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1
Hanovs, Deniss. "THE ARISTOCRAT BECOMES A COURTIER… FEATURES OF EUROPEAN ARISTOCRATIC CULTURE IN THE 17th CENTURY". Via Latgalica, n. 1 (31 dicembre 2008): 62. http://dx.doi.org/10.17770/latg2008.1.1590.
Testo completoAbstract (sommario):
As John Adamson outlined in his voluminous comparative analysis of European court culture, „in the period between 1500 and 1750 a „Versailles model” of a court as a self-sufficient, situated in a free space, architectonically harmonious city-residency remote from the capital city, where the king’s household and administration was located, was an exception.” The Versailles conception and „model” both architectonically and in terms of practical functioning of the court was spread and secured in the 18th century, developing into a model of absolutism which was imitated to different extents. The spectrum of the adoption of the court of Louis XIV by material and intellectual culture reached from the grand ensembles of palaces of Carskoye Selo in Peterhof, Russia, Drottningholm in Sweden and Sanssouci in Germany to several small residences of the German princes’ realms in Weimar, Hanover, and elsewhere in Europe. Analyzing the works of several researchers about the transformation of the French aristocracy into court society, a common conclusion is the assurance of the symbolic autocratic power by Louis XIV to the detriment of the economic and political independence of the aristocracy. In this context, A. de Tocqueville points at the forfeiture of the power of the French aristocracy and its influence and a simultaneous self-isolation of the group, which he defines as a „caste with ideas, habits and barriers that they created in the nation.” Modern research, when revisiting the methods of the resarch on the aristocracy and when expanding the choice of sources, is still occupied with the problem defined in the beginning of the 19th century by A. de Tocqueville: The aristocracy lost its power and influence, and by the end of the 18th century also its economic basis for its dominance in French society. John Levron defines courtiers as functional mediators between the governor and society, calling them a „screen”.1 In turn, Ellery Schalk stated that in the time of Louis XIV the aristocracy was going through an elite identity crisis, when alongside the old aristocracy involved in military professions (noblesse d’épée), the governor allowed a new, so-called administrative aristocracy (noblesse de robe) to hold major positions and titles of honour. Along with the transformation of the traditional aristocratic hierarchy formed in the early Middle Ages, which John Lough described as an anachronism already back in the 17th century, also the status of governor and its symbolic place in the aristocratic hierarchy changed. It shall be noted that it is the question of a governor’s role in the political culture of absolutism by which the ideas of many researches can be distinguished. Norbert Elias thinks that an absolute monarch was a head of a family, which included the whole state and thereby turned into a governor’s „household”. Timothy Blanning, on the other hand, thinks that the court culture of Louis XIV was the expression of the governor’s insecurity and fears. This is a view which the researcher seems to derive from the traumatic experience of the Fronde (the aristocrats’ uprising against the mother of Louis XIV, regent Anna of Austria), which the culturologist K. Hofmane interpreted from a psychoanalytical point of view and defined Louis XIV as a conqueror of chaos and a despotic governor. In the wide spectrum of opinions, it is not the governor’s political principles which are postulated as a unifying element, but scenarios of the representation of power, their aims and various tools that are combined in the concept of court culture. N. Elias names symbolic activities in the court etiquette as the manifestation of power relations, whereas M. Yampolsky identifies a symbolic withdrawal of a governor’s body from the „circulation in society”, when a governor starts to represent himself, thereby alienating himself from society. George Gooch in this way reprimanded Louis XV as he thought this development would deprive the royal representation from the sacred. In turn, Jonathan Dewald in his famous work „European Aristocracy” noted that Louis XIV was not the first to use the phenomenon of the court for securing the personal authority of a governor, and refers to the courts during the late period of the Italian Renaissance as predecessors of French court culture. What role did the monarch’s closest „viewers” – the courtiers – play in this? K. Hofmane by means of comparison with the ancient Greek mythical monster Gorgon comes to conclusion that the court had to provide prey for the Gorgon (the king), who is both scared and fascinated by the terrific sight (of power and glory). The perception of the court as a collective observer implies the presence of the observed and worshiped object, the king. The public life of Louis XIV, which was subjected to the complicated etiquette, provided for the hierarchical access to the king’s public body. Let’s remember the „Memoirs” of Duc de Saint-Simon that gives a detailed description of the symbolic privileges granted to the courtiers, which along the material gifts (pensions, concessions and land plots) were tools for the formation of the identity and the status of a new aristocrat/courtier – along with the right to touch the king’s belongings, his attire, etc. The basis for securing the structure of the court’s hierarchy was provided by the governor’s body along the lines mentioned above, which according to the understanding of representation by M. Yampolsky was withdrawn from society and placed within the borders of the ensemble of the Versailles palace. There, by means of several tools, including dramatic works of art, the governor’s body was separated from its symbolic content and hidden behind the algorithms of ritualized activities. Blanning also speaks about a practice of hiding from the surrounding environment, thereby defining court culture as a hiding-place that a governor created around himself. It was possible to look at a governor and thereby be observed by him not only on particular festivals, when a governor was available mostly for court society, but also in different works of visual art, for example, on triumphal archs, in engravings, or during horse-racings.
2
Khromov, Oleg R. "Russian Engraving of the 17th Century in the Studies of Dmitry Rovinsky". Observatory of Culture 19, n. 5 (14 novembre 2022): 492–501. http://dx.doi.org/10.25281/2072-3156-2022-19-5-492-501.
Testo completoAbstract (sommario):
The article is devoted to the works of Dmitry Aleksandrovich Rovinsky (1824—1895), a famous Russian scientist and collector, the founder of Russian engraving studies. There are special articles devoted to him in modern literature, but mostly of a biographical nature. This article explores his methods for studying early Russian engraving of the 17th century. The author shows the directions and approaches to the topic identified and developed by D.A. Rovinsky. Exploring the scientist’s work in the context of the development of art criticism of the 19th century, the article reveals methodological errors in the attribution and identification of iconographic sources of Russian engraving of the 17th century. The article shows the features of D.A. Rovinsky’s approach to specific works, which determined his conclusions and observations in the assessment of Russian engraving of the 17th century, some of them remain relevant today. There are demonstrated the material research characteristics associated with socio-political reasons that determined the direction of censorship in relation to the study of plots and iconographic issues of early Russian engraving. The article shows for the first time the features of studying early Russian engraving of the 17th century as an independent phenomenon, reveals the origins of the formation of modern trends in art criticism (engraving) research, and demonstrates the processes of formation of our ideas about the initial stage of the development of the art of engraving in Russia as a special kind of art and a phenomenon of artistic culture.
3
Будрина, Л. А. "European iconography of Ural’s relief icons". Iskusstvo Evrazii [The Art of Eurasia], n. 1(32) (30 marzo 2024): 96–111. http://dx.doi.org/10.46748/arteuras.2024.01.007.
Testo completoAbstract (sommario):
Рельефные иконы (и, несколько позднее, пейзажи) — особый тип камнерезной продукции, чрезвычайно популярной в среде уральских камнерезов XIX века. Их технология была достаточно подробно описана и проанализирована ранее, в том числе в целом ряде публикаций автора, однако по-прежнему актуальным остается вопрос истоков подобного рода произведений и использованной иконографии. Настоящая статья посвящена вновь выявленным источникам заимствований из европейского искусства, что позволяет провести параллели со схожими по типу произведениями западноевропейских мастеров. Также статья вводит в научный оборот идентификацию источников иконографических схем и деталей композиций, что дает возможность использовать их для атрибуции уральских произведений, уточнить и аргументировать их датировку. Так, к ранее установленному и опубликованному автором факту обращения создателей рельефных икон к немецким гравюрам второй половины XIX века добавляется выявленное заимствование из разнообразных западноевропейских источников XVII–XVIII столетий. Эти данные позволяют существенно расширить границы датировок для ряда произведений, а также уточняют круг памятников, знакомых камнерезам и используемых уральскими мастерами. Новые сведения включают региональное искусство Урала в общий для европейского декоративного искусства XIX века процесс переосмысления наследия предшествующих эпох, аргументируя актуальный тезис о необходимости рассмотрения уральской художественной промышленности как части европейской художественной культуры указанного столетия. Relief icons (later also landscapes) are the peculiarity of the stone cutting production, very popular in the Ural stone cutting artists of the 19th century. The technology of this kind of production was described and analysed previously, especially in some publications of the author. However, the question about the sources of this type of production and about the used iconography still actual. The present article is dedicated to the new discovered sources of inspiration in the European art, what open the studies of the parallels between Ural’s works and the similar kind of objects by the west-European artists. Also, the article proposes the identification of some sources of the iconographic details and composition, what permit the attribution of Ural’s works, precise and argument the dating. In the fact, to the previously discovered and published by the author information about the use by the creators of the relief icons of the German engraving of the second half of the 19th century, article adds newly discovered information about the use of the different west-European sources of the 17th–18th centuries. This information permits us to enlarge the dating for some pieces, and to precise the circle of the sources, knot weed and used by the local artists. New data permit us to include the regional Ural art to the common for the European decorative art of the 19th century process of the rethinking of the heritage of the pastime, argument the actual thesis about the analyses of the Ural artistic industry as a part of the European culture of the 19th century.
