Bøger om 15. århundrede

Der Band ist die erste ausführliche Studie zum dominikanischen Drittorden im deutschsprachigen Raum des ausgehenden Mittelalters. Während die Forschung herausgearbeitet hatte, dass der Predigerorden seit 1405 über eine sogenannte Drittregel zur Integration von Lai:innen (z. B. Beginen) in den Orden verfügte, bestanden zu deren weiterer Geschichte Lücken, die durch die Arbeit geschlossen werden. Erstmals eingehend analysiert werden die Legitimierungsbemühungen, mit denen die Dominikaner ihre Drittregel propagierten, und die Einführung der Drittregel in Frauengemeinschaften mit Hinblick auf die agency der Frauen. Weiterhin wird mit dem Einsatz der Drittregel für klösterliche Dienstleute ein von der Forschung vernachlässigter Aspekt des dominikanischen Ordenslebens aufgezeigt. Zudem widmet sich die Studie der voranschreitenden, aber wenig geradlinigen "Verklösterlichung" des Drittordens. Der Drittorden wird als Teil komplexer Regulierungsprozesse in der religiösen Landschaft des Spätmittelalters gedeutet, die wenig stabil waren, weil die neu eingeführte Regel unter dem Eindruck neuer Probleme ihrerseits modifiziert wurde. Der Band ist von Interesse für alle, die zur Verbindung von Ordens-, Religions- und Sozialgeschichte forschen.

In this volume, we follow the coat of arms into situations and zones of contact. Since inception, communication has been in the very nature of the heraldic phenomenon. Hence its remarkable ability to adapt to the circumstances that, from the 15th century onwards, brought populations from all over the world into contact. Our overarching question serves as an attempt to learn more about the modalities of negotiation in contact zones. To what extent were local actors able to develop their own attitude towards invasive and invading colonizers and missionaries by adopting and transforming the European image form of the coat of arms? This departure point leads even further: to think of heraldic emblems as a visual instrument capable of establishing communication not only between different cultures, but also between different eras, and even between the human and divine spheres. The book's interdisciplinarity, the temporal breadth of the collected case studies, and the variety of methodological approaches reflect the dynamism and diversity of the topic itself.

Das Thema der Faulheit wird im Mittelalter und in der frühen Neuzeit anhand von Zeichnungen, Graphiken, Gemälden, Wandteppichen und Skulpturen behandelt, die zumeist im Zusammenhang der sieben Todsünden stehen. Sie entstammen der Hand von Künstlern wie Dürer, Cranach, Goltzius, Bruegel u.a. Oftmals handelt es sich dabei um Illustrationen zentraler Texte von Prudentius, Dante, Sebastian Brant und Christine de Pizan, die vor allem ein Ziel haben, nämlich die Trägen aufzuwecken. Damit steht Faulheit in einem sozialgeschichtlichen Kontext, welcher sowohl in der Analyse der Texte als auch durch die Deutung der Bilder herausgearbeitet wird. Letztere fügen den literarischen Vorlagen mit ihrem strengen didaktischen Impetus mitunter eine humorvoll-ironische Note hinzu. erstmalige monographische Beschreibung von Faulheit, Acedia und Müßiggang Darstellungen der Faulheit von bekannten und unbekannten Künstlern Analyse von bekannten und unbekannten Dichtungen zum Thema Faulheit

It has been said that, as human beings, we are hardwired to believe that objects speak to us. Lucas Steiner, Luke to his friends, is a PhD candidate at one of the larger universities. On his last term extension and running out of time to complete his dissertation, Luke comes to believe that a five-hundred-year-old unknown, and undocumented drawing is talking to him. He is surprised that no one else can hear it. He believes that this drawing is the work of Pieter Brueghel, The Elder.In his effort to prove the existence, establish the provenance, and make known to the world Brueghel's lost drawing, Luke will experience loss, separation, and conflict. Amid the morass of structured bureaucratic lethargy and the extreme animosity of a department superior, Luke will confront the persistent presence of a pernicious evil stemming back to 16th Century Belgium and the blood-stained legacy of the Duke of Alba-the Iron Duke.

