DOCSLIB.ORG

© in This Web Service Cambridge University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© in This Web Service Cambridge University Cambridge University Press 978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater Laura Weigert Index More information INDEX Figures in the text are indicated by f followed by the figure number. Chapter endnotes are indicated by n or nn followed by the note number(s). Vengeance in italics refers to the theme and presentations of Vespasian’s destruction of Jerusalem. Acres, Alfred, 210 La Vengeance Nostre Seigneur par personnages and, Acts of the Apostles (New Testament book), 6, 184–5 131–2 Acts of the Apostles performance, 6, 107 vs. Vengeance paintings and printed texts, 163–5 Adoration of the Lamb staging (Ghent), 53–4, 58 Vengeance performances and, 154, 175–6 Aelred of Rievaulx, 206 Vérard’s printed play texts and, 180, 250n9 Aeneas, 153 violence against Jews in, 163, 250n9 affective devotion, 4–5, 24, 77, 228n13, 15, 241n7 Arras Passion (miniatures) (Arras, BM MS 697) Albret, Marie d’, 125, 131, 150 artist(s) of, 80–3, 82f46, 102 Alexander the Great, 126, 128, 145 Cohen’s incorporations of, 242n22 Altarpiece of the Holy Lamb ( Jan van Eyck), 50, 53, devils in, 99, 100f62, 101f63, 102f64, 123, plate V 54 f32 John the Baptist in, 99, 103f65 Angers Apocalypse (Angers), 245n8 Master of the View of Sainte-Gudule and, 80–1 Anjou, dukes of, 126–8, 245n6 movement depicted in, 85, 88–91, 91f54, 92f55, Anne of Brittany (Queen), 150–3, 151f109 93f56, plate IV Antichrist (story of). See “Jour du Jugement” overview, 77–80 Les Antiquités de Valenciennes (History of performance and, 84–5 Valenciennes), 221 the preacher in, 99, 104 f66, 105f67, 106f68 Apostles Creed in cloth paintings, 183, 185f126 production of, 80–4, 242n28 Archers’ guild. See guilds quantities of, 80 Aristotle (Poetics), 226, 259n22 stylistic features of, 85–9, 86f49, 87f50, 88f51, Arnade, Peter, 68 89f52, 90f53 Arras Passion (in relation to performances) texts accompanying, 84–5 fictionality in, 80, 99, 123–4 viewer participation and, 77, 91–3, 91f54, 92f55, as Passion par personnages, 74, 77–80 93f56, 94 f57, 95f58, 96f59, 97f60, 98f61 performance experience of, 74, 77, 80 art. See visual art in performances spatial organization of, 97–8, 123–4, 243n35 Art Poétique François (Thomas Sébillet), 226 as spectacle, 77 artists. See visual artists in performances viewer’s experience of, 93–7, plate IV Artois, Bonne d’, 131 Arras Passion (manuscript) (Arras, BM MS 697) au vif. See vif, au vif days as divisions in, 79–80, 99 Augustine (Saint), 206 devils in, 99, 123 automata, 51f30, 51, 52f31, 52, 60, 61 Master of the View of Sainte-Gudule as miniaturist of, 80–1, 242n24 banquets Mercadé as author of, 79, 242n13, 131 animate and inanimate representational forms in, personnages in, 78 59–61 the preacher in, 80, 81–4, 99–101, 175, 243n39 of the Burgundian court, 60 production of, 242n28, 243n33 of Charles the Bold, 59–60 representational levels in, 80, 84–5 of Charles V, 6, 127f 89, 131 uniqueness of, 102 of Margaret of York, 59–60 Valenciennes Passion manuscript (1577) and, Feast of the Pheasant, 59–60 77–8, 123–4 increasing scope of, 125–6 279 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater Laura Weigert Index More information 280 INDEX banquets (cont.) Passion manuscript (1577); Valenciennes of Louis XII, 153 Passion manuscript (before 1577) of Philip the Good, 59–60 Calliopius (editor of Terence), 14, 16f4, 18–19, 45 staging of, 6, 38–41, 126, 127f89, 174 Calvinism, 214, 221–2 stories interchangeable in, 60 Catholic France, 5, 22, 25, 215, 222 vif elements in, 7 Catholic League, 192 See also Duke John of Berry ceremonial entries. See entry ceremonies and Barthes, Roland, 9–10 processions battles portrayed in tapestry Charles IX (King), 215 (overview), 126 Charles of Bourbon (cardinal), 125, 128, 150, See also Vengeance (tapestries) 247–8n45 Baudelaire, Charles, 9 Charles the Bold (Duke of Burgundy), 59–60, 128 Beard, Mary, 232n65 Charles V (King) Beelzebub (devil) banquets of, 6, 131 bishop of Laon confronted by, 191–2 as collector, 128, 245n6 contortions depicted in print, 192–3, 202–3 Charles V (Emperor) demanding to be seen, 196, 201 entry procession of, 43–4, 46–7, 47f27, 48f28, Jews and, 214 49f29, 52, 52f31, 60, 63, 66f40, 73, 236n42 