Добірка наукової літератури з теми "1640-1652"

La mayor crisis que tuvo España en el Siglo XVII fue la llamada Guerra de Cataluña, que se produjo desde 1640 a 1652. Los religiosos que vivían en el territorio catalán quedaron separados del resto de su Provincia religiosa, que era la Provincia de la Corona de Aragón. Los agustinos, como otras Órdenes, pidieron al prior general la creación de una Provincia independiente, siguiendo el ejemplo de la separación de Cataluña del resto de España. En varios capítulos provinciales privados defendieron esa independencia y entre los agustinos catalanes hubo algunos que escribieron textos importantes a favor de ella, como fue el caso de fr. Gaspar Sala y alguno más. También hubo otros agustinos que estuvieron a favor de la unión con España e incluso huyeron a otros lugares durante la guerra. Destacan entre ellos fr. Andrés Júdice y fr. Gabriel Rius, que escribió a favor de la unión. Terminado el conflicto, los agustinos catalanes se reintegraron en la Provincia aragonesa con normalidad y olvidaron los hechos ocurridos.

Resumen: Durante la guerra de Cataluña (1640-1652) a la amenaza del corso berberisco se añade la amenaza de una invasión francocatalana al ahora expuesto Reino de Valencia. Contando con una estructura defensiva inadecuada, con Peñíscola como única fortificacion moderna, se elaborarán planes de refuerzo de las fortificaciones existentes, la mayor parte de ellas de tipo medieval. Este plan se enmarca en el momento en el que las operaciones militares se están llevando a cabo en el frente occidental, desde y contra el Reino de Aragón, y consistirá en el refuerzo de las mencionadas estructuras preexistentes, terraplenando y recuperando el foso y empleando como mano de obra a los propios habitantes de la ciudad. Como tantos otros planes, en su mayor parte no se llevarán a cabo, pero revelan el interés de las ciudades y de la monarquía por su protección. Abstract: During the War of Catalonia (1640-1652) to the threat of the piracy was added the threat of a Franco-Catalan invasion of the now exposed Kingdom of Valencia. With an inadequate defensive structure, with Peñíscola as the only modern fortification, plans will be drawn up to reinforce the existing fortifications, most of them medieval. This plan is framed at a time when military operations are being carried out on the western front, from and against the Kingdom of Aragon, and will consist of reinforcing the aforementioned pre-existing structures, terracing and recovering the moat and using as workforce to the inhabitants of the city. Like so many other plans, for the most part they will not be carried out, but they reveal the interest of the cities and the monarchy for their protection.

On 21 October 1639 and 29 May 1652 the English Channel off the Downs and Dover was the scene of two highly significant events. The first of these was the crushing defeat inflicted on a Spanish armada by a Dutch fleet under the command of Maerten Harpertszoon Tromp while an English squadron commanded by Sir John Pennington watched from a distance and did nothing. On the second of the two dates Tromp and the English admiral Robert Blake clashed in the armed encounter off Dover which sparked off the first Anglo-Dutch War.

The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience hall. The author gives the parametric characteristics of the components of the Teatro San Cassiano building — the stage, the audience hall, and the boxes. It is noted that the tiered Theatro San Cassiano became a prototype for other theatres not only in Venice, but also in other cities of Italy and Europe. Thus, among the Venetian theaters of the 17th century, the public theaters, such as SS Giovanni e Paolo (1638), Novissimo (1640), San Moise (1640), and San Giovanni Crisostomo (1678), were inspired by San Cassiano; outside Venice there were Teatro Falcone (Genoa, 1652) and Teatro Tordinona (Rome, 1671). The article emphasizes market competition that was one of the key factors in the dynamic spread of opera and the formation of opera infrastructure in Europe. After the establishment of San Cassiano, the development of opera acquired a clearly defined vector: from elitist entertainment to creative industry.

