This classic historical resource remains the most complete work on the establishment of Fort Caroline, which heralded the start of permanent settlement by Europeans in North America. America's history was shaped in part by the clash of cultures that took place in the southeastern United States in the 1560s. Indians, French, and Spaniards vied to profit from European attempts to colonize the land Juan Ponce de Leon had named La Florida.
Rene de Goulaine de Laudonniere founded a French Huguenot settlement on the St. Johns River near present-day Jacksonville and christened it Fort Caroline in 1564, but only a year later the hapless colonists were expelled by a Spanish fleet led by Pedro Menendez de Aviles. The Spanish in turn established a permanent settlement at St. Augustine, now the oldest city in the United States, and blocked any future French claims in Florida.
Using documents from both French and Spanish archives, Charles E. Bennett provides the first comprehensive account of the events surrounding the international conflicts of this 16th-century colonization effort, which was the actual "threshold" of a new nation. The translated Laudonniere documents also provide a wealth of information about the natural wonders of the land and the native Timucua Indians encountered by the French. As a tribe, the Timucua would be completely gone by the mid-1700s, so these accounts are invaluable to ethnologists and anthropologists.
With this republication of Laudonniere & Fort Caroline, a new generation of archaeologists, anthropologists, and American colonial historians can experience the New World through the adventures of the French explorers. Visitors to Fort Caroline National Memorial will also find the volume fascinating reading as they explore the tentative early beginnings of a new nation.
In Lighting the Shakespearean Stage, 1567–1642,R. B. Graves examines the lighting of early modern English drama from both historical and aesthetic perspectives. He traces the contrasting traditions of sunlit amphitheaters and candlelit hall playhouses, describes the different lighting techniques, and estimates the effect of these techniques both indoors and outdoors.
Graves discusses the importance of stage lighting in determining the dramatic effect, even in cases where the manipulation of light was not under the direct control of the theater artists. He devotes a chapter to the early modern lighting equipment available to English Renaissance actors and surveys theatrical lighting before the construction of permanent playhouses in London. Elizabethan stage lighting, he argues, drew on both classical and medieval precedents.
For centuries, the Renaissance papacy has been celebrated for its generous patronage of the arts. Pope Leo X, son of the legendary Lorenzo "the Magnificent" de'Medici, is widely understood to be one of the greatest patrons of music in European history, and one of the emblematic figures of the Italian Renaissance.
The Lion's Ear is the first full-length scholarly treatment of the musical patronage of a Renaissance pope and provides an evocative picture of the musical life of the pre-Reformation papacy. The various uses of music in early modern Rome---music for public festivals, such as carnival; for the liturgical ceremonies of the Sistine Chapel; to accompany daily dining and festive banqueting; for the celebration of saints' feast days; and for theatrical performances---are vividly described and analyzed and give a detailed understanding of the place of music in the life of one of its most important early modern benefactors.
Anthony M. Cummings takes an interdisciplinary approach to his subject matter, bringing together the history of music, art, philosophy, and ecclesiastical history to locate the music in its broadest and deepest contexts. Through materials such as diplomatic correspondence, the book aims to reconstruct the atmosphere of the musical life in Leo X's court, presenting the subject matter in a way that will appeal to scholars and students of musicology and early modern history.
Art historians, ecclesiastical historians, and specialists from many other disciplines have long produced scholarly findings useful for understanding the pre-Reformation papacy, its alliance with the Italian Renaissance, and the extraordinary artistic legacy of that alliance. Anthony M. Cummings complements that scholarship with his thorough and imaginative account of music's relationship with that vibrant and fascinating culture, the first by a specialist in the musical life of early modern Europe.
More than forty years ago in the state archives of Lucca, Italy, musicologist Reinhard Strohm noticed that bindings on some of the books were unusual: they consisted of the pages of a centuries-old music manuscript. In the following years, Strohm worked with the archivists to remove these leaves and reassemble as much as possible of the original manuscript, a major cultural recovery now known as The Lucca Choirbook.
The recovered volume comprises what remains of a gigantic cathedral codex commissioned in Bruges around 1463 and containing English, Franco-Flemish, and Italian sacred music of the fifteenth century—including works by the celebrated composers Guillaume Du Fay and Henricus Isaac.
This facsimile of the choirbook includes all the known leaves, ordered according to their proper placement in the original codex. In the introduction, Strohm tells the fascinating story of this choirbook, identifying its early users and reconstructing its travel from Bruges to Lucca.
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