mass parodied by, 202–3 Charles VI (King), 22, 185 Nicole Obry possessed by, 191–3, 202–4 Charles VII (King), 185 theatrical modes preserved in, 217 Charles VIII (King) urban performances and, 201–3 as collector, 135, 150, 247–8n45 Berry, Duke of. See Duke John of Berry compared to Vespasian, 180–1 Berry, dukes of, 126–8 entry processions of, 58, 185, 187, 238n78 Bigongiari, Dino, 232n57, 232n61 Jews expelled by, 181, 252n39 Blanchard, Joël, 27 Vérard’s “Vengeance” dedicated to, 162, 180–1, Blockmans, Wim, 30 215–16, 251–2n39 Bonaventura (pseudo-Bonaventura), 4 Chastellain, Georges, 129 Bouchet, Jean, 6 Chatsworth Vengeance manuscript, 135, 175, 176f123 Boulaese, Jean Christian critiques of theater. See Aelred of Rievaulx; anti-reformist polemics of, 192, 214–15, 221 Augustine (Saint); Coinci, Gauthier de; devils/ Catholic unification as goal of, 215–16 the devil; Fouquet, Jean; impersonation; the Eucharist asserted as miracle proof by, 204, Innocent III (Pope); Isidore of Seville; Ralph 209 of Coggeshall; sexuality associated with images asserted as exorcism proof by, 193–6 theater; synod of Utrecht; Tertullian; theater Laon Miracle authenticity asserted by, 191–3, (of Antiquity): negative critiques of 194 f129, 214–15 Christian doctrine, 4–5, 77 miracle proof essential for, 191–2 Chronicles (Jean Froissart), 63, 65f39 Bourbon, Count of, 125, 128, 150 civic performances. See urban performances Brossier, Marthe, 192–3 Clark, Robert L.A., 241n11, 258n4 Brown, Cynthia, 178 classical theater. See theater (classical) Burgundian court cloth paintings. See Vengeance (cloth paintings). banquets in, 59–61 See Apostles Creed; Last Supper ceremonial practices of, 2, 4, 228n9 Clovis (King), 126, 145f107, 145 entry ceremonies and, 26, 183 Cohen, Gustave as patrons, 125–8 Arras miniatures incorporated by, 242n22 secular entertainment and, 62–3 Barthes and, 9 Trojan War tapestries and, 128, 147–9 Catholic church and, 5 Vengeance plays and, 132 Focillon and, 4, 228n11 Burgundian dukes. See Charles the Bold; John the Histoire de la Mise en Scène dans le Théâtre Religieux Fearless; Philip the Bold; Philip the Good; du Moyen Âge, 8 Philip the Handsome literary criticism influenced by, 9 Butler, Judith, 172 Mâle and, 4 Bynum, Caroline, 206 on miniature subject matter, 74 performance documentation provided by, 8, Cailleau, Hubert. See Valenciennes miniatures 243n36 (1577); Valenciennes miniatures (before 1577); Pirenne and, 228n11 Valenciennes Passion (1547); Valenciennes Réau and, 4, 228n11 Passion frontispiece (1577); Valenciennes texts staged by, 8–9 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-04047-2 - French Visual Culture and the Making of Medieval Theater Laura Weigert Index More information INDEX 281 on theater/art relationships, 2–5, 8 échaufaudage. See scaffolding Théophiliens theatrical troupe and, 8–9, 23 Eichberger, Dagmar, 30 on violence in the Vengeance, 173–4, 176–7 Eleanor of Habsburg, 182–3, 252n52 Zumthor and, 8–9 Enders, Jody, 22, 122, 173 Coinci, Gauthier de (Miracles of the Virgin), 14 entertainers Coleman, Joyce, 252n49 figural arrangements and, 27, 61, 70, 72 Comedies (Terence) fools and, 62–4, 68–70 audience platforms in, 41 human bodies and, 61, 68–9 Duke John of Berry as owner of, 14, 16f4, 18, 34, 45 illustrated, 31f14, 38f21, 62f36, 63f37, 64 f38, Lyon woodcut in, 14–15, 17f5, 18, 34, 200 66f40, 67f41, plate II masked performers in, 16f4, 18, 45 in Joanna of Castile manuscript, 28, 61–70 prostitution and, 14–15, 18, 200 vs. personnages, 27, 61, 70, 72 Strasbourg woodcut in, 18, 19f6, 41 Entremetz de Paintrerie (recipes for painted translation of, 178 interludes), 60–1 Vérard and, 11, 178 entry ceremonies and processions See also Terence for Bonne d’Artois, 131 Confraternity of the Passion, 22, 219–20 for Burgundian dukes, 2, 26–7, 182–3 Crossbowmen’s guild. See guilds for Charles V (Emperor), 43–4, 46–7, 47f27, Croy, Robert de (bishop), 121 48f28, 49f29, 52, 52f31, 60, 63, 66f40, 73, 236n42 Daret, Jacques, 53 for Charles VI, 185 days (mystery play divisions), 79, 99, 107, 180 for Charles VII, 185 De Architectura (Vitruvius), 223 for Charles VIII, 58, 185, 187, 238n78 De Fonteine (chamber of rhetoricians), 54–5 of Marie d’Albret, 125, 129, 131, 150 Deposition altarpiece (Rogier van der Weyden), 56 early depiction of, 10 Desrey, Pierre, 6 of