1 12 202 https://earlymoderneurope.hist.sites.carleton.edu/files/original/7918ecc07c607f5f8d61c2a36324db31.pdf 7aa1ac9d7daf9d5216035aba0461ba1c 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 Zach Irvin Introduction Paper https://earlymoderneurope.hist.sites.carleton.edu/files/original/a26b840dd30492a8b84a1d962a283e72.jpeg 2ec7f49286a32164c958cdba7a7ecbf2 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 Wynkyn de Worde Papal Indulgence Creator An entity primarily responsible for making the resource Wynken de Worde 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 c. 1497 Description An account of the resource Printed in Westminster in 1497, this papal indulgence was issued for the pilgrim shrine of St. James, Compostela in Spain. Throughout the late medieval age, indulgences such as this would have been paid through the Church as part of a process of penance and remission from the temporal punishments of sins. Just as empires accumulated great wealth during the Age of Discovery, so too did their churches. The evolution of Europe’s economy necessitated the adoption of common currency methods, facilitating more universal exchanges of goods and services and allowing money to become a common language throughout European empires. Much like the Church, the authority of the banknote was an unquestioned reality of early modern European life. So long as money was legitimate in the eyes of the Roman Catholic Church, churchgoers held that even grave sins could be absolved through one of these simple monetary exchanges. These exchanges did not, however, go unchallenged. Indulgences such as this would become a central critique of Martin Luther’s famous 95 Theses, as he accused the Church of commercializing the process of penance. Although Luther fundamentally challenged the foundations of the papacy, we will later see the Church continue to extend its wealth and influence throughout Europe’s growing global hegemony. Source A related resource from which the described resource is derived Wynken de Worde. Wynkyn de Worde Papal Indulgence, 1497. Printed Sheet, University of Edinburgh.<a href="https://www.europeana.eu/portal/en/record/9200261/BibliographicResource_3000058482938.html?q=Wynkyn+de+Worde+Papal+Indulgence">https://www.europeana.eu/portal/en/record/9200261/BibliographicResource_3000058482938.html?q=Wynkyn+de+Worde+Papal+Indulgence</a> Rights Information about rights held in and over the resource CC BY Free Re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/16be6eb784f1bac670d62f627550d888.jpeg 22daef7e4162ccaca4f027e786154ed9 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 48 cm x 35 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 William I, Prince of Oranje | Key, Adriaen Thomasz. Creator An entity primarily responsible for making the resource Adriaen Thomasz Key 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 1579 Description An account of the resource William I of Nassau, Prince of Orange, who was also known as William the Silent, was an important figure in the Dutch Revolt against the Spanish Empire. The Dutch Revolt had its roots in the spread of Calvinism to the region and the subsequent iconoclastic violence that broke out in the second half of the 16th century, during the reign of King Philip II of Spain. William emerged as a key military leader in the Dutch Republic, which was formed the union of the seven northernmost provinces of the region. William’s leadership and position in the revolt prompted his assassination in 1584 (Wiesner-Hanks, 195). William not only typifies the religious and political upheavals that occurred as a result of the Protestant Reformation, but he is also key in connecting the Low Countries to a wider European context. The conflict in the Netherlands expanded to include France, Germany, and England in what began as a Spanish conflict. In 1568, William aligned himself with Huguenot (Protestant) leaders in France and marched into France to attempt to turn the tide of the conflict (Holt 69). The English helped fund the Dutch rebels, and Philip II of Spain retaliated against the English by sending the Spanish Armada to attempt to invade England (Wiesner-Hanks, 195). Despite William’s promotion of religious tolerance in the Netherlands, many Catholics sought refuge in the Holy Roman Empire, in cities such as Cologne (Janssen 475-6). These examples illustrate how religiously-motivated conflicts such as those in France and the Low Countries were not self-contained, but rather drew in many third parties. Works Cited: Janssen, Geert H. "Quo Vadis? Catholic Perceptions of Flight and the Revolt of the Low Countries, 1566–1609." Renaissance Quarterly 64, no. 2 (2011): 472-99. doi:10.1086/661797. Holt, Mack P. “‘The beginning of a tragedy’: the early wars of religion, 1562-1570.” in The French Wars of Religion, 1562-1629, 65-70. Cambridge University Press, 1995. Wiesner-Hanks, Merry E. “Religious reform and consolidation, 1450-1600.” in Early Modern Europe, 1450-1789, 192-196. Cambridge University Press, 2013. Source A related resource from which the described resource is derived https://www.europeana.eu/portal/en/record/90402/SK_A_3148.html Rights Information about rights held in and over the resource Public domain. https://earlymoderneurope.hist.sites.carleton.edu/files/original/d733d152f9b430aa90c17569b924c98b.jpg d95fb4f3c45ffea14cc789ff911cf62e 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 Westminster Abbey Creator An entity primarily responsible for making the