Tamar Cholcman, Views of Peace and Prosperity – Hopes for Autonomy
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Acknowledgements There Are Several People Without
Acknowledgements There are several people without whose assistance this thesis could not have been produced. I would like to thank, in particular, the following: Dr Alan Marshal, my supervisor at Bath Spa University College, for his constant nagging to 'get on with it'; Professor Roger Richardson of King Alfred's for his support as my external supervisor; Bath Spa University College for a constant supply of Inter Library Loans, a bursary and a travel grant to Spain; The Andrew C. Duncan Catholic History Trust for a research grant; Mgr Peter Pooling and the staff at Collegio Ingleses, Valladolid, Spain for their hospitality and access to their Archives; Mgr Michael Williams, for his assistance at Archive General, Simancas; Fr Daniel Rees, Librarian, Downside Abbey, Stratton on the Fosse, Somerset for access to the monastic library; Dr Dominic Bellenger and Dr Elaine Chalus, for their support and suggestions; Dr Ratal Witkowski, for Polish biographies; Joan Pattison, Dick Meyer, Irene Stansby for French, Dutch and Polish translations respectively; and David and Louise for being there. I would also like to thank Dr Paul Hyland & Doctor Barry Coward for their useful comments and suggestions that have enabled me to complete this work successfully. This thesis is dedicated to the memory of Charlotte May Anderson (May, 1977). Phis copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents List of Illustrations Abbreviations Preface 12 Introduction 22 1. James VI and I and the Early Seventeenth-Century Political Scene 27 2. -
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. -
A Constellation of Courts the Courts and Households of Habsburg Europe, 1555-1665
A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 Edited by René Vermeir, Dries Raeymaekers, and José Eloy Hortal Muñoz © 2014 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 978 90 5867 990 1 e-ISBN 978 94 6166 132 6 D / 2014 / 1869 / 47 NUR: 685, 697 Cover illustration: Lucas I van Valckenborgh, “Frühlingslandschaft (Mai)”, (inv. Nr. GG 1065), Kunsthistorisches Museum Vienna Contents Courts and households of the Habsburg dynasty: history and historiography José Eloy Hortal Muñoz, Dries Raeymaekers and René Vermeir 7 The political configuration of the Spanish Monarchy: the court and royal households José Martínez Millán 21 The court of Madrid and the courts of the viceroys Manuel Rivero 59 The economic foundations of the royal household of the Spanish Habsburgs, 1556–1621 Carlos Javier de Carlos Morales 77 The household of archduke Albert of Austria from his arrival in Madrid until his election as governor of the Low Countries: 1570–1595 José Eloy Hortal Muñoz 101 Flemish elites under Philip III’s patronage (1598-1621): household, court and territory in the Spanish Habsburg Monarchy* -
Introduction
Introduction Sarah Joan Moran and Amanda Pipkin The Low Countries, a region comprising modern-day Belgium, the Netherlands, Luxembourg, and parts of eastern Germany and northern France, offers a re- markable laboratory for the study of early modern religion, politics, and cul- ture. Under the domain of the Hapsburg empire from 1482 and allocated to the Spanish crown when Holy Roman Emperor Charles V abdicated in 1555, the Low Countries were highly urbanized, literate, and cosmopolitan, and their cities were among the most important trade centers in Northern Europe. Following the publication of Luther’s 98 theses in 1517 the region also proved fertile ground for the spread of Protestant ideas, which combined with local resentment of foreign rule culminated in rebellion against Spain in 1568. This marked the start of the Eighty Years War.1 Philip II reestablished control over most of the Southern provinces around 1585 but neither he nor his successors were able to re-take the North. As war waged on for another six decades the South saw a wave of Catholic revival while Reformed evangelism flourished in the new Dutch Republic, entrenching a religious and political divide that slowly crushed the dreams of those hoping to reunite the Low Countries.2 Following the War of the Spanish Succession, under the Treaty of Rastatt in 1714 the Southern provinces were transferred back to the Austrian Habsburg emperors, and both North and South underwent economic declines as they 1 See Jonathan Irvine Israel, The Dutch Republic: Its Rise, Greatness, and Fall, 1477–1806 (Oxford and New York: Oxford University Press, 1995); Arie-Jan Gelderblom, Jan L. -
