Restoration and Eighteenth-Century Theatre Research, 2014
1. IntroductionThe second half of the seventeenth century and the eighteenth century formed a dec... more 1. IntroductionThe second half of the seventeenth century and the eighteenth century formed a decisive period for the theatre life in the Low Countries. Despite the regions fast-growing economic troubles, the dramatic arts flourished. Furthermore, theatre became an increasingly professional and commercial matter, and, importantly, theatre architecture began to break away from the long-dominant rhetoricians' traditions' (see fig. 1) in order to connect with international evolutions. This article will look at three seventeenthand eighteenth-century theatres in Amsterdam and Antwerp whose development is emblematic for changes in theatre architecture throughout the Low Countries: the rather unique Amsterdam Schouwburg (Theatre) of 1637, its more traditional successor of 1665, and the Antwerp Theatre of the Tapestry Hall (also called the Grand Theâtre) of 1711. The latter two theatres were extensively renovated and altered around 1770. The Amsterdam Schouwburg of 1774 will also b...
In Early Modern Jewry: a new cultural history (Princeton 2010) David Ruderman built on a lifetime... more In Early Modern Jewry: a new cultural history (Princeton 2010) David Ruderman built on a lifetime of studying and teaching Jewish history in an attempt to formulate a new, panoramic account of Jewish life in the early modern world. Among the factors that Ruderman identifies as critical to Jewish history in this period are accelerated mobility, a steep acceleration in the production and dissemination of knowledge and the blurring of religious identities. Central to these changes in Jewish life, both contributing to them and resulting from them, was the ...
Restoration and Eighteenth-Century Theatre Research, 2014
1. IntroductionThe second half of the seventeenth century and the eighteenth century formed a dec... more 1. IntroductionThe second half of the seventeenth century and the eighteenth century formed a decisive period for the theatre life in the Low Countries. Despite the regions fast-growing economic troubles, the dramatic arts flourished. Furthermore, theatre became an increasingly professional and commercial matter, and, importantly, theatre architecture began to break away from the long-dominant rhetoricians' traditions' (see fig. 1) in order to connect with international evolutions. This article will look at three seventeenthand eighteenth-century theatres in Amsterdam and Antwerp whose development is emblematic for changes in theatre architecture throughout the Low Countries: the rather unique Amsterdam Schouwburg (Theatre) of 1637, its more traditional successor of 1665, and the Antwerp Theatre of the Tapestry Hall (also called the Grand Theâtre) of 1711. The latter two theatres were extensively renovated and altered around 1770. The Amsterdam Schouwburg of 1774 will also b...
In Early Modern Jewry: a new cultural history (Princeton 2010) David Ruderman built on a lifetime... more In Early Modern Jewry: a new cultural history (Princeton 2010) David Ruderman built on a lifetime of studying and teaching Jewish history in an attempt to formulate a new, panoramic account of Jewish life in the early modern world. Among the factors that Ruderman identifies as critical to Jewish history in this period are accelerated mobility, a steep acceleration in the production and dissemination of knowledge and the blurring of religious identities. Central to these changes in Jewish life, both contributing to them and resulting from them, was the ...
In 1881 the newly founded Museum Plantin-Moretus in Antwerp acquired a miniature portrait of prin... more In 1881 the newly founded Museum Plantin-Moretus in Antwerp acquired a miniature portrait of printer Christophe Plantin. Following the renovation and reopening of the museum in 2016, the portrait received a prominent place in the Biblia Regia room. It has long been assumed that the portrait was painted in the late 16th-century, the painter remains unknown. This contribution will argue that the miniature was in fact created by Jan Maurits Quinkhard in the middle of the 18th century and that it was part of the Panpoëticon Batavûm, a large and important early modern collection of portraits of literary figures from the Low Countries. In that sense the miniature stands testament to the continuing reverence for the accomplishments of Christophe Plantin.
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museum in 2016, the portrait received a prominent place in the Biblia Regia room. It has long been assumed that the portrait was painted in the late 16th-century, the painter remains unknown. This contribution will argue that the miniature was in fact created by Jan Maurits Quinkhard in
the middle of the 18th century and that it was part of the Panpoëticon Batavûm, a large and important early modern collection of portraits of literary figures from the Low Countries. In that sense the miniature stands testament to the continuing reverence for the accomplishments of Christophe Plantin.