4
Хромов, О. Р. "On One Source of Russian Ornamental Engraving of the 17th Century". Scientific Papers of St Petersburg Academy of Fine Arts, n. 68 (25 marzo 2024): 3–16. http://dx.doi.org/10.62625/2782-1889.2024.68.68.001.
Testo completoAbstract (sommario):
Статья посвящена изучению русского орнамента XVII в. Впервые в научный оборот вводится серия «Портреты королей и героев» («Heads of Kings and Heroes») 1594 г. Николая де Брюина (Брайн, Бруин, Nicolaes de Bruyn, 1571–1652/6), которая переиздавалась в XVII в. и использовалась русскими мастерами в качестве иконографического источника для русской орнаментальной гравюры. Мотивы де Брюина повторяются в гравюрах Л.К. Бунина и других мастеров. Доказательством использования нашими мастерами непосредственно гравюр нидерландского мастера стал обнаруженный в научной библиотеке Казанского государственного университета экземпляр Библии Маттеуса Мериана, к которой были приплетены серии «Сотворение мира» и «Портреты королей и героев» Николая де Брюина. По внешним признакам, этот конволют находился в обиходе иконописца и служил своеобразным иконописным подлинником. The article is devoted to the study of Russian ornament of the 17th century. For the first time, the series “Portraits of Kings and Heroes” (“Heads of Kings and Heroes”, 1594) by Nicolaes de Bruyn (1571–1652/6) is introduced into scientific circulation. It was republished in the 17th century, and was used by Russian masters as an iconographic source for Russian ornamental engraving. De Bruyn’s motifs are repeated in the engravings of L. Bunin and other masters. The proof of the direct use of the Dutch master’s engravings by the Russian artists was a copy of the Matthäus Merian Bible discovered in the Scientific Library of Kazan State University, to which the series “Creation of the World” and “Portraits of Kings and Heroes” by Nicolaes de Bruyn were bound. By its appearance, this convolute was in everyday use of the icon painter, served as a kind of original icon painting.
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Tyagunova, E. O. "Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art". Art & Culture Studies, n. 4 (dicembre 2021): 198–215. http://dx.doi.org/10.51678/2226-0072-2021-4-198-215.
Testo completoAbstract (sommario):
There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language and intention to introduce it into the space of traditional ukiyo-e engraving became the basis for the masters of this period. Changes in the field of traditional genres are noted: instead of images of actors (yakusha-e), beauties (bijinga) and landscapes (fukeiga), there were appeared images of foreigners with their manners (yokohama-e), Japan’s modernization (kaika-e), as well as the battle genre (senso-e) dedicated to the events of the Japanese-Chinese (1894–1895) and Russian-Japanese (1904–1905) wars. These attempts to transform the national art allowed to form the ground for the creativity of young masters in the 20th century, who brought traditional engraving to a new level.
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Zavyalova, Anna E. "Jaspar de Isaac’s Engraving “Narcissus”: On the Sources of Konstantin Somov’s Early Art". Observatory of Culture 17, n. 2 (30 giugno 2020): 164–72. http://dx.doi.org/10.25281/2072-3156-2020-17-2-164-172.
Testo completoAbstract (sommario):
The article reveals and introduces into scientific circulation the previously unknown artistic source of Konstantin Andreyevich Somov’s early art – Jaspar de Isaac’s engraving “Narcissus”. There is traced the course of work with this one along with other art sources (works of European masters of the 16th—18th centuries depicting hunting scenes, paintings by Antoine Watteau, Jugendstil graphics), revealed the context of reference to it, and analyzed the stylistic features of including this source in Somov’s work on the watercolor “Rest after a Walk”. These tasks are addressed in the context of the role of artistic sources from the heritage of past eras in early works of Konstantin Somov. The topic’s relevance is determined by the fact that Jaspar de Isaac’s engraving “Narcissus”, made at the very beginning of the 17th century for a French edition of the “Imagines” by Philostratus the Elder, for the first time becomes the object of research as a source of Somov’s art. The scientific novelty of the work lies in the fact that for the first time it attempts to identify (basing on a combination of formal and contextual analysis), and to use a source from the artistic heritage of France of the beginning of the 17th century in the work of K. Somov on the themes of the 18th century. The reveal of the source — the engraving “Narcissus” by J. de Isaac — made it possible to reconstruct the artist’s work on the “Rest after a Walk”. The article examines not only the sketch for this work from the collections of the Pushkin State Museum of Fine Arts, but also the drawing “A Date” from the State Tretyakov Gallery. There is stated that it is a preparatory drawing for the watercolor “Rest after a Walk”, basing on the general iconography of the watercolor, sketch and engraving “Narcissus”. The author concludes that Somov’s appeal to the engraving by J. de Isaac was not conscious, it should be attributed to the phenomenon of artistic memory, and his probable acquaintance with it had taken place before the artist left for Paris in the autumn of 1897.
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Steiger, Johann Anselm. "Hiob zwischen probatio, patientia und blasphemia". Scientia Poetica 19, n. 1 (27 gennaio 2015): 1–28. http://dx.doi.org/10.1515/scipo-2015-0102.
Testo completoAbstract (sommario):
AbstractThis article provides an overview of the history of exegesis of the book of Job in 16th and 17th century Lutheranism. Early reformers such as Johannes Bugenhagen, Johannes Brenz, and Hieronymus Weller, a pupil of Luther, published commentaries about this philologically as well as theologically difficult narration of the Old Testament. In the 17th century, interpreters of Job made use of a variety of literary forms, including lyrical poetry (e. g. Sigmund von Birken). A highlight of the Job exegesis in baroque Lutheranism lies in the comprehensive commentary published by Sebastian Schmidt of Strasburg in 1670. The article closes by paying particular attention to the iconography of the multi-part copper engraving, created by Albert Christian Kalle for the Job exegesis by the pastor Christoph Scultetus of Stettin in 1647.
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Beletskaya, Olga A. "Clavier Music of Germany in the 17th Century". ICONI, n. 2 (2021): 30–40. http://dx.doi.org/10.33779/2658-4824.2021.2.030-040.
Testo completoAbstract (sommario):
17th century German clavier music presents a capacious stratum of culture of the Baroque period, which is of enormous interest. Frequently it is perceived as an enormous transition to J.S. Bach’s musical legacy, but upon more assiduous examination it turns out that this stratum has its own value, although, obviously, it could not do otherwise than create the footing for the musical culture of the following 18th century. The present article has an overview character and is meant to summate the most important phenomena which could give an overall perception of the chronological order of the formation of clavier genres and forms of the pre-Bach era, about the outstanding composers of clavier music, and of the intersection between various national styles in their heritages.
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Verde, Paola Carla. "[ITA] L’ICONOGRAFIA ASSERVITA AL POTERE. L’OPERA E I COMMITTENTI DELL’INCISORE E TOPOGRAFO ALESSANDRO BARATTA ALLA CORTE VICEREALE DI NAPOLI NELLA PRIMA METÀ DEL XVII SECOLO // ICONOGRAPHY SUBDUED POWER. THE WORKS AND CLIENTS OF ALESSANDRO BARATTA, ENGRAVER AND TOPOGRAPHER IN THE EARLY XVII CENTURY". Librosdelacorte.es, n. 13 (11 gennaio 2017): 105–39. http://dx.doi.org/10.15366/ldc2016.8.13.005.