Whether in outwardly- or inwardly-directed ceremonies and rituals, the appearances of rulers and their court states, as well as other institutions of power, took place under unique acoustic conditions. The latter, in turn, were embedded not only in an intermedial and sensory structure, but also in a complex system of symbols and signs that conveyed certain messages or evoked particular associations. The contributions to this conference volume are devoted to these multi-layered connections and constellations, their manifestations in sound and silence, their distinctive power and their inherent specifics. The approach to the topic is interdisciplinary and multi-perspective as well as inter-, cross-, and transcultural and focuses on various courtly and urban instances of power between Ragusa, the Ottoman Empire, Habsburg-Burgundy, China, and other cultures at the turn of the 14th century to the beginning of the 18th century.Ob in nach außen oder innen gerichteten Zeremoniellen und Ritualen: Die Auftritte von Herrschern, Herrscherinnen und deren Hofstaaten sowie anderen Machinstitutionen vollzogen sich unter besonderen akustischen Bedingungen. Letztere wiederum waren nicht nur in ein intermediales und intersensorisches Gefüge, sondern auch in ein komplexes System von Symbolen und Zeichen eingebettet, die bestimmte Botschaften vermittelten oder Assoziationen hervorriefen. Diesen vielschichten Verbindungen und Konstellationen, ihren Ausprägungen in Klang und Stille, ihrer besonderen Macht und deren innenwohnenden Spezifika widmen sich die Beiträge des vorliegenden Konferenzbandes. Die Zugriffe auf die Thematik erfolgen unter interdisziplinären, multiperspektivischen sowie inter-, cross- und transkulturellen Blickwinkeln auf verschiedenste höfische und städtische Machtinstanzen zwischen Ragusa, dem Osmanischen Reich, Habsburg-Burgund, China und anderen Kulturen an der Wende zum 14. und dem beginnenden 18. Jahrhundert.

"The first time Romeo Montague sees young Rosaline Capulet he falls instantly in love. Rosaline, headstrong and independent, is unsure of Romeo's attentions but with her father determined that she join a convent, this handsome and charming stranger offers her the chance of a different life. Soon though, Rosaline begins to doubt all that Romeo has told her. She breaks off the match, only for Romeo's gaze to turn towards her cousin, 13-year-old Juliet. Gradually Rosaline realises that it is not only Juliet's reputation at stake, but her life. With only hours remaining before she will be banished behind the nunnery walls, will Rosaline save Juliet from her Romeo? Or can this story only ever end one way?"--Provided by publisher.

'A worthy continuation of the Seton Chronicles, packed with personal, political and religious tension and intrigue.' Margaret Skea, award winning author.Italy 1555. Bethia and her growing family find themselves in the midst of the Inquisition's vicious attack on Jews and Conversos. Despite Bethia's commitment to her Catholic faith, her greater loyalty to her Converso husband forces them to flee onwards to Constantinople - but will it be a any safer? For Will, Bethia's brother, it's equally perilous to be a Protestant. Caught up in France's religious turmoil, where many are burned for their faith, his choice is stark; fight or accept a martyr's death. Set amid the treacherous landscape of Reformation Europe, where faiths divide and shifting allegiances dictate survival, can the strength of family endure?

"In April 1964, Michelangelo's Renaissance sculpture, the Pietáa, embarked on its perilous transatlantic voyage from Rome to New York to become the blockbuster of the World's Fair, accomplished only through the cooperation of two of New York's most powerful men, Robert Moses and Francis Cardinal Spellman"--