resource Original architect: unknown Drawing: Thomas Picken Contributor An entity responsible for making contributions to the resource Maddie Gartland Date A point or period of time associated with an event in the lifecycle of the resource Originally built in 960. Rebuilt in 1517. Drawing: 1851 Description An account of the resource Westminster Abbey is certainly not a structure built during the Protestant Reformation, nor the English Reformations, but its history is inextricably entangled with Protestantism and Anglicanism, so it has earned its spot in this era. The original building was the first church in England built in the romanesque style; from about 1245 to 1517, construction on the current church was underway, and the current structure is largely Gothic ("History of..."). (The towers came later, in the 18th century.) During that period, the Abbey became the coronation site of Norman kings and often had some political influence due to its proximity to the Palace of Westminster. So, by the 16th century, Westminster Abbey was well established as an important site for the English monarchy ("History of..."). Then, of course, came Henry VIII, and the beginnings of the English Reformations, and the dissolution of the monasteries. Westminster Abbey is a peculiar case in this situation. While most of the dissolved and seized monasteries were either destroyed or left to waste away by Henry VIII, he chose to grant the Abbey the status of a cathedral, sparing it from destruction and ruin. This choice clarifies that he knew very well the Abbey's specific importance to the English crown and was unwilling to let it fall from grace (and usefulness) with all the rest of the monasteries in England. After ten or so years as a cathedral, the very Catholic Mary I came into the throne and restored Westminster Abbey to the Benedictines. This was reversed, of course, when her successor Elizabeth I took the throne, and in 1560 Elizabeth designated the Abbey a "Royal Peculiar" ("History of..."): a church of the Church of England that was directly under the sovereign, not responsible to a bishop (as would normally be the case). Westminster Abbey has since then continued to be the coronation site of every English monarch, and has also been the site of many royal weddings (largely since the early 20th century, but nonetheless). The fascinating history of Westminster Abbey, transformed by Protestantism's rise in England, thus saw it change functions very quickly and ultimately very permanently: from an abbey to a cathedral back to an abbey to a Protestant church to one of the most important churches in the Anglican religion. It is a prime example of how a shift in culture or politics can alter the entire purpose and function of a building. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Opactwo_Westminster_w_Londynie.jpg "History of Westminster Abbey." Westminster Abbey. Accessed September 28, 2018. https://www.westminster-abbey.org/about-the-abbey/history/history-of-westminster-abbey/ Rights Information about rights held in and over the resource Public Domain; free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/520d8028c37abb114840913008935cf4.jpeg 067272f92471c1a210c4adef1cf310d6 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 (Oil on Canvas) Physical Dimensions The actual physical size of the original image Dimensions Netto : 56.2 x 49.7 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 Virgin and Child Creator An entity primarily responsible for making the resource Sofonisba Anguissola 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 1542-1623 Description An account of the resource Sofonisba Anguissola was a prominent court painter for Phillip II of Spain, crafting several notable portraits in her time. Her parents encouraged her to receive a humanist education in the arts and sciences and be tutored in painting by prominent artist Bernardino Campi in her early life, which afforded her the opportunity to go to Spain. She maintained a presence there from 1559 to 1580, serving as court painter and lady-in-waiting to Queen Elizabeth of Valois (Perlingieri, 10). She is considered the first Italian woman to gain international recognition for her art (Weisner-Hanks, 158). Beyond just portraits, Anguissola painted several religious scenes throughout her life. This painting in particular is important because it shows how Renaissance styles came from Italy and were modified in Spain. Much of Sofonisba’s work was influenced by her early interactions with Michelangelo, who encouraged her to paint with tense poses and a distinct emotionality. Both are seen in this scene in child Christ’s stoic pose, and Mary’s loving look (Perlingieri, 10). The Virgin and Child was a scene painted/sculpted repeatedly throughout history and multiple copies can be seen at many art museums. Therefore, it also provides a solid point of comparison for observing how accepted Spanish styles differed from others of the era. Anguissola even did other versions of the painting at different points in her life, which included more color and different poses for the pair. One such version can be found in her 1556 self-portrait, which features her painting Mary face to face with the child Christ (Wikimedia). Source A related resource from which the described resource is derived “Virgin and Child.” Europeana Collections. Accessed November 13, 2018. https://www.europeana.eu/portal/record/2020903/KMSsp77.html. “Sofonisba Anguissola.” Wikipedia, November 5, 