A Seventeenth Century Reformed-Pietistic Portrait of Melanchthon from the Netherlands

2016 ◽  
pp. 165-174
Author(s):  
Frank van der Pol
Keyword(s):  
Seventeenth Century ◽  
The Netherlands

Dreams Give Birth to Reality”. Engraving Austroseraphicum Coelum as an Attempt to Create a New Reality by the Spanish Habsburgs Dynastic Propaganda / Sny rodzą rzeczywistość…”. Grafika Austroseraphicum Coelum jako próba kreowania nowej rzeczywistości za pomocą propagandy dynastycznej Habsburgów hiszpańskich

2014 ◽  
Vol 39 (1) ◽  
Author(s):  
Jan Kurowiak
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
General Condition ◽  
Symbolic System ◽  
Political Situation ◽  
Mission Of God ◽  
Starting Point ◽  
The World ◽  
The Church

AbstractAs a work of propaganda, graphics Austroseraphicum Coelum Paulus Pontius should create a new reality, make appearances. The main impression while seeing the graphics is the admiration for the power of Habsburgs, which interacts with the power of the Mother of God. She, in turn, refers the viewer to God, as well as Franciscans placed on the graphic, they become a symbol of the Church. This is a starting point for further interpretation of the drawing. By the presence of certain characters, allegories, symbols, we can see references to a particular political situation in the Netherlands - the war with the northern provinces of Spain. The message of the graphic is: the Spanish Habsburgs, commissioned by the mission of God, they are able to fight all of the enemies, especially Protestants, with the help of Immaculate and the Franciscans. The main aim of the graphic is to convince the viewer that this will happen and to create in his mind a vision of the new reality. But Spain was in the seventeenth century nothing but a shadow of former itself (in the time of Philip IV the general condition of Spain get worse). That was the reason why they wanted to hold the belief that the empire continues unwavering. The form of this work (graphics), also allowed to export them around the world, and the ambiguity of the symbolic system, its contents relate to different contexts, and as a result, the Habsburgs, not only Spanish, they could promote their strength everywhere. Therefore it was used very well as a single work of propaganda, as well as a part of a broader campaign

John De Witt; or, Twenty Years' Interregnum in the Stadtholdership of the Seventeenth Century

1859 ◽  
Vol 8 (4) ◽  
pp. 205-231 ◽  
Author(s):  
M. Esquirou de Parieu
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
History Of ◽  
The Waves ◽  
United Provinces

The history of the United Provinces, and of Holland especially, from the close of the Spanish rule down to the establishment of the modern monarchy of the Netherlands, is distinguished for its manifestation of a permanent struggle between different opposite principles. Liberty and authority, municipal principle and state principle, republic and monarchy, the spirit of federal isolation and that of centralization, appear to give battle to each other upon a territory itself with difficulty defended from the waves of the ocean by the watchful industry of its inhabitants.

scholarly journals ‘Livres de Musique’ in the Leufsta Library

2021 ◽  
Vol 28 (1) ◽  
pp. 41-61
Author(s):  
Monika Glimskär ◽  
Helena Backman
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
Close Contact ◽  
Sheet Music ◽  
Content Type ◽  
The Family ◽  
Music Collection ◽  
Long Lifetime

Abstract The De Geer family established themselves in Sweden as iron industrialists during the early seventeenth century, but they maintained close contact with the Netherlands. The family built up a prestigious library at Leufstabruk, in northern Uppland. The objects in the Leufsta Music Collection contained a significant amount of music in the form of printed sheet music and manuscripts, which were most likely gathered during the long lifetime of baron Charles De Geer (1720-1778). Compared to the works he collected in his youth in the Netherlands, the printed scores linked to Charles De Geer’s later period in Sweden show a change of taste in both repertoire and collecting behavior. This article deals with the bindings of the sheet music in the Leufsta collection, which give us clues of both De Geer’s acquisition and his approach to his music scores from their purchase to binding, labelling, cataloguing and practical use.

Conclusion

2020 ◽  
pp. 239-258
Author(s):  
Meredith McNeill Hale
Keyword(s):  
Eighteenth Century ◽  
Latin America ◽  
Seventeenth Century ◽  
The Netherlands ◽  
First Century ◽  
Political Satire ◽  
South Sea ◽  
The Subject ◽  
Battle Scenes ◽  
Intensive Investigation

This concluding chapter focuses on the question of circulation and impact: to what extent did De Hooghe’s satires travel beyond The Netherlands in the seventeenth century and what influence did they have on English political satire of the eighteenth century? The appearance of motifs from De Hooghe’s satires in mezzotints of c.1690 and prints on the subject of the South Sea Bubble of 1720 will be discussed as will instances in which De Hooghe’s satires were reissued in the eighteenth century. However, a comparison of this handful of examples with the liberal use of De Hooghe’s triumphal allegories and battle scenes in such distant locations as Latin America and Russia reveals one of the qualities that epitomizes political satire—its dramatic circumscription by temporal and geographical boundaries. Satire’s embeddedness in a specific political, historical, and cultural moment and its dependence upon text that often channels the idiosyncrasies of spoken language, render it difficult—often impossible without intensive investigation—to understand beyond its immediate context. This is as true for twenty-first-century satires as it was for those produced in the late seventeenth century.

Two early cases of publication by subscription in Holland and Germany: Jacob Abendana's Mikhlal Yophi (1661) and David Cohen de Lara's Keter Kehunna (1668)*

Quaerendo ◽  
1986 ◽  
Vol 16 (2) ◽  
pp. 110-130 ◽  
Author(s):  
Jan Wim Wesselius ◽  
Peter T. Van Rooden
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
The State ◽  
Reading Public ◽  
Sephardic Jews ◽  
The Bible ◽  
Dutch Translation ◽  
German Speaking

AbstractPublication by subscription is a sales technique developed in England in the seventeenth century. It was probably not introduced to the German-speaking countries until after 1725. The first hitherto known instances in the Netherlands date from after 1680. The article describes the publication of two linguistic works by Sephardic Jews which are the earliest known examples of works published by subscription in Holland and Germany. The first of the works concerned is the Hebrew Mikhlal Yophi, a commentary on the Bible of which an edition prepared by Jacob Abendana appeared in Amsterdam in 1662. An exchange of letters between Abendana and Antonius Hulsius is indicative of the former's attempts at recruiting subscribers. Abendana's efforts concentrated on Leiden, where in about 1660 he, his brother Isaac and the rabbi David Cohen de Lara, formerly of Hamburg, were living as private Hebrew tutors and booksellers. Abendana used an approbation of his book by the Leiden professors Cocceius, Heidanus and Uchtmannus to support his request for permission to dedicate his work to the States General. This was a more conventional way of acquiring funds from the state. At the same time the dedication, the approbation and a letter from the Basle Hebraist Johan Buxtorf jun. were intended to smooth the book's path to the Christian reading public. A case is also presented for the publication by subscription of David Cohen de Lara's Keter Kehunna (Hamburg 1668). Cohen de Lara's initiative goes back to the example set by Abendana, who, in turn, probably borrowed the idea from the London Polyglot. Finally some observations are presented concerning the conspicuous popularity of this method of publishing with Sephardic Jews interested in language. A comparison with the events surrounding the appearance of the Dutch translation of Athanasius Kircher's Mundus subterraneus, subscriptions for which were opened in 1678, makes it probable that Abendana's work was one of the first ever to be published by subscription.

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