Dies ist die Neuauflage der vergriffenen 2012 in Heide erschienenen, nun ergänzt um das später beigelegte Mittelniederdeutsche Vokabelheft.Albert Panten führt die von A. L. J. Michelsen (1834) gesammelten Auszüge aus Akten der Rechtsstreitgkeiten mit weiteren bislang unveröffentlichten Aktenstücken fort und ordnet sie den bekannten zu.Die mittelaterliichen Klageschriften nennen sehr viele Einzelheiten, die das Verhältnis der Dithmarscher zu ihren Nachbarn schildern. Sie geben in rechtlicher Hinsicht viele Beispiele topographischer Details für umstrittene Grenzgebiete und sind fruchtbare Quellen zur Personen- und Ortsnamenskunde.Der Prozess von 1447 war ferner einer der Gründe für die Kodifizierung des Dithmarscher Landrechts, denn es ist wohl kein Zufall, wenn sie am 13. Februar 1447 vor sich ging.Auch der Prozess von 1480 führte zu einer Erweiterung und Revision, da Straftaxen für ins Genaueste geschilderteVerwundungen, Totschläge und materielle Schäden bestimmt werden mussten.Dass die Klageschriften noch erhalten sind, ist ein Glücksfall, denn die Prozesse endeten in Vergleichen, in denen gegenseitige Ansprüche niedergeschlagen wurden.Die Akten, viele harren noch der Bearbeitung, geben Einblicke in die sächliche Kultur der Dithmarscher, ihrer Nachbarn wie auch der Handelsbeziehungen und deren Störungen.

"The latest in the thrilling Agents of the Crown series follows John Dee and his wife working together in an act of espionage that may turn out to be treason"--

"At a safe distance from the intrigues of courtly life at Louis XIV's Versailles, an intellectual crowd of mostly women have been gathering in a Parisian home to share what hostess Marie D'Aulnoy herself has christened contes de fâees: fairy tales. Recently ousted from court and still raw from the death of his beloved wife, Charles Perrault finds companionship and creative camaraderie at the salon, where he eagerly joins the storytellers. Their hostess is impressive, fiercely intelligent, but somehow unreadable. She is harboring secrets of her own: sold off as a child in marriage to a brutal baron, imprisonment, scandal. Despite the vicious Versailles gossip, Marie has mysteriously been allowed to return to polite society and establish her salon in the heart of Paris"--

Highlighting the creativity and symbolism of covered portraits, this volume explores an intriguing but largely unknown aspect of Italian and Northern European Renaissance art

Rembrandt's Lost Secret is a testament to the power of technique to shape artistic expression. Follow master painter Peter Layne Arguimbau on his journey to expose Jan van Eyck's "invention of oil painting" dating back to 1410. This 'invention', Flemish Technique, led to the Golden Age of Dutch Art, ending with the death of the Old Masters and their precious formulas. Over the course of his painting career, Arguimbau searched high and low for the original formulas-- testing period recipes and meticulously comparing his exacting copies to the historical record. Finally, after decades of research, a seemingly miraculous act of God transpired. The result being the recipes outlined in this book for a modern-day equivalent of the Old Master recipes to be shared with the public for the first time. Beyond his enduring search for these lost formulas, this book also positions the development of the Flemish Technique as an overarching metaphor for how innovations in craft drove stylistic inventions for design in Renaissance art. Arguimbau's message is universal: that technology, abstract design and culture are inextricably intertwined. Rembrandt's Lost Secret is a treasure trove of celebratory engagement with that three-centuries-long story of cultural evolution. A master historical work, it will be a manual for painters, an instructive read for the art community, and the curious to experience the Luminist quality of light of the Dutch Masters.

Un bellissimo romanzo di amori perduti e segreti non raccontati…Con il cuore spezzato per la mancanza del fidanzato, Fern si reca a casa di sua zia in Italia per trovare pace e conforto.Lì, incantata dalla bellezza del paesaggio e consumata da una storia che lei trova affascinante, Fern viene catapultata nella vita della bella ma imprudente Cecilia, una dama nella corte di Caterina Cornaro, Signora di Asolo.Più Fern si avvicina a scoprire perché Cecilia sembra riportarla indietro nel tempo, più echi del passato cominciano a manifestarsi nel presente.Quando passato e presente si scontrano, mettendo sia Fern che Cecilia in un pericolo mortale, riuscirà Fern a tenersi lontana dal rischio e a scendere a patti con il suo passato?

