Figure 1.1
Old map of Europa in excellent state of preservation. By Ortelius, Theatrum Orbis Terrarum, Antwerp, 1570 (Old Images / Alamy Stock Photo)
Figure 1.2
Portrait of Empress Catherine the Great. 1780. By Fyodor Rokotov (1730-1808). Oil on canvas. The State Hermitage Museum. Saint Petersburg. Russia. (PRISMA ARCHIVO / Alamy Stock Photo)
Additional Website image 1.3
An English Postilion, Thomas Rowlandson, 1756–1827, British, ca. 1785, Watercolor, with pen, in brown ink, and graphite on medium, slightly textured, beige, laid paper, mounded on, thick, moderately textured, beige, laid paper, Mount: 6 3/8 × 9 3/16 inches (16.2 × 23.3 cm), Contemporary drawn border: 5 7/16 × 8 1/4 inches (13.8 × 21 cm), and Sheet: 5 1/8 x 7 15/16 inches (13 x 20.2 cm), horses (animals), man, riding boots, riding crop, sporting art (Artokoloro / Alamy Stock Photo)
Figure 2.1
Jakob Fugger, Jacob Fugger (GL Archive / Alamy Stock Photo)
Figure 2.2
Marco Polo’s departure from Venice in 1271 (From Marco Polo’s Travels), ca 1400. Artist: Anonymous (Heritage Image Partnership Ltd / Alamy Stock Photo)
Figure 3.1
Ice-skating in a Village by Hendrick Avercamp (1585-1634), oil on panel, c. 1610. IanDagnall Computing / Alamy Stock Photo
Figure 3.2
Map of the world by Gerard Mercator, first published circa 1595. Orbis terrae compendiosa descriptio. Classic Image / Alamy Stock Photo.
Figure 4.1
Men and women collaborate during the grain harvest in eighteenth-century Germany. Mayer 1770, facing 247. Meyer.
Figure 5.1
16th century map (ref ST Map 69; CD #MS 167). © Huntington Library, Art Collections and Botanical Gardens, San Marino, California 9112080.
Figure 6.1
Map of main European towns at the start of the early modern period. Pounds 1979, 30.
Figure 6.2
Map of Amsterdam . 1572. Georg Braun; Frans Hogenberg; after Cornelis Anthonisz. 230 Braun Amsterdam UBHD. The Picture Art Collection / Alamy Stock Photo.
Figure 7.1
Valmont and Emilie, illustration from 'Les Liaisons Dangereuses' by Pierre Choderlos de Laclos (1741-1803) engraved by Romain Girard (b.c.1751) 1782 (engraving) (b/w photo) Bridgeman Images
Figure 8.1
The knight Ulrich von Hutten lying in bed, undergoing a treatment with the wood guaiacum which involved long periods of extensive sweating in a sauna-type hot room (1519). Credit: Wellcome Collection. Public Domain Mark
Figure 8.2
Bloodletting or zodiac man, showing the influence of zodiac and its twelve astrological signs on the individual parts and organs of the human body. No therapeutic procedure would be undertaken without astrological considerations. (c. 1420).
Figure 8.3
The four elements, qualities, humours, seasons and life stages and their interrelations. Credit: Wellcome Collection. Attribution 4.0 International (CC BY 4.0)
Figure 8.4
A depiction of the surgical removal of a stone from the urinary tract, known as ‘lithotomy’ in 1707. Wellcome Library, London.
Figure 9.1
Mining represented an early form of large-scale centralized production. This illustration shows the labour-intensive extraction of precious minerals as well as associated services like market stalls and open-air taverns. Coloured miniature by Jörg Kolber in the Schwazer Bergbuch, a description and illustration of the silver and copper mines of Schwaz in the Austrian region of Tyrol (1556), © Tiroler Landesmuseum Ferdinandeum, Inssbruck.
Figure 10.1
Parish churches were religious as well as social centres in late medieval communities. This procession of Central European villagers around 1500 neatly reflects the social order: members of the clergy at the front, male householders at the centre, women and children towards the end. The church is by far the largest building and the only one made of stone. Schilling 1977, f. 283r.
