The “Decline” of Spain in the Seventeenth Century
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Lord Lyon King of Arms
VI. E FEUDAE BOBETH TH F O LS BABONAG F SCOTLANDO E . BY THOMAS INNES OP LEABNEY AND KINNAIRDY, F.S.A.ScoT., LORD LYON KIN ARMSF GO . Read October 27, 1945. The Baronage is an Order derived partly from the allodial system of territorial tribalis whicn mi patriarce hth h hel s countrydhi "under God", d partlan y froe latemth r feudal system—whic e shale wasw hse n li , Western Europe at any rate, itself a developed form of tribalism—in which the territory came to be held "of and under" the King (i.e. "head of the kindred") in an organised parental realm. The robes and insignia of the Baronage will be found to trace back to both these forms of tenure, which first require some examination from angle t usuallno s y co-ordinatedf i , the later insignia (not to add, the writer thinks, some of even the earlier understoode symbolsb o t e )ar . Feudalism has aptly been described as "the development, the extension organisatione th y sa y e Family",o familyth fma e oe th f on n r i upon,2o d an Scotlandrelationn i Land;e d th , an to fundamentall o s , tribaa y l country, wher e predominanth e t influences have consistently been Tribality and Inheritance,3 the feudal system was immensely popular, took root as a means of consolidating and preserving the earlier clannish institutions,4 e clan-systeth d an m itself was s modera , n historian recognisew no s t no , only closely intermingled with feudalism, but that clan-system was "feudal in the strictly historical sense".5 1 Stavanger Museums Aarshefle, 1016. -
Laurence Bergreen D D Rio De La Plata Rio De La Plata Cape of Good Hope,Cape of Good Hope, O O N N I I C C Mocha Is
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Staff Working Paper No. 845 Eight Centuries of Global Real Interest Rates, R-G, and the ‘Suprasecular’ Decline, 1311–2018 Paul Schmelzing
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Robert Greene and the Theatrical Vocabulary of the Early 1590S Alan
Robert Greene and the Theatrical Vocabulary of the Early 1590s Alan C. Dessen [Writing Robert Greene: Essays on England’s First Notorious Professional Writer, ed. Kirk Melnikoff and Edward Gieskes (Aldershot and Burlington, VT: Ashgate, 2008), pp. 25-37.\ Here is a familiar tale found in literary handbooks for much of the twentieth century. Once upon a time in the 1560s and 1570s (the boyhoods of Marlowe, Shakespeare, and Jonson) English drama was in a deplorable state characterized by fourteener couplets, allegory, the heavy hand of didacticism, and touring troupes of players with limited numbers and resources. A first breakthrough came with the building of the first permanent playhouses in the London area in 1576- 77 (The Theatre, The Curtain)--hence an opportunity for stable groups to form so as to develop a repertory of plays and an audience. A decade later the University Wits came down to bring their learning and sophistication to the London desert, so that the heavyhandedness and primitive skills of early 1580s playwrights such as Robert Wilson and predecessors such as Thomas Lupton, George Wapull, and William Wager were superseded by the artistry of Marlowe, Kyd, and Greene. The introduction of blank verse and the suppression of allegory and onstage sermons yielded what Willard Thorp billed in 1928 as "the triumph of realism."1 Theatre and drama historians have picked away at some of these details (in particular, 1576 has lost some of its luster or uniqueness), but the narrative of the University Wits' resuscitation of a moribund English drama has retained its status as received truth. -
Judging the East Timor Dispute: Self-Determination at the International Court of Justice, 17 Hastings Int'l & Comp