Eleanor of Habsburg, 182–3 devils/the devil entertainers in, 28, 61–70 in the Arras Passion manuscript, 99, 100f62, fools in, 62–6, 65f39, 70, 150 101f63, 102f64, 123, plate V of Isabeau of Bavaria, 63, 65f39 associated with the theater, 13–14, 22–3, 203, 232n61 of Louis XI, 129, 131 in audience/performance spatial divisions, 99 of Louis XII, 70 behavior of, 1, 99, 122–3, 201–3 media boundaries crossed in, 26, codified speech of, 12, 99 50–6 in entry ceremonies, 150 Nine Worthy Men and Women as model for, 125, improvised performances of, 99, 123 129 in the Joanna of Castile manuscript, 28, 39f22 paintings as sources for, 53–5 in Martyrdom of Saint Apollonia, 23 parodied, 63, 69 masked in performances, 122, 202–3 the Passion in, 26, 185 in Miracles of the Virgin, 14, 70 personnages in, 27, 45–56, 71–3 portrayal of, criticized, 14, 122–3 for Philip II, 26 prominence of, 189–90 for Philip Count
Load more

Recommended publications
  • University of Southampton Research Repository
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Katarzyna Kosior (2017) "Becoming and Queen in Early Modern Europe: East and West", University of Southampton, Faculty of the Humanities, History Department, PhD Thesis, 257 pages. University of Southampton FACULTY OF HUMANITIES Becoming a Queen in Early Modern Europe East and West KATARZYNA KOSIOR Doctor of Philosophy in History 2017 ~ 2 ~ UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES History Doctor of Philosophy BECOMING A QUEEN IN EARLY MODERN EUROPE: EAST AND WEST Katarzyna Kosior My thesis approaches sixteenth-century European queenship through an analysis of the ceremonies and rituals accompanying the marriages of Polish and French queens consort: betrothal, wedding, coronation and childbirth. The thesis explores the importance of these events for queens as both a personal and public experience, and questions the existence of distinctly Western and Eastern styles of queenship. A comparative study of ‘Eastern’ and ‘Western’ ceremony in the sixteenth century has never been attempted before and sixteenth- century Polish queens usually do not appear in any collective works about queenship, even those which claim to have a pan-European focus.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan uis !on"#lez !arc$a Peer revie% and editing organized by& Instituto Amatller de Arte Hispánico, Barcelona 'evie%ers& Antoni José itarch, "antia#o Alcolea Blanc! (bstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old fashioned !eweller" or silver ob!ects were melted down; and tapestries, paintings and sculptures were publicl" sold to pay off debts. #" stud"ing how some of these goods were reused, recycled, and recirculated among the Habsburg famil" members, I will explain how crown patrimon" changed owners and $ingdoms, and how the cult of their d"nast", activel" promoted b" %harles &, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the 'enaissance. Contents Introduction $!e %r#ani&ation o' (arl) Habsbur# Inventories and t!e Hierarchy o' *edia +!an#in# $aste and t!e *anipulation o' t!e %b,ect +!arles -'s Inventories and t!e +reation o' an (mpire /)nastic *arria#es, /)nastic Inventories Introduction ()* +he ro"al inventories of the Habsburgs are documents of extraordinar" importance for the anal"sis of art collecting in the Modern Age. +he" are often the onl" available tools to interpret the value, arrangement, uses and original functions of the ever changing princel" possessions , today !ust partiall" preserved ,, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches
    Research Report Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz — Max-Planck-Institut Institut in Florenz Kunsthistorisches Research Report Kunsthistorisches Institut in Florenz Max-Planck-Institut Events & Activities July 2015 — December 2018 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 50121 Florence, Italy Phone +39 055 249 11-1 Fax + 39 055 249 11-55 www.khi.fi.it © 2019 Editors: Alessandro Nova and Gerhard Wolf Copy editing and proof-reading: Hannah Baader, Carolin Behrmann, Helene Bongers, Robert Brennan, Jason Di Resta, Dario Donetti, Hana Gründler, Stephanie Hanke, Annette Hoffmann, Lucy Jarman, Fabian Jonietz, Albert Kirchengast, Marco Musillo, Oliver O’Donnell, Jessica N. Richardson, Brigitte Sölch, Eva-Maria Troelenberg, Tim Urban, and