Testo completoAbstract (sommario):
Alessandro Baratta “intagliatore di stampe di rame”, è l’autore della veduta topografica Fidelissimae urbis neapolitanae…, del 1629, la più importante raffigurazione della città di Napoli nel Seicento. Originario di Scigliano Calabro, nacque intorno al 1583, e svolse la sua attività tra il 1606 e il 1637 a Roma, ma soprattutto a Napoli dove condusse una attivissima bottega specializzata nella tecnica di incisione a bulino legata all’illustrazione libraria e alla produzione di stampe d’iconografia urbana nelle quali si fondono echi provenienti dalla cultura figurativa romana, che ebbe modo di assorbire negli anni della formazione, e spagnola assimilata indirettamente attraverso le esigenze dei committenti. Egli si fece interprete dei desiderata di una committenza assai varia la quale influì in parte sull’identità e formazione dell’artista. Con la sua maestria grafica creava immagini che comunicassero auctoritas divenendo potenti strumenti di legittimazione e autoesaltazione del potere politico ed ecclesiastico.PALABRAS CLAVE: Alessandro Baratta, 17th Century A.D., Rome, Naples, Engraving--Alessandro Baratta “intagliatore di stampe di rame”, is the author of the topographic view Fidelissimae urbis naepolitanae..., dated 1629, and it is the most important representation of the city of Naples of the 17th century. He was born in Scigliano Calabro around 1583 and worked in his profession between 1606 and 1637 in Rome, but above all in Naples, where he headed a busy shop specialized in the engraving technique. The primary focus of his work was book illustration and prints related to urban iconography stemming from the ancient Roman figurative culture that he progressively developed through the work given to him. Indeed, he did work for a broad range of clients, and this variety influenced partly his identity and training as an artist. Through his graphic mastery, he was able to create images that evoked auctoritas, thus his works became powerful tools for the legitimization and self-glorification of both the political and ecclesiastical power. KEY WORDS: Alessandro Baratta, XVII Century, Rome, Naples, Engraving
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Kurhanova, Olena. "Interaction of verbal and graphic image in decoration of the Kyiv-Pechersk Lavra old-printed Akaphistus-books of the 17-18th cc." Text and Image: Essential Problems in Art History, n. 2 (2018): 1–18. http://dx.doi.org/10.17721/2519-4801.2018.2.01.
Testo completoAbstract (sommario):
The article explores the development of art decoration tradition in Kyiv-Pechersk Lavra old-printed Akaphistus-books editions of 17-18th cc. The essential elements of art decoration in these Akaphisthus-books are gravures with iconographic images of prayer addressees, corresponding to certain parts of the akaphistus text. The prayer addressee engravings are located in two positions: before or inside of the akaphistus text part. Frontispiece engravings initiate each part of Akaphistus-book. Iconographic posture of prayer addressee in such gravures directs the reader’s attention to the main topic of preceding text – glorification of God, angels or a saint. The frontispiece engraving in Kyiv-Pechersk Akaphistus of the 17th c. are often accompanied with verbal inscriptions, i. e. citations from the well-known church hymns. Quite often baroque poetic texts, which belong to the genre of Ukrainian baroque descriptive poetry, are placed below the frontispiece engraving. Such verbal inscriptions describe images of the engraving, verbalizing the general features of prayer addressee image. The lack of verbal inscriptions on frontispiece engraving in Akaphistus-books of 18th century is compensated by higher quality of the engraving, due to the usage of xylography technique. The image of prayer addressee is frequently used in the center of headset engraving, which precedes the title of each akaphistus text part. The miniatures inside the text part of akaphistus provide visual enrichment of the prayer process. The tradition of small plot illustrations insertion, corresponding to each of the 12 kondaks and ikoses of akaphistus, was initiated by the first Akaphistus editions of 1625 and 1629. This tradition was quite productive during the 17th – early 18th cc. Since the Akaphistus edition of 1731, the miniatures were substituted by engraved initials. The other peculiarity of this edition, which emerged in the subsequent editions of the 18th c., was the usage of engraved frame on each page. Such elements of the artistic decoration enable simultaneous visual and mental perception of akaphistus, declared in introductions to the first Kyiv-Pechersk Akaphistos editions. This masterpiece contamination of verbal and graphic aids in book artistic decoration presents the distinctive feature of the baroque style that influenced the Ukrainian book culture of the 17-18th centuries.
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Khromov, Oleg. "TWO PRINTS BY LEONTY BUNIN IN THE 18TH CENTURY SERBIAN GRAPHIC". Scientific and analytical journal Burganov House. The space of culture 16, n. 2 (10 giugno 2020): 100–113. http://dx.doi.org/10.36340/2071-6818-2020-16-2-100-113.
Testo completoAbstract (sommario):
The article is devoted to two engravings depicting Jesus Christ and the Mother of God in lush ornamental cartouches. They are well known to Serbian art critics and are published in the catalogs of Serbian metal engravings of the 18th century. Copper engraved boards of these engravings, which Serbian researchers attribute to the end of the 18th or the beginning of the 19th century, are preserved in the Krka Monastery. Prints from them of the 18th-19th centuries are unknown in Serbian collections. In Serbia, the first prints from these boards were made in the 20th century. However, prints from these engravings were well known in Russia in the 17th-18th centuries. They were primarily used as illustrations in Russian manuscript books. The engravings were made by a Russian master at the end of the 17th century. According to the features of engraving, manner, and stylistics, they can be attributed to Moscow engraver Leonty Bunin. In Russian manuscripts, they were usually used as illustrations in the book The Passion of Christ along with the 14-sheet series The Passion of Christ by Leonty Bunin. Cases of using them as independent illustrations are known. In the 1730s, these engravings disappeared from the illustrations in The Passion of Christ series in Russian manuscript books. Their later prints are unknown in Russia. The history of their appearance in Serbia, in the Krka Monastery, remains unknown. Perhaps they appeared there as gifts from Russia which the monastery regularly received. In the 18th century, Serbian religious art experienced a powerful influence from Dutch graphics. As iconographic sources, Serbian masters used Flemish and Dutch engravings of the 16th and 17th centuries. They were the same ones that were used by Russian masters of the 17th century, especially of the second half of the century, as iconographic examples. The identity of the artistic processes that took place in the art of Serbia in the 18th century and Russia of the 17th century turned out to be so close that Serbian art historians regarded the Russian prints of the 17th century by Leonty Bunin as Serbian works of an unknown engraver of the late 17th - early 19th centuries. The biography of Leonty Bunin is considered in detail in the article, some facts of his life are presented for the first time.
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Stogova, Anna. "The undefined fashion: Constructing a fashionable way of life in late 17th century French engraving". Shagi / Steps 6, n. 4 (2020): 276–305. http://dx.doi.org/10.22394/2412-9410-2020-6-4-276-305.
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Auer, Jens. "FregattenMynden: a 17th-century Danish Frigate Found in Northern Germany". International Journal of Nautical Archaeology 33, n. 2 (ottobre 2004): 264–80. http://dx.doi.org/10.1111/j.1095-9270.2004.00023.x.
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Fagyal, Zsuzsanna. "Phonetics and speaking machines". Historiographia Linguistica 28, n. 3 (31 dicembre 2001): 289–330. http://dx.doi.org/10.1075/hl.28.3.02fag.
Testo completoAbstract (sommario):
Summary This paper shows that in the 17th century various attempts were made to build fully automatic speaking devices resembling those exhibited in the late 18th-century in France and Germany. Through the analysis of writings by well-known 17th-century scientists, and a document hitherto unknown in the history of phonetics and speech synthesis, an excerpt from La Science universelle (1667[1641]) of the French writer Charles Sorel (1599–1674), it is argued that engineers and scientists of the Baroque period have to be credited with the first model of multilingual text-to-speech synthesis engines using unlimited vocabulary.
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Reichman, Edward. "Two Jewish Physicians in Early Modern Germany: Koppel (Jacob) Mehler (AKA Copilius Pictor) and his son Juda Coppillia Pictor". Aschkenas 33, n. 1 (12 maggio 2023): 167–93. http://dx.doi.org/10.1515/asch-2022-2012.
