Seventeenth Century

This article examines the clothing accessory choices of Rachel, Countess of Bath, for the period of her first marriage, 1639–54. Her General Account Book listing purchases she made, and the other account books, from the Tawstock Estate in Devon and the London household, show the accessories she bought, both for herself and her servants. It will consider how much she spends on her accessories and, through the evidence of surviving tradesmen's and individuals' probate inventories, whether these accessories were also available and purchased by women lower down the social scale. It will look at the differences in accessory costs and fabrics across society.

Abstract
This article examines the socio-economic relations between two distinct trade
partners over a time span of a hundred years: the Kingdom of Portugal on
the one hand and the Hanseatic League on the other hand. By reconsidering
the legal conditions of long distance trade at the end of the Late Middle
Ages and the beginning of the Renaissance Period, the study also aims to
define the Hanseatic League as one of Portugal’s trade partners by looking
at its characteristics along with two of the most important commodities of
exchange: salt and timber.
Keywords
Portugal, Hanseatic League, privileges, salt trade, timber trade, 15th to 16th
centuries.
PORTUGAL E A EUROPA
NOS SÉCULOS XV E XVI.
Olhares, relações, identidade(s)

This article examines two Dutch diplomatic missions, in 1627-28 and 1635, by which the United Provinces intervened in a Polish-Swedish armed conflict in Prussia. The focus is on 'diplomatic poetics': the ways in which literature functioned within diplomatic practice, and how that practice (or the 'diplomatic moment') was in turn envisioned in literature. The Polish-Swedish conflict was of great interest to the United Provinces, and was elaborately discussed in various Dutch media, as well as in the correspondences of merchants and politicians. The Dutch embassies to Polish territories themselves, meanwhile, inspired a number of literary works, published mostly in the Republic, but also in for example Danzig and Königsberg. These sources demonstrate how early modern literary and diplomatic practices in Europe overlapped and influenced each other. Firstly, German, French and Dutch poems by Johannes Plavius, Simon van Beaumont and Joost van den Vondel illustrate the blurring of the lines between the realms of diplomacy and literature. Poems could function as diplomatic gifts, enabling both personal, intellectual communication and the widespread transmission of political messages. Moreover, Latin and German plays by Johannes Narssius and Simon Dach, and more importantly Latin poems by Simon van Beaumont and Caspar Barlaeus, as well as an illustrated Dutch account of the first mission by Abraham Booth, reveal that the Dutch envoys featured in literary narratives as both wise peace bringers and travelling poets, and their missions to Poland as both arduous ordeals and epic adventures. Much like poetic gifts, these literary reflections on 'the diplomatic moment' had public diplomatic agency, simultaneously voicing political opinions and crafting artistic images of the diplomats themselves.

"So in an unexpected twist, it is now possible to confirm that many soldiers in the later Thirty Years’ War were, in fact, veterans of the English Civil War."

This article gives an overview for the arrival and motivations of soldiers from Great Britain who served in the Thirty Years' War. While highlighting the well understood service of Scots, it especially adds to our understanding of English recruits. It will surprise many that from both kingdoms, the 1640s saw large scale recruitment particularly to the Dutch and French armies.

During the second half of the sixteenth century, Orlando di Lasso was very actively merchandised by Le Roy & Ballard. This paper first gives some bibliometric measures of Lasso’s influence on the music market, and a study of seventeenth-century paintings showing music books with his music, mostly by Simon Renard de Saint-André. Widely known and remembered, Lasso’s profane music was reused by Protestant poets to express their faith in spiritual poems. His sacred music is then studied in late sources and paintings. Other aspects of Lassos’s fame and career are discussed in terms of his printing privileges and his portraits engraved after paintings. The final section is devoted to his influence on music bookselling and music collecting, which persisted into the seventeenth century.

Le Corpus Horicke, un ensemble de dix-sept manuscrits musicaux calligraphiés par le maître écrivain bruxellois Balderic van Horicke (ca. 1595-1643), totalisant 363 pièces de musique, est illustré avec 192 traits de plume dont les deux tiers au moins sont inspirés par des gravures du temps. Cet article examine les diverses transformations effectuées par le calligraphe pour passer de sa gravure modèle à son trait de plume.