2018. https://en.wikipedia.org/w/index.php?title=Sofonisba_Anguissola&oldid=867399751. Perlingieri, Ilya Sandra. "Sofonisba Anguissola's Early Sketches." Woman's Art Journal 9, no. 2 (1988): 10-14. doi:10.2307/1358314. Merry E. Wiesner-Hanks, "Cultural and Intellectual Life" in Early Modern Europe, 1450-1789, (Cambridge, UK: Cambridge University Press, 2013), 158 Rights Information about rights held in and over the resource Free Painting Prominent Women Religion Renaissance spain Virgin and Child 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/742ee6d0f1e4d4a08aee6e68a2ab8d02.jpg e6b622a6e13a3af5d6a996dfa5523d97 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 Vase and Cover Description An account of the resource During the 18th century, another example of the phenomenon of chinoiserie, the European interpretation or imitation of Chinese art or other traditions from East Asia, was this vase. The Yuan dynasty experienced technological developments in the creation of porcelain in the imperial kilns at Jingdezhen in the 14th century. It is worth noting that “taste for underglaze blue porcelain may have been both stimulated and enabled by the international connections of the Yuan regime,” which flourished under the Mongol rule and allowed for the importation of the particular blue glaze from Persia (Vinograd and Thorp 299). The technique of making porcelain required specific materials and firing techniques that Europe did not have access to, and they set about making their own imitations like Delftware and Meissenware, and this soft paste porcelain vase is decorated in the underglaze blue and white style with a Chinese landscape design on the vase that highlights elements of nature with swathes of blank space for the water and air. The shape itself is also an elongated version of a Chinese vase (V&A description). In England, these type of ceramics “were first encountered as ‘curiosities’ and then altered to make them less curious,” and after that they appeared as tableware and decoration, and as chinoiserie developed as fashionable, Chinese ceramics continued to be copied in European ceramic shops as well as collected (Stacey 23). This vase, then, emerges out of a long history of cultural hybridization to appeal to a European consumer. Creator An entity primarily responsible for making the resource Richard Chaffers Factory, England Source A related resource from which the described resource is derived <a href="https://collections.vam.ac.uk/item/O8093/vase-and-cover-richard-chaffers-factory/" target="_blank" rel="noreferrer noopener">Victoria and Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1758-1762 Contributor An entity responsible for making contributions to the resource Rylyn Monahan ceramics China England https://earlymoderneurope.hist.sites.carleton.edu/files/original/47a10ba9f12026bba8a29fc5756ea746.jpg f8bacbb3a1b7110c06bcf98330c538ae 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 Utopia Creator An entity primarily responsible for making the resource Sir Thomas More Date A point or period of time associated with an event in the lifecycle of the resource 1518 Description An account of the resource Sir Thomas More’s Utopia is one of the most astounding, influential, and unique works of political satire and inquiry in early modern Europe. More, through the use of fictional prose, imagines an island, Utopia, where society has evolved greatly from his current one in 16th century England. In the novel, More learns about Utopia from a widely renowned explorer and discovers the political, social, and religious topography of this unknown and wildly idiosyncratic land. The island of Utopia, founded by General Utopus contains many aspects which foreshadow later developments in society and political ideology. One in particular stands out: the notion of a free government services, resembling later ideas present in socialist ideology. Hospitals and healthcare are free and available to all citizens of Utopia. Furthermore, many aspects of contemporary society are evident on the island, such as legality of divorce and tolerance (though limited and not societally enforced) of atheism. However; there are consequences to the idyllic lives of Utopians. For one, each household relies on at least one or two slaves, supplied by either outside countries or criminals within Utopia. Premarital sex is punished by a lifetime of strictly enforced chastity and marriage outside of sex is a highly criminal act, punished by slavery. By the end of the book, the fictional character parallel to More in reality concludes that the concepts of governance and society in Utopia are unrealistic and inapplicable to actual society, specifically his own, in England. Yet, he concludes that there are certain aspects to Utopian society that could be altered and incorporated in England. Sir Thomas More is keen in his use of fiction to make political commentaries and satire. It is an early use of such a platform to spread ideas which may be radical under a trivial guise. Ideas from Utopia would continue to circulate across Europe for centuries after its publishing, and strike strong comparisons to concepts of Socialism that would emerge in the 19th century, particularly Karl Marx and Friedrich Engels’s Communist Manifesto, published in 1848. Source A related resource from which the described resource is derived Universitätsbibliothek Bielefeld [public domain], via Wikimedia Commons https://commons.wikimedia.org/wiki/File:Utopia,_More,_1518_-_0020.jpg Rights