Testo completoAbstract (sommario):
Abstract The Mehler family was a distinguished German family from Bingen in the 17th and 18th centuries comprised of numerous rabbis and communal leaders. In this essay we draw attention to the physicians of the Mehler clan, a father and son in the late 17th and early 18th centuries. Though graduating just forty years apart, they represent the transition of the medical training of students of Ashkenaz (Poland, Germany, and France) from Italy to Germany. Prior to the mid seventeenth century, a young Jewish student longing to attend medical school had essentially one option, the University of Padua. By the early eighteenth-century German universities began to welcome Jewish students. Our father and son physicians straddle this period and reflect the transition of Jewish medical training from Italy to Germany. We have identified some remarkable archival material allowing us to provide also an illustrated history of their medical careers.
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ZOHN, STEVEN. "Telemann in the Marketplace: The Composer as Self-Publisher". Journal of the American Musicological Society 58, n. 2 (2005): 275–356. http://dx.doi.org/10.1525/jams.2005.58.2.275.
Testo completoAbstract (sommario):
Abstract This article tells the story of a self-publishing business maintained by Georg Philipp Telemann in Frankfurt and Hamburg from 1715 through the late 1730s, a remarkable venture that illuminates much about music commerce during the early eighteenth century. At a time in Germany when conditions were generally unfavorable for the publishing of music, Telemann issued forty-six entirely new editions of his own works. Not only did he solicit subscribers to his publications and set up a network of agents across Europe (anticipating the activities of Carl Philipp Emanuel Bach a half century later), but he also did much, if not all, of the engraving himself and pioneered the use of pewter plates and punches in Germany. A recently discovered supplement to the subscriber list printed with the Nouveaux quatuors (Paris, 1738) enriches our knowledge of Telemann's audience, while a close examination of his engraving practices provides evidence for a redating of the well-known Hamburg collection Essercizii musici. Despite the continuing success of his Selbstverlag, Telemann suddenly dissolved the business in 1740 with the sale of his entire stock of engraved plates, a move that seems to have been motivated in part by his aspirations as a music theorist.
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Bolić, Marin. "Predlošci za slike 17. stoljeća u zbirci Pomorskog i povijesnog muzeja Hrvatskog primorja Rijeka". Ars Adriatica 9 (28 febbraio 2020): 75–88. http://dx.doi.org/10.15291/ars.2925.
Testo completoAbstract (sommario):
In 1987 the Old Masters Collection was founded at the Maritime and History Museum of the Croatian Littoral in Rijeka, comprising about one hundred and thirty paintings. It mainly consists of artworks once belonging to prominent Rijeka families that were acquired during the 19th and early 20th centuries. Only a smaller portion of the Collection came from the city’s religious institutions. These are all works of relatively modest artistic quality, thus the initial research revealed that quite a few were made after prints or more or less famous paintings. Since no systematic study of these models has hitherto been conducted, a number of questionable attributions and dates of execution concerning the paintings belonging to the Collection was proposed during the last decade of the 20th century. As far as the 17th-century paintings are concerned, the author has identified models for the paintings representing the Annunciation, Our Lady of the Rosary, the Marriage at Cana, the Adoration of the Shepherds and the Flagellation of Christ. The Annunciation was inspired by a print executed by Giovanni Jacopo Caraglio (Verona, ca. 1505 – Krakow, 1565) or its later derivation, while Our Lady of the Rosary was made after a print by Domenico Maria Canuti (Bologna, 1626-1684). The Marriage at Cana was painted after an engraving by Giovanni Battista Vanni (Florence/Pisa, 1599 – Florence, 1660) dating in 1637 or one of its later derivations. The engraving was, in its turn, made after the famous painting by Veronese (Verona, 1528 – Venice, 1588) exhibited today at the Louvre, while the Adoration of the Shepherds was made after an engraving by Jan (I) Sadeler (Brussels, 1550 – Venice, 1600). The Flagellation of Christ is a combination of a print of the same title and one depicting the Mocking of Christ. Both are work of Jan (I) Sadeler or by his copyist.
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Saunders, Steven, e Paul Walker. "Church, Stage, and Studio: Music and Its Contexts in 17th-Century Germany". Notes 48, n. 3 (marzo 1992): 863. http://dx.doi.org/10.2307/941702.
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Sukina, Liudmila B. "“GARDENERS” OF THE DYNASTIC TREES OF RUSSIAN PRINCES AND TSARS. ABOUT VARIATIONS OF ONE MICRO-PLOT IN THE EAST SLAVIC ART OF THE 17TH CENTURY". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n. 4 (2021): 97–109. http://dx.doi.org/10.28995/2686-7249-2021-4-97-109.
Testo completoAbstract (sommario):
In the East Slavic art of the 17th century images of the trees of the spiritual genealogy of Russian princes and tsars became widespread. Such compositions were present in book engraving, icon painting and fresco. Despite the general similarity, they differ in sets of images and micro-plots. The differences are due to the specific intent of each of the works. The article examines the micro-plot of the “planting” of the family tree as the most sapid and with its own variations. It’s included in the iconographic composition of five works of art from the second half of the 17th – early 18th centuries. In the paper, special attention is paid to the peculiarities of the depiction of the “gardeners” of the dynastic trees (Princess Olga, Prince Vladimir, Prince Ivan Kalita and Metropolitan Peter) and some other characters, as well as their attributes. With all the diversity of the personifications of “gardeners”, “body language” and symbols used by artists, iconographic solutions in each case worked for the one general idea. The czar dynasties of the Russian state were presented as clans founded by “right” rulers who gave their subjects state establishment and order, and also “enlightened” them with the Christian faith.
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Steckerová, Andrea. "Petr Brandl – rukopis jeho podpisem : poznámky k Brandlovu malířskému rukopisu". Opuscula historiae artium, n. 1-2 (2022): 136–47. http://dx.doi.org/10.5817/oha2022-1-2-11.
Testo completoAbstract (sommario):
In the field of hanging paintings of the second half of the 17th and the first half of the 18th century in Bohemia, the work of Peter Brandl (1668–1735) stood out for its stylistic and brushwork concept. From the beginning of his work, the painter gravitated above all to an energetic very dynamic presentation expressed through a divided brushwork and lively work with a brush. From the beginning, he applied dense layers of paint only to some parts of a painting – he tested his technical approaches on compositions with figures of old people – similar to Rembrandt. Since the 1720s whole compositions have been formed using the impasto technique – also evident is engraving with the brush handle or fingernail and the touch of fingers on the still-drying layer of paint. The study tries to answer questions about Brandl's brushwork style, which has always been valued by art historians as original and modern – but could it also have been perceived as such in its own time? The brushwork style was already connected by historiographers of the 17th century with an artist's nature and his "spirit", but the very topic of the work could also have had an effect on it. The point of view of the client, who may have required a certain style of brushwork, cannot be ignored either. These and other aspects are addressed in this study, which focuses mainly on the works of Brandl's peak period – that is, on the 1720s.
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DIMITROV, Yanko. "А NEWLY DISCOVERED FIRST EDITION FROM THE YEAR 1678 OF FIFTY QUESTIONS TAKEN FROM THE HOLY SCRIPTURES OF BOTH TESTAMENTS AND SCIENTIFICALLY EXPLAINED IN THE SPIRIT OF THE SUBTLE DOCTOR JOHN DUNS SCOTUS BY FATHER MARKO PEIACHEVICH". Ezikov Svyat volume 22 issue 2, ezs.swu.v22i2 (30 maggio 2024): 91–97. http://dx.doi.org/10.37708/ezs.swu.bg.v22i2.10.
Testo completoAbstract (sommario):
The article examines a hitherto unknown edition of the theological-philosophical text of Marko Peiachevich, a Bulgarian Catholic priest from the end of the 17th and the beginning of the 18th century. The work in question, which is a short philosophical-theological treatise in the spirit of John Duns Scotus, was previously known in an edition of 1679, dedicated to the secretary of the Sacred Congregation for the Propagation of the Faith, Urbano Cerri, and printed in Prague. The newly discovered edition was printed a year earlier in the same town, Prague, in 1678, and was dedicated to Count Gerhard von Dernath, a military adviser to the Electorate of Saxony. The content of the two books is identical, and the differences between the two editions are in the engravings representing the coats of arms of the patrons and in the prefaces dedicated to them. The article also provides biographical data about the author, found from various historical sources, from which it is known that he was educated in Bulgaria in his hometown of Chiprovtsi, and then in Italy and Bohemia. At the end of the 17th and the beginning of the 18th century, Marko Peiachevich was one of the leaders of the Bulgarian Catholics. Photocopies of the cover page of the newly discovered book and of the page with the engraving with the coat of arms of Gerhard von Dernath are given in the appendix.