Resum: Aquest article analitza tres casos diferents jutjats i sentenciats per la Visita del General de Catalunya durant les primeres dècades del segle XVII. L’estudi d’aquests processos ens permet acostar-nos al paper que tingué la institució fiscalitzadora a l’hora de controlar els oficials públics de la Diputació del General de Catalunya, observar-ne el desplegament arreu del territori i, finalment, sintetitzar quin era l’estat de les relacions entre la Diputació del General i la Visita del General just acabada la Guerra dels Segadors. Els dos primers casos s’emmarquen dins de la Visita duta a terme entre 1629 i 1630 i, més concretament, en la inspecció forana que els delegats designats pel consistori central de Barcelona dugueren a terme a la col·lecta (i. e. demarcació fiscal) de Vilafranca de Conflent. El tercer cas té lloc pocs anys després del final de la Guerra dels Segadors (1640-1652), essent-ne els actors principals el consistori dels diputats i oïdors de comptes del trienni de 1654-1656 i els visitadors de 1654-1655. Paraules clau: Història institucional, Generalitat de Catalunya, Visita del General, Monarquia Hispànica, segle XVII. Abstract: This article studies three different cases judged by the Visita of the Generality of Catalonia within the first decades of the 17th Century. Thanks to its study, we can comprehend the role developed by the Visita in controlling the actions of the public officers of the Generality of Catalonia during the whole century, how the Generality was established around the territories of the Principality of Catalonia and the political relations amongst the major institutions in Catalonia in the mid-1650’s. The first two cases that we want to analyse took place during the inspection conducted by the Visita of the Generality of Catalonia of 1629-1630 within the tax district of Vilafranca de Conflent, which focused their attention on its public officers. The third case, which took place after the conclusion of the Reaper’s War (1640-1652), pays particular attention to the relation between the diputats and the oïdors de comptes of the Generality of Catalonia of 1654-1656, the commanders of the institution, and the visitadors of 1654-1655. Keywords: Institutional history, Generality of Catalonia, Visita of the Generality of Catalonia, Spanish Monarchy, 17th Century.

Through the example of the representatives of the central power within a border march not fully integrated yet to monarchy in the early XVII th century, this article intends to show to which extent two political and military major crises (1640-1652 : Catalan upheaval ; 1702-1714/1720 : Spanish Succession wars and the Quadruple Alliance wars) play a fundamental part within the process, quite advanced indeed, of bringing closer to the centre and integrating that territory inside the monarchy, through the implication of a reliable local elite to the royal service finding thus in those critical moments the way to affirm their faithfulness. An opening of the Bourbons during the XVIII th century offers the opportunity to raise a few questions about the future of those local actors inside a state that is striving to create a completely faithful administration, independent of the old local oligarchies. Through the Val d'Aran's case, and reaching beyond that simple frame, are unveiled the processes that monarchy used to control and incorporate its periphery.

La present tesi doctoral realitza una anàlisi textual de les fonts que, entre 1640 i 1709, van narrar els fets del Dia de Corpus Christi de 1640 (també conegut com Corpus de Sang), dia en el que una revolta popular a Barcelona va acabar amb la vida del virrei de Catalunya. El principal objectiu d’aquesta tesi és identificar les estratègies narratives que van vehicular la representació textual dels fets en cartes, dietaris, escrits polítics, cròniques, relacions i històries escrites o publicades durant i després de la Guerra dels Segadors (1640-1652). A partir de la contextualització i comparació de les fonts seleccionades, la recerca conclou que la representació textual dels fets va estar determinada per diferents esquemes narratius que van condicionar la descripció de la violència protagonitzada per la multitud. En definitiva, aquest treball proposa que la interpretació històrica dels fets del Dia de Corpus Christi de 1640 no pot ser realitzada sense una mirada crítica a les representacions textuals que el van succeir.
This dissertation aims at doing a textual analysis of the sources that, between 1640 and 1709, narrated the events of Corpus Christi Day in 1640 (also known as Corpus de Sang), when a popular revolt killed the Viceroy of Catalonia in Barcelona. The goal of this thesis is to identify the narrative strategies in letters, diaries, political writings, chronicles, relacions and histories written or published during and after the Reapers' War (1640-1652) that conveyed the textual representation of the events. After the contextualisation and comparison of the selected sources, the research concludes that the textual representation of the events was shaped by different narrative schemes when it came to the description of violence carried out by the crowd. To sum up, this work proposes that the historical interpretation of the events of Corpus Christi Day in 1640 cannot be made without a critical look at the textual representations that followed it.