Figure 10.2
Religious dissent could be a matter of life and death in pre-modern Europe. Despite an invitation to explain his views and assurances of safe conduct, Jan Hus – identified on his hat as a ‘leader of heretics’ – was burnt for refusing to recant his unorthodox views at Constance in 1415. Illustration from the manuscript chronicle of the Council of Constance by Ulrich Richental (c. 1465): Rosgarten Museum, Constance.
Figure 11.1
In an imaginary encounter, Luther – dressed as an Augustinian monk – is seen debating with the Pope, a cardinal, a bishop and another monk during the Diet of Worms (woodcut, 1521). Courtesy of the Richard C. Kessler Reformation Collection, Pitts Theology Library, Candler School of Theology, Emory University.
Figure 11.2
'Christ Drives out the Money Changers' and 'The Pope Received Revunes from Indulgences': woodcuts from Lucas Cranach and Philipp Melanchthon, Passional Christi un Antichristi (Wittenberg, 1521). history_docu_photo / Alamy Stock Photo
Figure 11.3
‘Christ Drives out the Money Changers’ and ‘The Pope Receives Revenues from Indulgences’: woodcuts from Lucas Cranach and Philipp Melanchthon, Passional Christi und Antichristi (Wittenberg, 1521). INTERFOTO / Alamy Stock Photo
Figure 12.1
Franz Hogenberg, ‘The Calvinist Iconoclastic Riot of August 20, 1566’ (1588): WGA. Bridgeman Images.
Figure 13.1
Andrea Pozzo’s altar of St Ignatius Loyola at the church of Il Gesù, Rome (1690s), provide an impression of intense engagement with the senses of the worshippers. Web resources; Wandel 2007
Figure 13.2
Painted in Japan by a Japanese Christian identified only as ‘the fisherman’, St Francis Xavier is wearing the habit and cloak of the Jesuit Order: Kobe Museum, Japan. Vlam 1979. GRANGER - Historical Picture Archvie / Alamy Stock Photo.
Figure 14.1
A late seventeenth-century Russian icon of Mary, the Mother of God. Orthodoxy rejects three-dimensional religious imagery as forbidden by the Ten Commandments: Murray Warner Collection of Oriental Art. © Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Oregon, Unknown Russian artist, Mother of God of Tikhvin (Bogomater’ Tikhvinskaia), MWRU34:9
Figure 14.2
The exterior of the Catholic schuilkerk of ‘Our Lord in the Attic’ in Amsterdam (built 1629) gives no indication of its function as a church. Web resources.
Figure 15.1
This engraving of an alleged ritual killing of a Christian boy by Jews in Munich in 1346 was made as late as 1714 for a German edition of Matthäus Rader, Bavaria Sancta. Schreckenberg 1996, 274. © Heinz Schreckenberg (1996) The Jews in Christian Art p. 274. Continuum Publishing, an imprint of Bloomsbury Publishing Plc.
Figure 15.2
The army of Suleiman the Magnificent laying siege to Vienna in 1529. Miniature by Nakkas Osman from 1588 in a Turkish manuscript: Topkapi Palace Museum, Istanbul. Art Collection 2 / Alamy Stock Photo.
Figure 16.1
Map of the world c. 1500. Waldseemuller map c.1507. Pictorial Press Ltd / Alamy Stock Photo.
Figure 16.2
The famous ‘Ardabil carpet’, made under the Safavids in 1539/40: Victoria and Albert Museum, London. The Picture Art Collection / Alamy Stock Photo.
Figure 16.3
Examination candidates viewing the list of names of those who have passed. Part of a handscroll (Guan bang tu) by the Ming painter Qiu Ying (c. 1495–1552): National Palace Museum, Beijing. Web resources.
Figure 17.1
The Ottoman Empire in the seventeeth century. Routledge.
Figure 17.2
Mehmed Pasa Sokolovic Bridge in Visegrad, Bosnia and Herzegovina. Irina Mavritsina / Alamy Stock Photo.
