Prosperity generally brings with it a desire for luxury, which finds its expression in man's endeavour to surround himself with objects of beauty. Artists of all kinds are always being attracted to the centres of wealth, which thus develop into centres of art. We observe this through the whole of history; in antiquity, in the Middle Ages and, above all, during the Renaissance in Italy, where the many States and cities vied with each other in fostering cultural life, where palaces, castles and churches were built and decorated by the greatest artists as a result of the liberality of the art-loving princes, whose example was followed by the nobility and the rich merchants. North of the Alps, it was mainly France that came into the foreground in this field. The Duc de Berry was one of the greatest patrons of art of all times. His brother Philip, Duke of Burgundy, and his successors made of their court, which frequently resided in the Southern Netherlands, a centre of culture. Under the Hapsburgs the tradition was con tinued. The Northern Netherlands, which also gradually came to be part of the Burgundian realm (Holland since 1433), at first lagged behind as far as cultural life was concerned, but little by little they caught up with their southern contemporaries. An important factor in the development of the Netherlands was their geographical po sition, which predestined them to become a great commercial centre.
Originally published in 1929, this book was written to provide an account of the German circle in Copenhagen during the mid-eighteenth century, revealing 'the very real debt which Danish literature and thought owed to the German writers who were in Copenhagen between the years 1740 and 1770'. A bibliography is included and detailed notes are incorporated throughout. This book will be of value to anyone with an interest in European literature, literary criticism and comparative literature.
The second edition of this book frames the Holocaust as a catastrophe emerging from varied international responses to the Jewish question during an age of global crisis and war. The chapters are arranged chronologically, thematically, and geographically, reflecting how persecution, responses, and experience varied over time and place, conveying a sense of the Holocaust’s complexity. Fully updated, this edition incorporates the past decade’s scholarship concerning perpetrators, victims, and bystanders from political, national, and gendered perspectives. It also frames the Holocaust within the broader genocide perspective and within current debates on memory politics and causation. Global in approach and supported by images, maps, diverse voices, and suggestions for further reading, this is the ideal textbook for students of this catastrophic period in world history.
This Concise Encyclopedia draws its material from the award-winning Encyclopedia of Materials: Science and Technology, and includes updates and revisions not available in the original set. This customized collection of articles provides a handy reference for materials scientists and engineers with an interest in the structure of metals, polymers, ceramics and glasses, biomaterials, wood, paper, and liquid crystals.Materials science and engineering is concerned with the relationship between the properties and structure of materials. In this context "structure" may be defined on the atomic scale in the case of crystalline materials, on the molecular scale (in the case of polymers, for example), or on the microscopic scale. Each of these definitions has been applied in making the present selection of articles.* Brings together articles from the Encyclopedia of Materials: Science & Technology that focus on the structure of materials at the atomic, molecular and microscopic levels, plus recent updates* Every article has been commissioned and written by an internationally recognized expert and provides a concise overview of a particular aspect of the field * Extensive bibliographies, cross-referencing and indexes guide the user to the most relevant reading in the primary literature
The fourth volume on Dutch silver deals with those embossed ecclesiastical and secular objects which are not described in Volume I. Since that volume is confined to plaquettes, tazze and dishes, together with the complete oeuvre of the three most famous artists Adam and Paul van Vianen, and Lutma, a large variety of objects remains to be dealt with. Amongst these are many very important and beautiful vessels. The principal pieces described in this volume are of ecclesiastical origin such as monstrances, ciboriums, chalices, pyxes, chrismatories, mass-cruets, incense-boats and burners, altar-thrones, lecterns, missal covers, canon-board frames, altar -bells, altar-vases, altar -candlesticks, sanctuary lamps and sconces. Further, secular silver such as plaquettes, tazze and dishes, that have come to our knowledge since the publication of the first volume, and also plaquette medals, boxes, book-covers, beakers, tankards, cups, bowls, basins, bottles, plate used for the toilet, for the table, candlesticks and plate used for the service of tea, coffee and chocolate. A general survey of a number of objects is given in the Introductions to the first and second volumes (Volume I, p. VI; Volume II, p. VI~XIV). Certain additional observations concerning the nature, technique of manufacture and decoration of the particular types of article illustrated in this volume are, however, necessary.
Prosperity generally brings with it a desire for luxury, which finds its expression in man's endeavour to surround himself with objects of beauty. Artists of all kinds are always being attracted to the centres of wealth, which thus develop into centres of art. We observe this through the whole of history; in antiquity, in the Middle Ages and, above all, during the Renaissance in Italy, where the many States and cities vied with each other in fostering cultural life, where palaces, castles and churches were built and decorated by the greatest artists as a result of the liberality of the art-loving princes, whose example was followed by the nobility and the rich merchants. North of the Alps, it was mainly France that came into the foreground in this field. The Duc de Berry was one of the greatest patrons of art of all times. His brother Philip, Duke of Burgundy, and his successors made of their court, which frequently resided in the Southern Netherlands, a centre of culture. Under the Hapsburgs the tradition was con tinued. The Northern Netherlands, which also gradually came to be part of the Burgundian realm (Holland since 1433), at first lagged behind as far as cultural life was concerned, but little by little they caught up with their southern contemporaries. An important factor in the development of the Netherlands was their geographical po sition, which predestined them to become a great commercial centre.
This third volume on Dutch Silver does not need a lengthy introduction, since it is a continuation of the second volume, describing and reproducing the wrought plate of the other provinces of the Netherlands, i. e. Zeeland, Utrecht, North-Brabant, Limburg, Gelderland, Overijsel, Friesland and Groningen. The province of Drenthe, until recent years a district with a poor population, has never produced important pieces of silver, but only rather insig nificant "folk art" which need not be included in this book. The general observations contained in the introduction to Volume II apply also to this volume. Here we shall add only certain particular observations regarding the most important and characteristic productions of the various provincial masters. Many of their works are well above the standard normally reached by local celebrities, and some mention of their particular skills and versatility is, therefore, called for. The silver of ZEELAND is, in general, of fine quality and neatly executed. Though this island province, lying between Holland and Belgium, had much easier communications with the Southern Netherlands than with Holland, it is evident that the influence of the latter on the Zeeland silversmiths was predominant. One of the most outstanding pieces of Dutch silver, the eight-pointed dish of 1631 made by the Middelburg silversmith and engraver Johannes Looff (no.
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