Au cours du XVIIe siècle de nombreuses guerres opposèrent la France et l'Espagne, modifiant le rapport de forces entre les deux puissances. Le royaume de France, en particulier sous l'égide de Louis XIV, s'imposa politiquement et militairement face à une Espagne en perte de vitesse, entravée par sa pluralité institutionnelle. La Catalogne en fut l'exemple le plus évident : elle joua la carte de la France contre la Castille en 1640 (révolte des Segadors) jusqu'à ce qu'en 1659 (traité des Pyrénées) l'Espagne finît par céder le Roussillon et la haute Cerdagne à la France, en récupérant le contrôle du reste de la Catalogne. Entre autres conséquences figurent l'exil du personnel politique catalan le plus engagé vers Perpignan, la mise en place de l'administration française en Roussillon et une montée du sentiment anti-français en Catalogne. D'où l'affirmation d'une identité catalane définie selon divers critères (géographie, politique et juridique) face à une contre-identité française, renforcée par la guerre et la pression militaire constante
During the 17th century, many conflicts took place in Europe, mostly between France and Spain, which lead to a shift in political powers. Indeed, the French Kingdom, and particularly under the reign of Louis XIV, expanded over a declining Spain which was trying to solve its internals conflicts. Catalonia is the most obvious example of this expansion: it joined France in its fight against Castilla in 1640 (Revolt of Segadors) until Spain left Roussillion and half Cerdanya to France in 1659 (Peace of Pyrenees) and recuperated the control over Barcelona. As a consequence, many politicians had to move to Perpignan, Roussillion got deeply transformed and anti-French feelings grew among Catalan people. A Catalan identity emerged from these new elements, defined by geographic, legal and political elements, against a strong French identity, reinforced by a permanent military pressure on Catalonia until the end of the century

The dissertation “Three revolts in images: Catalonia, Portugal and Naples (1640-1647) is about the role of political visual communication during the revolts of 1640-1647 in Catalonia, Portugal and Naples. Visual sources played an important part in the development of these conflicts, since a high percentage of the population was illiterate. Images such as engravings and paintings were commissioned to local and international artists in order to reproduce the different messages of the two parties in conflict and displayed in public places and in ceremonies. Often, a third part –such as France – participated in the image making process, contributing with her own visual arguments. In my dissertation I aim to answer such questions as: who commissioned these images? Who was their intended audience? Which reactions did they provoke? Which messages can we perceive in them? And how did the visual communication contribute to these conflicts? I argue that it was important to study these three revolts as part of a common event, the Thirty Years’ War. By doing so, one presupposes that the revolts were not isolated conflicts, and therefore they might present similar characteristics when it comes to legitimating arguments, causes, policies and consequences. Indeed, the comparative approach allowed me to detect possible common intersections and interpret the three revolts as part of the same cultural and political conjecture. Despite the dangers of this methodology and the inevitable constant tension that it creates between generalizations and idiosyncrasies, it enabled me to establish that visual arguments were not exclusive to a certain territory. Indeed, I identified traces of a common culture as well as three general strategies employed in all the cases examined: the construction of a hero, the use of religious images (which obtain a new political dimension) and the employment of narrative images. My findings show that two significantly different characters such as D. João de Braganza, a member of the most important aristocratic house in Portugal, and Masaniello, a humble fisherman from Naples, were transformed into heroes by using the same arguments (nobility of character, bravery, etc.). Regarding Catalonia, it was significant to discover that a similar protagonist could not be found. The early and ambiguous death of Pau Claris, the responsible for proclaiming the Catalan republic under the protection of France in 1641, prevented the Catalan authorities from publicizing his heroic image. In addition, the religious arguments were common to all three territories, as the local saints were politicized and converted into legitimating arguments for rebellion. I also focused my research around questions concerning the rituals and behavior of the populations affected by the revolts. Was the violence justified? Did it obey to a certain code? How did the people react to the events? Are there similarities in the three territories? For example, acts such as the defenestration of the secretary Miguel de Vasconcelos in Portugal responded to a political culture and to a code of punishment, to which people knew how to respond. In Naples, the violence perpetrated by Masaniello was composed by several ritual elements that could be identified by Neapolitans.
Esta tesis tiene como objetivo analizar el papel de la comunicación política visual durante las revueltas de 1640-1647 en Cataluña, Portugal y Nápoles. Las fuentes visuales han jugado un papel de gran importancia en el desarrollo de los conflictos armados, sobre todo si tenemos en cuenta que un elevado porcentaje de la población no sabía leer ni escribir. Imágenes, entre las cuales grabados y lienzos, eran encargados a artistas locales e internacionales de forma a reproducir los mensajes de las dos partes participantes en el conflicto. Éstas eran a menudo exhibidas en lugares públicos y durante las ceremonias. Por veces, una tercera parte – como por ejemplo Francia – participaba en el proceso de producción y difusión de imágenes contribuyendo con sus propios argumentos. En esta tesis he querido responder a preguntas como: ¿quién encargaba las imágenes? ¿Quién era el público? ¿Qué reacciones provocaron? ¿Qué mensajes contenían y cómo fueron percibidos? ¿Cómo contribuyó esta forma de comunicación a los conflictos en causa? Argumento también la importancia de estudiar las tres revueltas como parte de un evento único, la Guerra de los Treinta Años. Al hacerlo, uno va más allá de asumir que se tratan de conflictos aislados y que, como tal, pueden presentar características parecidas en lo que dice respecto a los argumentos que legitimaban las causas, políticas y las consecuencias de las insurrecciones. Este abordaje comparativo me permite detectar posibles intersecciones e interpretar las revueltas como compartiendo una cultura común y de una misma conjetura política. Pese a los posibles peligros de esta metodología y a la inevitable tensión que crea entre generalización e idiosincrasias, me permitió establecer hasta qué punto ciertos argumentos eran – o no – específicos a un territorio. Por fin, me dedico también a analizar cuestiones relacionadas con ritual y comportamiento por parte de las poblaciones afectadas. ¿Era la violencia justificada? ¿Obedecía a un ritual previamente establecido? ¿Cómo reaccionaban las gentes? ¿hay similitudes entre los tres territorios?