In this comprehensive catalogue of the work of the 15th-century painter and draftsman, Stefano da Verona (1375-ca. 1438), Karet reviews past scholarship and corrects old misunderstandings that produced an inconsistent, heterogeneous and misinformed corpus. Her attributions are based on stylistic arguments, technical analysis, and the relationship of the drawings to a limited number of secure paintings by this important Late Gothic North Italian painter. The restricted but sound body of works Stefano da Verona executed is compiled in rich catalogue entries that include discussions of style, iconography, patronage, paper and sketchbook analysis, important issues of workshop production and of the history of drawings and collectionism.

Historical novel, first of a trilogy, set in south-east Wiltshire in 1633. Robert Penny, a twice-widowed father, returns to the parish of his birth with his eleven-year-old son Samuel. Struggling to find food for the table, Robert quickly becomes burdened with the unpaid duties of Parish Waywarden inheriting a legal responsibility to survey and maintain the parish highways or answer to the Justices. As he commences this onerous task, he discovers a young woman's body in a highway ditch. Whilst Robert Penny tries to rebuild his family reputation and regain the pew in church, will he instead be charged with the murder of this stranger to the parish?

MEET DR WILLIAM GILBERT IN THIS ENTHRALLING ELIZABETHAN HISTORICAL MYSTERY.16th Century England.Dr William Gilbert enjoys the company of one of his more accomplished patients, a Jewish-born Christian convert now living in the Domus.But when the man is found dead, hanging from an impossibly high beam, William is suspicious.Hampered by the prejudice of those around him, William sets out to ensure the mystery of his friend's death is solved. He is joined in this pursuit by Johane Sheldon, a clever and beautiful woman who is the dead man's only living relative.Is this mystery a step too far even for the inestimable skills of Dr Gilbert?Perfect for fans of C.J. Sansom, Iain Pears, S.W. Perry, Andrew Taylor, S.G. MacLean, Ian Morson, and David Penny.PRAISE FOR LEONARD TOURNEY:¿¿¿¿¿ 'A fascinating look into another era.' Robyn B.¿¿¿¿¿ 'This series is a delight and not to be missed.' Steve H.¿¿¿¿¿ 'Brilliant book, couldn't put it down. One to re-read.' Anne R.WILLIAM GILBERT MYSTERIESBOOK 1: THE CUCKOLD'S BRIDEBOOK 2 THE KINDNESS OF WITCHESBOOK 3: SOLOMON'S GOLD

England, 1628. The bloody war of religion in Europe continues, and after a botched and bloody defeat by the French, King Charles I's most trusted confidant and military commander, George Villiers, 1st Duke of Buckingham, is murdered in Portsmouth in broad daylight. The assailant is a grieving and vengeful soldier, Jack Felton. The King is convinced that the murder of his closest ally is a conspiracy by Parliament, but his advisor, William Laud, Bishop of London, who has his own political ambitions, convinces King Charles I that dark forces greater than Parliament are at play. Laud points the finger at Scotland, where witchcraft is rife. As King Charles I comes to terms with the loss of the Duke of Buckingham, William Douglas, the Earl of Morton, a staunch Royalist, is desperate to gain favour with the King by raising money to fund the King's hitherto failed wars. But to do so, he must secure the inheritance of his half-sister, Lady Margaret Douglas, the cousin of John Lyon, Lord Glamis, who has given her refuge at Glamis Castle. Margaret soon finds herself battling her half-brother to keep her rightful inheritance, but amid murder and treachery at Glamis, and the desperation to conceal her illegitimate daughter, she is wrongly accused of witchcraft, and of conspiring with Jack Felton to murder the Duke of Buckingham. As Margaret's fate is determined, the rift between those Scots loyal to Scotland and its religion, and those swearing fealty to the English King and the new faith, deepens. But all is not what it seems....Thirteen years later, in 1641, in the Lands of the Ottomans, a former soldier is sent on a mission to a monastery in the Sinai desert to recover an ancient deed that could determine the outcome of the war in Europe. When a murder is committed, and the deed is stolen, the race is on to recover it. Should it fall into the wrong hands, the fate of Europe- and lands far beyond- hangs in the balance. It soon becomes apparent that Margaret's fate thirteen years earlier, this deed, and the soldier tasked to recover it, are closely connected, and that the survival or fall of kingdoms rests with those who, above all, wish to right terrible wrongs.

