Theorizing aggregative reception: Virgil’s Fama in Lusophone epic

RESUMO: A produção intelectual entre os séculos XVII e XVIII, destacou os métodos de estudos e seu papel no desenvolvimento de ideias sobre as condutas sociais e a educação desejáveis para os diferentes grupos sociais. À educação era dada a missão de "modelar uma nova humanidade", conforme expressão de Condorcet. Nessa perspectiva universalista e ilustrada, a educação seria instrumento para a organização harmoniosa da sociedade pela disseminação de valores e normas de comportamento. O objetivo desta comunicação é analisar a circulação e a apropriação de concepções educativas no mundo luso-americano, entre o século XVIII e o início do século XIX, por meio de obras do pensamento ilustrado e dos manuais pedagógicos então circulantes. Pretende-se confrontar esses textos a partir das concepções de educação e instrução, buscando-se verificar sua presença nos meios administrativos e educacionais no contexto da difusão do pensamento ilustrado e das reformas pombalinas da educação, a partir de 1759.

Cunning Distortions: Folk Christianity and Witchcraft Allegations in Early Mormon History

Café Space, Communication, Creativity, and Materialism

Teaching and Learning Guide for: Antipodean Myths Transformed: The Evolution of Australian Identity

Prague workshop, Pietà, c. 1400, from amongst the sculptures found beneath Bern Minster, 1986. Limestone, original height c. 85–90cm. Bern: Historisches Museum. Photo: Bernisches Historisches Museum/S. Rebsamen. The religious turmoil of the sixteenth century constituted a turning point in the history of Western Christian art. The iconoclasm precipitated by the Protestant Reformation was unprecedented in its scope: throughout northern Europe sculptures, altarpieces, paintings, stained-glass windows and ecclesiastical treasures fell victim to the purifying zeal of evangelical reformers. Images that had been venerated for generations were labelled as idols, and smashed to pieces (plate 1). Churches that had been filled with representations of sacred history were stripped bare. In response, the Catholic Church reaffirmed the value of visual representations. Theologians provided detailed guidelines for their production and use, and wealthy patrons stimulated the revival of religious art. While Protestantism devalued images and privileged hearing over seeing, the importance that Catholicism accorded to the visual was made manifest in the art and architecture of the baroque. The broad outlines of this history are familiar and incontestable. With regard to religious images, the Reformation certainly brought about a dramatic bifurcation, both at the level of theological debate and at the level of lived piety. Yet the Protestant destruction and the Catholic defence of images were merely two parts of a more complex story. The essays gathered together in this volume analyze the myriad ways in which both Protestant and Catholic reform stimulated the production of religious art during the sixteenth and seventeenth centuries. The special issue examines the nature of images produced during the early years of the evangelical movement, asking how both theologians and artists responded to a new understanding of Christian history and soteriology. It traces the rich and diverse Protestant visual cultures that developed during the confessional age, and explores the variety of Catholic responses to pressure for reform. At the volume's heart lies a desire to understand how religious art was shaped by the splintering of Western Christendom that began five hundred years ago with Martin Luther's Reformation. Luther's own position with regard to religious images was far from straightforward. From 1522 he was a determined opponent of iconoclasm. Yet for Luther images were peripheral to true piety. In 1545, towards the end of his life, he preached a sermon in which he spoke of the two kingdoms present upon earth, ‘the kingdom of Christ and the worldly kingdom’. Christ's kingdom, through which we achieve salvation, is ‘a hearing-kingdom, not a seeing-kingdom; for the eyes do not lead and guide us to where we know and find Christ, but rather the ears must do this’.1 Here Luther privileged hearing above seeing – word over image – in a manner characteristic of evangelical teaching. Reformed theologians went much further. John Calvin undertook a thorough attack on the ‘superstitions of popery’. Idolatry – understood as a diminution of the honour due to God – occupied a more prominent place in his thought that in Luther's. Reformed Protestantism rewrote the Decalogue, making the prohibition of images a decree in its own right, and directed Christian worship towards a God who transcended all materiality.2 Yet Protestant piety was not fundamentally opposed to the visual. Even in his 1545 sermon, Luther accepted ‘visual sensation as part of the work that must be done to create religious conviction’.3 The Reformation, at least in its Lutheran manifestation, sought not to reject religious seeing, but rather to control it and the other senses (including hearing) through faith. The Catholic Church's defence of religious imagery was similarly nuanced. At its twenty-fifth session (3 December 1563) the Council of Trent stated that images were to be honoured, but not in a superstitious manner. Holy images – as opposed to idols – were of great value because through them Christians were moved to adore Christ, to remember the examples of the saints, and to cultivate