L’intégration de la Catalogne dans la monarchie française en 1641, ouvre une période de coexistence de deux univers politiques différents. Pour la France, l’incorporation de cette nouvelle province intervient dans une société marquée par une culture de l’héroïsme. Le règne de Louis XIII coïncide avec son âge d’or, puisqu’il sert de fondement au pouvoir royal et de référence pour l’ethos nobiliaire. La guerre qui s’ensuit, porte la culture de l’héroïsme à son paroxysme. La proclamation du roi comme souverain de Catalogne ouvre de nouveaux horizons à cet imaginaire politique revitalisant un messianisme qui substitue un prince français au souverain espagnol. Le récit de l’entreprise catalane produit par l’entourage royal offre une nouvelle perspective à la construction de l’image de Louis XIII. L’horizon catalan «achève» la fabrication de son profil héroïque et lui sert d’apothéose, valorisant à posteriori la mort «sacrificielle» du roi conséquence de sa présence au siège de Perpignan. Les vice-rois se retrouvent également au centre d’un discours héroïque, protagonistes d’une véritable épopée catalane. Les lumières et les zones d’ombres de ces expériences de l’héroïsme apparaissent dans le devenir, parfois tragique, de ces représentants du roi. Outre les défis militaires et politiques relevant de leur charge, ils doivent faire face aux équilibres de pouvoir relevant de la cour. Côté catalan, l’avènement de Louis XIII s’inscrit dans la dynamique «révolutionnaire» entamée en 1640. Le meneurs de la révolte, qui protestent néanmoins de leur fidélité à Philippe IV, formulent un récit capable de donner une cohérence aux tumultes et à l’instabilité permanente de la situation. L’horizon d’une «restauration» providentielle de Catalogne apparaît alors. L’issue républicaine semble ici introuvable entre l’interruption formelle de la juridiction de Philippe IV et l’acclamation de Louis XIII. Dès lors un discours providentielle de restauration de la Principauté se développe à travers une royauté messianique incarnée par un nouveau prince. L’image du roi devient un idéal sur lequel les dirigeants catalans projettent leurs attentes politiques et se justifient. La visite à Barcelone, annulée in extremis, précède de peu sa mort. Les funérailles royales servent alors à magnifier ce récit, et offrent par l’image du roi «sacrifié» et à canoniser, un emblème pour la Catalogne française
The integration of Catalonia into the French Monarchy in 1641 opens a period of coexistence of two political universes. In France, the incorporation of the new province arrives in a social context under the influence of a strong culture of heroism. Under Louis XIII’s reign culminates a process of reformulation of the heroic paradigm: a political model of government and an ethical referent for the French nobility. The heroic culture is taken to its paroxysm when the Spanish war begins. The proclamation of the king as sovereign of Catalonia opens new horizons for this imagery, mobilizing also old messianic referents. The narrative of the Catalan enterprise developed by the royal entourage offers a new perspective of Louis XIII’s image making process. This Catalan enterprise completes the build of the king’s heroic profile, and serves to make his apotheosis, emphasizing the fact of a sacrificial death as a consequence of the royal presence in the Perpignan’s siege.The viceroys become the center of a heroic narrative also. They are protagonists of a true «Catalan epic». The light and darkness of this heroic experience of politics appear through the destiny, sometimes tragic, of these king’s agents (and images). They have to face, besides the military and political challenges, the power struggles in court. On the Catalan side, the accession of king Louis XIII has to be considered in the «revolutionary» context of 1640. The leaders of the revolt, who claim to be loyal to their king, Philip IV, build a narrative able to tame serious adverse events that sometimes escape their control. The horizon of a providential «restoration» of Catalonia appears in this narrative. Republican time seems here «unfound», between the broken of one king’s jurisdiction and the other king proclamation. Since then a providential propaganda speech about the restoration of the Principality through a Messianic Royalty incarnated by the new prince. The new king’s figure becomes one idealized image where Catalans look to project their political expectations, as well as a way for the Catalan leaders to justify themselves. The failed royal visit to Barcelona shortly precedes the king’s death. The royal funerals serve to the crystallization of these narratives: they offer the image of a «sacrificed» king, who is also a saint. He becomes the real emblem of the Franco-Catalan regime