Samuel Vitali Design and typesetting: Micaela Mau Print and binding: Stabilimento Grafico Rindi Cover image: Antonio Di Cecco, Monte Vettore, June 2018 Contents 7 Scientific Advisory Board 9 Events & Activities of the Institute 11 Conferences 31 Evening Lectures 34 Seminars & Workshops 38 Matinées & Soirées 39 Study Trips 41 Awards, Roundtables & Presentations 42 Labor 45 Ortstermin 46 Study Groups 47 Studienkurse 50 Online Exhibitions 51 Exhibition Collaborations 53 Academic Activities of the Researchers 54 Teaching 57 Talks 81 External Conference Organization 84 Curated Exhibitions 86 Varia 93 Publications 94 Publications of the Institute 97 Publications of the Researchers 117 Staff Directories Scientific Advisory Board Prof. Dr. Maria Luisa Catoni IMT School for Advanced Studies Lucca Prof. Dr. Elizabeth Edwards De Montfort University Prof. Dr. Jaś Elsner Corpus Christi College Prof. Dr. Charlotte Klonk Humboldt-Universität zu Berlin Institut für Kunst- und Bildgeschichte Prof. Dr.
    [Show full text]
  • Cortés After the Conquest of Mexico
    CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN By RANDALL RAY LOUDAMY Bachelor of Arts Midwestern State University Wichita Falls, Texas 2003 Master of Arts Midwestern State University Wichita Falls, Texas 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2013 CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN Dissertation Approved: Dr. David D’Andrea Dissertation Adviser Dr. Michael Smith Dr. Joseph Byrnes Dr. James Cooper Dr. Cristina Cruz González ii Name: Randall Ray Loudamy Date of Degree: DECEMBER, 2013 Title of Study: CORTÉS AFTER THE CONQUEST OF MEXICO: CONSTRUCTING LEGACY IN NEW SPAIN Major Field: History Abstract: This dissertation examines an important yet woefully understudied aspect of Hernán Cortés after the conquest of Mexico. The Marquisate of the Valley of Oaxaca was carefully constructed during his lifetime to be his lasting legacy in New Spain. The goal of this dissertation is to reexamine published primary sources in light of this new argument and integrate unknown archival material to trace the development of a lasting legacy by Cortés and his direct heirs in Spanish colonial Mexico. Part one looks at Cortés’s life after the conquest of Mexico, giving particular attention to the themes of fame and honor and how these ideas guided his actions. The importance of land and property in and after the conquest is also highlighted. Part two is an examination of the marquisate, discussing the key features of the various landholdings and also their importance to the legacy Cortés sought to construct.
    [Show full text]
  • Unit 7: Activities - the Habsburgs
    Activites - The Habsburgs by Gema de la Torre is licensed under Unit 7: Activites – a Creative Commons Reconocimiento-NoComercial 4.0 Internacional License The Habsburgs Unit 7: Activities - The Habsburgs Index 1. Origin of the house of Habsburg. ................................................................................................... 1 2. Charles I ......................................................................................................................................... 2 2.1. Inheritance of Charles I .......................................................................................................... 2 2.2. Internal Problems. .................................................................................................................. 3 2.3. International Relations ........................................................................................................... 4 3. Philip II .......................................................................................................................................... 5 3.1. Philip II's Government ........................................................................................................... 5 4. Minor Austrias................................................................................................................................ 7 4.1. Philip III ................................................................................................................................. 8 4.2. Philip IV ................................................................................................................................
