College of Physicians in 1767 Creator An entity primarily responsible for making the resource J. June Contributor An entity responsible for making contributions to the resource Zach Irvin Date A point or period of time associated with an event in the lifecycle of the resource 1768 Description An account of the resource Completed in 1768 by J. June, this etching depicts licentiates of the Royal College of Physicians marching in protest at Warwick-Lane Castle in 1767. These “medical militants”, as the artist calls them, were expressing their grievances with the college’s changing policies as it intended to reform medical practices in industrialized England (Barnett, 39). While colonial expansion, industrialization, and the emergence of voluntary hospitals certainly placed medical experts in high demand, the field was also undergoing equally dramatic institutional reforms (Barnett, 40). Medicine, however, was just one sector of the economy experiencing profound changes throughout the eighteenth century. The arrival of new production processes and the expanded scope of markets were developments that began to permeate through nearly every facet of European society. With it came very vocal responses from laborers who sought protections from the ever changing economy. In this sense, the era fundamentally transformed the position of the laborer in the economic sphere. Source A related resource from which the described resource is derived Barnett, Richard. Crucial Interventions: An Illustrated Treatise on the Principles & Practice of Nineteenth-century Surgery. Thames & Hudson, 2015. Jane, J.. Protesting licentiates marching to the Royal College of Physicians in 1767, 1768. Etching, Wellcome Collection. <a href="https://www.europeana.eu/portal/en/record/9200579/w3hggjzk.html?q=protesting+licentiates+">https://www.europeana.eu/portal/en/record/9200579/w3hggjzk.html?q=protesting+licentiates+</a> Rights Information about rights held in and over the resource Free Use CC BY https://earlymoderneurope.hist.sites.carleton.edu/files/original/dfc10ea7a47cd1f9fc4e53a68bd4e1fe.pdf 38e2eb7d29bde77e924278146935d2db 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 Early Modern Medicine Creator An entity primarily responsible for making the resource Jack Williams 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 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. 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. Works Cited: Karrow, Robert W., Jr, Mapmakers of the Sixteenth Century and Their Maps. 142-158, 376-406. Speculum Orbis Press, 1993. Mundy, Barbara E., “Spain and the Imperial Ideology of Mapping,” The Mapping of New Spain: Indigenous Cartography and the Maps of the Relaciones Geográficas. 1-9. University of Chicago Press, 1996. Source A related resource from which the described resource is derived <a href="https://www.europeana.eu/portal/en/record/90402/RP_P_BI_2756.html">https://www.europeana.eu/portal/en/record/90402/RP_P_BI_2756.html</a> Rights Information about rights held in and over the resource This item is in the Public Domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/558d4c6264c994b87f939e259688e5ba.jpg ddf01aa63e83f4477ab9beef75933e7d 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 Death of Socrates Creator An entity primarily responsible for making the resource Jacques-Louis David 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 1787 Description An account of the resource The painting above depicts the event that influenced Plato's conception of democracy, the execution of his master Socrates. As Socrates did not write anything down (or if he did, we no longer have it), most of our knowledge of him comes from his disciple Plato. Most notably, the manner in which Socrates practiced philosophy became known as the Socratic Method, or arriving at a conclusion via questioning. As such, he would often engage in conversation with his contemporaries, challenging their beliefs with round after round of inquiry. However, these "debates" often did not result in a concrete conclusion other than that the original belief was wrong, and in combination with his sharp tongue (as seen in Plato's depictions of him), this resulted in the citizens of Athens eventually viewing him as a nuisance. Finally, he was brought to trial by his enemies and executed. The democratic means by which this occurred deeply upset Plato, leading to Plato's disenchantment with democracy and the masses (Kraut). Furthermore, the charges brought upon Socrates echo later sentiments during the Scientific Revolution (discussed fifth week). Spurned by his challenges toward the incumbent ideology of Greece, his accusers claimed that he did not believe, or made a mockery of, the gods. Galileo faced similar difficulties upon the introduction of his theories. The painter, Jacques-Louis David, was witness to the French Revolution (discussed week ten of HIST 139). Through his paintings, David would often embody revolutionary values. In The Death of Socrates, for example, themes of intellectual oppression are explored. As stated previously, Socrates was ostensibly (at least to David) executed due to others’ fear of philosophy and knowledge, and with it, social progress. Condemned by the conservatives of Athens for corrupting youth, Socrates was a revolutionary of sorts. Most notably, however, is Socrates’ inspired demeanor within the painting, implicitly offering support for dissidents. In spite of his impending death, Socrates remains does not display grief—rather, he embraces his cause to his grave. This belies a perception of martyrdom behind revolution on Jacques-Louis’ behalf, portraying the dignity of an honorable death. Source A related resource from which the described resource is derived David, Jacques-Louis. The Death of Socrates. 