piety. Theologians – most notably Johannes Molanus (1533–85) and Gabriele Paleotti (1522–97) – expanded on these themes.4 Catholic patrons commissioned illustrated books, devotional prints, paintings, sculpture and architecture, seeking to use images, as well as words, to awaken the senses and to engage Christians’ hearts and minds.5 Catholics continued to trust in the sacred power of images and relics. During the later sixteenth and seventeenth centuries the cultic use of images – the veneration of paintings and sculptures of Christ and the saints – flourished throughout Catholic Europe.6 No Protestant image – not even a miraculous portrait of Luther – was a place of holy presence akin to the Jesuit reliquary examined in this volume by Mia Mochizuki.7 Yet Catholic belief in immanence, in the intermingling of the spiritual and material, always coexisted with scepticism about the value of the visual. Catholic reform, from the late Middle Ages onwards, emphasized the importance of inner contemplation.8 During the sixteenth century Catholic commentators wrote, like their Lutheran counterparts, of images’ pedagogical value and affective potential.9 In the seventeenth century new devotional practices encouraged meditation on images as well as texts, and spread amongst Protestants as well as Catholics.10 In this volume, these new devotional practices provide the backdrop for Bridget Heal's investigation of the later history of Lucas Cranach's Schneeberg Altarpiece, and for Christine Göttler's analysis of the Catholic Duke Wilhelm V of Bavaria's religious patronage. What of the visual cultures that evolved across Protestant Europe? Lutherans, driven by their desire to distinguish themselves from radical iconoclasts, allowed many images to survive intact and in situ in churches. They were convinced that God's Word would triumph over idolatry and superstition.11 Luther and his fellow Wittenberg reformers made extensive use of visual propaganda and illustrated key religious texts (the Bible and catechism, most notably), a reflection of their belief in the value of seeing for acquiring religious knowledge and understanding. The copious religious output of the Cranach workshop – altarpieces, epitaphs, portraits and prints – defined Lutheran visual culture for much of the sixteenth century, in Germany and beyond. Elsewhere – in Swiss and Southern German cities during the 1520s and 1530s, in France and in the Northern Netherlands – Protestantism's relationship with art was much more strongly shaped by iconoclasm. Yet memories of recent destruction did not prevent the production of new objects and images. In Calvinist churches Protestantism redirected rather than removed congregations’ desires to adorn and to commemorate.12 The domestic use of religious imagery also continued. Even in Reformed areas – for example in seventeenth-century Zürich, examined here by Andrew Morrall – religious iconographies were used in the home to foster a sense of confessional consciousness.13 The nature of these Protestant visual cultures – the position of art during and after iconoclasm – is an important theme of this volume. Christopher Wood has suggested that ‘Protestant iconophobia … permanently affected the ways in which images were made, exhibited and judged’. He writes of the ‘insulating strategies’ devised by artists in order to avoid charges of idolatry.14 In terms of medium, Protestants tended to favour black and white prints over sculptures and brightly coloured paintings that might seduce the eye. The 1519 woodcut known as Karlstadt's Wagen (wagon), analyzed here in an essay by Lyndal Roper and Jennifer Spinks, and the seventeenth-century Tischzucht (table discipline) broadsheets examined by Morrall exemplify this tendency. In terms of content, Protestant art is most readily associated with polemic, pedagogy, and allegory, and, in the case of the Northern Netherlands, with landscape, still life and everyday scenes filled with moralizing content. Regarding style, Protestant artists supposedly strove for plainness, for a visual culture ‘stripped of conspicuous artifice and deceptive pictorial rhetoric’.15 Here recent scholarship on Cranach is key: Joseph Koerner, for example, has argued that the art produced by Lucas Cranach the Elder and his son in the service of the Lutheran Reformation deliberately eschewed aesthetic pleasure and affective power in favour of communicating evangelical doctrine.16 He speaks of the ‘mortification of painting though text, gesture, and style’.17 But not all religious art was polemical; not all religious art defended itself, as much of Cranach's did, from its enemies, the iconoclasts. Iconoclasm does not, Shira Brisman argues here, help us to read graphic studies of the period. Brisman asks us to dismiss iconoclasm from the privileged position that it has held in studies of sixteenth-century art. We need, she suggests, to erase our knowledge of images’ fall from grace in order to understand the works of Albrecht Dürer and others. Iconoclasm also played remarkably little part in the story of Lucas Cranach the Elder's first evangelical altarpiece, installed in the parish church in Schneeberg in 1539 and eventually, after a traumatic interlude during the Thirty Years’ War, reset in a magnificent baroque frame in the eighteenth century. The creators of some images certainly did respond to contemporary fear of the ‘uncontrolled nature of iconic representation’:18 Andreas Bodenstein von Karlstadt's Wagen, for