Figure 17.3
A portrait of Sultan Süleyman the Magnificent wearing the jewel-studded helmet, sharing similarities with both the crown of Charles V and the papal tiara (Italian woodcut, 16th century). MET/BOT / Alamy Stock Photo.
Figure 18.1
Caravel redonda with bulging sails (drawing, Portugal, 16th century). Lisbon, Museu De Marinha (Navy Museum). G. Dagli Orti /© NPL - DeA Picture Library / Bridgeman Images.
Figure 18.2
Native American Aztec people of Mexico dying of small pox introduced by the Spaniards, copied from the Codex Florentine, c. 1540 (colour litho). FLHC 1B / Alamy Stock Photo.
Figure 18.3
A bond for 2,400 florins issued on 7 November 1623 by the Vereenigde Oostindische Compagnie in its Middelburg chamber, signed in Amsterdam, and now in private ownership. ‘Auktionshaus Tschöpe’. CPA Media Pte Ltd / Alamy Stock Photo.
Figure 19.1
Plan of Lima by Jacques Nicolas Bellin, showing defensive walls built in 1684–87 (1764). Public Domain, David Rumsey Historical Map Collection.
Figure 19.2
Cathedral ‘La Paroquia’ at Guanajuato (photo c. 1905). DeGolyer Library, Southern Methodist University. stock imagery / Alamy Stock Photo.
Figure 19.3
View of a Sugar Plantation, French Antilles, from 'Encyclopedie, ou Dictionnaire raisonné des sciences, des arts et des metiers', by Denis Diderot and Jean-Baptiste Le Rond d'Alembert, 1751-72 (engraving) © NPL - DeA Picture Library / Bridgeman Images.
![‘Revolte générale des Negres. Massacre des Blancs’ [General revolt of the Blacks. Massacre of the Whites] shows, from a decidedly pro-colonial perspective, whites fleeing Cap Fran<em>ç</em>ais in Saint Domingue, as the slave rebellion of 1793 intensified. Many of these whites fled to the United States and elsewhere in the Caribbean. Source: Anon., <em>Saint-Domingue, ou histoire de ses revolutions. [Source, CC BY-NC 4.0] <em><a href='http://www.slaveryimages.org/s/slaveryimages/item/1224'>http://www.slaveryimages.org/s/slaveryimages/item/1224</a></em>](https://s3-eu-west-1.amazonaws.com/s3-euw1-ap-pe-ws4-cws-documents.ri-prod/9780367691554/image-gallery/figure-19.4.jpg)
Additional Website Figure 19.4
‘Revolte générale des Negres. Massacre des Blancs’ [General revolt of the Blacks. Massacre of the Whites] shows, from a decidedly pro-colonial perspective, whites fleeing Cap Français in Saint Domingue, as the slave rebellion of 1793 intensified. Many of these whites fled to the United States and elsewhere in the Caribbean. Source: Anon., Saint-Domingue, ou histoire de ses revolutions (Paris, 1815), facing title page. [Source, CC BY-NC 4.0] http://www.slaveryimages.org/s/slaveryimages/item/1224
Figure 20.1
Rua Nova dos Mercadores, a street in Lisbon renowned in the sixteenth century for its wealth of goods from Asia (painting, c. 1550–1600). Museu Nacional de Arte Antiga. Art Collection 2 / Alamy Stock Photo.
Figure 20.2
Anonymous, Dollshouse of Petronella Oortman (c. 1686–c. 1710). H 255 cm × W 190 cm × D 78 cm. Amsterdam, Rijksmuseum, BK-NM-1010. Artokoloro / Alamy Stock Photo.
Figure 20.3
The loosely cut style of this banyan was based on that of the Japanese kimono. Its cloth was produced on the Coromandel coast of India and the garment was possibly tailored in the Netherlands (c. 1750). London, Victoria and Albert Museum, T.215–1992. Victoria and Albert Museum, T.215-1992.
