This article uses the alba collected by three travellers from the Habsburg Netherlands to Constantinople in the 1570s and 1580s to explore the purposes of collecting and what they reveal about being part of an integrated imperial mission that represented Habsburg territory abroad. The first album was gathered by the imperial ambassador’s physician Arnold Manlius between May 1571 and November 1574. Manlius’s humanist project is filled with over ninety signatures from his fellow housemates and local notables, accompanied by explanatory annotations in Latin. The article contrasts this large collection with the alba of Lambert Wijts of Mechlin and Johann Huenich of Antwerp, both of whom spent two months in Constantinople as members of tribute-carrying delegations. Wijts (who was in Constantinople between July and August 1572) and Huenich (January through March 1586) gathered eclectic collections of signatures alongside sets of costume album images. Taken together, the three alba reveal a range of collecting practices and purposes – intellectual, documentary, and personal – of men from the Southern Low Countries working in the service of Habsburg emperors in Ottoman Constantinople.
{"title":"Three Alba Amicorum from the Habsburg Netherlands","authors":"Robin Dora Radway","doi":"10.51750/emlc12173","DOIUrl":"https://doi.org/10.51750/emlc12173","url":null,"abstract":"This article uses the alba collected by three travellers from the Habsburg Netherlands to Constantinople in the 1570s and 1580s to explore the purposes of collecting and what they reveal about being part of an integrated imperial mission that represented Habsburg territory abroad. The first album was gathered by the imperial ambassador’s physician Arnold Manlius between May 1571 and November 1574. Manlius’s humanist project is filled with over ninety signatures from his fellow housemates and local notables, accompanied by explanatory annotations in Latin. The article contrasts this large collection with the alba of Lambert Wijts of Mechlin and Johann Huenich of Antwerp, both of whom spent two months in Constantinople as members of tribute-carrying delegations. Wijts (who was in Constantinople between July and August 1572) and Huenich (January through March 1586) gathered eclectic collections of signatures alongside sets of costume album images. Taken together, the three alba reveal a range of collecting practices and purposes – intellectual, documentary, and personal – of men from the Southern Low Countries working in the service of Habsburg emperors in Ottoman Constantinople.","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44484627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While autograph alba originally appeared as memorabilia of student life, it is often argued that the possibility of boosting their owner’s reputation by association with leading scholars led to their careerist exploitation during the seventeenth century. In German universities, aspiring academics would seek out the most renowned luminaries in the world of learning, and even established scholars would on occasion keep an album with signatures of eminent peers. This article assesses the influence of this practice in Dutch universities and considers whether a careerist use of autograph alba existed in the Dutch Republic, through an exploration of some quantitative trends in the Dutch National Library’s (KB) inventory of autograph alba and the union catalogue Repertorium Alborum Amicorum (RAA).
{"title":"‘Magnetic Virtue’","authors":"Manuel Llano","doi":"10.51750/emlc12174","DOIUrl":"https://doi.org/10.51750/emlc12174","url":null,"abstract":"While autograph alba originally appeared as memorabilia of student life, it is often argued that the possibility of boosting their owner’s reputation by association with leading scholars led to their careerist exploitation during the seventeenth century. In German universities, aspiring academics would seek out the most renowned luminaries in the world of learning, and even established scholars would on occasion keep an album with signatures of eminent peers. This article assesses the influence of this practice in Dutch universities and considers whether a careerist use of autograph alba existed in the Dutch Republic, through an exploration of some quantitative trends in the Dutch National Library’s (KB) inventory of autograph alba and the union catalogue Repertorium Alborum Amicorum (RAA).","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70798309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Johanna Ferket, Hekelen met humor. Maatschappijkritiek in het zeventiende-eeuwse komische toneel in de Nederlanden","authors":"I. Nieuwenhuis","doi":"10.51750/emlc12183","DOIUrl":"https://doi.org/10.51750/emlc12183","url":null,"abstract":"","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42784672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Michael Laver, The Dutch East India Company in Early Modern Japan. Gift Giving and Diplomacy","authors":"Guido van Meersbergen","doi":"10.51750/emlc12182","DOIUrl":"https://doi.org/10.51750/emlc12182","url":null,"abstract":"","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47448905","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Natascha Veldhorst, Sounding prose. Music in the 17th-century Dutch Novel","authors":"Tine De Koninck","doi":"10.51750/emlc12178","DOIUrl":"https://doi.org/10.51750/emlc12178","url":null,"abstract":"","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48895910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses the emergence and development of Dutch sonnets through Netherlandish alba amicorum from the period 1560 to 1660. It discusses the advent of the sonnet in the Renaissance literature of the Low Countries in the 1560s, showing how artists, scholars, and poets with connections to the Dutch refugee community in London became early adapters of this genre through their alba amicorum. We argue that this group used the sonnet as a form of exile literature, which communicated attachment to the fatherland and the righteous causes of the Dutch Revolt. Next, the