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • Isabel the Catholic Queen and the Extramural Mujer Varonil in Tirso De Molina’S Antona García
    Spanish Faculty Publications Spanish 2020 The Enemy Outside the Gates: Isabel the Catholic Queen and the Extramural mujer varonil in Tirso de Molina’s Antona García Christopher C. Oechler Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/spanfac Part of the Spanish Literature Commons Share feedback about the accessibility of this item. Recommended Citation Oechler, Christopher C. “The Enemy Outside the Gates: Isabel the Catholic Queen and the Extramural mujer varonil in Tirso de Molina’s Antona García.” In Confined omen:W The Walls of Female Space in Inquisitorial Spain, edited by Brian M. Phillips and Emily Colbert Cairns, 146-166. Minneapolis: University of Minnesota, 2020. This is the pubisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/spanfac/27 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. The Enemy Outside the Gates: Isabel the Catholic Queen and the Extramural mujer varonil in Tirso de Molina’s Antona García Abstract On December 13, 1474, Isabel of Trastámara assumed the throne as Queen of Castile. Chroniclers described her solemn procession through the streets of Segovia on horseback, wearing a gown richly ornamented with gold and precious stones. To complement the queen’s commanding display of wealth, a member of her retinue carried a powerful symbol that would come to epitomize her rule: an unsheathed sword.
    [Show full text]
  • Hapsburg Spain—Q/A
    SE:4—Hapsburg Spain—Q/A The primary references for the following questions are History of Spain by Frederick Ober, Greatest Nations: Spain by C.F. Horne, and H.H. Study Notes 1) When he was 26, Charles V married Isabella of Portugal, the mother of this man, his only legitimate son. 2) As a result of the death of his paternal grandfather, Maximilian I, Charles I of Spain, also became Charles V, with this additional title. 3) This Spanish adventurer lead a daring band of 500 Spanish soldiers on a quest to conquer Tenochtitlan, the capital city of the Aztecs. 4) Cortez was able to conquer the powerful Aztec empire with only 500 Spanish soldiers because he did this. 5) Along with Spain and Hapsburg Austria, Charles V also ruled over this region of Europe inherited from his father, Philip the Fair. 6) This Spanish classic was written by Cervantes, a Spanish novelist who lost his left arm at the Battle of Lepanto and was captured by the Barbary pirates. 7) Charles V fought many wars during his reign, but most were fought against France for control of this region of Europe. 8) This Spanish soldier founded the Jesuit religious order and was a leader of the Catholic counter-reformation. 9) Joanna of Castile became heir to the Spanish throne after the death of her older siblings, but she never ruled because of this. 10) This alliance of Catholic maritime powers was organized by Pius V, with the object of ending Ottoman control of the Mediterranean. 11) This man, Philip II's half-brother, led the Christians against the Turks at the famous Battle of Lepanto.
    [Show full text]
  • Isabella I, Queen of Spain DS 19003.Doc
    LION HEART AUTOGRAPHS www.lionheartautographs.com FERDINAND OF ARAGON (1452-1516) & ISABELLA OF CASTILE . (1451-1504). Catholic King and Queen of Castile, Aragon, Sicily and Naples, and patrons of Christopher Columbus. Manuscript DS. (“ I, the King ” and “I, the Queen ”). 1p. Tall 4to. Burgos, April 8, 1497. In Spanish with translation. + The King and The Queen Doctor Alonso Rodríguez de Villaescusa, our chief magistrate of the noble town of Valladolid. You know well that last year we commissioned you to collect our revenue from that aforementioned town and from Tordesillas and Olmedo and Çerrato and other places, from the enrolled villages as well as others from which we are owed by the mayors of their respective districts, and we also commissioned the other chief magistrates of our kingdoms to collect our revenues from their districts, from their jurisdictions and their communities, because these enrolled villages have been well-treated and they were freed from the affronts and extortions that their landlords and tax collectors and property administrators used to subject them to in the collection of our revenue according to what is found in our letters and decrees, and on account of that we sent them to you, and know that through these aforementioned letters we have agreed to commission those aforesaid chief magistrates the collection of the aforesaid revenues for this present year of ninety-seven, and that you, the aforesaid Doctor Alonso Rodrigues, our chief magistrate, will take charge of the collection of our revenues of the above-mentioned town of Valladolid and of the neighborhood of Çerrato and other places, about which we are sending you our letters of introduction.