In the vibrant heart of Renaissance Italy, in the late 15th century, a unique and pivotal moment in art history unfolded. Ludovico Sforza, the Duke of Milan, found himself captivated by the genius of the era, a man who would later be celebrated as one of the greatest artists of all time. He was a genius who walked among men. His name was Leonardo da Vinci, a polymath whose talents knew no bounds. He was a painter, a scientist, an inventor, and an observer of the human condition. Yet, it was in his masterpiece, "The Last Supper," that Leonardo's unique vision transcended the canvas, revealing the essence of the chosen ones.But behind the creation of Leonardo's masterpiece, "The Last Supper," lies a story that has often been overshadowed by the brilliance of the artwork itself. It is a tale of "The Chosen Ones," individuals whose lives would forever be intertwined with the strokes of a genius's brush."The Chosen Ones" invites you on a journey through time and artistry, delving into the world of da Vinci and the enigmatic disciples who surrounded Jesus at that fateful meal. Beyond the strokes of the brush and the pigments on the wall, we explore the depths of human emotion, faith, and destiny as portrayed in the faces and postures of those gathered around the table.In this book, we uncover the secrets behind da Vinci's selection of models for "The Last Supper," from the contemplative visage of Thomas to the serene expression of John the Evangelist. We unravel the mysteries of a painting that encapsulates both the sacred and the earthly, where the Divine meets the human in a timeless representation of faith and betrayal.Leonardo's quest for authenticity in portraying the apostles was meticulous. He roamed the streets of Milan, observing individuals from all walks of life, seeking the perfect faces and postures that would breathe life into his composition. He understood that to capture the essence of the chosen ones, he needed models who could convey the complex range of emotions that must have filled that sacred chamber."The Chosen Ones" is a journey not only into the minds and souls of these apostles but also into the heart of the artist himself. We delve into the life of Leonardo da Vinci, a man of boundless curiosity and relentless pursuit of knowledge. His notebooks, filled with sketches, diagrams, and scientific observations, reveal a mind constantly in motion, questioning the world around him and seeking to uncover the mysteries of existence.The genesis of the chosen ones lies in the hallowed halls of a convent in Milan, Italy. There, in the refectory of the Convent of Santa Maria Delle Grazie, Leonardo da Vinci was commissioned by Ludovico Sforza, the Duke of Milan, to create a mural that would capture the essence of the Christian faith. What emerged from his brilliant mind and nimble hands was a work of art that transcended its religious subject matter to become an enduring symbol of artistic genius and spiritual contemplation.The year was 1482 when Ludovico Sforza, a renowned patron of the arts, decided to summon Leonardo da Vinci to the opulent court of Milan. Ludovico was not just a ruler; he was a connoisseur of art and culture, known for his lavish court and patronage of artists, scientists, and scholars. He had heard whispers of the extraordinary talents possessed by a certain Leonardo da Vinci and was eager to meet this enigmatic genius for himself.

In dieser Studie wird anhand der rationalen Philologie die Entwicklung der historischen Frankenkönigin Brunichildis (¿ 613) zu einer literarischen Figur in drei Hauptvarianten untersucht: Im Nibelungenlied erscheint Brünhild als Königin, in den isländischen Texten als Walküre, in den kontinental-skandinavischen als Burgherrin. Es gilt als gängige Annahme, dass Heldenlieder lange vor der schriftlichen Fixierung mündlich überliefert wurden. Der rationalen Philologie zufolge begann dagegen die schriftliche Tradition mit dem Nibelungenlied. Laut der Schriftlichkeitsthese beruht dieses Epos allein auf Handschriften und gelangte frühzeitig nach Skandinavien. Dort diente es zuerst als Vorlage für Snorris Edda, welche wiederum die Lieder-Edda und die Völsungasaga anregte, später für die norwegische Thidrekssaga und die schwedische Didrikskrönikan.