Information about rights held in and over the resource Public Domain https://earlymoderneurope.hist.sites.carleton.edu/files/original/4c6d11134d3358427b8ee1e523f91b3b.JPG dc295bc446507f30f23d8ce364f26ba7 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 10,800 × 2,332 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 Universidad de Salamanca Creator An entity primarily responsible for making the resource Juan Carlos Cera 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 2 September 2014, 18:48:33 Description An account of the resource The University of Salamanca was founded in 1218, and is the oldest University in Spain. The university peaked in 1584, when it had nearly 7,000 students, before declining starting by the end of the 16th century until the early 19th century (Britannica). One of its students was Benito Feijóo, who targeted it and many other Spanish institutions for their lack of effective learning in a 1745 letter titled Cartas eruditas y curiosas (Barker, 17). In the letter, Benito called professors “persistently ignorant” with no regard for new philosophy (Cowans, 212). These teachers clung to the Bible over everything else, perhaps out of self-interest and the fact that the Inquisition encouraged them to not go against Catholicism. This limited understanding of modern ideas at the University of Salamanca was most likely a cause of its decline, as the Inquisition blocked the acquisition of certain books so that new ideas were harder to come by (Cowans, 197). Feijóo also believed this backwardness was in part rooted in Spanish pride, as they believed in their own superiority over philosophers from other European nations. Perhaps Spanish attempts at conquest throughout the New and Old World had generated this, as the citizens sought to refute others in their quest for domination. Thus, Feijóo’s criticism may extend to Spanish policy as well. In summary, the University’s decline parallels Spain’s decline, and how its pride and Inquisition limited the acquisition of new ideas at great cost. Source A related resource from which the described resource is derived Cera, Juan Carlos. Español: Edificio de La Universidad de Salamanca, La Universidad Más Antigua de España. September 2, 2014. Own work. https://commons.wikimedia.org/wiki/File:Universidad_de_Salamanca_-_University_of_Salamanca.JPG. “University of Salamanca | University, Salamanca, Spain.” Encyclopedia Britannica. Accessed October 28, 2018. https://www.britannica.com/topic/University-of-Salamanca. Joanna M Barker, "Benito Jerónimo Feijoo and the Defence Of Women." In In Defence of Women, 17. Cambridge, United Kingdom: Modern Humanities Research Association, 2018. http://www.jstor.org/stable/j.ctv4ncnzd.4. Benito Feijóo, “Causes of Spain’s Backwardness (1745)” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 212 “Laws of the Habsburg Monarchy” in Early Modern Spain: A Documentary History, ed. Jon Cowans, (Philadelphia, PA: University of Pennsylvania Press, 2003), 197 Rights Information about rights held in and over the resource CC-BY-SA-3.0-ES Debate Education Reform spain https://earlymoderneurope.hist.sites.carleton.edu/files/original/2f504e7a0dd9477c8ffa9bf0c99970be.jpg 2851ea77d728573e4f9d1202d3cd70bf https://earlymoderneurope.hist.sites.carleton.edu/files/original/2c12d19e85cfc7511aaab41537e8ecec.jpg 11a83857f0b4ce711260a6d2f8e1db95 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 Uffizi complex Creator An entity primarily responsible for making the resource Architect: Giorgio Vasari Photos: Sebastien Amiet, Samuli Lintula Contributor An entity responsible for making contributions to the resource Maddie Gartland Date A point or period of time associated with an event in the lifecycle of the resource Construction began in 1560; it was completed in 1581. Photos: 2016 Description An account of the resource The Uffizi complex, while not as ornate or grandiose as many other hallmark examples of Renaissance architecture, encompasses many of the more subtle and social aspects of Renaissance art. It was commissioned by Cosimo de Medici to accommodate the offices of Florentine magistrates, but the top floor was made into a gallery for family and friends to see the Medici art collection ("History"). Structurally, Vasari's design is ripe with classical aspects; a long internal courtyard bisects the complex and leads to the street, and inside, gallery rooms open off of wide hallways resembling modified Greek stoa. Arched entryways are bordered with Doric columns, several rooms have their own pendentive domes, and the screen between the street and the courtyard mimics the open spaces that can be seen in ancient agoras, while still articulating the space. The expert symmetry and emphasis of perspective is a notable detail connecting this building to the Renaissance style that was so focused on living up to classical perfection. However, the building's uses are even more indicative of its era. Although it was designed and constructed to serve an administrative purpose, housing offices and official spaces for the Florentine judiciary, the plans included space for an art gallery from the get-go, portraying the ubiquitous importance that art held in Renaissance society for those who could afford it. (As the years went on, more and more of the space became dedicated to showing art, and the initial administrative purpose of the space took on a secondary role ("History").) According to Vasari himself, the Uffizi became a site where great artists like