John David Farmer,The Virtuoso Craftsman: Northern European Design in the Sixteenth Century(exhibition catalog)

Art Journal ◽  
1969 ◽  
Vol 29 (1) ◽  
pp. 128-128
Author(s):  
Hans Huth
Keyword(s):  
Sixteenth Century ◽  
Northern European

Formal Imitation

2019 ◽  
pp. 206-234
Author(s):  
Colin Burrow
Keyword(s):  
Sixteenth Century ◽  
Rhetorical Structure ◽  
English Writing ◽  
Northern European ◽  
Profound Influence ◽  
Pietro Bembo ◽  
Philipp Melanchthon

This chapter returns to the debate about the imitation of Cicero between Pietro Bembo and Gianfrancesco Pico in the early sixteenth century, and shows how these two writers’ different approaches to imitatio encouraged subsequent authors to imitate the ‘form’ of earlier texts. This could be a quasi-Platonic abstract idea of an earlier author, or it could encompass the structures of sentences or arguments. This theme was developed by later sixteenth-century Northern European writers on imitatio, principally Philipp Melanchthon and Johannes Sturm. They encouraged imitating authors to attend to the rhetorical structure of the works that they imitated, rather than borrowing their language. Through Roger Ascham these German rhetoricians had a profound influence on later sixteenth-century English writing. The chapter concludes by arguing that their thinking encouraged imitating authors in that period to engage in what is here called ‘stylism’. Many later Elizabethan authors sought not only to imitate a distinctive ‘form’ of an earlier author, but also to establish that they had a ‘form’ or style of their own, which could be identified by their readers, and which subsequent authors might imitate.

Making Statesmen, Writing Culture: Ethnography, Observation, and Diplomatic Travel in Early Modern Venice

2018 ◽  
Vol 22 (4) ◽  
pp. 279-298 ◽  
Author(s):  
Kathryn Taylor
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Scientific Research ◽  
Political Education ◽  
Educational Travel ◽  
Northern European ◽  
Social Scientific Research ◽  
Writing Culture ◽  
Early Modern Venice ◽  
Social Scientific

AbstractNumerous scholars have sought to locate the origins of social scientific research in the late-sixteenth-century ars apodemica, the northern European body of literature dedicated to methodizing educational travel. Little attention has been paid, however, to the earlier model of educational travel that emerged from sixteenth-century Venetian diplomatic culture. For many Venetian citizens and patricians, accompanying an ambassador on a foreign mission served as a cornerstone of their political education. Diplomatic travelers were encouraged to keep written accounts of their voyage. Numerous examples of these journals survive from the sixteenth century, largely following a standard formula and marked by an emphasis on the description of customs. This article examines the educational function of diplomatic travel in Venice and the practices of cultural description that emerged from diplomatic travel, arguing that Venetian diplomatic travel offers an earlier model for the methodization of travel—one with its own distinctive norms of observation.

Props and Costume

2019 ◽  
pp. 91-120
Author(s):  
Carmen Fracchia
Keyword(s):  
Sixteenth Century ◽  
Material Culture ◽  
Economic Value ◽  
Northern European ◽  
Black Resistance

I discuss the stereotypical sixteenth-century image of slaves in chains produced by Northern European artists in Spain. This traditional iconography has no resonance in topographic views and landscapes by Spanish artists. I focus on the ways that the View of Seville drawing (1573) by Joris Hoefnagel articulates the institutionalization of the local Spanish and transatlantic slave trades and I construct an account of the material culture of slavery based on archival sources and legal discussions. I also lay out Juan Fragoso’s set of recommendations for assessing the economic value of slaves at auction in his Universal Surgery. I address the ways in which the drawings of chained slaves (1529) by Christopher Weiditz represent the traditional iconography of Afro-Hispanic slave labourers and as symbolizing the black resistance forged in their confraternities against their subjugation. These forms of resistance are confirmed by Pedro de León’s experience at the royal prison of Seville.

Lutheranism

2020 ◽  
pp. 140-152
Author(s):  
Kirsi Stjerna
Keyword(s):  
Sixteenth Century ◽  
Johann Sebastian Bach ◽  
Well Being ◽  
Good News ◽  
Way Of Life ◽  
Christmas Trees ◽  
Northern European ◽  
The World ◽  
The Gift ◽  
Theological Foundation

Christmas for Lutherans is a celebration of light and the birth of Jesus, the son of Mary. A mixture of medieval practices, pre-Christian customs, and ethnic preferences, the Lutheran Christmas includes festivals of lights, Christmas trees and hymns, ethnic foods, and liturgical services that rhythm the twelve days of the season. Christmas proclamation addresses the revelation of the good news for humanity found in the infant Jesus in the arms of his mother, Mary. The miracle of God’s Incarnation is interpreted in light of the cross and humanity’s needs for redemption and divine compassion. The humility of Christ’s birth is understood as an invitation to Christian life oriented with that compassion. The tradition of exchanging gifts at Christmas has a theological foundation in the gift of life given to humanity in Christ, and the invitation it extends to follow a Christian way of life with concern for the well-being of one’s neighbour. The sixteenth-century German reformer Martin Luther shaped many of the traditions that characterize Lutheran Christmases around the world theologically and liturgically. They also have some cultural customs with roots in Northern European climates. Musically, Luther also left a strong legacy in Christmas hymns, and Johann Sebastian Bach brought the Lutheran Christmas theology to church and homes beyond denominational and cultural borders.

Bridging North and South: Inquisitorial Networks and Witchcraft Theory on the Eve of the Reformation

2008 ◽  
Vol 12 (5) ◽  
pp. 361-382 ◽  
Author(s):  
Tamar Herzig
Keyword(s):  
Sixteenth Century ◽  
Focal Point ◽  
Italian Peninsula ◽  
Northern European ◽  
The Reformation ◽  
The Alps ◽  
North And South

AbstractThis article reconstructs a network of Dominican inquisitors who facilitated the reception and adaptation of northern European demonological notions in the Italian peninsula. It focuses on the collaboration of Italian friars with Heinrich Kramer, the infamous Alsatian witch-hunter and author of the Malleus Maleficarum (1486). Drawing on newly-discovered archival sources as well as on published works from the early sixteenth century, it proposes that Italian inquisitors provided Kramer with information on local saintly figures and were, in turn, influenced by his views on witchcraft. Following their encounter with Kramer in 1499-1500, they came to regard witches as members of an organized diabolical sect, and were largely responsible for turning the Malleus into the focal point of the Italian debate over witch-hunting. I argue that Kramer's case attests to the important role of papal inquisitors before the Reformation in bridging the cultural and religious worlds south and north of the Alps.

The Virtuoso Craftsman: Northern European Design in the Sixteenth Century

Art Journal ◽  
1969 ◽  
Vol 29 (1) ◽  
pp. 128
Author(s):  
Hans Huth ◽  
John David Farmer
Keyword(s):  
Sixteenth Century ◽  
Northern European

scholarly journals Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

2021 ◽  
Author(s):  
◽  
Annika Sippel
Keyword(s):  
New Zealand ◽  
Sixteenth Century ◽  
Direct Contact ◽  
Slow Process ◽  
Historical Significance ◽  
History Of Collecting ◽  
Northern European ◽  
History Of ◽  
First Time ◽  
Active Policy

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

scholarly journals Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

2021 ◽  
Author(s):  
◽  
Annika Sippel
Keyword(s):  
New Zealand ◽  
Sixteenth Century ◽  
Direct Contact ◽  
Slow Process ◽  
Historical Significance ◽  
History Of Collecting ◽  
Northern European ◽  
History Of ◽  
First Time ◽  
Active Policy

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

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