Hastings International and Comparative Law Review Volume 17 Article 3 Number 2 Winter 1994 1-1-1994 Judging the East Timor Dispute: Self- Determination at the International Court of Justice Gerry J. Simpson Follow this and additional works at: https://repository.uchastings.edu/ hastings_international_comparative_law_review Part of the Comparative and Foreign Law Commons, and the International Law Commons Recommended Citation Gerry J. Simpson, Judging the East Timor Dispute: Self-Determination at the International Court of Justice, 17 Hastings Int'l & Comp. L. Rev. 323 (1994). Available at: https://repository.uchastings.edu/hastings_international_comparative_law_review/vol17/iss2/3 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings International and Comparative Law Review by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Judging the East Timor Dispute: Self-Determination at the International Court of Justice By Gerry J. Simpson* Table of Contents I. Introduction ............................................ 324 1E. Some Preliminary Remarks about the Case ............. 327 III. International Politics and the International Court: A Functional Dilemma .................................... 329 IV. Substantive Questions of Law .......................... 332 A. The Existence of a Right to Self-Determination...... 333 B. Beneficiaries of the Right to Self-Determination ..... 334 1. Indonesia's TerritorialIntegrity and the Principle of Uti Posseditis................................. 339 2. Enclaves in InternationalLaw .................. 342 3. Historical Ties .................................. 342 C. The Duties of Third Parties Toward Peoples Claiming a Right to Self-Determination ............. 343 V. Conclusion .............................................. 347 * Lecturer in International Law and Human Rights Law, Law Faculty, Univcrity of Melbourne, Australia. -
The Heraldry Ofspatx and Portugal
^ 49 THE HERALDRY OF SPATX AND PORTUGAL. By the Rev. JOHN WOODWARD, F.S.A,, Scot. ^lore than half a century has elapsed since Mr. Ford commenced in the pages of the ' Quarterly Review,' tlie publication of his interesting papers on Spanish matters. In them the art, the literature, the architec- ture, and the amusements of tlie great Peninsular kingdom were passed in relating.'^ review, and made the subjects of most valuable papers ; which, to a country, slower to change than almost any in Europe, and, moreover, lying somewhat out of the beaten track of ordinary travel, are still a storehouse of information on Cosas de Espana which no one who visits Spain, or writes on its affairs, would be wise to overlook. Among those papers is one published in 1838, upon " Spanish Genealogy and Heraldry,"- whicli is so full of interesting matter that many of the readers of tue Genealogist may be thankful to be informed or reminded of its existence, although fifty years have passed since its publication. The paper is one, moreover, which is of interest as being * one of tlie very few to whicli the editors of the Quarterly Review ' have permitted the introduction of illustrative woodcuts. These are, indeed, only seven in number, and they are not particularly well chosen, or well executed ; the reader will find remarks on some of them before the close of this paper. It is the purpose of the present writer to deal only with the second- named of the subjects of ]\Ir. Ford's article, and to leave its curious information with regard to Spanish Genealogies for treatment on some future occasion. -
London and Middlesex in the 1660S Introduction: the Early Modern
London and Middlesex in the 1660s Introduction: The early modern metropolis first comes into sharp visual focus in the middle of the seventeenth century, for a number of reasons. Most obviously this is the period when Wenceslas Hollar was depicting the capital and its inhabitants, with views of Covent Garden, the Royal Exchange, London women, his great panoramic view from Milbank to Greenwich, and his vignettes of palaces and country-houses in the environs. His oblique birds-eye map- view of Drury Lane and Covent Garden around 1660 offers an extraordinary level of detail of the streetscape and architectural texture of the area, from great mansions to modest cottages, while the map of the burnt city he issued shortly after the Fire of 1666 preserves a record of the medieval street-plan, dotted