essay explores the Dutch sonnets in the alba amicorum of Janus Dousa and Jan van Hout. Instrumental in establishing Leiden University in 1575 and expanding its reputation, both Dousa and van Hout encouraged the writing of sonnets in their alba as a means to advocate the use of Dutch as a literary language. Tracing the Dutch sonnet within the alba amicorum of the Low Countries, it is clear that the Dutch sonnet should be considered as the outcome of an emancipatory effort. At a moment in time where traditional non-personal inscriptions in alba amicorum were the mode, these poets used the sonnet to distinguish themselves from other contributors in the album, while at the same time conveying a clear message. First, Dutch sonnets in alba were written to claim a specific group identity connected to a Dutch migrant community. Second, these sonnets were adopted within the friendship books of the intellectual elite in Holland in order to assert a forefront position for the vernacular language equal to that of Latin, and which supported political and linguistic emancipation. After the establishment of the Dutch Republic and the emancipation of the Dutch language were completed in the first quarter of the seventeenth century, the sonnet seemed to have achieved currency in Netherlandish culture. Around the same time the number of sonnets in alba drastically dropped. The lack of exclusivity might have been the main cause of this decline.
{"title":"Instruments of Community","authors":"A. Leerintveld, J.J.M. Vandommele","doi":"10.51750/emlc12172","DOIUrl":"https://doi.org/10.51750/emlc12172","url":null,"abstract":"This article analyses the emergence and development of Dutch sonnets through Netherlandish alba amicorum from the period 1560 to 1660. It discusses the advent of the sonnet in the Renaissance literature of the Low Countries in the 1560s, showing how artists, scholars, and poets with connections to the Dutch refugee community in London became early adapters of this genre through their alba amicorum. We argue that this group used the sonnet as a form of exile literature, which communicated attachment to the fatherland and the righteous causes of the Dutch Revolt. Next, the essay explores the Dutch sonnets in the alba amicorum of Janus Dousa and Jan van Hout. Instrumental in establishing Leiden University in 1575 and expanding its reputation, both Dousa and van Hout encouraged the writing of sonnets in their alba as a means to advocate the use of Dutch as a literary language. Tracing the Dutch sonnet within the alba amicorum of the Low Countries, it is clear that the Dutch sonnet should be considered as the outcome of an emancipatory effort. At a moment in time where traditional non-personal inscriptions in alba amicorum were the mode, these poets used the sonnet to distinguish themselves from other contributors in the album, while at the same time conveying a clear message. First, Dutch sonnets in alba were written to claim a specific group identity connected to a Dutch migrant community. Second, these sonnets were adopted within the friendship books of the intellectual elite in Holland in order to assert a forefront position for the vernacular language equal to that of Latin, and which supported political and linguistic emancipation. After the establishment of the Dutch Republic and the emancipation of the Dutch language were completed in the first quarter of the seventeenth century, the sonnet seemed to have achieved currency in Netherlandish culture. Around the same time the number of sonnets in alba drastically dropped. The lack of exclusivity might have been the main cause of this decline.","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41949455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Violet Soen and Yves Junot (eds.), Noblesses transrégionales. Les Croÿ et les frontières pendant les guerres de religion","authors":"Veronika Hyden-Hanscho","doi":"10.51750/emlc12180","DOIUrl":"https://doi.org/10.51750/emlc12180","url":null,"abstract":"","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47867881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"John Tholen, Producing Ovid’s ‘Metamorphoses’ in the Early Modern Low Countries. Paratexts, Publishers, Editors, Readers","authors":"Marijke Crab","doi":"10.51750/emlc12177","DOIUrl":"https://doi.org/10.51750/emlc12177","url":null,"abstract":"","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46641031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article traces the phenomenon of tune indications from their beginning to their use in three sixteenth-century manuscripts which hover on the border between alba amicorum and songbooks. The tune indication, the reference that shows which melody the song can be sung to, forms part of ‘song literacy’, the art of conserving a song beyond the moment of performance. Songs written down in alba amicorum may fill a gap in existing theories about the rapid development of song literacy in the sixteenth century. In addition, concentrating on the tune indicators may help to sharpen the definition of an album-with-songs compared to a songbook. In the Low Countries, tune indicators began to be attached to religious songs in the last decades of the fifteenth century. They were used to communicate new religious texts to an audience and to facilitate overruling sinful worldly texts. In printed collections of secular songs tune indicators seems to have been introduced after 1550 – but it took well into the 1600s before they became conventional in printed song collections. In handwritten collections the tune indicator was not the norm, with one notable exception: in circles of chambers of rhetoric. As alba-with-songs from the sixteenth century show, in the century’s last decades it became fashionable, at least within a small circle of alba owners in the western Low Countries, to provide a tune indicator. In these circles a good tune functioned as an important creative impulse to write new songs, especially semi-religious ones. These alba-with-songs might be considered harbingers of the song-minded Dutch ‘Golden Age’.