This volume charts alternative courses through history via the physical conditions and artisanal ecologies in which cultural artifacts were created in Europe from roughly 1400 to 1700. Maker Space: Creative Environments in Early Modern Europe asks how spatial considerations initiated, supported, and thwarted creative activities and highlights points of intersection and overlap across practices that we otherwise tend to think of as separate. Scholars have long had an interest in, for instance, the workshop, laboratory, studiolo, or Kunstkammer as distinct places of production-named coordinates that situate social and technical actions in a defined context. The essays in this volume use the less fixed notion of space to break open such typologies, emphasizing the fluid, improvisational, and idiosyncratic aspects of creative work. They demonstrate how the ever-shifting array of tools, materials, environmental conditions, and bodies involved in artisanal production redirects our attention to the shared conditions that unite various enterprises of intellection, imagination, experimentation, and making. The book comprises a series of short case studies and extended meditations on particular sites where the work of the mind and hand coincided, from mines, arsenals, theaters, and imagined hermitages to tailors' shops, artists' workshops, the home, and even the space of a chemist's notebook. This format of short and long essays animates the story of early modern making and thinking practices at various scales. The specifics of these case studies move us away from either totalizing or categorical views that would gloss over the fluid, messy, and insistently material conditions of daily work-that is, the raw material of history. These essays also suggest fundamental shared concerns-from environmental and moral control to the conditions necessary for the mental demands of making-that supersede distinct makers or creative practices.

An original survey of the Renaissance painter's life and work. This book is a concise survey of the life of the Florentine painter Piero di Cosimo (1462-1522) within his social and cultural surroundings. Delving into the artist's deliberately idiosyncratic life, the book shows how di Cosimo chose to live in squalor--eating nothing but boiled eggs cooked fifty at a time in his painting glue. Sarah Blake McHam shows how the artist became a favorite among sophisticated patrons eager for pagan artworks featuring Greco-Roman mythological subjects as well as orthodox, but never ordinary, religious altarpieces and private devotional paintings. The result is a newly accessible introduction to the life of this important Renaissance artist.

Wie konnten Abwesende politische Prozesse im Venedig der Renaissance beeinflussen? Wie wurden entsprechende Praktiken tradiert? Antworten auf diese Fragen gibt die Briefsammlung des Amtsträgers Ludovico Foscarini (1409-1480). Seine Briefe entstanden als Reaktion auf ein Dilemma: Nur als Statthalter und Gesandter konnte Foscarini in der Konkurrenz mit anderen venezianischen Adeligen bestehen. In der Peripherie war er aber von den Verteilungswettkämpfen abgeschnitten, die in der Zentrale in geheimen Abstimmungen abliefen. Kunstvolle Briefe an andere Politiker und politisch einflussreiche Intellektuelle sollten das Problem lösen. Diese Briefe nutzten humanistische, juristische und theologische Metaphern, um Themen anzusprechen, die außerhalb der offiziellen Gremien tabu waren. Foscarini legte eine didaktisch aufgebaute Briefsammlung mit den wirksamsten seiner Briefe an - ein Erfahrungsschatz, den er seinen Söhnen für ihre politischen Laufbahnen hinterließ. Die Publikation kontextualisiert in einer interdisziplinär angelegten Analyse die Einzelbriefe anhand von gelehrten Textvorlagen und Wissensbeständen sowie Archivmaterial. Zusätzlich wird eine Edition dieser für die Geschichte des Humanismus hochbedeutenden Quelle geboten.

There are few artists whose work is more universally known and loved than Raphael. His paintings grace the walls of the Vatican, his many serene Madonnas are famous the world over. That he was able to crowd so much achievement into his brief lifetime, is remarkable even for an Italian living in the Renaissance, when artists poured out paintings and sculpture in profusion. Elizabeth Ripley has brought Raphael to life with lovely, well-written text, illustrated with color reproductions of the artist's own works. With Raphael we visit Urbino, Florence and Rome. We meet Michelangelo, Leonardo da Vinci, Castiglione, and two great popes-personalities who played vital roles in his life. The charm, the beauty and the gentleness that endeared Raphael to those who knew him, is portrayed here along with his amazing genius.All paintings are in full color, with a few extra sketches and paintings new to this edition.