The Portrait of Juana of Austria in the Bilbao Fine Arts Museum
IN THE KING’S NAME The Portrait of Juana of Austria in the Bilbao Fine Arts Museum Leticia Ruiz Gómez This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: fig. 1 © Kunsthistorisches Museum, Wien: fig. 7 © Musées Royaux des Beaux Arts de Belgique, Bruxelles: fig. 4 © Museo Nacional del Prado, Madrid: figs. 2, 3, 5, 9 and 10 © Patrimonio Nacional, Madrid: figs. 6 and 8 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-123. Sponsored by: 2 n the 1550s Princess Juana of Portugal was a regular subject for portrait artists, being one of the leading women in the House of Austria, the dynasty that dominated the political scene in Europe throughout the I16th century. The youngest daughter of Charles V and Isabella of Portugal, she had a special role to play in her father’s geopolitical strategies, first as the wife of the heir to the Portuguese throne, to whom she bore a posthumous son who would eventually come to the throne of Spain’s neighbour, and subsequently as regent of the Emperor’s peninsular territories. -
A Constellation of Courts
A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 Edited by: René Vermeir, Dries Raeymaekers and José Eloy Hortal Muñoz With contributions from: Alejandro López Álvarez (Universidad Autónoma de Madrid), Carlos Javier Carlos Morales (Universidad Autónoma de Madrid), Olivier Chaline (Université Paris IV – Sorbonne), Alicia Esteban Estríngana (Universidad de Alcalá), José Eloy Hortal Muñoz (Universidad Rey Juan Carlos), Birgit Houben (University of Antwerp), Katrin Keller (Universität Wien), José Martínez Millán (Universidad Autónoma de Madrid), Manuel Rivero (Universidad Autónoma de Madrid), Astrid von Schlachta (Universität Regensburg), Werner Thomas (KU Leuven) © 2014 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven, Minderbroedersstraat 4, B-3000 Leuven (Belgium) ISBN 978 90 5867 990 1 D / 2014 / 1869 / 47 Distributed by Leuven University Press http://upers.kuleuven.be/nl/book/9789058679901 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License: http://creativecommons.org/licenses/by-nc-nd/3.0/ Reprint from ‘A Constellation of Courts’ - ISBN 978 90 5867 990 1 - © Leuven University Press, 2014 Reprint from ‘A Constellation of Courts’ - ISBN 978 90 5867 990 1 - © Leuven University Press, 2014 A Constellation of Courts The Courts and Households of Habsburg Europe, 1555-1665 Reprint from ‘A Constellation of Courts’ - ISBN 978 90 5867 990 1 - © Leuven University Press, 2014 A_Constallation_of_courts.indd 1 22/09/14 15:52 -
I GLADLY STRAINED MY EYES to FOLLOW YOU — Entrance Hall — the Landing
a guided tour of Pollock House by Shauna McMullan I GLADLY STRAINED MY EYES TO FOLLOW YOU — Entrance Hall — The Landing UNKNOWN LADY UNKNOWN dates unknown dates unknown Karen Cornfield, House Manager, Pollok House Kate Davis, artist Is that a fly on her nose? Untitled It’s not meant to be there. Unasked There’s meant to be a story, Unspoken The person behind the face. Unkempt Unaccustomed This portrait of a woman was painted by a man. Unseen We know about him, not about her. Unsteady Unnecessary “He had a name and was born on a date. He came from a Unwilling country and was born in a place. He painted things that were Unemployed typical of the time. He went to a city and another country. His Unwise work is exhibited among the work of other men. His most Undressed famous work is a painting.” Ungovernable Unsound (But, not this one.) Unhealthy Unflappable When was she born and where did she live? Unlucky Where did she travel and what did she see? Unmarked Where can we see her life’s work? Unpretentious What was her passion? Unsightly What did she love? Unprincipled Unable Separated from her story, Unnatural Captured in a frame, Unwritten Hung upon a wall, Unbending To be remembered without a name. Unreasonable Unsettled Unstable — Silver Corridor Unaware Uncommunicative ANNE MARIE CHARLOTTE CORDAY Unwholesome Unsaid 1768 – 1793 Untapped Dr. Sarah Tripp, artist Unbecoming Unarmed Moods did not settle upon her face. When I arrived Untold (when I first saw her) this was the case – no mood. -