Difendere l'assolutismo e la libertà delle donne allo stesso tempo: questa è l'ambizione di Mary Astell. Ben prima della nascita del femminismo, Astell, pensatrice politica originale e innovativa, critica l'individualismo proto-liberale e patriarcale mentre sostiene l'unione di Stato e Chiesa nella figura della regina come risposta al disordine delle Rivoluzioni inglesi. Affermando una radicale eguaglianza degli individui, disuniti e soli davanti a Dio e al sovrano, Astell ripensa l'incontro tra politica e teologia di fronte al consolidarsi di un nuovo ordine costituzionale. Nel farlo, si confronta tanto con i grandi pensatori del Seicento - Hobbes, Locke, Shaftesbury - quanto con le donne e gli uomini che delle Rivoluzioni sono stati i protagonisti. La critica imprevista è un nuovo e inaspettato capitolo della storia costituzionale inglese.

For full article access please go to https://www.tandfonline.com/eprint/JTVHTFNWJUFQAGCBDKY9/full?target=10.1080/00043079.2019.1638674 or contact me at ajasienski@smu.edu.

When early modern individuals commissioned portraits, they likely hoped for stable and long-lasting commemoration. However, portraiture was highly mutable, susceptible of acquiring meanings that diverged from its original patrons’ intentions. Later owners often had portraits repainted, transforming them into religious images that combined individual likeness with markers of sanctity. Examination of artworks from Spain and colonial New Spain reveals that the fluid, tenuous boundary between sacred and secular imagery in early modernity facilitated such operations. In each case studied, the practice produced new art objects that, while sometimes only minimally retouched, were entirely different in function from their earlier iterations.

Why Christopher Columbus did discovered America the new world, why did Vasco da Gama discovered the sea route to reach India. They went and risk their life if search of the Spice Islands. The spices that European was searching were found in Indonesia Archipelago, Bandas famous for nutmeg and mace and Moluccas for its clove. After the formation of the East India Company in the early seventeenth century both the Dutch and English were competing against each other and outmaneuver one another for control of the islands. In the end, it was the Dutch who emerge victories. The Dutch established a monopoly on the spice trade from the Moluccas. They gained control over the clove trade through an alliance with the sultan of Ternate. Dutch occupation of the Banda’s gave them control of the nutmeg trade. Dutch control of the region was fully realized when Malacca was captured from the Portuguese in 1641. The Dutch were quite merciless when it suited their purposes; sometime obliterate the whole native population. By its brutal conquest over the Spice Islands they were able to control over the spice trade. Nevertheless, the English were not left behind whenever there is opportunity they set in to take the advantage of the sour relation between the native and Dutch, as the English played a role of more mercantile communities than occupation. The beginning of the seventeenth century is very important for the two companies as it decide the fate of the spices trade. Both companies were not willing to back out.

When poetry was printed, poets and their publishers could no longer take for granted that readers would have the necessary knowledge and skill to read it well. By making poems available to anyone who either had the means to a buy a book or knew someone who did, print publication radically expanded the early modern reading public. These new readers, publishers feared, might not buy or like the books. Worse, their misreadings could put the authors, the publishers, or the readers themselves at risk.

Doubtful Readers: Print, Poetry, and the Reading Public in Early Modern England focuses on early modern publishers' efforts to identify and accommodate new readers of verse that had previously been restricted to particular social networks in manuscript. Focusing on the period between the maturing of the market for printed English literature in the 1590s and the emergence of the professional poet following the Restoration, this study shows that poetry was shaped by—and itself shaped—strong print publication traditions. By reading printed editions of poems by William Shakespeare, Aemilia Lanyer, John Donne, and others, this book shows how publishers negotiated genre, gender, social access, reputation, literary knowledge, and the value of English literature itself. It uses literary, historical, bibliographical, and quantitative evidence to show how publishers' strategies changed over time. Ultimately, Doubtful Readers argues that although—or perhaps because—publishers' interpretive and editorial efforts are often elided in studies of early modern poetry, their interventions have had an enduring impact on our canons, texts, and literary histories.