La integración de Cataluña en la monarquía francesa en 1641 abrió un período de convivencia entre dos mundos políticos. Para Francia, la incorporación de la nueva provincia tiene lugar en una sociedad enamorada del heroísmo. El reinado de Luis XIII parece ser la culminación de un proceso de reformulación del paradigma heroico: un modelo político y un referente ético nobiliario. La Guerra de España llevó la cultura heroica a su clímax. En particular, la proclamación del rey como soberano de Cataluña abre nuevos horizontes a este mundo imaginario, que moviliza también a los antiguos referentes mesiánicos. La historia de la compañía catalana producida por el séquito real ofrece una nueva perspectiva sobre la construcción de la imagen de Luis XIII. El horizonte catalán "completa" la construcción de su perfil heroico, y sirve de apoteosis, valorando el hecho de una muerte "sacrificial" como consecuencia de la presencia real en la sede de Perpiñán. Los virreyes se convertirán también en el centro de una narrativa heroica, protagonistas de una verdadera "epopeya catalana". Las luces y sombras de esta heroica experiencia política aparecen en el destino a veces trágico de estos representantes del rey, que deben hacer frente, además de a los retos militares y políticos de su cargo, a los equilibrios de poder en la corte. Por el lado catalán, la llegada de Luis XIII forma parte de la dinámica "revolucionaria" que se inició en 1640, cuando los líderes de la revuelta, que querían ser fieles al rey Felipe IV, formularon una historia capaz de domar acontecimientos que a veces se les escapaban. El horizonte de una providencial "restauración" de Cataluña está cerca. El "momento" republicano parece imposible de encontrar aquí, entre la interrupción formal de la jurisdicción de un rey y la aclamación del otro. A partir de entonces, un discurso providencial de restauración de la provincia se desarrolló a través de la realeza encarnada por un nuevo príncipe "mesías". La imagen del rey se convierte en un ideal sobre el que se proyectan expectativas políticas y por el que los propios líderes de la "revuelta" buscan justificarse. El rey se perdió la visita a Barcelona, justo antes de su muerte. El funeral real servirá para cristalizar esta historia y ofrecerá, a través de la imagen del rey "sacrificado" y "canonizado", un emblema del régimen francés en Cataluña.
L’intégration de la Catalogne dans la monarchie française, en 1641, ouvre une période de coexistence de deux univers politiques. Pour la France l’incorporation de la nouvelle province intervient dans une société éprise d’héroïsme. Le règne de Louis XIII apparaît comme la culmination d’un processus de reformulation du paradigme héroïque: modèle politique et référent étique nobiliaire. La guerre espagnole porte la culture héroïque à son paroxysme. Singulièrement la proclamation du roi comme souverain de Catalogne ouvre des nouveaux horizons à cet imaginaire mobilisant aussi des référents messianiques anciens. Le récit de l’entreprise catalane produit par l’entourage royal offre un nouveau regard sur la construction de l’image de Louis XIII. L’horizon catalan «achève» la construction de son profil héroïque, et lui sert d’apothéose, valorisant le fait d’une mort «sacrificielle» conséquence de la présence royale au siège de Perpignan. Les vice-rois deviendront aussi le centre d’un récit héroïque, protagonistes d’une vraie «épopée catalane». Les lumières et les ombres de cette expérience héroïque du politique apparaissent dans le destin, parfois tragique, de ces représentants du roi, qui doivent faire face, outre aux défis militaires et politiques relevant de sa charge, aux equilibres de pouvoir à la cour. Du côté catalan l’avénement de Louis XIII s’inscrit dans la dynamique «révolutionnaire» entamée en 1640. Le meneurs de la révolte, qui se veulent fidèles au roi, Philippe IV, formuleront un récit capable d’apprivoiser des événements parfois leur échappant. L’horizon d’une «restauration» providentielle de Catalogne intervient. Le «moment» républicain semble ici introuvable, entre l’interruption formelle de la juridiction d’un roi et l’acclamation de l’autre. Des lors se développe un discours providentiel de restauration de la province à travers la royauté incarnée par un nouveau prince «messie». L’image du roi devient un idéal sur lequel l’on projette les attentes politiques et par lequel les propres dirigeants de la «révolte» cherchent à se justifier. La visite manquée du roi à Barcelone, précédée de peu à sa mort. Les funérailles royales serviront à la cristallisation de ce récit, et offriront par l’image du roi «sacrifié» et «canonisé», un emblème pour le régime français en Catalogne.