example, in which Cranach's woodcut images are overburdened with explanatory texts. Others, however, continued to rely on very different modes of viewing: on ambiguity, as with Sebald Beham's small engraving of Moses and Aaron examined by Mitchell Merback; or on the restrained use of the imagination, as with Jan van Goyen's skyscapes, analyzed by Amy Powell. Their creators seem to have recognized, as Dürer did, that ‘pictures are, at best, mediators, affecting without determining what their viewers see in them’.19 The supposed bifurcation between a Protestant aesthetic of plainness and a Catholic effusion of colour and ornament can be seen by juxtaposing Morrall's Tischzucht prints with Mochizuki's seventeenth-century Portuguese reliquary. Yet it leaves in interpretative limbo the baroque incarnation of the Lutheran Schneeberg Altarpiece, which presents its central Cranach crucifixion panel as a relic, held aloft by angels and encased within an elaborately carved and gilded frame. This special issue brings together art historians and historians to consider the relationship between art and religious reform. The divisions between disciplines are no longer rigid, as they were in the days when Aby Warburg established his Kulturwissenschaftliche Bibliothek. Historians make effective use of visual and material evidence (though perhaps still not as often as they might); art historians ground their work in detailed historical understanding. For both, the Reformation, with its image disputes and iconoclasm, has acted as an intellectual lodestone since the 1960s.20 The essays assembled in this volume show how porous traditional disciplinary boundaries have become, but highlight the healthy plurality of methodological approaches that the religious art of the early modern era continues to inspire. Some of these essays tie images firmly to the religious, social and political contexts in which they were produced and received, reconstructed through close readings of texts. Others focus their attention primarily on images’ non-verbal means of communication, suggesting that the power of art can never be fully captured through words. Brisman's and Powell's essays in particular invite us to pay proper attention to artistic processes and to art's tendency to develop through visual conversations. They remind us that art, like music, requires us to exercise our historical imaginations differently.21 The volume has been timed to coincide with the five-hundredth anniversary of the Lutheran Reformation, yet Martin Luther himself is more or less absent from its pages. He appears in the analysis of Karlstadt's Wagen, but he did not design this first piece of Reformation visual propaganda. He appears in Merback's discussion of Beham's 1526 engraving, but his thought does not explain the iconography. His theology offered a qualified endorsement of religious images, but cannot account for the flourishing of Lutheran art in parts of the Holy Roman Empire during the seventeenth and eighteenth centuries. At a moment at which twenty-first-century anniversary culture celebrates ‘The Reformation’, focusing its attention on a particular date and on a particular man, this volume does the opposite. It adopts a broad chronology, ranging from the first decade of reform, the dawn of a new era in northern Europe, through the confessional age to the early eighteenth century. Three essays focus on the period of Umbruch – upheaval – during the early Reformation; five move into the seventeenth century, juxtaposing Protestant with Catholic, Lutheran Saxony and Reformed Zürich with Bavaria and the Jesuits’ overseas missions. These later essays show that although images played an important role in creating confessional consciousness, devotional art did not simply reflect theological divisions. It crossed confessional borders, and also evoked much broader cultural landscapes, landscapes that were being transformed during the early modern period by historical forces other than religion. The essay by Lyndal Roper and Jennifer Spinks that opens this collection focuses on a woodcut produced by Lucas Cranach the Elder and his Wittenberg colleague Andreas Bodenstein von Karlstadt (see plate 1, page 258–259). It was almost certainly the first piece of visual propaganda for the Reformation, produced in January 1519 at a moment at which the evangelical movement was still finding its way. It is a fascinating image: it draws on well-established visual formulae to present a procession of figures, and prefigures later Lutheran propaganda in its use of binary opposition and mockery. Its design is, however, overly complex. Its images are hard to make out because of the abundance of texts, and these texts are hard to decipher and understand. The woodcut was so cryptic, in fact, that Karlstadt had to produce a lengthy written tract to explain it to his supporters. Despite its apparently sequential structure, the woodcut was intended to be read, Roper and Spinks argue, not as a polemical narrative but as part of a devotional exercise. Karlstadt's written explanation suggests that he intended it to be used as a series of discrete points for meditation, as an invitation to reflect on key aspects of Augustinian theology. The woodcut is also intriguing because it was produced at a moment at which the early evangelical movement was still coloured by mystical piety, before the rupture between Luther and the more radical reformers – the Schwärmer or fanatics, as he labelled them – that