1787. The Metropolitan Museum of Art, New York City. In The Met. Accessed November 18, 2018. https://www.metmuseum.org/art/collection/search/436105. Kraut, Richard. "Socrates." Encyclopedia Britannica. October 26, 2018. Accessed November 18, 2018. https://www.britannica.com/biography/Socrates. Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/4d304b097660c55bb842e2a4150357c0.png f1f377fcfdd681e961dba3605e64c1fb 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 Death of Socrates Creator An entity primarily responsible for making the resource Jacques-Louis David Contributor An entity responsible for making contributions to the resource Claire Guang Date A point or period of time associated with an event in the lifecycle of the resource 1787 Description An account of the resource Prior to the Enlightenment, the artistic style of Rococo dominated the art scene. However, during the Enlightenment it was constantly criticized for its excess embellishments. This led rise to Neoclassism where there was more of an emphasis on simplicity. This piece depicts the Greek philosopher Socrates’ last moments before his death. Socrates was found guilty being accused of corrupting the youth with his teachings, and as given the option of either renouncing his beliefs or drinking poison. In this scene we see him reach out for the cup of hemlock, while gesturing towards the heavens, implying his disagreement with the notion of a soul’s immortality. This piece is a great neoclassical statement as it portrays the themes of civic duty that neoclassic emphasized. During this time, the French Government replaced the religion of Christianity with “anti-clerical Secularism.” Because of this, people looked towards philosophers and those who displayed civic virtues for morals and values. Unlike previous periods in which morals and values were depicted through religious art and scripture, neoclassic art depicts the same concepts through the glorification of those who have showed such ideals. Instead of depicting a Christian martyr, we see the same message of martyrdom through the death of Socrates. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:David_-_The_Death_of_Socrates.jpg https://www.metmuseum.org/art/collection/search/436105 https://www.identifythisart.com/art-movements-styles/pre-modern-art/neoclassical-art-movement/ Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://earlymoderneurope.hist.sites.carleton.edu/files/original/c8bdf79887d6e3b267269d7647b15804.png feb957f3dc4099d3cf2612150b2bea3b 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 Map Physical Dimensions The actual physical size of the original image 60.5 cm x 72 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 Map of the East Indies Creator An entity primarily responsible for making the resource James Rennel Contributor An entity responsible for making contributions to the resource Thomas Jefferys Date A point or period of time associated with an event in the lifecycle of the resource 1794 Description An account of the resource The beginning of the 18th century saw the final years of the Enlightenment and the beginning of a new era defined by colonial expansion. If maritime history during the early modern period was characterized by exploration and conquest, the 19th century was to be characterized by colonization. By the end of the early modern period, Europeans had already colonized most of the Americas, and had forts and trading posts all along the West Coast of Africa and throughout Southeast Asia (Wiesner-Hanks, 494). The following century would see the European takeover of India, Australia, and the partition of Africa that gave Europeans dominion over much of the world. Yet the end of the slave trade during this period and the liberal ideals of the Enlightenment seem an unusual environment for the growth in colonialism. If fact, this incongruity has led to a historiographical debate over the actions and intentions of progressive thinkers during the Enlightenment and the role that they played in the establishment and longevity of Empire. Jonathan Israel, a scholar of the Radical Enlightenment, for example, emphasizes racial motivation for European dominion throughout the world, stating that the moderate Enlightenment leaders “often inclined to theories of racial superiority and European...superiority in civilization and religion...This was the usual method of explaining and justifying colonial rule and economic control” (Wolloch, 354). This theory suggests that the liberal principles of equality and liberty that supposedly defined the end of the 18th century were simply ignored when it came to groups of racial “others” which allowed for the justification of colonization of non-white areas. There is, however, another camp of scholars who claim that Enlightenment leaders who supported colonialism did so from a rational (albeit highly Eurocentric) perspective. Historians