The Guennol Lioness
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												  The Commemorated Page Numbers in Bold Type Refer to IllustrationsChurch Monuments Vols I–XXXII (1985–2017) The Commemorated Page numbers in bold type refer to illustrations Abbott, Christopher, 1686, XXIX: 80, 82 Allington, Lionel and Dorothe, 1638, V: 62, Abbys, Thomas, 1532/3, XXXII: 30 63; VII: 46, 74 Abell, William, 1500, XVI: 123 Allington, Richard, 1561, VII: 38; XXIII: 93 Aberford, Henry of, c.1328, XIII: 109 Alonso, Infante, 1493, VII: 27 Abernoun, John d’, 1327, I: 10; VI: 5; VIII: 5, Alphonse and Jean, sons of Louis VIII, king of 7; IX: 38; XV: 12 France, 1213, XXX: 51 Abernoun, John III d’, 1335–50, II: 13, 17–19; Alsace, Marguerite d’, 1194, XXIV: 28, 29, VII: 17 30, 31, 43 Abney, George and Ellen, 1577/8, VI: 38 Alsace, Mathieu d’, 1173, XXIV: 31, 33, 36, Accarigi, Tommaso, XXIII: 110 38 Acé, Hugues d’, 1333, XII: 23, 24, 33 Anast, Thomas d’, bishop of Quimper, 1322, Achard, Robert, 1353, IX: 46; XXXII: 24 XXX: 45 Acton, John and Elizabeth, 1625, XXIII: 81 Ancaster see Bertie Acton, Thomas, 1489, XXXII: 30 Anderson, Alexander, 1811, XV: 99 Adair family, 1852–1915, XVI: 92, 123 Anderson, Edmond, 1638, XXX: 129, 130 Adams, Richard, 1635, XXIX: 75 Anderson, Edmund, 1670, IX: 84, 85, 86 Adderley, Ralph, Margaret and Philota, 1595, Anderson, Francis, VII: 89, 90, 91, 93 VI: 40 André, Philippe and Marie, 1845, XV: 91, 93, Adelaide of Maurienne, queen of France, 1154, 96 XIX: 34 Andrew, Thomas, Frances and Mary, 1589, Adornes, Jacques, 1482, VII: 28 VIII: 54 Adyn, Edith, c.1560, XXIX: 82 Andrew, Thomas, Katherine and Mary, 1555, Aebinga, Hil van, XXXI: 118 n.
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												  Autumn 2017 CoverVolume 1, Issue 2, Autumn 2017 Front cover image: John June, 1749, print, 188 x 137mm, British Museum, London, England, 1850,1109.36. The Journal of Dress History Volume 1, Issue 2, Autumn 2017 Managing Editor Jennifer Daley Editor Alison Fairhurst Published by The Association of Dress Historians [email protected] www.dresshistorians.org i The Journal of Dress History Volume 1, Issue 2, Autumn 2017 ISSN 2515–0995 [email protected] www.dresshistorians.org Copyright © 2017 The Association of Dress Historians Online Computer Library Centre (OCLC) accession number: 988749854 The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer–reviewed environment. The journal is published biannually, every spring and autumn. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is distributed completely free of charge, solely for academic purposes, and not for sale or profit. The Journal of Dress History is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The editors of the journal encourage the cultivation of ideas for proposals.
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												  Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 46100 I IINFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
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												  Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
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												  J. J. González García, Charles V and the Habsburgs' Inventories, RIHARIHA 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.