shaped the 1520s so decisively. Karlstadt himself went on to publish, in 1522, the first evangelical defence of iconoclasm, On the Removal of Images. The 1519 woodcut provides, therefore, vivid testimony of the extent to which iconoclasts understood the religious and psychological power of images. It helps us to understand why image makers became image breakers. Hans Sebald Beham's 1526 Moses and Aaron, examined in Mitchell Merback's essay, is a very different type of image, one of the small-scale engravings for which the Beham brothers were famous (see plate 1, page 288). It is labelled with MOSE and AARON, and signed and dated, but that is all: it suffers from none of the textual overburdening of Karlstadt's Wagen. It shows two half-length figures seated on a mountainside with an open codex on their laps and the blank stone tablets of the Law resting beside them. The image's narrative and its doctrinal message resist easy interpretation, but this time such an opacity is intentional. Merback situates the engraving in the context of the debates about Mosaic Law that followed the Peasants’ Revolt of 1524–25, at a time when the split between the Wittenberg theologians and radicals such as Karlstadt and Thomas Müntzer had become irrevocable. The engraving was also, however, he suggests, a personal reflection on religious exile, on Beham's own experiences as a ‘non-aligned evangelical’ who had been expelled from Nuremberg in 1525, and labelled a ‘godless painter’. The image testifies to Beham's familiarity with Lutheran teachings on the relationship between the Law and Gospel. But Luther's writings – even his 1525 sermon How Christians Should Regard Moses – offer no simple key for its interpretation. Rather, the artist produced his own reading, an allegory of the parting of ways between the Lutherans and Spiritualists. The priestly Aaron reads the codex before him while Moses, the lawgiver in Luther's interpretation, gazes out, seeking illumination beyond the Word. Beham has, Merback suggests, ‘subtly reasserted the hero's prophetic vocation and charisma’. The image can be read as veiled polemic against Wittenberg, or perhaps as a warning to both sides at a time of discord. Both of these first essays explore the relationship between image and word. The visual cannot, it seems, be reduced to an expression of the verbal, even in the case of Karlstadt's Wagen, with its inscriptions and detailed they are to with their must be allowed to for as Lutheran Shira Brisman's essay on graphic studies made the time of the Reformation these in a very different The she suggests, prophetic of the destruction that images during the most of But we resist seeing them as and iconoclasm from the of Christ's with a piece of and of the Christ with a beside it (see plate 1, page and plate page that cannot be in words. We see Brisman as of a visual that the through a of Images she suggests, their own the by the of the artist to to resist the narrative by or we might by and engravings such as examined by Spinks and we a different type of interpretative – one that not, as for Sebald from to the of the Reformation, but rather from the artistic processes of the While the first essays in very different art's role at the of a new the two us into the confessional Bridget Heal's essay focuses on Lutheran on a Protestant in from the early of the Reformation the eighteenth century, religious art It examines Cranach's Schneeberg and its This has a it was installed in 1539 but by during the Thirty Years’ Its were in Schneeberg in but the was in when the church was were in a and frame that in situ (see plate 1, page The Protestant of which the is a example, our of Lutheran art. Heal's the within the context of two broader the of Lutheran confessional and the of Lutheran piety. in particular the importance of historical not for the image's original and but also for its The of the made use of the visual of the baroque – perhaps not the cultural of the It also, however, a understanding of images’ devotional a new perhaps to them a role in the by which the intellectual (the knowledge of became the affective presence in the Protestants the with Cranach's image through the of and dramatic Andrew Morrall's essay us to Zürich, to a very different religious Morrall his discussion a painting of the of a Hans seated at a The of and a life are here in the of the and and in the domestic that them. The painting Morrall an expression of a Protestant and was part of a broader visual of Tischzucht that to the Morrall also explores the of of the of images by the for Protestantism he suggests, an It the of art, made it and and stripped it of or was by its to and its The images used by Morrall in the to by Brisman – for the image is a message must be out through In Zürich the Reformation brought he suggests, the of images. In the seventeenth-century art flourished in the of iconoclasm, as Amy shows in discussion of the paintings of Jan van argues that of iconoclasm, its of and in the works examined here and in like them. explores van Goyen's his use of and which did not, as art of the period did, filled with like the on the in church a of images that never fully These suggests, be seen as images of the by as to In a however, artistic had to be with – van who van Goyen's in him for not far from the Goyen's paintings were also – he is thought to have been a Catholic, but his works across the confessional responses to iconoclasm have been in through the of church and through the