The integration of Catalonia into the French Monarchy, in 1641, opens a period of coexistence of two political universes. In France, The incorporation of the new province arrives in a social context under the influence of an strong culture of heroism. Under Louis XIII’s reign culmines a processus of reformulation of the heroic paradigm: a political model of gouvernement and an ethical referent for the French nobility. The heroic culture is taken to its paroxysm when the Spanish war begins. Specially the proclamation of the king as sovereign of Catalonia opens new horizons for this imaginary, mobilizing also old messianic referents. The narrative of the catalan entreprise developed by the royal entourage offers a new perspective of the Louis XIII’s image making processus. The catalan completes the built of the king’s heroical profile, and serves to make his apotheosis, emphasizing the fact of a sacrificial death as a consequence of the royal presence in the Perpignan’s siege. Vice-rois become the center of an heroical narrative also. They are protagonists of a true «catalan epic». The lights and darkness of this heroical experience of Politics, appear throw the destiny, sometimes tragic, of these king’s agents (and images). They have to face, besides the military and political challenges, to the power’s struggles at court. By the catalan side, the accession of king Louis XIII has to be considered in the «revolutionary» context of 1640. The leaders of the revolt, who revendique to be loyal to their king, Philip IV, build a narrative able to tame serious adverse events, that sometimes escape to their control. The horizon of a providential «restauration» of Catalonia appears in this narrative. Republican time seems here «introuvable», between the broken of one king’s jurisdiction and the other king proclamation. Since then a providential propaganda speech about the restauration of the Principality throw a royalty incarnated by a new prince «messiah». The new king’s figure becomes one idealized image where Catalans look to project their political expectatives. Also a way for the catalan leaders to justify himself. The failed royal visit to Barcelone precedes for little the king’s death. The royal funerals serves to the crystallization of these narratives: they offer the image of an «sacrificed» king, who is also a saint. He becomes the real emblem of the franco-catalan regime.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture and Planning, 1993.
Vita.
Includes bibliographical references (v. 2, leaves 330-351).
Inigo Jones's collection of books is a unique and early survival of an architect's annotated library. The combination of standard sixteenth century Italian and French editions of classics, mathematical and scientific treatises, and specialized architectural books, comprised the library of a professional whose approach to his field was based on an understanding of practical humanism and the study of antique precedent. The library is the starting point for an investigation of the relationship of humanist learning and the creation in England of a classical architectural vocabulary. The forty~s ix books record in Jones's marginal annotations to the text and plates his interpretation of continental architecture and textual exegesis. For Jones, books were a crucial resource for the study of classical architecture as practiced in continental Europe; and necessary for an understanding of the intellectual precepts inherent in that architectural vocabulary. Jones's architectural self~education reflected and repeated the desire by patrons for a visible document of their humanist learning and aspirations. From the evidence of the marginal annotations by Jones, I discuss three central themes of the shift in architectural style in England during the period 1580 to 1640: the role of reading as an essential professional skill for the architect and its mnemonic function in design method; the use and significance of the orders as a system for representing ideas of personal and public decorum and learning; and Jones's use of the methods and resources of English antiquarians in his study of ancient architectural precedent. Each of these themes are located within the cultural and intellectual history of Renaissance England. The descriptive language created for architecture, and the images used to encourage its study, was the language of education and classical learning, and specifically, the language of books. The appropriation by Jones and his patrons of the Vitruvian notion of decorum- the distinction between the exterior of a building and its internal distribution- formed a central tenet of English classicism, in Jones's terms the creation of an architecture "masculine and unaffected." The library of Inigo Jones represented one of the architect's essential professional tools, a repository of ideas and models which could serve as an ever present resource and comparable to other professional collections created by those seeking advancement within the late Tudor and early Stuart court. An annotated and descriptive bibliography of the surviving volumes, and further likely titles, attests to Jones's wide~ranging interests and design acumen.
by Christy Jo Anderson.
Ph.D.