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												  Genealogy of the Royal House of Bourbon - Two SiciliesGENEALOGY OF THE ROYAL HOUSE OF BOURBON - TWO SICILIES HRH Prince D. PEDRO Giovanni María Alejo Saturnino y Todos los Santos, DUKE OF CALABRIA, COUNT OF CASERTA (succeeded 5 October 2015, assumed these titles as Head of the Royal House on 6 November 2015) was created DUKE OF NOTO (by his father following his birth), born at Madrid 20 Apr 1971, Grand Master of the Sacred Military Constantinian Order of Saint George, Grand Master of the Illustrious Royal Order of Saint Januarius, Grand Commander of the Order of Alcántara, Bailiff Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta, Grand Cross of the Order of the Immaculate Conception of Vila Viçosa, married at Madrid, 30 Mar 2001 D. Sofia Landaluce y Melgarejo, born Madrid, 23 Nov 1973, (H.R.H. the Duchess of Calabria), Dame Grand Cross of Justice of the Sacred Military Constantinian Order of Saint George, and has issue, 1) HRH Prince D. JAIME de Borbón-dos Sicilias y Landaluce, DUKE OF Noto, born Madrid 26 June 1992, Grand Prefect and Knight Grand Cross of Justice of the Constantinian Order, Grand Constable of the Royal Order of Saint George of the Reunion, Knight of Alcántara, Knight of Honour and Devotion of the Sovereign Military Order of Malta, 2) HRH Prince D. Juan de Borbón-dos Sicilias y Landaluce, born 19 Apr 2003 3) HRH Prince D. Pablo de Borbón-Dos Sicilias y Landaluce, born Madrid 28 Jun 2004 4) HRH Prince D. Pedro born Madrid, 3 Jan 2007 5) HRH Princess D. Sofia, born Madrid 12 Nov 2008 6) HRH Princess D.
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												  Bavaria the Bavarians Emerged in a Region North of the Alps, Originally Inhabited by the Celts, Which Had Been Part of the Roman Provinces of Rhaetia and NoricumBavaria The Bavarians emerged in a region north of the Alps, originally inhabited by the Celts, which had been part of the Roman provinces of Rhaetia and Noricum. The Bavarians spoke Old High German but, unlike other Germanic groups, did not migrate from elsewhere. Rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century AD. These peoples may have included Marcomanni, Thuringians, Goths, Rugians, Heruli, and some remaining Romans. The name "Bavarian" ("Baiuvari") means "Men of Baia" which may indicate Bohemia, the homeland of the Marcomanni. They first appear in written sources circa 520. Saint Boniface completed the people's conversion to Christianity in the early 8th century. Bavaria was, for the most part, unaffected by the Protestant Reformation, and even today, most of it is strongly Roman Catholic. From about 550 to 788, the house of Agilolfing ruled the duchy of Bavaria, ending with Tassilo III who was deposed by Charlemagne. Three early dukes are named in Frankish sources: Garibald I may have been appointed to the office by the Merovingian kings and married the Lombard princess Walderada when the church forbade her to King Chlothar I in 555. Their daughter, Theodelinde, became Queen of the Lombards in northern Italy and Garibald was forced to flee to her when he fell out with his Frankish over- lords. Garibald's successor, Tassilo I, tried unsuccessfully to hold the eastern frontier against the expansion of Slavs and Avars around 600. Tassilo's son Garibald II seems to have achieved a balance of power between 610 and 616.
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												  Special List 316: Festivitiesspecial list 316 1 RICHARD C.RAMER Special List 316 Festivities 2 RICHARDrichard c. C.RAMER ramer Old and Rare Books 225 east 70th street . suite 12f . new york, n.y. 10021-5217 Email [email protected] . Website www.livroraro.com Telephones (212) 737 0222 and 737 0223 Fax (212) 288 4169 November 5, 2018 Special List 316 Festivities Items marked with an asterisk (*) will be shipped from Lisbon. SATISFACTION GUARANTEED: All items are understood to be on approval, and may be returned within a reasonable time for any reason whatsoever. Visitors BY APPOINTMENT special list 316 3 Special List 316 Festivities Hails the Ascension of D. Maria I to the Throne of Portugal 1. Alegrias de Portugal pela felicissima exaltação da Rainha Fidelissima Nossa Senhora, a Senhora D. Maria I ao throno desta monarquia no alegre, e faustissimo dia 13 de Maio de 1777. Lisbon: Na Offic. de Antonio Rodri- gues Galhardo; vendem-se em caza de Antonio Jozé Livreiro na rua da Arrochella defronte do adro de S. Bento, e na mesma Officina, 1777. 4°, recent plain wrappers. Woodcut Portuguese royal arms on title page. In good to very good condition. 7 pp. $80.00 FIRST and ONLY EDITION of this ode honoring D. Maria I’s ascension to the throne. It begins “Ode. / Que preciozo orvalho o Ceo derrama / Oh Nós de Luzo Geração ditoza! ….” D. Maria (b. 1734) became Portugal’s first queen regnant on February 24, 1777, after the death of her father D. José I. She reigned until her death in 1816, although by 1792 she was suffering such severe mental illness that her son, the future D.