{"title":"‘Vare Wel Dur Luf’","authors":"Carla Strijbosch","doi":"10.51750/emlc12171","DOIUrl":"https://doi.org/10.51750/emlc12171","url":null,"abstract":"This article traces the phenomenon of tune indications from their beginning to their use in three sixteenth-century manuscripts which hover on the border between alba amicorum and songbooks. The tune indication, the reference that shows which melody the song can be sung to, forms part of ‘song literacy’, the art of conserving a song beyond the moment of performance. Songs written down in alba amicorum may fill a gap in existing theories about the rapid development of song literacy in the sixteenth century. In addition, concentrating on the tune indicators may help to sharpen the definition of an album-with-songs compared to a songbook. In the Low Countries, tune indicators began to be attached to religious songs in the last decades of the fifteenth century. They were used to communicate new religious texts to an audience and to facilitate overruling sinful worldly texts. In printed collections of secular songs tune indicators seems to have been introduced after 1550 – but it took well into the 1600s before they became conventional in printed song collections. In handwritten collections the tune indicator was not the norm, with one notable exception: in circles of chambers of rhetoric. As alba-with-songs from the sixteenth century show, in the century’s last decades it became fashionable, at least within a small circle of alba owners in the western Low Countries, to provide a tune indicator. In these circles a good tune functioned as an important creative impulse to write new songs, especially semi-religious ones. These alba-with-songs might be considered harbingers of the song-minded Dutch ‘Golden Age’.","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46951955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After Amsterdam’s late medieval Catholic monasteries were surrendered to the Protestant government in 1578, four of these properties were converted into an orphanage, mental asylum, and gender-specific reformatories respectively before the turn of the century. Portals with Dutch Mannerist expressions were installed at the principal entrances as a publicly visible feature of modernisation for the repurposed complexes. This essay is a study of these architectural objects and their socio-political value for the city’s philanthropic campaign that affirmed middle-class power. It argues that the portals, completed with narrative relief panels and didactic inscriptions, were a means for Amsterdam’s authorities to redefine the spectacle of social marginality. Once a concrete sight of panhandlers and vagrants occupying the urban landscape, to the general population underclass visibility became an abstract image of civic discipline. Such an image enabled sequestered and disappeared lives to reappear, with a spectral quality integral to Foucault’s analysis of modern society’s compulsion to stow away indigent bodies. Considering the seventeenth-century Dutch moral geography of moderating wealth through philanthropy, such a ‘spectral spectacle’ paralleled the Baroque theatricality of Counter-Reformation Rome as a spatial experience that advanced a more secular mode of devotion to the community.
{"title":"A Spectral Spectacle","authors":"S. Wan","doi":"10.51750/emlc11337","DOIUrl":"https://doi.org/10.51750/emlc11337","url":null,"abstract":"After Amsterdam’s late medieval Catholic monasteries were surrendered to the Protestant government in 1578, four of these properties were converted into an orphanage, mental asylum, and gender-specific reformatories respectively before the turn of the century. Portals with Dutch Mannerist expressions were installed at the principal entrances as a publicly visible feature of modernisation for the repurposed complexes. This essay is a study of these architectural objects and their socio-political value for the city’s philanthropic campaign that affirmed middle-class power. It argues that the portals, completed with narrative relief panels and didactic inscriptions, were a means for Amsterdam’s authorities to redefine the spectacle of social marginality. Once a concrete sight of panhandlers and vagrants occupying the urban landscape, to the general population underclass visibility became an abstract image of civic discipline. Such an image enabled sequestered and disappeared lives to reappear, with a spectral quality integral to Foucault’s analysis of modern society’s compulsion to stow away indigent bodies. Considering the seventeenth-century Dutch moral geography of moderating wealth through philanthropy, such a ‘spectral spectacle’ paralleled the Baroque theatricality of Counter-Reformation Rome as a spatial experience that advanced a more secular mode of devotion to the community.","PeriodicalId":37252,"journal":{"name":"Early Modern Low Countries","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48031342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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