Leonardo da Vinci and Michelangelo gathered to appreciate the space and the company of others in the art world. It's important, too, to note that the patron was one of the most powerful players in Florence during the Renaissance: Cosimo de Medici, one of the most active and influential members of one of the most dominant dynastic families in Italy at the time. It's difficult to get a closer view of the patronage system in the Renaissance art world than this: great famed artists (like Vasari) would design and create works of art and architecture that met the specifications of wealthy and powerful people (like Cosimo), almost like contractors. Such was the art world of the Renaissance. In addition: the Uffizi complex stayed in Medici hands for many years, until the building and the Medici collections were gifted to the city of Florence by the last Medici heiress in the mid-1700s. Now, the Uffizi is one of the largest and most visited art museums in the world. Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Galleria_degli_Uffizi_court_crop.JPG https://commons.wikimedia.org/wiki/File:Gallerie_des_Offices_Florence_(28941190940).jpg "History: The Uffizi." Le Gallerie degli Uffizi. Accessed September 24, 2018. https://www.uffizi.it/en/the-uffizi/history Rights Information about rights held in and over the resource Creative Commons 3.0, free re-use Creative Commons 2.0, free re-use https://earlymoderneurope.hist.sites.carleton.edu/files/original/5327ecdb5b0a98d0b20367533f7f4c6d.jpg b1d146fde1e0f0fdc409b28995be937a 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 Two Woodcuts Creator An entity primarily responsible for making the resource Jost Amman Date A point or period of time associated with an event in the lifecycle of the resource 1568 Description An account of the resource An item of crucial importance to the Protestant Reformation was the printing press. The Reformation was a popular movement, which meant that people had to know about it and be taught what the reformers stood for. Bringing this information to the public would be impossible without the printing press. Invented in the mid-15th century, the printing press allowed texts to be produced much more quickly and cheaply. This made it much easier to distribute materials that people could read and disseminate ideas throughout Europe. Without the printing press, Luther would not have been able to spread his ideas to the corners of Europe anywhere near as quickly, nor would he have had the capability to produce his translation of the Bible in later years. Colonization of the Americas would not have jolted into motion so suddenly—Matthew Restall argues in Seven Myths of the Spanish Conquest that a large part of the conquistadors’ popularity and glorified image was due to their ability to publish and spread their boastful letters sent back to the king (12). Many men still would have flocked to travel to the new world, but perhaps not as quickly without a shining image of Cortés to inspire them. One easy way to transfer information quickly was the woodcut. This allowed many copies of a work of art to be printed and distributed across Europe. These woodcuts illustrate the process of creating such an object. One figure is cutting the woodcut itself, and the other is stamping an inked woodcut onto paper. The woodcut allowed the printing press to easily convey not just words, but art, a powerful motivator. The ability to spread knowledge throughout the world is incredibly important for educating the general public, and is why I have chosen these woodcuts as an item. Contributor An entity responsible for making contributions to the resource Benjamin Wightman Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Woodcut,_early_demo.jpg https://earlymoderneurope.hist.sites.carleton.edu/files/original/9be8ba5a71e1ffca2630e38d146d4c95.jpg a66aa6c70defc14e49ae4582a29f79ad 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 Two Treatises of Government Creator An entity primarily responsible for making the resource John Locke Date A point or period of time associated with an event in the lifecycle of the resource 1690 Description An account of the resource In John Locke’s “Two Treatises of Government,” he breaks-down and refutes the argument of rival political philosopher Robert Filmer and establishes the framework for contract theory in civil society and the government. Specifically, in his second treatise, Locke defines the purpose of government as a protection for the “property” of individuals in civil society. He outlines the history of the development of government and illustrates how it revolved completely around property. Property is defined as “life, liberty, and the estate,” meaning it includes the individual self-determination of all synonyms. These could be seen as early elements of Liberalism, where government is seen as a vehicle for the protection of self-determination. In Liberalism, the government’s role in daily life is limited to minimize its interference in the lives of its citizens. The main role of the government is to ensure that all of its citizens have access to self-determination and individualism. In Locke’s treatise, the protection of property serves the same function as the protection of the individual will in Liberalism. Source A related resource from which the described resource is derived Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Locke_treatises_of_government_page.jpg) Rights Information about rights held in and over the resource Public Domain