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Kim, Yang-kyun. "Modeling of Hong Seok-gu’s Seals". Korean Journal of Art History 310 (30 giugno 2021): 39–75. http://dx.doi.org/10.31065/kjah.310.202106.002.
Testo completoAbstract (sommario):
In May 1968, 83 seals were excavated from the tomb of Hong Seok-gu, one of the literati in the mid-Joseon dynasty. Hong was a literator who designed and engraved the seal by himself in the 17th century. The lifetime of Hong Seok-gu was reorganized through the Buried Epitaph(墓誌銘) by Lee Dan-ha(李端夏) and the Tombstone Inscription(墓碣銘) by Jeong Ho(鄭澔). which revealed that he was often dismissed from the public office and assigned to the local government. Therefore, he repeatedly resigned and retired from his office. It is assumed that his personal misfortune allowed him to devote his time and space in engraving the seals. The style of his seals was influenced from the famous Andong Kim clan(安東 金門). He carved high-quality seals using various ancient seal script(古篆體) introduced in the calligraphy circles(書壇) with 38 seal script(篆書) including small seal script(小篆) and jade chopsticks seal script(玉筯篆). In addition, he applied composition techniques(章法) which were creatively transformed from the method of putting both depressed and embossed engraving into one seal(朱白相間法), a popular way in the 17th century. He also held his experimental point of view in the composition techniques of the seals shaped of an ancient coin(孔方錢). Regarding the poetry seal(詞句印), his brilliant sense of modeling is noticeable in combining literature with figuration. Shapes such as a small table for a incense burner(香佐兒), a liquor bottle(酒甁), and an arrow throwing pot(投壺) implied literature, while seals carved with Jeilgangsan (第一江山)>, Gyosang-noin (橋上老人)> and Daimyoung-cheonha-ilseosaeng (大明天下一書生)> were employed to attempt shaping with literature. The characteristic of this style is recognized as an artistic accomplishment of the seals in the Joseon dynasty, which was different from the seals of Ming dynasty following the style of the Han dynasty.
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Fajardo de Rueda, Marta. "Del Grabado Europeo a la Pintura Americana. La serie El Credo del pintor quiteño Miguel de Santiago". HiSTOReLo. Revista de Historia Regional y Local 3, n. 5 (1 gennaio 2011): 191. http://dx.doi.org/10.15446/historelo.v3n5.20655.
Testo completoAbstract (sommario):
El hallazgo de dos series de grabados flamencos del siglo XVII sobre el tema El Credo, de los artistas Adrian Collaert (1560-1618) y Johan Sadeler (1550-1600), permiten confirmar la importante presencia de los grabados europeos en los talleres de pintura de la América Hispana y su influencia decisiva en la formación de nuestros artistas. Se analizan entonces bajo esta perspectiva, las once pinturas al óleo que conforman la Serie de los Artículos de El Credo, obra del pintor quiteño Miguel de Santiago (1603-1706) que se encuentran en la Catedral Primada de Bogotá desde la época colonial.Palabras clave: Grabados europeos, pintores coloniales, Miguel de Santiago, Quito, Santafé de Bogotá. From European Engraving to American Painting. El Credo Series From The Painter From Quito Miguel de Santiago AbstractThe discovery of two engraving Flemish series from 17th century about El Credo, from the artists Adrian Collaert (1560-1618) and Johan Sadeler (1550-1600), allows proving the presence of European engravings within the painting works in the Hispanic America and the great influence on our artists’ formation. Thus based on this, are analyzed the eleven oil paintings that constitute the Series of Goods from El Credo, from the painter from Quito Miguel de Santiago (1603-1706) that are from the colonial time in the Catedral Primada de Bogotá.KeywordsEuropean engravings, colonial painters, Miguel de Santiago, Quito, Santafé de Bogotá
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Schock, Flemming. "1624–1697) (Gespräch und Zerstreuung. Mechanismen barocken Unterhaltungswissens am Beispiel Erasmus Franciscis (1624–1697)". Daphnis 44, n. 3 (1 settembre 2016): 320–39. http://dx.doi.org/10.1163/18796583-04403009.
Testo completoAbstract (sommario):
The article discusses the miscellanies of Erasmus Francisci, one of the most prominent and commercially successful authors of “curious” literature in late 17th century Germany. In particular, it traces the two mutual mechanisms or principles that guide his mediating of knowledge: ‘Unterhaltung’ and conversation. Both contributed to the functionality of Francisci’s textual collections that edited and popularized learned knowledge to a wider audience.
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Daly, Aoife, Marta Domínguez-Delmás e Wendy van Duivenvoorde. "Batavia shipwreck timbers reveal a key to Dutch success in 17th-century world trade". PLOS ONE 16, n. 10 (29 ottobre 2021): e0259391. http://dx.doi.org/10.1371/journal.pone.0259391.
Testo completoAbstract (sommario):
Ocean-going ships were key to rising maritime economies of the Early Modern period, and understanding how they were built is critical to grasp the challenges faced by shipwrights and merchant seafarers. Shipwreck timbers hold material evidence of the dynamic interplay of wood supplies, craftmanship, and evolving ship designs that helped shape the Early Modern world. Here we present the results of dendroarchaeological research carried out on Batavia’s wreck timbers, currently on display at the Western Australian Shipwrecks Museum in Fremantle. Built in Amsterdam in 1628 CE and wrecked on its maiden voyage in June 1629 CE in Western Australian waters, Batavia epitomises Dutch East India Company (Verenigde Oostindische Compagnie, or VOC) shipbuilding. In the 17th century, the VOC grew to become the first multinational trading enterprise, prompting the rise of the stock market and modern capitalism. Oak (Quercus sp.) was the preferred material for shipbuilding in northern and western Europe, and maritime nations struggled to ensure sufficient supplies to meet their needs and sustain their ever-growing mercantile fleets and networks. Our research illustrates the compatibility of dendrochronological studies with musealisation of shipwreck assemblages, and the results demonstrate that the VOC successfully coped with timber shortages in the early 17th century through diversification of timber sources (mainly Baltic region, Lübeck hinterland in northern Germany, and Lower Saxony in northwest Germany), allocation of sourcing regions to specific timber products (hull planks from the Baltic and Lübeck, framing elements from Lower Saxony), and skillful woodworking craftmanship (sapwood was removed from all timber elements). These strategies, combined with an innovative hull design and the use of wind-powered sawmills, allowed the Dutch to produce unprecedented numbers of ocean-going ships for long-distance voyaging and interregional trade in Asia, proving key to their success in 17th-century world trade.
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Leone, Massimo. "Boundaries and identities in religious conversion: The mirror". Sign Systems Studies 30, n. 2 (31 dicembre 2002): 485–501. http://dx.doi.org/10.12697/sss.2002.30.2.08.
Testo completoAbstract (sommario):
Religious conversion revolutions the boundaries which delimit personal identity. Therefore, the main semiotic problem of mental and cultural representations of this religious phenomenon is to convey simultaneously a feeling of sameness and otherness, identity and change. In the present paper, mirrors are analysed as cultural mechanisms which enable representations to accomplish this paradoxical task. After a brief survey concerning literature on mirrors, some early-modern religious texts using these optical instruments as representative devices are analysed in-depth: a painting of the Magdalene’s conversion by Artemisia Gentileschi, an engraving representing conversion from a 17th-century French book, a fragment from Sainte Theresa’s spiritual autobiography, a passage from John Calvin’s Institution de la religion chrétienne. In its conclusion, the paper underlines the importance of Saint Paul’s metaphoric conception of mirrors for the cultural history of these objects, and tries to define the role which cultural semiotics should play concerning this kind of representative mechanisms.
