Series Announcement: Early Modern Court Studies

Publications of The Astronomical Society of Japan, 1996

Kastelen, al of niet inclusief heerlijkheid, hebben onder dezelfde naam soms naast elkaar bestaan, op grond waarvan zich dan ook twee 'heren' manifesteerden. Bij voorbeelden als Vliet (Bisdom en Barchman Wuytiers) en Woudenberg (Hooft en Taets van Amerongen) ontbreken beide laatstgenoemden in de lijst. En waar is een bewering op gebaseerd dat wanbeheer en uitbuiting slechts bij hoge uitzondering voorkomen omdat deze nooit in het financiële voordeel van de eigenaar zouden zijn? Zat de wereld maar zo rationeel in elkaar, dan zouden er immers weinig misstanden zijn. Maar ook weinig stof voor historici om over te schrijven! Egbert Wolleswinkel 1 De voorzitter van de Hoge Raad van Adel berekende bij het in ontvangst nemen (d.d. Amsterdam 27 nov. 2007) van een van de eerste exemplaren van het eerstgenoemde boek, dat vanaf de oprichting van de Raad in 1814 tot heden toe van alle leden 65 % een samengestelde geslachtsnaam droeg en maar liefst 77 % van alle voorzitters. Bij de secretarissen, voor wie adeldom geen voorwaarde voor benoeming is, was het percentage 'slechts' 45 %. 2 Kees Bruin, 'Wat heet dubbel; de sanering van dubbele namen rond de Tweede Wereldoorlog',

Renaissance Quarterly, 2020

In July of 1915, the curator of the departmental archives of the Pas-de-Calais, housed in Arras, made an heroic contribution to Malcolm Vale's study of the princely court. Desperate to save the region's documentary heritage from the German bombardment that would eventually destroy his town, he rushed into the burning stacks and began to throw bundles of parchment out of the window. He began, indeed, where French archival practice had long decreed that archivists should begin: with the letter A, denoting the records of the local secular authority which, in the thirteenth century, was the county of Artois. Happily, an extraordinary trove of comital charters and registers survives as a result, albeit at the expense of otherlayettes now lost to researchers, notably the ecclesiastical records of the diocese of Arras and those of the region's many ancient and powerful monasteries, filed respectively under the unlucky letters "G" and "H." From this reconstituted archive, Vale can show that the princely court of Robert II of Artois (b. 1250; r. 1266-1302) exercised "a formative influence upon the other courts" of medieval Europe, including that of England (8).

2014

Publisher: Leuven University Press Date: 2014

Opera Historica

A wealth of sources has been preserved about the organization and procedure of court ceremonial in the early modern period Nevertheless, in the eyes of European historians, they remained for a long time in the shadow of the prevailing political and social history, which focused almost exclusively on research into social structures and on the grand telling of national stories 1 It was only in the last third of the 20 th century that the dominant structural and sociological principles became the target of criticism by researchers dealing with the history of culture 2 They demanded that in contrast to the history of events, which emphasized the detailed reconstruction of depersonalized historical phenomena and processes, the main object of research should be humanity, and knowledge of its world of thought, value hierarchy and everyday behaviour The concept, semantics and period typology of ceremonial at the early modern Habsburg courts Human behaviour and actions should not be examined in isolation solely through the lens of history, but in the context of other scientific disciplines 3 It is surely no accident that anthropology, ethnology and sociology have consistently dealt with ceremonial since the genesis of these scientific fields Moreover, they were able to provide historians with an appropriate methodology and terminology These disciplines proved that ceremonial represented a constitutive element in the social and spiritual life of various 1

De Zeventiende Eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief

has written on early modern book history, court culture and the history of collections. In 2011, Double agents. Cultural and political brokerage in early modern Europe was published. She is currently working on the collections and album amicorum of Bernhardus Paludanus (1550-1633).