Figure 21.1
Stowage plan of the Liverpool slave ship ‘Brooks’ produced by William Elford and the Plymouth Society for Effecting the Abolition of the Slave Trade (London: James Phillips, 1789): National Maritime Museum, Greenwich. The Picture Art Collection / Alamy Stock Photo.
Figure 21.2
Global trade in consumer goods like tea, coffee and porcelain enriched the lives of Europe’s ‘polite society’ towards the end of the early modern period. ‘Tea with family’, by Richard Collins (died 1732), c.1727: Victoria and Albert Museum, London. De Agostini Picture Library / Bridgeman Images.
Figure 22.1
In his design of the loggia for the Villa Madama, built by the Medici family in Rome around 1520, Raphael followed architectural models from Antiquity. Interior of the loggia of the Villa Madama in Rome, designed by Raphael around 1520, Villa Madama, Rome, Italy. Photo © Raffaello Bencini / Bridgeman Images.
Figure 22.2
Tommaso Masaccio’s fresco The Trinity, painted in the church of Santa Maria Novella, Florence, provides a very early example of the use of perspective. The Trinity, 1427–28 (fresco) (post restoration), Masaccio, Tommaso (1401–28) / Santa Maria Novella, Florence, Italy. Ian Dagnall / Alamy Stock Photo.
Figure 23.1
This painting by a Flemish master shows the early modern interest in the accumulation of artworks and the collection of luxury goods, which was now felt to be a sign of social distinction. Jan Brueghel the Elder, ‘The Five Senses: Sight’ (oil on panel, c. 1617): Museo del Prado, Madrid, and WGA. incamerastock / Alamy Stock Photo.
Figure 24.1
Beginning of Jerome’s Epistle to Paulinus from the Gutenberg Bible of 1454–55 (vol. 1, f. 1r). Note how Gutenberg produced pages that replicated, as far as possible, typical scribal productions of the period: British Library, London. © British Library Board. All Rights Reserved / Bridgeman Images
![A satirical Dutch Tijding [news-sheet] in which Louis XIV has been taken ill on receiving the news that rumours of his enemy William III's death were untrue. He is attended by a crowd of physicians representing different nations, enemies and allies alike. Etching after P. Bouttats (c. 1690), <em>Wellcome Collection CC BY. Credit: Wellcome Collection. Public Domain Mark</em>](https://s3-eu-west-1.amazonaws.com/s3-euw1-ap-pe-ws4-cws-documents.ri-prod/9780367691554/image-gallery/Figures-V.3B.jpg)
Figure 24.2
A satirical Dutch Tijding [news-sheet] in which Louis XIV has been taken ill on receiving the news that rumours of his enemy William III's death were untrue. He is attended by a crowd of physicians representing different nations, enemies and allies alike. Etching after P. Bouttats (c. 1690), Wellcome Collection CC BY. Credit: Wellcome Collection. Public Domain Mark
Figure 24.3
An Italian ‘Health advice broadsheet’. These official publications, depicting the authority of state and church, literally saved lives by warning people to avoid places infected by plague. Wellcome Collection CC BY. Credit: Wellcome Collection. Public Domain Mark
Additional Website image 24.4
Title-page for the New Testament from Biblia, thet är, All then Helgha Scrifft, på Swensko (Uppsala, 1541), the ‘Gustav Vasa Bible’ – the first to be printed in Scandinavia, and part of Vasa’s campaign to introduce Lutheranism to Sweden. British Library, 1109.kk.5. See also Olga Kerziouk, ‘“The Gospels are as good in Danish or German as in Latin…”: the earliest Nordic vernacular Bibles’ (2017): https://blogs.bl.uk/european/2017/11/the-earliest-nordic-vernacular-bibles.html
Additional Website image 24.5
Though print could disseminate new scientific knowledge, it also contributed to problems of disinformation and uncertainty. Faced with these two images, one an observation of a giraffe in Africa, the other an imaginary ‘Monstrous Tartar’ (an image that spread right across Europe), which – if either – might an early modern public tend to believe? ‘Picture of a Giraffe’ (1559). Zurich, Zentralbibliothek; ‘The Monstrous Tartar’ (1664). British Museum.