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Краснова, Анна Леонидовна. "The Phenomenon of Greek Religious Engravings: The Place of Engravings from the Collection of the Moscow Theological Academy Museum in the History of Engravings of the Greek World". Вестник церковного искусства и археологии, n. 1(1) (15 giugno 2019): 190–215. http://dx.doi.org/10.31802/2658-5111-2019-1-190-212.
Testo completoAbstract (sommario):
Цель статьи - раскрыть понятие «греческая религиозная гравюра», а именно выявить, что это за гравюры, для чего они предназначались, какая историческая ситуация спровоцировала их распространение, а также определить их роль и значение для обителей, расположенных на оккупированных Османской империей территориях. На гравюрах изображаются образы святых и виды монастырей, которые распространялись монахами взамен на милостыню среди паломников. В условиях оккупации распространение гравюр было существенным источником дохода для обедневших монастырей Афона. Первые афонские гравюры выпускались в Европе, но с XIX в. афонские монахи создают гравюры самостоятельно. Статья раскрывает историю создания греческих религиозных гравюр и определяет место среди них гравюр из собрания Музея Московской духовной академии «Церковно-археологического кабинета», также выявляя уникальные образцы гравюр из коллекции музея. The article is devoted to the phenomenon of Greek religious engravings. There are an easel engraving with images of saints and views of monasteries, which distributed among pilgrims to promote Christian monasteries of the Orthodox Church of the East. When and why were they become used? A lot of Orthodox monasteries became poor after occupation by Ottoman Empire. Moreover, The Mount Athos had not been known in Europe until sixteenth century. The monks of the Saint Catherine’s Monastery found that the views of the Monastery mast be interesting for pilgrims and contributed to fame of their monastery. First woodcuts printed in a large number in Leo police in the middle of the 17th century. It was a great success. The monks exchanged this engraving on charity. And the Athos’s monks followed the example of Sinai’s monks. The first engravings for The Mount Athos were printed in Europe, in such cities as Vienna, and Venice. From the end of the 18th century metal plates engraved on the Mount Athos and in the 19th century the printing of engravings was amazingly extended. The most part of engravings from the collection of Moscow Theological Academy Museum printed in the middle of the 19th century in The Mount Athos. Also, this collection has some unique prints, such as the Burning Bush. This article shows the importance of the Greek engravings for the orthodox world such the instrument for advertising the most holy places for pilgrims. This etching made a great influence on our imagination nowadays about this holly places.
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Alyabieva, Valentina. "From the History of Combinatorial Analysis: From Idea to Research Schools". Вестник Пермского университета. Математика. Механика. Информатика, n. 2(57) (2022): 14–25. http://dx.doi.org/10.17072/1993-0550-2022-2-14-25.
Testo completoAbstract (sommario):
The article explores the development of combinatorial analysis from the idea to scientific schools. Combinatorial research was stimulated by G.W. Leibniz's ideas about combinatorial art and special geometric analysis – Analysis Situs in the 17th century. Various combinatorial problems were solved by L. Euler in the XVIII century. The first scientific school of combinatorial analysis arose by K.F. Hindenburg in the second half of the 18th century in Germany. Combinatorial-geometric configurations were studied in the 19th century. A. Cayley and J. Sylvester coined the term tactics for a special branch of mathematics, of wich order is proper sphere. The modern combinatorial schools are Gonin's school in Perm and the combinatorial Rybnikov's school in Moscow.
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Assenzi, Lucia. "Translation, the Vernacular Debate, and the Evolution of Literary Writing Style Between Italy and Germany". Linguistica 63, n. 1-2 (27 dicembre 2023): 213–31. http://dx.doi.org/10.4312/linguistica.63.1-2.213-231.
Testo completoAbstract (sommario):
The aim of the present paper is to shed light on the cultural contact between the Italian and German vernacular debates in the 17th century, and to show how this cultural contact introduced new legitimising arguments in favour of the vernacular in the German-speaking context while also providing a renovating impulse to German literary style. The paper investigates one exemplary case of such cultural contact: Prince Ludwig von Anhalt-Köthen’s Anmutige Gespräch (1619), the translation of Giovan Battista Gelli’s dialogue Capricci del Bottaio (1546). Gelli was an influential member of the Accademia Fiorentina, a 16th century Florentine language academy. In his Capricci, Gelli debates the legitimacy of the Florentine vernacular as a scientific and literary language. Through an analysis of Prince Ludwig’s commentaries to his translation of the Capricci, the paper shows how Prince Ludwig applied Gelli’s arguments in favour of the vernacular to the German context, and how these arguments resonated even years later in the writings of the Fruchtbringende Gesellschaft, a German language academy led by Prince Ludwig from 1617 to 1650. As translation was seen as a form of ‘language work’ both by the Accademia Fiorentina and by the Fruchtbringende Gesellschaft, the most salient linguistic features of Ludwig’s translation is analysed in the paper in order to show how the theoretical discussion on translation was implemented in the translation process. This investigation shows how translating from Italian promoted a more conversational literary style that distanced itself from the pompous, formulaic chancery language that was still seen as exemplary of good language use in 17th century Germany.
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Bursal, Nasuhi. "THE USE OF INTEREST AS AN ELEMENT OF COST IN GERMANY IN THE 16TH AND 17TH CENTURIES". Accounting Historians Journal 13, n. 1 (1 marzo 1986): 63–70. http://dx.doi.org/10.2308/0148-4184.13.1.63.
Testo completoAbstract (sommario):
Debate still continues in the United States of America over the inclusion of interest as an element of cost. The practice was accepted as early as 1558 in Germany, and has been integrated into accounting theory by Schmalenbach in this century.
31
Pindl, Kathrin. "Grain Policies and Storage in Southern Germany: The Regensburg Hospital (17th-19th Centuries)". Jahrbuch für Wirtschaftsgeschichte / Economic History Yearbook 59, n. 2 (27 novembre 2018): 415–45. http://dx.doi.org/10.1515/jbwg-2018-0014.
Testo completoAbstract (sommario):
Abstract This paper is concerned with the storage policy of the citizens’ hospital of Regensburg in the Early Modern period (focus: 18th century). The main purpose consists of (1) a source-based micro-study that helps to derive insights into the mechanisms of how experiences and expectations have influenced decisions by a pre-modern institution, (2) an analytical scheme for describing and evaluating the process of decision-making based on narrative evidence, and (3) the suggestion of analytical categories. These should allow a differentiation between time-invariant human behaviour that determines economic decisions, and time-specific factors which can be used to separate possibly “pre-modern” patterns from seemingly modern-day capitalist economic performance.
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Renault, Rachel. "Eine moralische Ökonomie der Steuern?" Jahrbuch für Wirtschaftsgeschichte / Economic History Yearbook 62, n. 2 (1 novembre 2021): 303–31. http://dx.doi.org/10.1515/jbwg-2021-0012.
Testo completoAbstract (sommario):
Abstract This article analyses the conflicts over imperial taxation in 17th-18th century Germany at local level. As imperial taxes have been mostly studied for the 16th century and usually from the perspective of Vienna, observing them from below gives a completely different perspective. One can observe, in particular, very strong and long-lasting conflicts between subjects and territorial princes. The article defends the idea that taxation conflicts are not only due to the size of the tax burden, but also linked to social and political considerations. They provide an excellent vantage point for analysing the Empire from below and the popular politics that emerged within the imperial body politic.
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Alterauge, Amelie, Sandra Lösch, Andrea Sulzer, Mario Gysi e Cordula Haas. "Beyond simple kinship and identification: aDNA analyses from a 17th-19th century crypt in Germany". Forensic Science International: Genetics 53 (luglio 2021): 102498. http://dx.doi.org/10.1016/j.fsigen.2021.102498.
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Hamans, Camiel. "Taalpatriottisme van Becanus tot Grotius". Roczniki Humanistyczne 69, n. 5 Zeszyt specjalny (2021): 25–45. http://dx.doi.org/10.18290/rh21695sp-2.
Testo completoAbstract (sommario):
In this study the linguistic ideas of Goropius Becanus (1519-1573) and his followers Hendrik Laurensz Spieghel (1549-1612), Simon Stevin (1548-1620) and Hugo Grotius (1583-1645) are studied. Goropius Becanus has a poor reputation for his fantastic etymologies, which have been ridiculed by, for example, Leibniz. However, Becanus’ ideas about the position and value of his Dutch mother tongue have been influential for more than a century, as is demonstrated. He was not only held in high esteem in the Low Countries but also in Germany, where a similar linguistic patriotism flourished in the 17th century. Goropius Becanus and his supporters should be appreciated as linguistic patriots who fought for equal rights for their language.