analysis of the religious and of and Here adopts a different one that art recent in and in the found in and early modern art. she van Goyen's of a particular she also against a that images within their historical brings seventeenth-century painting into with modern art, in particular to the use of which later played a role in of Here van Goyen's paintings from their own time and themselves to the With Christine Göttler's essay we move to a Catholic to the Bavaria of the Duke Wilhelm V examines the and the and cultural of within an Catholic focuses on the that the at his and and on a series of engravings of by Jan and that were to Bavaria's and made extensive use of images, and to their and religious from the to the The examined here however, a It not on but on reform, on on or from the – a for the after his in This by the but it was to move beyond confessional It in some Despite the that the on and the was in the at for example, were and that sacred scenes or They suggests, to the that to the religious of the The of the of the religious was key to both Protestant and Catholic reform, but in Duke and it was to be through In the essay of the volume Mia a detailed of one particular a Portuguese reliquary from the of the seventeenth century (see plate 1, page Here the of Catholicism that were present in Göttler's of into a account of the importance of overseas and for early modern religious At the of Mochizuki's reliquary is a of the from in the that the with them on their missions. It is in a that was to and and evoked The image is in this with of It is, suggests, seeking to through its of sacred It is an through its and its brings together two that of the of Western Christendom and the polemical that and that of with the The essay us that while iconoclasm did, without the ways in which religious images were made, exhibited and received, image or also a much cultural In his Joseph the essays within this volume in a broad The Protestant Reformation of merely one in the history of iconoclasm, a history that to the present art to both image making and image how and why iconoclasm to be accorded an important place within the history of art. he a tendency – certainly in this volume – to focus not on of destruction but rather on the in their It was the of iconoclasm that the attention of social history and art history during the and however, against the backdrop of image in and we seem more by the ways in which early modern cultures – both Protestant and Catholic – responded to the of iconoclasm, and were transformed by the that it The workshop that to this special issue was by the and the are very for the also to for to the for their help and and above all to for the

Lioz—a Royal Stone in Portugal and a Monumental Stone in Colonial Brazil

Enchanted Europe: Superstition, Reason, and Religion, 1250–1750

This thesis sets out to evaluate the role of consumer spaces in twentieth-century daily life. It is not concerned with the act of consumption but rather with the ways in which the social, cultural and educative role of the retail spaces is used as a marketing tool. The links that have been established between civic and commercial space over the last three hundred years are charted in order to locate the reasoning behind the growing tendency to design shopping malls as social and cultural spaces in the twentieth century. Three principal benefits to developers of the retails spaces from the promotion of consumer spaces as public spaces are identified in the thesis. First, links between the public and commercial developed to encourage potential customers into a particular retail space as opposed to its competition. Second, consumer spaces are developed as social and leisure spaces to encourage consumer loyalty. That is, they are developed as a means of encouraging repeat visits. Third, they are developed as a tactic to keep potential shoppers in the retail space for a longer duration. The logic behind this strategy being the more time spent in a consumer space the more goods purchased. The origins of this merchandising practice are traced back to the seventeenth and eighteenth centuries well before the advent of the department store form. The thesis located a number of strategies developed in the seventeenth century by tradesmen and merchants to sell their wares. At this time, it is evident that the consumer space was opened up to the public who were encouraged to enter without the obligation to purchase. Further, it is evident that, by the eighteenth century, shopkeepers and manufacturers' workshops included showrooms where potential customers could sit and take tea. Public spaces were also designed within the retail space so that potential customers could see and be seen. British shopkeepers often linked the retail space with the social practice of promenading by strategically situating their premises in an already established thoroughfare or site used for promenading. By the late eighteenth century, consumer spaces housed entertainment facilities such as art galleries, exhibitions and lounging rooms. After tracing the development of this merchandising strategy to the eighteenth and nineteenth centuries, the links that can be made between twentieth-century consumer spaces is examined. In addition, the early developments of shopping centres in the 1940s and 1950s are surveyed and their developmental logic and merchandising strategies are compared with more recent forms of shopping malls developed from the 1970s and 1980s.