with churches and public buildings, as well as giving a glimpse of the unburned areas.1 Although the Fire destroyed most of the historic core of London, the need to rebuild the burnt city generated numerous surveys, plans, and written accounts of individual properties, and stimulated the production of a new and large-scale map of the city in 1676.2 Late-seventeenth-century maps of London included more of the spreading suburbs, east and west, while outer Middlesex was covered in rather less detail by county maps such as that of 1667, published by Richard Blome [Fig. 5]. In addition to the visual representations of mid-seventeenth-century London, a wider range of documentary sources for the city and its people becomes available to the historian. -
Cultural History in Spain History of Culture and Cultural History: Same Paths and Outcomes?*
Cultural History in Spain History of Culture and Cultural History: same paths and outcomes?* CAROLINA RODRÍGUEZ-LÓPEZ An overview &XOWXUDOKLVWRU\LVFXUUHQWO\DERRPLQJWRSLFLQ6SDLQ&XOWXUDOKLVWRU\LVQRZ ÁRXULVKLQJ DQG FHUWDLQ DUHDV KDYH GLVWLQJXLVKHG WKHPVHOYHV DV DXWRQRPRXV ÀHOGVRIVWXG\WKHKLVWRU\RIFXOWXUDOSROLWLFVUHDGLQJDQGSULQWLQJDQGPHGLFDO FXOWXUDOSUDFWLFHVIRUH[DPSOH+RZHYHUZKDWLVGHÀQHGDVcultural history in FXUUHQW6SDQLVKKLVWRULRJUDSK\LVQRWDQHDV\LVVXH/LNHWKHUHVWRI(XURSHDQ HYHQ$PHULFDQ KLVWRULRJUDSKLHV6SDQLVKKLVWRULRJUDSK\KDVJRQHWKURXJKDQ H[WHQVLYHDQGLQWHUHVWLQJSURFHVVVKLIWLQJIURPVRFLDOWRFXOWXUDOKLVWRU\7KH SURFHVV KDV QRW EHHQ H[HPSW IURP SUREOHPV DQG PLVXQGHUVWDQGLQJV DQG KDV GHWHUPLQHGQRWRQO\WKHZD\VLQZKLFKFXOWXUDOKLVWRU\KDVWUDGLWLRQDOO\ÁRZHG EXWDOVRWKHNLQGVRIUHVHDUFKDQGVFLHQWLÀFZRUNVWKDWKDYHEHHQODEHOHGZLWK the cultural history title. 7KLVFKDSWHURIIHUVDEULHIRYHUYLHZRIZKDW,KDYHMXVWPHQWLRQHGDERYH ,QRUGHUWRGRVRLWLVGLYLGHGLQWRWKUHHVHFWLRQV7KHÀUVWRQHGHDOVZLWKWKH KLVWRULFDODQGKLVWRULRJUDSKLFDOFRQWH[WVZKHQWKHÀUVWUHVHDUFKDQGGHEDWHVLQ 6SDLQIRFXVHGRQFXOWXUDOKLVWRU\,QWKHVHFRQGVHFWLRQ,LQWURGXFHWKHUHVHDUFK JURXSVLQVWLWXWLRQVDFDGHPLFSURJUDPVDQGSXEOLVKLQJKRXVHSURMHFWVWKDWKDYH HQFRXUDJHG DQG DUH FXUUHQWO\ RUJDQL]LQJ 6SDQLVK FXOWXUDO KLVWRU\ NQRZOHGJH DQGSURGXFWLRQ$QGODVWEXWQRWOHDVW,SUHVHQWDÀUVWDQGWHQWDWLYHOLVWRIH[DFW- ,DPJUDWHIXOWR(OHQD+HUQiQGH]6DQGRLFDIRUGHWDLOHGVXJJHVWLRQVDQGWR3DWULFLD %HUDVDOXFHDQG(OLVDEHWK.OHLQIRUDFFXUDWHUHDGLQJRIWKLVFKDSWHUάVÀUVWYHUVLRQ 211 Carolina Rodríguez-López O\ZKDW6SDQLVKKLVWRULDQVKDYHZULWWHQRQWKHÀHOGRIFXOWXUDOKLVWRU\,QRWKHU -
Why Did Britain Become a Republic? > New Government
Civil War > Why did Britain become a republic? > New government Why did Britain become a republic? Case study 2: New government Even today many people are not aware that Britain was ever a republic. After Charles I was put to death in 1649, a monarch no longer led the country. Instead people dreamed up ideas and made plans for a different form of government. Find out more from these documents about what happened next. Report on the An account of the Poem on the arrest of setting up of the new situation in Levellers, 1649 Commonwealth England, 1649 Portrait & symbols of Cromwell at the The setting up of Cromwell & the Battle of the Instrument Commonwealth Worcester, 1651 of Government http://www.nationalarchives.gov.uk/education/ Page 1 Civil War > Why did Britain become a republic? > New government Case study 2: New government - Source 1 A report on the arrest of some Levellers, 29 March 1649 (Catalogue ref: SP 25/62, pp.134-5) What is this source? This is a report from a committee of MPs to Parliament. It explains their actions against the leaders of the Levellers. One of the men they arrested was John Lilburne, a key figure in the Leveller movement. What’s the background to this source? Before the war of the 1640s it was difficult and dangerous to come up with new ideas and try to publish them. However, during the Civil War censorship was not strongly enforced. Many political groups emerged with new ideas at this time. One of the most radical (extreme) groups was the Levellers. -
Puritan New England: Plymouth