Downloaded from Brill.Com07/06/2021 12:38:50PM Via Koninklijke Bibliotheek Library of the Written Word
Print and Power in Early Modern Europe (1500–1800) Nina Lamal, Jamie Cumby, and Helmer J. Helmers - 978-90-04-44889-6 Downloaded from Brill.com07/06/2021 12:38:50PM via Koninklijke Bibliotheek Library of the Written Word volume 92 The Handpress World Editor-in-Chief Andrew Pettegree (University of St Andrews) Editorial Board Ann Blair (Harvard University) Falk Eisermann (Staatsbibliothek zu Berlin – Preuβischer Kulturbesitz) Shanti Graheli (University of Glasgow) Earle Havens (Johns Hopkins University) Ian Maclean (All Souls College, Oxford) Alicia Montoya (Radboud University) Angela Nuovo (University of Milan) Helen Smith (University of York) Mark Towsey (University of Liverpool) Malcolm Walsby (ENSSIB, Lyon) Arthur der Weduwen (University of St Andrews) volume 73 The titles published in this series are listed at brill.com/lww Nina Lamal, Jamie Cumby, and Helmer J. Helmers - 978-90-04-44889-6 Downloaded from Brill.com07/06/2021 12:38:50PM via Koninklijke Bibliotheek Print and Power in Early Modern Europe (1500–1800) Edited by Nina Lamal Jamie Cumby Helmer J. Helmers LEIDEN | BOSTON Nina Lamal, Jamie Cumby, and Helmer J. Helmers - 978-90-04-44889-6 Downloaded from Brill.com07/06/2021 12:38:50PM via Koninklijke Bibliotheek This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. -
(Heaven) and Gaia (Earth), Was the Powerful Goddes
Water n Greek mythology MNEMOSYNE, daughter of the primordial Titan deities Uranus (Heaven) and Gaia (Earth), I was the powerful goddess of memory, the inventor of language and mother of the nine muses. Mnemosyne presided over the spring of memory in the underworld where souls had the choice to drink either from the River Lethe, forget their past life and be re-incarnated, or to drink from her own spring and spend eternity in the peace of the Elysian Fields. The words amnesia, amnesty, mnemonic, monument derive from her name. Jupiter, in the guise of a shepherd, approaches Mnemosyne, seated on the left at the edge of a wood by her spring. Illustration by LeClerc to Isaac de Benserade’s adaptation of Ovid’s Metamorphoses Paris, 1676. ©Trustees of the British Museum. Since ancient times water has been closely linked with memory. Many people believe that the memory of a blessing can be retained in water from holy shrines and can bring healing. In the Middle Ages the power of holy water was considered so great that pilgrims bought small flasks of it hoping that its blessing would accompany them as their journey continued. Some churches locked their fonts to prevent its theft. Homeopathic remedies defy conventional scientific Medieval pilgrim’s understanding by suggesting that water has the ability to lead alloy retain an electromagnetic memory of substances previously ampulla for carrying dissolved in it to the point that no single molecule of the holy water. original substance remains. The River Ise rises in the field at Naseby where the memory of the Civil War battle of 1645 is embedded in the Northamptonshire landscape. -
History in the Making – Isabella
ISABELLA HISTORY IN THE MAKING FASHION & TEXTILES TEACHERS’ RESOURCE HISTORY IN THE MAKING Key Stage 4 & 5: Art & Design and Design & Technology Also suitable for Higher Education Groups Supported by the Arts and Humanities Research Council with thanks to Kings College London 1 FOREPART (PANEL) LIMEWOOD MANNEQUIN BODICE CHOPINES (SHOES) SLEEVE RUFFS GOWN NECK RUFF & REBATO HEADTIRE FARTHINGALE STOCKINGS & GARTERS WIG SMOCK 2 3 4 5 Contents Introduction: Early Modern Dress 9 Archduchess Isabella 11 Isabella undressing / dressing guide 12 Early Modern Materials 38 6 7 Introduction Early Modern Dress For men as well as women, movement was restricted in the Early Modern period, and as you’ll discover, required several The era of Early Modern dress spans between the 1500s to pairs of hands to put on. the 1800s. In different countries garments and tastes varied hugely and changed throughout the period. Despite this variation, there was a distinct style that is recognisable to us today and from which we can learn considerable amounts in terms of design, pattern cutting and construction