Prenant son essor au début du XVIIe siècle, l'art de l'estampe est à son apogée sous le règne de Louis XIV. Virtuose, Abraham Bosse en devient l’un des théoriciens. Les graveurs parisiens tels Robert Nanteuil, Girard Audran, François Chauveau, Sébastien Leclerc et les Lepautre atteignent ainsi une perfection technique dans l'art de la taille-douce, gravure au burin ou à l'eau forte. Dès lors, du portrait aux gravures de mode, de l’illustration d’œuvres littéraires aux almanachs muraux, des affiches de confréries aux placards de soutenance de thèse, les estampes déploient une production variée reflétant le goût français au sein de l’Europe. Avec la participation de plusieurs spécialistes de l’histoire de l’estampe, le colloque de l’Académie du Vernet (Vichy, 13 juin 2020) propose de redécouvrir l’art de la gravure et la riche palette de son utilisation au Grand Siècle, celui de la marquise de Sévigné, hôte de marque des cures de Vichy.

P. Zoberman (dir.), 'Interprétation au/du
XVIIe siècle (Actes du colloque, The Society for Seventeenth-Century French Studies / Université de
Paris-Sorbonne. Paris, 6-8 septembre 20 2), Cambridge University Press. (En cours de publication)

El objetivo de este trabajo es analizar la conformación de las nuevas identidades fiscales que complejizaron la definición y las prácticas de la herencia de las categorías tributarias establecidas para los Andes a  fines del siglo XVI. Estos cambios se dieron en un contexto de migraciones masivas ocurridas a lo largo del siglo XVII, generadas —entre otras cosas— por las reformas propuestas por el virrey Francisco de Toledo (1569-1581) y por las demandas de mano de obra indígena. La fuente principal de este trabajo es la Numeración General ordenada por el virrey duque de La Palata y llevada a cabo entre 1683 y 1686. Para este capítulo elegí, por la calidad de los datos, los padrones de cuatro provincias de la Audiencia de Charcas: Larecaja, Sicasica, Cochabamba y Mizque. Analizo complementariamente, además, los ingresos de las
Cajas Reales, juicios y otros padrones.
Los hallazgos que presento corresponden a estas cuatro provincias, caracterizadas por una importante migración y por la presencia de  haciendas, por lo que no son necesariamente representativos de lo ocurrido en todo Charcas. Las categorías étnicas encontradas son complejas de analizar, cambiantes, y dependieron de la mirada del visitador, del declarante o de la coyuntura. En ese sentido, el estudio muestra la importancia de analizar cada caso en sí mismo y las dificultades que tiene la generalización en la definición de las categorías.
En el trabajo separé analíticamente a los indígenas para poder mostrar con mayor detalle la enorme diversidad encontrada dentro de ese colectivo. La fuente estudiada permite observar que las migraciones pusieron en contacto a personas provenientes de provincias muy diferentes, a veces con largas trayectorias migratorias. También hubo casos de migrantes casados con mujeres locales, algunos de los cuales se integraron en la sociedad donde residían, mientras que otros conservaron su estatus de forastero o yanacona. Otros migrantes, en cambio, se casaron con mujeres de su mismo lugar de origen, probablemente antes de migrar. Los “padrones de indios” incorporaron de forma algo aleatoria, además, a personas que no lo eran y que se podrían definir en términos generales como mestizos. No encontré un patrón en su incorporación, aunque sí algunas prácticas que la explican. En el trabajo analizo con detalle los cambios que implicaron cada uno de estos casos en la herencia de las categorías y en el cobro de los tributos.

El presente artículo resalta los rasgos de neoplatonismo italiano presentes en el discurso de la pastora Marcela contenido en la primera parte de Don Quijote de La Mancha. El género pastoril ofrecía un camuflaje seguro para aquellas ideas procedentes de Italia que fueron en gran medida proscritas debido a los ímpetus de la Contrarreforma que caracterizaron al período posterior a la muerte de Felipe II. El discurso de Marcela resulta por tanto una referencia solapada a los indelebles vínculos intelectuales entre los escritores españoles y los neoplatónicos del Renacimiento Italiano, más concretamente a León Hebreo y sus Diálogos de amor
.