Puritan New England: Plymouth A New England for Puritans The second major area to be colonized by the English in the first half of the 17th century, New England, differed markedly in its founding principles from the commercially oriented Chesapeake tobacco colonies. Settled largely by waves of Puritan families in the 1630s, New England had a religious orientation from the start. In England, reform-minded men and women had been calling for greater changes to the English national church since the 1580s. These reformers, who followed the teachings of John Calvin and other Protestant reformers, were called Puritans because of their insistence on purifying the Church of England of what they believed to be unscriptural, Catholic elements that lingered in its institutions and practices. Many who provided leadership in early New England were educated ministers who had studied at Cambridge or Oxford but who, because they had questioned the practices of the Church of England, had been deprived of careers by the king and his officials in an effort to silence all dissenting voices. Other Puritan leaders, such as the first governor of the Massachusetts Bay Colony, John Winthrop, came from the privileged class of English gentry. These well-to-do Puritans and many thousands more left their English homes not to establish a land of religious freedom, but to practice their own religion without persecution. Puritan New England offered them the opportunity to live as they believed the Bible demanded. In their “New” England, they set out to create a model of reformed Protestantism, a new English Israel. The conflict generated by Puritanism had divided English society because the Puritans demanded reforms that undermined the traditional festive culture. -
Britain and the Dutch Revolt 1560–1700 Hugh Dunthorne Frontmatter More Information
Cambridge University Press 978-0-521-83747-7 - Britain and the Dutch Revolt 1560–1700 Hugh Dunthorne Frontmatter More information Britain and the Dutch Revolt 1560–1700 England’s response to the Revolt of the Netherlands (1568–1648) has been studied hitherto mainly in terms of government policy, yet the Dutch struggle with Habsburg Spain affected a much wider commu- nity than just the English political elite. It attracted attention across Britain and drew not just statesmen and diplomats but also soldiers, merchants, religious refugees, journalists, travellers and students into the confl ict. Hugh Dunthorne draws on pamphlet literature to reveal how British contemporaries viewed the progress of their near neigh- bours’ rebellion, and assesses the lasting impact which the Revolt and the rise of the Dutch Republic had on Britain’s domestic history. The book explores affi nities between the Dutch Revolt and the British civil wars of the seventeenth century – the fi rst major challenges to royal authority in modern times – showing how much Britain’s chang- ing commercial, religious and political culture owed to the country’s involvement with events across the North Sea. HUGH DUNTHORNE specializes in the history of the early modern period, the Dutch revolt and the Dutch republic and empire, the his- tory of war, and the Enlightenment. He was formerly Senior Lecturer in History at Swansea University, and his previous publications include The Enlightenment (1991) and The Historical Imagination in Nineteenth-Century Britain and the Low Countries -
Isabel Clara Eugenia and Peter Paul Rubens’S the Triumph of the Eucharist Tapestry Series
ABSTRACT Title of Document: PIETY, POLITICS, AND PATRONAGE: ISABEL CLARA EUGENIA AND PETER PAUL RUBENS’S THE TRIUMPH OF THE EUCHARIST TAPESTRY SERIES Alexandra Billington Libby, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archeology This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens’s The Triumph of the Eucharist tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta’s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta’s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel’s many other gestures of thanks in the wake of the victory and The Triumph of the Eucharist series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel’s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy.