Samantha Goodrich

This paper examines the secondary English-language scholarship on Dutch artist Pieter Coecke van Aelst's frieze, The Customs and Fashions of the Turks. Through an examination of the scholarship on this woodcut series, this study points out the trends and lacunae regarding the artist and his work. In addition to summarizing historical trends related to Coecke and the frieze, I also posit a possible hypothesis based on the scenes of a circumcision procession and Suleyman's procession through the Hippodrome. By placing these scenes into their proper historical context, I argue that it is possible that Coecke was alluding to Suleyman's son's circumcision festivities in 1530, shortly after his siege of Vienna against the Hapsburgs, in order to secure tapestry commissions and/or to gain favor with the Sultan.

This paper looks at the evolution of the image of the Turk in the Germanies throughout the sixteenth and seventeenth centuries. While scholars have argued that the conquest of Constantinople in 1453 and the Siege of Vienna in 1683 were the main turning points in the German representation of the Turk, I argue that Suleyman's siege of Vienna in 1529 was the second major event that altered German perceptions and fears of the Ottoman Turk.

This was a term paper for Professor Pia Cuneo's Northern Renaissance art history course. Here I discuss the secondary scholarship relating to Pieter Coecke van Aelst's impressive frieze, The Customs and Fashions of the Turks, and I also posit my own hypothesis regarding the series based on historical context and secondary texts.

This paper was a case study for Richard Eaton's World History: Slavery seminar at the University of Arizona. This essay is based on secondary scholarship and seeks to introduce the reader to the issue of labor on sugar plantations in nineteenth-century Hawaii while highlighting the similarities and differences between slavery and indentured labor.