Additional Website image 24.6
Though print could disseminate new scientific knowledge, it also contributed to problems of disinformation and uncertainty. Faced with these two images, one an observation of a giraffe in Africa, the other an imaginary ‘Monstrous Tartar’ (an image that spread right across Europe), which – if either – might an early modern public tend to believe? ‘Picture of a Giraffe’ (1559). Zurich, Zentralbibliothek; ‘The Monstrous Tartar’ (1664). British Museum.
Additional Website image 24.7
Map showing European Transport and Postal Routes, adapted by Paul Arblaster from the original in Nikolaus Schobesberger, Paul Arblaster, Mario Infelise, André Belo, Noah Moxham, Carmen Espejo and Joad Raymond, ‘European Postal Networks’, in: News Networks, eds Raymond and Moxham, 17-63, 62.
Figure 25.1
The guests at this rural feast pay more attention to their plates than to the new bride sitting in front of the green wall hanging. Pieter Bruegel the Elder, ‘The Peasant Wedding’ (c. 1568): Kunsthistorisches Museum, Vienna. IanDagnall Computing / Alamy Stock Photo
Figure 25.2
The couple in this engraving from a sixteenth-century German cookbook use a variety of utensils and cooking technologies, including roasting, frying and boiling. Kitchens were a social hub in early modern households (Rumpolts 1581, frontispiece; Pennell 2016). INTERFOTO / Alamy Stock Photo
Figure 25.3
A rare artistic depiction of a non-elite, peasant meal, consisting of beans, vegetables, the omnipresent bread, and a glass of wine. Annibale Carracci, ‘The Bean-Eater’ (1580-90). Palazzo Colonna, Rome. GRANGER - Historical Picture Archvie / Alamy Stock Photo
Additional website figure 25.4
Additional website figure 25.4 Luis Meléndez, ‘Still Life with Chocolate Pot’ (1770). Museo del Prado, Madrid. Colonial trade made hot chocolate affordable to a growing number of Europeans; by the eighteenth century artisans in Madrid could treat themselves to a cup of this once-exotic colonial beverage: See esp. Irene Fattacciu, Empire, Political Economy and the Diffusion of Chocolate in the Atlantic World (London 2020). Heritage Image Partnership Ltd / Alamy Stock Photo
Figure 26.1
Hudibras, a Puritan, is shocked to encounter a rowdy procession, with an unruly woman beating her feeble husband who sits behind her spinning (i.e. doing women’s work). Universal Images Group North America LLC / Alamy Stock Photo
Figure 27.1
Major areas of witchcraft persecution in early modern Europe. Briggs 1996, xi.
Figure 27.2
After Hans Baldung Grien, ‘The Witches at the Sabbath’ (1510). Granger / Bridgeman Images
Figure 28.1
PTOLEMAIC UNIVERSE, 1539 A Ptolemaic, or pre-Copernican, conception of the universe, with the Earth at the center. Woodcut from 'Cosmographia,' by the German astornomer Petrus Apianus, printed at Antwerp in 1539 Granger / Bridgeman Images
Figure 28.2
Heliocentric Universe, Copernicus, 1543. Science History Images / Alamy Stock Photo
Figure 28.3
The ‘Third Muscle Man’ is one of the many striking anatomical illustrations in Vesalius 1543. Pictorial Press Ltd / Alamy Stock Photo
Figure 29.1
Histoire de Robinson Crusoé (woodcut, Lille, c. 1810). © Musée des Civilisations de l’Europe et de la Méditerranée, Paris, Réunion des Musées nationaux / Jean-Gilles Berizzi.
Figure 29.2
Engraved frontispiece to Denis Diderot’s Encyclopédie, Paris, 1751–80. / Photo © Well/BOT / Alamy Stock Photo
Figure 29.3
‘The coffeehouse mob’. A large group of men in a coffee house. / British Library, London, UK / © British Library Board. All Rights Reserved / Bridgeman Images.