J'ai tente, a partir d'une analyse historique des decors en perspective des masques, de degager l'esthetique de cet art thuriferaire pour en saisir les enjeux plastiques, didactiques et metaphysiques. La plupart d'entre eux presentent des sources identifiables couvrant un champ de references encyclopediques qui ne proviennent pas exclusivement de decors de scene mais aussi de gravures d'architecture, de sculptures ainsi que de tableaux et de dessins originaux. Le scenographe est a la rencontre de cette tradition ou un eclectisme idealisant fait echo aux criteres aristoteliciens d'imitation comme l'attestent les annotations de ses exemplaires. Jones est parti de tableaux, tels ceux de tempesta ou bril, pour les rendre viables en tant que decors de scene, et de decors preexistants, comme ceux de g. Parigi, pour leur conferer une plus grande realite picturale grace a ce que nous avons defini comme le decor unitaire en perspective. Il y trouva un moyen ideal d'initier son public a la culture visuelle de la renaissance. << l'eloquence plastique du masque >> s'exprime lorsque le developpement de la machinerie scenique facilite la picturalisation des decors. La scene satyrique interpretee par la theorie vitruvienne moderne offre a jones une matrice grace a laquelle les conventions de la peinture de paysage se reconcilient avec les exigences pratiques du decor de scene. A travers les vues synthetiques de l'antiquite, jones combine les images de la politique et de l'art et celebre une esthetique du pouvoir. Pratiques du decor de scene. A travers les vues synthetiques de l'antiquite, jones combine les images de la politique et de l'art et celebre une esthetique du pouvoir.