Ontwerpen en bouwen in de Hollandse stad

The entire literature concerned with the philosophy and methodology of history during the three centuries preceding 1800 can be schematically divided into two groups, although in individual works the two aspects were often fused and difficult to differentiate, especially in the eighteenth century when these two branches met. The first tendency was educational or pedagogical, the second and ancillary. One branch stemmed from the antique tradition of didactic history, clearly the product of classical influences such as rhetoric and Stoicism. and emphasized the utilitarian role of history in the private and public sphere. This so-called exemplar history' stressed the efficacy of historical examples as opposed to philosophical principles. In the various artes historicae of the sixteenth century, those essays describing the ways or means of studying or writing history, this was the emphasis which we meet almost exclusively. We can also say pedagogical in the strict sense of the word, insofar as these considerations about the role of history were to be found in larger educational treatises from Vives until the end of the eighteenth century Rollin, La Chalotais, or Condillac, to mention only a few later writers.2 The second branch was a younger one, beginning in the seventeenth century. This variety was a product of such influences as Cartesianism and the monastic tradition of erudite research; it dealt with questions of historical epistemology and logic, and contained, for example, debates on historical pyrrhonism. Seen from this viewpoint, critical may be broadly interpreted to include, beginning in the sixteenth and seventeenth centuries, historical dictionaries and catalogues, and, in the eighteenth century, historical journals. The late seventeenth and early eighteenth centuries, as we shall see, maintained an intense interest in the question of historical pyrrhonism. Yet all but a minority of the historical treaties produced at this time were essentially in nature, and logic came in second place. Any speculations about historical doubt derived generally from didactic motivations, rather than from philosophical or pyrrhonistic detachment. We may say that in the eighteenth century there developed a diversification of concerns. Questions of method, problems, or criticism became more defined and multiplied. Old elements of historical theory underwent adaptation in order to meet new social and political needs. This is clearly noticeable in the role of history in the programs or in the introductions and contents of the historical catechisms. At the same time, there was a fusion of research and his-

Articles and Publications Christopher Densmore and Barbara Addison An annotated bibliography of the titles listed below is available at the Friends Historical Association website: www.haverford.edu/library/fha Quaker Writings, an Anthology, 1650–1920, edited with an introduction by Thomas D. Hamm (Penguin Classics 2010) contains Quaker writings documenting the thought and experiences of Friends from George Fox in the 1640s to 1920. Quakers first arose in a period of religious and political turmoil. Though not specifically about Quakers, David R. Adams, "The Secret Printing and Publishing Career of Richard Overton the Leveller, 1644–46," The Library, 11.1 (March 2010), 3-88, and Ariel Hessayon, "Early Modern Communism: The Diggers and Community of Goods," Journal for the Study of Radicalism, 3.2 (2010), 1-49, provide insight into the era immediately preceding the rise of Quakerism. S.L.T. Apetrei, Women, Feminism and Religion in Early Enlightenment England (Cambridge; New York: Cambridge University Press, 2010) contains extensive references to seventeenth-century Quaker women including Joan Whitrowe, Anne Docwra and Elizabeth Bathurst. Betty Hagglund, "Changes in Roles and Relationships: Multiauthored Epistles from the Aberdeen Quaker Women's Meeting," in Woman to Woman : Female Negotiations During the Long Eighteenth Century, edited by Carolyn D. Williams, Angela Escott, and Louise Duckling (Newark: University of