such as Jennifer Pitts have argued that the support of colonial rule was not based on race, but rather on the theory that only through colonization Europeans could bring development and Enlightenment to non-European societies. These historians cite the works of John Stuart Mill who wrote in his Principles of Political Economy that “it may be said without exaggeration that the great extent and rapid increase of international trade,...is the great permanent security for the uninterrupted progress of the ideas, the institutions, and the character of the human race” (Wolloch, 355). Historians such as Pitts view these ideas of the Enlightenment as an effort to progress humanity albeit a very paternalistic endeavor. While I would agree with Israel that these arguments seem to have few redeeming qualities and it would be far easier to simply put these inconsistencies down to blatant racism, Pitts makes a compelling case. The idea of a paternal Europe guiding her colonies seems reminiscent of the concern of Enlightenment thinkers whenever they came to the topic of giving too much power to the poor or uneducated. They often adopted this philosophy of guidance for fear that others lacked a capacity for important decision making. They felt it behooved them to take a leading role until such time as others are capable of these responsibilities, which is evocative of their comments about the necessity of colonization. Regardless of the motivation of 18th century intellectual leaders, colonialism did come to define our modern concepts of race and to greatly exacerbate levels of racial inequality throughout the world (Wiesner-Hanks, 521). Hopes of assimilation held by men like Mill began to disappear when faced with the realities of Colonial life and the strengthened belief in the immutability of race (Wiesner-Hanks, 527). Instead, highly racialized systems of government were established that lasted throughout the colonial period. Remnants of these systems could be seen well into the 20th century in the form of Apartheid in South Africa and Segregation and Jim Crow laws in the United States. These forms of racial domination and European imperialism can trace their roots directly to the voyages and conquests of the early modern period, as Europe found a way to dominate the oceans and to create its version of a modern world. Source A related resource from which the described resource is derived Biblioteca Nacional de Portugal Rights Information about rights held in and over the resource Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/fe0f0cbd90f908ae9bb914065c27e859.jpg feababf919c647c181fe923b3efa6ea0 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 Chromalithograph of a painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The adoration of the lamb. Chromolithograph after Jan van Eyck Creator An entity primarily responsible for making the resource Jan van Eyck 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 c. 1430-2 (original painting) Description An account of the resource This work of art by painter Jan van Eyck demonstrates the artistic innovations which occurred in the Low Countries during the Renaissance. By examining this work, which is one of many paintings on an altarpiece by van Eyck, one can see a greater emphasis on details compared to previous works of medieval art. Human faces are portrayed in a more detailed way, with emotions and distinct facial characteristics becoming discernible. This work is much more ambitious in the number of people who are depicted and demonstrates a developing understanding of perspective. The textures and folds of clothing are rendered in great detail. As the work is part of an altarpiece, religious motifs and figures are central to the painting. The patronage of wealthy and powerful individuals was necessary for an artist during the Renaissance. Jan van Eyck painted many of his works in the city of Bruges, in Flanders, under the patronage of Duke Philip the Good of Burgundy. Prior to this patronage van Eyck worked under the patronage of other dukes (Tovell 90). The Ghent altarpiece was partially paid for through the patronage of an independent citizen of Ghent who van Eyck included in another panel of the altarpiece (Tovell 91, 104). Even during the early 15th century, citizens such as the patron for the Ghent altarpiece were involved in art in the Low Countries, a participation which expanded as the middle class grew in the Netherlands (see the page on Baroque Art). While art historian Giorgio Vasari focuses primarily on Italian artists in his Lives of the Artists, van Eyck’s style can be connected to his commentary on those artists. Vasari declares that in examining van Eyck’s contemporaries, which he places into the second period of Renaissance art, “We shall see compositions being designed with a greater number of figures and richer ornamentation, and design becoming more firmly grounded and more realistic and lifelike” (Vasari 90). Certainly van Eyck’s works indicate similar innovations developing outside of Italy. Works Cited Tovell, Ruth Massey. “Jan van Eyck: The Ghent Altarpiece.” in Flemish Artists of the Valois Courts, 89-105. University of Toronto Press, 1950. Vasari, Giorgio, Lives of the Artists, Volume I. Translated by George Bull. New York, Penguin Books, 1987. Source A related resource from