This essay suggests that the Lord Chamberlain’s Men’s decision to name their reconstructed playing space the Globe in 1599 may have been a response to mounting English enthusiasm for terrestrial and celestial globes that was stimulated by Emery Molyneux’s manufacture of the first pair of English globes in 1592.
This article explores the politics of national patron sainthood in early modern Europe. Specifically, it assesses the relationship between patron saints, efforts to consolidate royal authority, and political resistance to royal policies. It examines this relationship through the bitter controversy that unfolded when Teresa of Avila was named patron saint of Spain alongside the traditional patron, Santiago, at the beginning of the seventeenth century.
The Piazza degli Uffizi in Florence is a unique architectural space housing the offices established by the Medici grand duke Cosimo I in the sixteenth century. This article examines the unusual physical and social character of the space, from the perspective of the people—performing as both spectators and actors—who have experienced this environment. Their presence and participation is necessary to complete the space, as in a theater or onstage, as each beholder’s perception, action, and interaction is different.
Through illustrations notoriously difficult to interpret, even when considered in conjunction with the chapters they presumably depict, the sixteenth-century manuscript Splendor Solis exemplifies the highly symbolical approach to representing alchemical processes. The central images of the pictures are typically characterized by the fantastic: mythic animals, beheading, and allusions to the classical gods.
This article examines the Family of Love in sixteenth-century England, especially the period of intense hostility it engendered from 1578 to 1581. During these years, foesattacked this minor sect as a significant threat to the English church and state. The decline in the assault upon the Family has been attributed by many historians to a concurrent decline in the sect. However, recent research has demonstrated that the Family survived even after 1581, requiring a new explanation for the end of the attacks.
For ten years, the University of Chicago Press has been publishing the series The Other Voice in Early Modern Europe, edited by Margaret L. King and Albert Rabil Jr. This series publishes translations and editions of works written during the period 1300–1700 that in some way challenge the dominant negative view of women. Most of these texts are by women, and with forty-four works in the series by December 2006, the books have become important teaching tools for courses about women or more general courses.
In the wake of the Council of Trent, the Catholic Church mandated the printing of new, uniform religious texts. This article examines the manner in which the Hieronymite monastic order in Spain responded to the council’s directive. It demonstrates that the Hieronymites, despite their own reforming activities and their extraordinarily close relationship with the Spanish monarchy, at first rejected and then rather abruptly embraced the new texts when Philip II bestowed on them the exclusive right to print, vend, and distribute the new Tridentine books across the Spanish empire.
In Renaissance Poland (1500–1650), there was a tradition of erecting funeral monuments to commemorate young children, a practice unique in Europe at that time, which raises interesting issues beyond the appearance of the monuments themselves. A large subset of these monuments illustrate a single iconographic type: the child as a sleeping putto with a skull, a motif that is particularly appropriate for the depiction of deceased infants. Although the putto and skull motif later became popular throughout Europe as a memento mori, only in Poland was it adapted to represent individual children.
Niccolò Liburnio’s Selvette, published in Venice in 1513, is an undiscussed source for the role of art as ambiguous evidence in the early cinquecento. One of the stories in Liburnio’s book is a fictional adultery trial, in which the main evidence is a painting by Giovanni Bellini. Both the prosecutor and the defense use this painting in their arguments. No such painting by Giovanni Bellini survives (nor probably ever existed), but similar works do survive from the same period.
Because of its relatively small size and population (one to two million), early modern Portugal was largely able to maintain its independence and use its political and economic clout because of the opportunities and wealth generated from its global empire. As a result, much of the history of the period in both Portuguese and other languages tends to incorporate imperial aspects.