    [Show full text]
  • Making Peace in an Age of War: Emperor Ferdinand III (1608–1657)
    Purdue University Purdue e-Pubs Purdue University Press Book Previews Purdue University Press 11-2019 Making Peace in an Age of War: Emperor Ferdinand III (1608–1657) Mark Hengerer Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_previews Part of the European History Commons This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Central European Studies Charles W. Ingrao, founding editor Paul Hanebrink, editor Maureen Healy, editor Howard Louthan, editor Dominique Reill, editor Daniel L. Unowsky, editor Nancy M. Wingfield, editor The demise of the Communist Bloc a quarter century ago exposed the need for greater understanding of the broad stretch of Europe that lies between Germany and Russia. For four decades the Purdue University Press series in Central European Studies has enriched our knowledge of the region by producing scholarly monographs, advanced surveys, and select collections of the highest quality. Since its founding, the series has been the only English-language series devoted primarily to the lands and peoples of the Habsburg Empire, its successor states, and those areas lying along its immediate periphery. Among its broad range of international scholars are several authors whose engagement in public policy reflects the pressing challenges that confront the successor states. Indeed, salient issues such as democratization, censorship, competing national narratives, and the aspirations
    [Show full text]
  • Women and Power at the French Court, 1483-1563
    GENDERING THE LATE MEDIEVAL AND EARLY MODERN WORLD Broomhall (ed.) Women and Power at the French Court, 1483-1563 Court, French the at Power and Women Edited by Susan Broomhall Women and Power at the French Court, 1483-1563 Women and Power at the French Court, 1483–1563 Gendering the Late Medieval and Early Modern World Series editors: James Daybell (Chair), Victoria E. Burke, Svante Norrhem, and Merry Wiesner-Hanks This series provides a forum for studies that investigate women, gender, and/ or sexuality in the late medieval and early modern world. The editors invite proposals for book-length studies of an interdisciplinary nature, including, but not exclusively, from the fields of history, literature, art and architectural history, and visual and material culture. Consideration will be given to both monographs and collections of essays. Chronologically, we welcome studies that look at the period between 1400 and 1700, with a focus on any part of the world, as well as comparative and global works. We invite proposals including, but not limited to, the following broad themes: methodologies, theories and meanings of gender; gender, power and political culture; monarchs, courts and power; constructions of femininity and masculinity; gift-giving, diplomacy and the politics of exchange; gender and the politics of early modern archives; gender and architectural spaces (courts, salons, household); consumption and material culture; objects and gendered power; women’s writing; gendered patronage and power; gendered activities, behaviours, rituals and fashions. Women and Power at the French Court, 1483–1563 Edited by Susan Broomhall Amsterdam University Press Cover image: Ms-5116 réserve, fol.
    [Show full text]
  • November 2005 Journal
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 22, No. 2 www.hnanews.org November 2005 ExtravagANT. Paintings and Drawings by the Antwerp Mannerists on Show in Antwerp and Maastricht Pseudo-Bles, The Beheading of Saint John the Baptist. Oil on panel, 48 x 35 cm. Berlin, Staatliche Museen, Gemäldegalerie. HNA Newsletter, Vol. 22, No. 2, November 2005 1 From the President In Memoriam With summer’s end and the onset of cooler weather, particularly here in upstate New York, I find myself re-energized as I think about the commencement of the academic year, the various exhibitions currently on view, and the appearance of new and stimulating publications, all of which attest to the healthy state of our field. Naturally, my thoughts turn as well to Historians of Netherlandish Art. Planning continues in the able hands of Quint Gregory and Aneta Georgievska-Shine for our next quadrennial conference, which will take place in November 8-12, 2006, in Baltimore and Washington DC. As you are no doubt aware, the Conference Program Committee, consisting of H. Perry Chapman, Melanie Gifford, Larry Silver, Joaneath Spicer, and Ron Spronk, have recently issued a final, electronic call for session and workshop proposals. Naturally, I urge as many of you as possible to submit proposals. Speaking of emails, by now all of you have probably seen the email appealing for additional funds to be contributed to our endow- ment in the name of our recently deceased colleague John Michael Montias.
    [Show full text]