Delaware Press, 2010) examines epistles written between 1675 and 1700. Amanda E. Herbert, "Companions in Preaching and Suffering: Itinerant Female Quakers in the Seventeenth- and Eighteenth-Century British Atlantic World," Early American Studies: An Interdisciplinary Journal, 9.1 (2011), 73-113, explores the writings and tribulations of traveling women Friends, and concludes that "traveling Quaker women refigured seventeenth- and eighteenth-century constructions of the female body, femininity, and female sociability." Two recent articles examine Quakers and slavery in Barbados and the West Indies in the seventeenth century: Kristen Block, "Cultivating Inner and Outer Plantations: Property, Industry, and Slavery in Early Quaker Migration to the New World," in Early American Studies: An Interdisciplinary Journal, 8.3 (2010), 515-548, and Katharine Gerbner, "The Ultimate Sin: Christianising Slaves in Barbados in the Seventeenth Century," in Slavery & Abolition, 31.1 (2010), 57-73. Three articles examine the publishing and reading of Friends: David J. Hall, "What Should Eighteenth Century Quakers Have Read?" in The Journal of the [End Page 70] Friends Historical Society 62.2 (2010), 103-110; Richard S. Harrison, "Quaker Publishing in Eighteenth and Early Nineteenth Century Ireland," in The Journal of the Friends Historical Society 62.2 (2010), 111-130, and David J. Hall, "Spreading Friends Books for Truths Service: The Distribution of Quaker Printed Literature in the Eighteenth Century," in The Journal of the Friends Historical Society 62.1 (2010), 3-24. Clive D. Field, "Zion's People: Who Were the English Nonconformists?," Local Historian, 40.3 (2010), 208-223, compares the occupational structures of Quaker, Baptist and Congregational Nonconformists and includes data and analysis of Quaker occupations from 1650 to 1901. Local studies of English Quakers include Peter Collins, Quakers and Quakerism in Bolton, Lancashire 1650–1995: The History of a Religious Community, with a preface by Ben Pink Dandelion (Lewiston, NY: Edwin Mellen Press, 2010) and Richard C. Allen, "Nantucket Quakers and the Milford Haven Whaling Industry, c. 1791–1821," in Quaker Studies, 15.1 (Sept. 2010), 6-31. Andrew R. Murphy, "Persecuting Quakers?: Liberty and Toleration in Early Pennsylvania," in The First Prejudice: Religious Tolerance and Intolerance in Early America, edited by Chris Beneke and Christopher S. Grenda (Philadelphia: University of Pennsylvania Press, 2011) looks at Pennsylvania's actions during the Keithian schism. Pennsylvania's actions towards and conflicts with its Native American population in the mid eighteenth century are considered in Steven C. Harper, "Making History: Documenting the 1737 Walking Purchase," Pennsylvania History, 77.2 (Spring 2010), 217-233; in Jessica Choppin Roney, "'Ready to Act in Defiance of Government': Colonial Philadelphia Voluntary Culture and the Defense Association of 1747–1748," Early American Studies: An Interdisciplinary Journal, 8.2 (2010), 358-385; and John H. Brubaker, Massacre of the Conestogas: On the Trail of the Paxton Boys in Lancaster County (Charleston, SC: History Press, 2010). The Roney and Brubaker studies include extensive references to Quakers. Joseph S. Tiedemann, "A Tumultuous People: The...

ANCIENT: Edessa ‘the Blessed City’. By J. B. Segal ANCIENT: Saeculum: History and Society in the Theology of st. Augustine. By R. A. Markus ANCIENT: Bread and the Liturgy: The Symbolism of Early Christian and Byzantine Bread Stamps. By George Galavaris MEDIEVAL: Life in Anglo‐Saxon England. By R. I. Page MEDIEVAL: The Entry of the Slavs into Christendom. By A. P. Vlasto MEDIEVAL: It is a pleasure to welcome a new edition of Cecily Clark's edition of the Peterborough Chronicle, 1070–1154 MEDIEVAL: The Age of Chivalry. Manners and Morals 1000–1450. By C. T. Wood MEDIEVAL: The Knight and Chivalry. By Richard Barber MEDIEVAL: Scripta Leonis, Rufini et Angeli Sociorum s. Francisci. The Writings of leo, Rufino and Angelo Companions of st. Francis. Edited and translated by Rosalind B. Brooke MEDIEVAL: Irrigation and Society in