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												  Music Migration in the Early Modern AgeMusic Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania.
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												  J. J. González García, Charles V and the Habsburgs' Inventories, RIHARIHA 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.
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												  From Contract to Treaty: the Legal Transformation of the Spanish Succession (1659-1713)View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ghent University Academic Bibliography From Contract to Treaty: the Legal Transformation of the Spanish Succession (1659-1713) Frederik Dhondt Ph.D. Fellow of the Research Foundation Flanders (FWO) Legal History Institute, Ghent Universityi Abstract The problem of the Spanish Succession kept the European diplomatic system in suspense from 1659 until 1713. Statesmen and diplomats tackled the question. Their practical vision of the law is a necessary complement to legal doctrine. Louis XIV and Emperor Leopold I used incompatible and absolute claims, which started in private law and Spanish succession law. At the Peace of Utrecht, these arguments completely dissolved. The War of The Spanish Succession thus not only redesigned the political map of Europe. It altered the norm hierarchy in public law, strengthening international law as the framework of the “Société des Princes”. Introduction The War of the Spanish Succession (1701/1702-1713/1714) redesigned the political map of Europe. It sealed the definitive end of French encirclement by the Spanish Habsburgs. When Louis XIV died in September 1715, the heydays of the Spanish Monarchy were gone and a Bourbon King, his own grandson, reigned in Madrid. Both Spanish and French claims for universal monarchy had come to an endii. The Treaties of Utrecht and Rastadt/Baden created a balance of power on the continent between Versailles and Vienna, which was to last for 30 years. Finally, the war constituted the basis for British dominance as a commercial naval power, at the expense of the Dutch Republic.
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												  A Portrait by Jacob Esselens by Wolfgang Stechow - 3ALLEN MEMORIAL ART MUSEUM OBERLIN COLLEGE FALL 1963 The covet design by Forbes Whiteside is based upon his design for the Allen Memorial Art Museum monogram. ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXI, NUMBER 1 FALL 1963 Contents A Portrait by Jacob Esselens by Wolfgang Stechow - 3 Cezanne and a Pine Tree by Ellen H. Johnson - - - - 11 Viaduct at I'Estaque: A Footnote by Ellen H. Johnson 25 Christina of Denmark by Michael Coxie by Patricia Rose ----- 29 Nils Gosta Sandblad 52 Notes Baldwin Lecture Series 1963-64 53 Oberlin Archaeological Society - - - - - 53 Fall and Winter Exhibitions - - - - - 53 Friends of Art Film Series ----- 54 Loans to Museums and Institutions - - - - - 55 Friends of the Museum - - - - - - 57 Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. 1. Jacob Esselens, Portrait of a Lady Oberlin A Portrait by Jacob Esselens Again and again in the course of a comprehensive view of Dutch painting of the seventeenth century, one is struck by the phenomenon of a master of secondary rank surpassing his ordinary level of achieve ment and approaching that of the elect few. The circumstances in which this occurs vary: a special meeting of mind between teacher and pupil, the discovery of unsuspected developments in other artistic centers of the land, a journey abroad, a theme or a sitter holding a particular personal appeal to the painter — all these may accomplish it. No collection known to this writer can boast of more happv surprises of this kind than that of one of the great connoisseurs of our time, Mr.