Figure 30.1
Emperor Justinian’s vault, detail from Emperor Justinian with his entourage, mosaic, northern wall of apse, Basilica of San Vitale (UNESCO World Heritage List, 1996), Ravenna, Emilia-Romagna, Italy, 6th century / De Agostini Picture Library / A. De Gregorio. www.BibleLandPictures.com / Alamy Stock Photo
Figure 30.2
Cardinal Richelieu (1585–1642) c. 1639 (oil on canvas), Champaigne, Philippe de (1602–74) / Chateau de Versailles. IanDagnall Computing / Alamy Stock Photo
Figure 30.3
‘The Emperor Charles V (1500–58) on horseback at Mühlberg’, 1548 (oil on canvas). Titian (Tiziano Vecellio) (c. 1488–1576) / Prado, Madrid, Spain. GL Archive / Alamy Stock Photo
Figure 31.1
The Battle of Lepanto, 7 October 1571, anonymous painting, late 16th century / Pictures from History. Colin Waters / Alamy Stock Photo
![‘Geistlicher Rauffhandel’ [Clerical Brawl] (1617): Manfred Höfert, ‘Freiburgs Geschichte in Zitaten’: <em>http://www.freiburgsgeschichte.de/1525-1618_Reformation.htm</em>](https://s3-eu-west-1.amazonaws.com/s3-euw1-ap-pe-ws4-cws-documents.ri-prod/9780367691554/image-gallery/Figure-VI.2B.jpg)
Figure 31.2
‘Geistlicher Rauffhandel’ [Clerical Brawl] (1617): Manfred Höfert, ‘Freiburgs Geschichte in Zitaten’: http://www.freiburgsgeschichte.de/1525-1618_Reformation.htm
Figure 32.1
‘Tipu’s Tiger’, c. 1790 (wood), Indian School (18th century) / Victoria and Albert Museum, London, UK. CPA Media Pte Ltd / Alamy Stock Photo
Figure 32.2
James Gillray, ‘French Liberty, British Slavery’ (c. 1789), showing national stereotypes, including a well-fed John Bull © Chronicle / Alamy Stock Photo
Figure 33.1
Detail, from Peter Paul Rubens, ‘the Whitehall Ceiling: the Apotheosis of James I’ (c. 1630–35): Banqueting House, Whitehall, London. Rolf Richardson / Alamy Stock Photo
Figure 33.2
Bernardo Bellotto, ‘Castle Schönbrunn, Court Side’ (1759–60): Kunsthistorisches Museum, Vienna. Album / Alamy Stock Photo
Figure 34.1
‘December’, painting after Jörg Breu d. Ä. (Augsburg, c. 1530): Deutsches Historisches Museum, Berlin, Germany / © web resources, Author Illustratedjc (CC BY-SA 4.0)
Figure 34.2
Kazimierz Wojniakowski, ‘The Vote upon the Constitution’ (oil on canvas, 1806). © Album / Alamy Stock Photo
Figure 35.1
A seventeenth-century illustration of military exercises for infantrymen. Jacques Callot, 'Les exercises militaires', c. 1632. GRANGER - Historical Picture Archvie / Alamy Stock Photo
Figure 36.1
‘The Uprising of Masaniello in 1647’ (third quarter of seventeenth century): Museum of St Martin, Naples. The Picture Art Collection / Alamy Stock Photo
Figure 37.1
The trial of Charles I in Westminster Hall, January 1649: revolutionary, and deliberately public (Nalson 1684). Hilary Morgan / Alamy Stock Photo
Figure 37.2
Print of the Storming of the Bastille by an unknown artist (1789). © The National Trust, Waddesdon Manor, acc. no. 4222.9.8. IanDagnall Computing / Alamy Stock Photo
Figure 38.1
‘The Death of Robespierre, 28 July 1794’ engraved by James Idnarpila (1799), after J. Beys / Musée de la Ville de Paris, Musée Carnavalet, Paris, France. EDR archives / Alamy Stock Photo