Notions of Privacy at Early Modern European Courts Reassessing the Public/Private Divide, 1400–1800, 2024

Reproduced with the permission of the University of Warsaw Library (inventory number Sd. 612.636). 7.2 Woodcut, in Andrea Alciato, Emblematum libellus (Paris: Christianus Wechelus, 1542). Reproduced with the permission of the University of Warsaw Library (inventory number Sd. 608.845). 10.1a Lucas Cranach the Younger, Kurfürst August von Sachsen (1526-1586), c. 1564, oil on canvas. Kunsthistorisches Museum, Vienna. Wikimedia Commons. 10.1b Nicolas Neufchatel, Kaiser Maximilian II. (1527-1576), c. 1566, oil on canvas. Kunsthistorisches Museum, Vienna. Wikimedia Commons. 10.2 Lucas Cranach the Elder, Hunting near Hartenfels Castle, c. 1540, Oil, originally on wood, transferred to masonite. The Cleveland Museum of Art, Cleveland. Printed with permission under the Cleveland Museum of Art Open Access Initiative (CC0 1.0). list of illustratioNs Tables/Graphs/Diagrams 6.1 Number of valets de chambre per year, according to the ordinances (© Oskar J. Rojewski). 6.2 Number of servants of cámara, according to the nóminas (© Oskar J. Rojewski). 10.1 Lenses of political privacy (© Dustin M. Neighbors). What began with a simple question between the editors ("Did privacy exist in premodern court cultures?") has evolved into an exciting journey of discussions and lively debates between scholars. Our book is an amalgamation of a series of discussions that took place in December 2020 at the University of Copenhagen. The aim for the book has been to document these discussions and to provide a foundation for more dialogue and research concerning the relationship between the public and private aspects of early modern courts and court cultures in Europe. First and foremost, we would like to thank our contributors, who have been dedicated to this project and have produced thoughtful and engaging essays. Second, we would like to thank the Centre for Privacy Studies (PRIVACY), Mette Birkedal Bruun, the PRIVACY research teams, and the Danish National Research Foundation (DNRF) for their financial and scholarly support of this collection. Furthermore, it is due to PRIVACY and the DNRF that this book is available as an open-access volume. The 2020 discussions with international scholars would also not have been possible without the support of the Society for Court Studies, its Executive Committee, and the Society's members. We also want to thank Amsterdam University Press and particularly our editor, Erika Gaffney, for her support and patience. We would like to express our gratitude to Liesbeth Geevers for her guidance in helping us start this project and to David Dahl at PRIVACY for his assistance and hard work in scrutinising and proofing the final manuscript. Finally, the peer reviewers, as well as Charlotte Backerra, Janet Dickinson, and others, have provided feedback and editorial comments to make this book the best it can be.

In early modern institutions of higher education, academic dissertations to be defended in public were published in the form of decorated broadsheets summarising the student’s conclusions. From the early 17th century onwards, thesis prints developed into abundantly illustrated documents accompanied by a dedication to a protector, usually an academic, ecclesiastical or political figure. They were meant to affirm the laureates’ position in society and to glorify their patrons. This paper analyses the functioning and use of such encomiastic images, relatively unknown today, within the framework of universities and Jesuit colleges in the Southern Low Countries. It focuses on one iconographic theme in particular: the staging of the applicant offering the thesis poster itself to his protector, in order to highlight the significance of courtly patronage and dedicatory practice in the context of public defences.

Dance Research Journal, 1988

The Corpus of Baroque Ceiling painting in Germany (CbDD) wants to connect the described transformation in the field of mural painting with the political changes in Europe around 1700. This shift of focus occurs parallel to a new position of power established by the monarchs and their states. The sovereigns are now striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire want to effect their new rights of sovereignty, just as the kingdoms of Sweden and England, or the court of the House of Orange in the Netherlands and, later, in England. Despite their basically anti-catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, are taken over, and new forms of a supra-national and trans-confessional court culture of the nobility and the higher nobility develop in Western Europe