Sous la férule d'Inigo Jones le masque, introduit en Angleterre en 1512, s'enrichit de costumes féeriques, d'une machinerie complexe permettant les changements de décor à vue, d'une scénographie obéissant aux lois de la perspective et de livrets d'inspiration mythologique visant à glorifier les souverains et à légitimer leur pouvoir. Ces spectacles de cour, tels que Jones les conçut, rompaient non seulement avec les formes traditionnelles de divertissement qui avaient prévalu jusque là en Angleterre mais annonçaient de surcroît l'avènement de l'opéra
Under Inigo Jones's supervision the masque first introduced in England in 1512 got fairy custumes, complex machines allowing changes of scenery, a scenography according to the laws of perspective and libretti inspired from mythological sources which aimed at glorifying the sovereigns and legitimazing their power. The masque, as Jones conceived it, not only broke with the traditional forms of entertainment which had prevailed in England until that time but moreover heralded the advent of the opera

L'extraordinaire collection du frère unique de Louis XIV n'a été que très peu étudiée du fait de sa disparition presque complète. L'étude de l'argenterie, des bijoux et des objets en métal précieux ayant appartenu à la famille d'Orléans est d'autant plus difficile que les livres de compte et les registres des orfèvres et de la Maison commune, pour la période 1625-1725, ont totalement disparu. La famille d'Orléans nous a très aimablement accordé l'accès à ses archives privées permettant de lever le voile sur une des plus importantes collections françaises de l'Ancien Régime. Nous avons, entre autres, transcrit et analysé quinze inventaires, afin d'établir un glossaire ainsi qu'une typologie de toutes les pièces d'argenterie, ce qui facilite les comparaisons, et permet d'étudier l’évolution et l'usage de l'argenterie française de cette époque. Nous avons également réuni des documents provenant de sources anglaises, allemandes et espagnoles qui sont publiés ici pour la première fois
The rich collections of the younger brother of Louis XIV and his family have been little studied because of their near complete destruction. The study of the silver, jewelry and art objects in precious metal belonging to the Orléans family is further complicated by the disappearance of all household records as well as the documents that were once conserved at the goldsmith's hall from this period (1625-1725). Thanks to the gracious permission of the Orléans family, we have been able to study their private archives and to shed new light on these collections. Among other research, we have transcribed and analyzed fifteen inventories that have allowed us to create a glossary explaining the meaning of terms that have fallen into disuse. Further, we have established a topology, in graph form representing all of the inventoried silverware, over a period of one hundred years, which facilitates comparisons concerning the evolution and ruse of French silver. This research is complemented by documents presented for the first time from English, German and Spanish sources

Abstract Thomas Hobbes (1588---1679) was educated at Magdalen Hall Oxford, and spent most of the years 1608 to 1637 as a tutor to two noble families, the Cliftons and the Cavendishes (the Earls of Devonshire), during which he undertook three continental tours. When the Long Parliament assembled in 1640 he fled to Paris, where he made many friends among the exiled royalists, and became mathematics tutor to the Prince of Wales, the future Charles II. The publication of his Leviathan in 1651 aroused such a furore that he was forced to return to England in 1652, making his peace with Cromwell, and subsequently being granted a pension by the restored King. In addition to his great abilities in mathematics and natural philosophy, Hobbes was an outstanding Greek scholar: in 1629 he published a translation of Thucydides, in 1635 an abbreviated translation of Aristotle’ s Rhetoric, A Briefe of the Art of Rhetorique, and in his seventies he produced verse translations of Homer: the Iliad (1675), Odyssey (1676).

Abstract The collapse of government, civil war, the execution of the king, the abolition of monarchy, and the establishment of a republic marked the period 1640-60 in English history. During these tumultuous years, the grip of the ruling elite was sufficiently loosened that radical ideas-political, social, economic, and religious-could be advocated openly and even acted out in England’s otherwise hierarchical and deferential society. Levellers, for example, urged the extension of the franchise; Diggers called for land reform and established agricultural communities on common land; and Fifth Monarchists expected the imminent return of King Jesus to rule with his saints on earth, and some were willing to take up arms to expedite that return. These two decades also witnessed the expansion of the Baptist sect and the rise of Seekers, Ranters, and Quakers. In 1652 the experiences of John Reeve and Lodowick Muggleton led to the beginning of yet another religious movement that eventually took the latter’s name and shared the radical end of the Protestant spectrum with these last four groups.