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Henneton, Lauric. "“Fear of Popish Leagues”: Religious Identities and the Conduct of Frontier Diplomacy in Mid-17th-Century Northeastern America". New England Quarterly 89, n. 3 (settembre 2016): 356–83. http://dx.doi.org/10.1162/tneq_a_00545.
Testo completoAbstract (sommario):
“Fear of Popish Leagues” weaves together various threads across the Atlantic from Scotland to Mexico and from Germany to the Caribbean to explore the makeshift diplomacy of Massachusetts Puritans and the Catholics from Acadia across confessional boundaries in the frontier environment of mid-Seventeenth Century America and in the context of civil wars in Europe.
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Sedláčková, Hedvika, Jan Musil, Petr Kubín, Jaroslav Podliska, Dana Rohanová, Pavel Staněk e Kateřina Vaďurová. "Číše s choboty v kontextu gotického a renesančního skla v Čechách a na Moravě / Claw beakers in the context of Gothic and Renaissance glass in Bohemia and Moravia". Archeologické rozhledy 74, n. 2 (30 settembre 2022): 275–90. http://dx.doi.org/10.35686/ar.2022.11.
Testo completoAbstract (sommario):
Glass claw beakers, practically unusable vessels, make up a small group among glass finds in central Europe in the 15th–17th century. This article deals mainly with new finds from settlement sites in the Czech Republic. An analysis of the chemical composition of the glasses of claw beakers reveals that some specimens have the same composition of glass produced in Bohemian glassworks, while the composition of the glass of other beakers corresponds to glassworks in Tyrol or the northern Alps and the production of glassworks in the western part of Germany.
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Steinrücken, B. "Evidence for precise calendrical observations in the 17th Century at Bruchhauser Steine, Olsberg, Northrhine-Westphalia, Germany". Astronomische Nachrichten 323, n. 6 (dicembre 2002): 581–82. http://dx.doi.org/10.1002/1521-3994(200212)323:6<581::aid-asna581>3.0.co;2-n.
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Koehl, M., M. Fuchs, T. Nivola, J. Koch, L. Cartier e S. Soussoko. "WHEN ROMAN ANTIQUITY AND RENAISSANCE CAME TOGETHER IN VIRTUAL 3D ENVIRONMENT: 3D MODELLING CONSIDERATIONS". ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B4-2020 (25 agosto 2020): 607–14. http://dx.doi.org/10.5194/isprs-archives-xliii-b4-2020-607-2020.
Testo completoAbstract (sommario):
Abstract. This paper is a review of the modelling of two edifices located in a city which developed on the vestiges of a Roman city during antiquity endowed in the 4th century with a military camp. The term castellum is used for the first structure. A second structure concerns the remains of a castle dismantled at the end of the 17th century, which was generally known only by an engraving in perspective made shortly before its demolition, and the cadastral matrix that had preserved the traces of its right-of-way. It is a Renaissance castle built in the 16th century by the Württemberg family in the northeast corner of the ruins of the castellum. The projects contain a first part of data analysis and interpretation based on available documents. Similar sites close in terms of architecture, geographical location and construction period were also visited to get inspiration from them and to be able to make proposals for restitution. Despite the lack of data available, the multidisciplinary aspect of these projects is very important. In fact, the experience of archaeologists and the monitoring of modelling throughout its progress is essential to work out models that are both justifiable, at the level of the proposals made and sufficiently complete to be able to be highlighted. Once the models validated, they are integrated in a virtual way into the contemporary urban environment, through an interactive virtual tour. This paper reviews the principles implemented during the modelling, the rendering and the valorisation of the models thru virtual tours and AR/VR implementation.
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TROPIA, Anna. "From Paris to Gotha: The Circulation of Two Parisian Jesuit Courses between the 16th and the 17th century". Mediterranea. International Journal on the Transfer of Knowledge 4 (31 marzo 2019): 75–106. http://dx.doi.org/10.21071/mijtk.v4i0.11470.
Testo completoAbstract (sommario):
This article traces back the history of a collection of manuscript academic course-notes taken by a German student at the end of the sixteenth century and today preserved at the Research Library of Gotha (Thuringien, Germany). It focuses, in particular, on two of them, which transmit texts dictated in Paris: they testify to the large circulation of academic doctrines through the practice of the copy of the course-notes by students.
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Giannoulis, Markos. "Die Wiederentdeckung von Byzanz: Die kretische Ikone von Göttingen und die Koimesis-Darstellung in der byzantinischen und postbyzantinischen Epoche". Byzantinische Zeitschrift 113, n. 3 (1 agosto 2020): 751–68. http://dx.doi.org/10.1515/bz-2020-0033.
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AbstractWhat are the similarities and the differences of icons from the same workshop depicting the same subject? An important portable icon with the representation of the Dormition of the Virgin, hitherto unknown, preserved today in the Art Collection of the University of Göttingen, helps answering this question. The studydeals with the fascinating journey of this icon from Venetian-dominated Crete in the 15th century to Germany of the 18th century. Furthermore, this paper shows that the icon of Göttingen belongs to a group of a numerous icons that they all derive from the same icon-workshop of the renowned Cretan painters Andreas and Nikolaos Ritzos in Candia. Finally, it turned out that this icon was also the inspiration for Cretan painters of the 17th CE such as Emmanuel Lambardos and Viktor.
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Toporkov, Andrey L. "“Dream of the Virgin” in Russian Handwritten and Folklore Traditions (17th – the Beginning of the 21st Century)". Studia Litterarum 8, n. 2 (2023): 268–87. http://dx.doi.org/10.22455/2500-4247-2023-8-2-268-287.
Testo completoAbstract (sommario):
“The Dream of the Virgin” is one of the most widespread Christian Apocrypha. It is known among many European peoples, mainly Orthodox and Catholic, namely Belarusians, Bulgarians, Bosnians, Gagauz, Greeks, Irish, Spaniards, Italians, Macedonians, Germans, Poles, Portuguese, Romanians, Russians, Serbs, Slovenes, Ukrainians, French, Croats, etc. The “Dream of the Virgin” is most widely represented in the folk traditions of Eastern, Southern, Central and Western Europe. Some countries have an old scholarly tradition of studying this plot. Such well-known philologists as Alexander Veselovsky in Russia and Bogdan Petriceicu Hasdeu in Romania wrote about it as early as the 19th century. In the 20th century, this text was studied a lot in Italy, Germany, Romania, Russia, etc. The article proposes a preliminary classification of the main genre versions of the “Dream of the Virgin” in Russian manuscript and folklore traditions.
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Boguszewska, Kamila Lucyna. ""Poplars and Cypresses” – that is the phenomenon of popularity of Populus Italica in the Kingdom of Poland in the 19th century". Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, n. 4 (30 dicembre 2020): 40–51. http://dx.doi.org/10.35784/teka.2307.
Testo completoAbstract (sommario):
Lombardy poplar is a tree with a distinctive cypress shape, which grows very fast and has little soil requirements. The species probably originated at the turn of the 17th and 18th century in Lombardy, where it spread via France and Germany, arriving at the territory of the Crown in the second half of the 18th century.
However, it was only in the 19th century that its popularity reached its peak. The Lombardy poplar was being planted as a popular avenue plant. It was also an important part of the park complexes designed in a sentimental landscape style inspired by the work of Jean Jacques Rousseau. The article analyses the phenomenon of the popularity of poplar trees on the territory of the Kingdom of Poland in the context of the then literary and philosophical programme of the garden, whose two key sources are to be found in Arcadian literature – J. Milton's Paradise Lost, J. J. Rousseau's works such as New Heloise or Jacques Dellille's Gardens.
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Constantinescu, B., D. Cristea-Stan, I. Kovács, Z. Szökefalvi-Nagy e I. Poll. "Mineral pigment studies on ancient ceramics and glass artifacts from commercial settlements on Danube border between Muntenia and Dobruja". International Journal of PIXE 28, n. 01n02 (gennaio 2018): 7–12. http://dx.doi.org/10.1142/s0129083519500025.