techniques. Our focus is Europe, particularly Belgium, Spain, Austria and the Netherlands, where our characters Isabella and Albert lived or were connected to during their reign. This booklet includes a brief introduction to Isabella and Albert and a step-by-step guide to undressing and dressing them in order to gain an understanding of the detail and complexity of the garments, shoes and accessories during the period. The clothes you see would often be found in the Spanish courts, and although Isabella and Albert weren’t particularly the ‘trend-setters’ of their day, their garments are a great example of what was worn by the wealthy during the late 16th and early 17th centuries in Europe. -
Andromeda Unbound’Revisited REVIEW ARTICLE Dutch Crossing © W.S.Maney& Sonltd2013 Illustrated Catalogue
dutch crossing, Vol. 37 No. 2, July 2013, 188–90 REVIEW ARTICLE ‘Andromeda Unbound’ Revisited Raingard Esser University of Groningen, The Netherlands Dynasty and Piety. Archduke Albert (1598–1621) and Habsburg Political Culture in the Age of Religious War. By Luc Duerloo. Farnham: Ashgate. 2012; Isabel Clara Eugenia. Female Sovereignty in the Courts of Madrid and Brussels. Edited by Cordula van Wyhe. London: Paul Holberton Publishing in association with Centro de Eustudios Europa Hispánica, Madrid. 2012. In autumn 1998 the Royal Museums for Art and History in Brussels opened a major exhibition commemorating the 400th anniversary of the reign of Archdukes Albert and Isabella in the Southern Netherlands. The exhibition was accompanied by an impressive and beautifully illustrated catalogue.1 Historians, art historians, and literary scholars examined the cosmo- politan court in Brussels and its impact on the fl ourishing arts and culture created by the Habsburg couple to echo the Burgundian splendour of the past and to mount a Counter- Reformation campaign on the frontlines of the confessional divide of the Low Countries. The introductory chapter by Werner Thomas, from which the title of the present review article is borrowed, refl ects the high expectations in the Southern Netherlands expressed at the arrival of the Archducal couple in 1598. For a number of scholars involved in this project, the topic remained of lasting interest and has resulted in new research into a hitherto neglected fi eld of study. This new interest in the politics and culture of the Southern Netherlands in the fi rst half of the seventeenth century is enriched by the highly international outlook and expertise of these scholars and by their knowledge of the wider Habsburg world well beyond the confi nes of the seventeen provinces of the Low Countries. -
Private Property in the Dutch-Spanish Peace Treaty of Münster (30 January 1648)
PLEASE NOTE This is a draft paper only and should not be cited without the author’s express permission Private Property in the Dutch-Spanish Peace Treaty of Münster (30 January 1648) Randall Lesaffer and Erik-Jan Broers1 Abstract The rise of the dynastic State with its growing control over warfare led to a changing conception of war. Under the just war tradition of the Late Middle Ages, war was conceived of in terms of the vindication of justice and was, at least conceptually, limited in scope. It was perceived as a set of separate acts of war, not disrupting all relations between the belligerents and their subjects. While the just war tradition proved resilient during the Early-Modern Age, a second concept, that of legal war, emerged. A legal war disrupted normal peaceful relations almost wholly; it was thought of as a state of war. The laws of peace ruled the state of peace; the laws – and practices – of war and neutrality ruled the state of war. As war became a more encompassing state of affairs, peace treaties became more 1 Randall Lesaffer is professor of legal history at Tilburg University as well as senior researcher at Intervict, the International Victimology Institute Tilburg. He also teaches cultural history at the Law Faculty of the Catholic University of Leuven and international law at the Royal Defence College of the Belgian Armed Forces in Brussels. Erik-Jan Broers is lecturer of legal history at Tilburg University. elaborate. Apart from setting the conditions for ending hostilities, they also had to regulate the return from the state of war to the state of peace.