which the described resource is derived <a href="https://wellcomecollection.org/works/nvrjwmqc">https://wellcomecollection.org/works/nvrjwmqc</a> Rights Information about rights held in and over the resource This work is licensed under Creative Commons. Credit: 'The adoration of the lamb. Chromolithograph after Jan van Eyck' by Jan van Eyck. Credit: <a href="https://wellcomecollection.org/works/nvrjwmqc">Wellcome Collection</a>. <a href="https://creativecommons.org/licenses/by/4.0/">CC BY</a> https://earlymoderneurope.hist.sites.carleton.edu/files/original/31578359205047b3909fa7a299212d60.jpg 1473828b53dbcbf5dc5d71a4ec8c785c 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 Ouratea Guyannensis (Plate 152) in Histoire des plantes de la Guiane Francoise Description An account of the resource The interest in botany and accurate renderings of plant life permeated all of Europe, not just in England. In France, Jean Fusée Aublet boasts a collection of almost 400 copperplate engravings showing the Histoire des Plantes de la Guiane françoise which systematically records the plants of the Amazon basin region. This particular plate displays ouratea guyannensis, or malmani in its common name. Indigenous people used their roots for digestive and stomach problems, and the leaf for antitussive decoction (Medicinal Plants 212). Aublet worked closely with indigenous individuals to record not only the body of the plant itself, but also the plant’s uses, names for species, and other information (Plotkin, Boom, and Allison 216). Medicinal plants take up the majority of Aublet’s engravings, and these engravings demonstrate the influx of Old World Species into the Guianas as well as an interest in the native botany. Aublet engraved these plants during the Enlightenment which experienced an intense relationship with the continuation of the scientific revolution. Ideas about nature and its relationship with God reinforced the significance of the study of botany, which showed up in European gardens, collections, artwork (like Mary Delany’s prints), and more genuine scientific studies like this one. Creator An entity primarily responsible for making the resource Jean Baptiste Christophe Fusée Source A related resource from which the described resource is derived <a href="https://figshare.com/articles/figure/Plate_152_in_Histoire_des_plantes_de_la_Guiane_Fran_oise_Tome_III/6372376" target="_blank" rel="noreferrer noopener">https://figshare.com/articles/figure/Plate_152_in_Histoire_des_plantes_de_la_Guiane_Fran_oise_Tome_III/6372376</a> Date A point or period of time associated with an event in the lifecycle of the resource 1775 Contributor An entity responsible for making contributions to the resource Rylyn Monahan Americas engraving France https://earlymoderneurope.hist.sites.carleton.edu/files/original/dd7100e0af216e0e9bbe4895a4db0c0b.png 982baa28b033c54f3b8e50ab5975dd19 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 Arrest Memorable du Parlement de Tolose Creator An entity primarily responsible for making the resource Jean de Coras Date A point or period of time associated with an event in the lifecycle of the resource 1508 Description An account of the resource The tale that Jean de Coras recounts in his Arrest Memorable is the story of perhaps one of the most famous 16th century French peasants, a man named Martin Guerre. The story itself is remarkable. A man named Martin Guerre disappears for many years, leaving his young wife behind. Years later, a man claiming to be him appears, but is slowly discovered to be an imposter. During the trial of the fals Martin, the real Martin reappears, casting away any doubts that were still had over the identity of the other man. Not only does the story, recounted by Natalie Zemon Davis in her microhistory The Return of Martin Guerre give insight into what life as a peasant would have been like, but also provides us with an insight into the ways in which peasants thought about the self in early modern France. There were very few ways of making certain that a person was who they said they were, and so as long as the man claiming to be Martin resembled him, especially because he had been away for so long, it was easiest to just believe him. It was also easy for his wife when he reappeared, because she had never remarried, choosing instead to maintain the autonomy that widowhood provided. Jean de Coras was one of the men involved in the trial, and throughout his account of the events, he makes certain that his involvement is cast in a very good light. Source A related resource from which the described resource is derived Coras, Jean de. Arrest memorable du parlement de Tolose http://tolosana.univ-toulouse.fr/fr/notice/075569353 Rights Information about rights held in and over the resource Free Re-use. In the public domain. Les documents accessibles sur Tolosana sont des reproductions numériques d’œuvres tombées dans le domaine public provenant des collections des bibliothèques universitaires toulousaines et de quelques autres établissements. Pour la majorité d’entre eux, leur réutilisation est libre et gratuite, sous réserve du respect du droit moral des auteurs et de la mention de source, sous la forme suivante : Tolosana. Bibliothèque de conservation du document original (celle-ci est indiquée dans les notices dans le champ « localisation »).