Testo completoAbstract (sommario):
We analyzed the compositions of mineral pigments for some ceramics and glass items excavated from the commercial settlements on Danube at the border between Ottoman Empire (Dobruja) and Romanian Principalities — Piua Petrii and Dinogetia–Garvan, using external milli-beam PIXE. The problem of mineral pigments used for Turkish ceramics (16th–17th centuries) is very important for the understanding of commercial routes of late medieval period. We determined the elemental compositions of green, red, brown and especially blue pigments. The most interesting case is the one of the Co-based blue pigments. The origin of the raw materials for these pigments in the 17th century could be the mining district of Schneeberg in Germany, characterized by the presence of Ni traces, our study revealing a possible trade route connection between Saxony and Ottoman Empire. As concerning glass samples, we analyzed fragments of Byzantine painted bracelets identifying manganese (mixed with iron) and copper for blue–black bulk-glass color, respectively for green bulk-glass color, a mixture of lead and tin for yellow painting and powders of gold and silver for some painted areas.
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Alterauge, Amelie, e Cornelia Hofmann. "Crypt Burials from the Cloister Church of Riesa (Germany) – Changes of Funerary Customs, Body Treatment, and Attitudes to Death". Acta Universitatis Lodziensis. Folia Archaeologica, n. 35 (30 dicembre 2020): 73–96. http://dx.doi.org/10.18778/0208-6034.35.05.
Testo completoAbstract (sommario):
The cloister church of Riesa (Saxony, Germany) contains two burial crypts which were used from the 17th to 19th century AD by local noble families, namely the barons von Felgenhauer, Hanisch/von Odeleben and von Welck. The crypt beneath the altar originally contained 50 inhumations of which about 30 are still preserved at present, either as coffins and/or mummies, while the northern crypt contained eight interments.
During the last two centuries, the crypts have experienced major changes which could partly be reconstructed through historical records, photographs and oral history. The aim of the investigations, supported by the parish and the city museum, was to document the current state-of-preservation and to identify the inhumations by combining different types of evidence.
The coffins were visually inspected and dated by typo-chronological comparisons, and inscriptions were transliterated whenever possible. Material, fabrication, clothing type and dating of the garments were determined during costume analysis. The mummified remains were subjected to a morphological investigation, including X-rays. Different body treatments resulting in natural or artificial mummification could be observed. In selected cases, samples for aDNA analysis were taken to test for kinship between individuals, and stable isotope analysis was performed for the reconstruction of diet, origin and age of weaning. Probable identification could only be achieved for the individuals with contextual information; however, the bioarchaeological analyses are still ongoing.
The coffin ornamentation and inscriptions as well as the garments show chronological changes as well as individual preferences from the 17th to 19th century, most distinctive in the children burials. Faith in God and hope of resurrection remain constant attitudes to death, but familial affiliation becomes an important factor in early modern noble burials.
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Concas, Daniela. "Liturgical renovation of modern churches in Rome (Italy)". Resourceedings 2, n. 3 (12 novembre 2019): 39. http://dx.doi.org/10.21625/resourceedings.v2i3.623.
Testo completoAbstract (sommario):
At the beginning of the first half of the twentieth century the bond between ars-venustas and cultus-pietas has produced many churches of Roman Catholic cult.It’s between the 20s and 60s of the twentieth century that the experiments of the Liturgical Movement in Germany lead to the evolution of the liturgical space, which, even today, we see engraving in modern churches in Rome (Italy).The Council of Trent (1545-1563) constitutes the precedent historical moment, in which the Church recognised the need for major liturgical renovation of its churches. In comparison with this, the Second Vatican Council (1959-65) introduced some radical changes within the church architectural spaces.The observations come from the direct reading of the present architectural space and the interventions already realised in modern churches in Rome. The most significant churches from an historical-artistic point of view were selected (1924-1965). Significantly, although every single architecture is unique for dimensions, architectural language and used materials, a comparison, in order to gather the discovered characteristics and to compare the restrictions regarding the different operations, would extremely effective, as demonstrated below.Since the matter is considerably vast, in this work, only some brief notes regarding the liturgical renovation of the Presbytery area will be outlined.
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Banionis, Juozas. "Saliamonas Antanaitis (1894–1973) and his research into the old mathematics". Lietuvos matematikos rinkinys 42 (20 dicembre 2002): 375–81. http://dx.doi.org/10.15388/lmr.2002.32935.
Testo completoAbstract (sommario):
Antanaitis is one of the 20th century Lithuanian professional mathematicians, who trained pedagogues at Teachers' Colleges in the 3–4th decades. After World War II S. Antanaitis worked in the Gymnasium of the 16th of February in Western Germany. He won distinction in research into mathematics. S. Antanaitis published articles on mathematics. There was a critique, some articles touching upon questions of methodology and mathematics history. Articles on mathematics history must be paid attention to because they threw the light both on the portraits of the famous creators in the period of elementary mathematics (until 17th century) and their merits in this scientific field. One of those articles was up for a famous astronomer and mathematician Johan Kepler (1571–1630). Another one was an original book about a scientist of Ancient Greece Archimedes (287 BC–212 BC). S. Antanaitis having made a thorough analysis of works of European science historians presented these science personalities and underlined importance of their works for the development of the higher mathematics.
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Schmoeckel, Mathias. "Radikale Frühaufklärung in Deutschland". Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 106, n. 1 (27 agosto 2020): 388–96. http://dx.doi.org/10.1515/zrgk-2020-0013.
Testo completoAbstract (sommario):
AbstractRadical early Enlightenment in Germany. The habilitation paper of Martin Mulsow, now enrichend, provides for a new in-depth look into the scientific discussions of the 17th and 18th century. Though Mulsow treats many subjects and touches issues of law only occasionally, the implication of this new publication reveals many new insights also for legal historians. We see that there was a wide spread belief into the existence of scientific liberty, although there was no law or rule to prove this assumption. Though we find no new Gabriel Naudé, Pierre Bayle, or John Locke, the German professors used their debate in order to extend the topics and opinions which could lawfully be discussed. The hermeneutical issues involve insight also for the history of legal evidence.
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Alterauge, Amelie, Manuel Kellinghaus, Christian Jackowski, Natallia Shved, Frank Rühli, Frank Maixner, Albert Zink, Wilfried Rosendahl e Sandra Lösch. "The Sommersdorf mummies—An interdisciplinary investigation on human remains from a 17th-19th century aristocratic crypt in southern Germany". PLOS ONE 12, n. 8 (31 agosto 2017): e0183588. http://dx.doi.org/10.1371/journal.pone.0183588.
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Lüder, Britta, Gerald Kirchner, Andreas Lücke e Bernd Zolitschka. "Palaeoenvironmental Reconstructions Based on Geochemical Parameters from Annually Laminated Sediments of Sacrower See (northeastern Germany) Since the 17th Century". Journal of Paleolimnology 35, n. 4 (maggio 2006): 897–912. http://dx.doi.org/10.1007/s10933-005-6188-5.
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Mauleti, Eston Kamelang. "VISUALISASI MELALUI PENDEKATAN METAFORA PADA POSTER NORTH meet SOUTH = UNITY". Jurnal Da Moda 3, n. 1 (28 ottobre 2021): 36–43. http://dx.doi.org/10.35886/damoda.v3i1.224.
Testo completoAbstract (sommario):
Poster is a two-dimensional visual media with large format that is useful for conveying commercial, social, cultural, political messages. Large format is used to display messages through images. Images on a poster are generally large and have a strong appeal so that it can attract the attention of the public immediately see it. The development of posters began in the late 17th century until now. European countries have an excellent poster tradition. Germany is one of them, the growth of posters in the country became part of the life of its modern society. Many moral and social messages that inspire reason are delivered routinely. Plaque-Sozial e.V. und vom Bund Mitteldeutscher Grafdesigner or social poster association and graphic designer Germany regularly holds competitions and exhibitions on an international scale. In the middle of 2016, a competition and exhibition was held for the third time with the theme "Vision". Participants consisted of artists and poster designers from all over the world. Poster works by the author were also selected by the jury and exhibited at The Association of German Museums for Galvanotechnik e. V. Leipzig, Germany takes place from August 13-25, 2016. The author displays poster visualization through a metaphorical approach.
Key words : poster, visual metaphor