Medieval Valencia. By Thomas F. Glick MEDIEVAL: English Historical Documents: vol. iv, 1327–1485. Edited by A. R. Myers MEDIEVAL: Bernardo Giustiniani. A Venetian of the Quattrocento. By Patricia H. Labalme MEDIEVAL: The Renaissance Discovery of Classical Antiquity. By Roberto Weiss MEDIEVAL: The Imperial Age of Venice, 1380–1580. By D. S. Chambers MEDIEVAL: The Three Ages of the Italian Renaissance. By Robert S. Lopez MEDIEVAL: Geoffrey Trease's the Condottieri EARLY MODERN: The Foundations of the Modern World 1300–1775. By L. Gottschalk, L. C. Mackinney and E. H. Pritchard EARLY MODERN: Monastic Iconography in France from the Renaissance to the Revolution. By Joan Evans EARLY MODERN: Tudor Royal Proclamations. Edited by Paul L. Hughes and James F. Larkin EARLY MODERN: Theatre of the World. By Frances A. Yates EARLY MODERN: La Plume, la Faucille et le Marteau: Institutions et Societe en France du Moyen age a la Revolution. By Roland Mousnier EARLY MODERN: The French Nobility in Crisis, 1560–1640. By Davis Bitton EARLY MODERN: Les Oeconomies Royales de Sully, Volume 1, 1572–1594. Edited by David Buisseret and Bernard Barbiche EARLY MODERN: Change in the Provinces: The Seventeenth Century. By Alan Everitt EARLY MODERN: Calvinism and the Amyraut Heresy. Protestant Scholasticism and Humanism in Seventeenth‐Century France. By Brian C. Armstrong EARLY MODERN: God's Englishman: Oliver Cromwell and the English Revolution. By Christopher Hill EARLY MODERN: Donald Veall takes a good subject in the Popular Movement for law Reform, 1640–1660 EARLY MODERN: Michael Landon also begins his the triumph of the Lawyers: Their Role in English Politics, 1678–1689 EARLY MODERN: Robert Harley, Puritan Politician. By Angus McInnes EARLY MODERN: New Cambridge Modern History Volume vi: The Rise of Great Britain and Russia 1688–1715/25. Edited by J. S. Bromley EARLY MODERN: The Growth of English Overseas Trade in the Seventeenth and Eighteenth Centuries. Edited with an Introduction by W. E. Minchinton EARLY MODERN: Britain After the Glorious Revolution 1689–1715. By Geoffrey Holmes and others THE EIGHTEENTH CENTURY: The Ancien Régime in Europe: Government and Society in the Major States 1648–1789. By E. N. Williams THE EIGHTEENTH CENTURY: Anglo‐American Political Relations, 1675–1775. Edited by Alison Gilbert Olson and Richard Maxwell Brown THE EIGHTEENTH CENTURY: Muscovite and Mandarin. Russia's Trade with China and its Setting, 1727–1805. By C. M. Foust THE EIGHTEENTH CENTURY: Philosopher king. the humanist pope benedict xiv. By Renée Haynes THE EIGHTEENTH CENTURY: The British Empire Before the American Revolution. vol. xv. A Guide to Manuscripts Relating to the History of the British Empire, 1748–1776. By Lawrence Henry Gipson THE EIGHTEENTH CENTURY: In his study of Shipping and the American war 1775–83 THE EIGHTEENTH CENTURY: The Parkers at Saltram, 1769–89. Everyday life in an Eighteenth‐Century House. By Ronald Fletcher THE EIGHTEENTH CENTURY: The French Revolution. By François Furot and Denis Richot THE EIGHTEENTH CENTURY: Biography is not a medium much used by present teachers of modern European history and Madame Roland and the age of Revolution by Gita May THE EIGHTEENTH CENTURY: Napoleon and Paris. By Maurice Guerrini. Translated by Margery Weiner THE EIGHTEENTH CENTURY: Power in the Industrial Revolution. By Richard L. Hills THE EIGHTEENTH CENTURY: The Textile Industry. By W. English THE EIGHTEENTH CENTURY: Systèmes Agraires et Progrès Agricole: l'Assolement Triennal en Russie aux xviii e ‐xix e Siecles. By M. Confino THE NINETEENTH CENTURY: The First Industrial Nation. An Economic History of Britain 1700–1914. By Peter Mathias THE NINETEENTH CENTURY: The Foreign Ministers of Alexander I: Political Attitudes and the Conduct of Russian Diplomacy 1801–1825. By Patricia K. Grimsted THE NINETEENTH CENTURY: Bureaucracy and Church Reform. the Organizational Response of the Church of England to Social Change 1800–1965. By Kenneth A. Thompson THE NINETEENTH CENTURY: Father of Racist Ideology. The Social and Political Thought of Count Gobineau. By Michael D. Biddiss THE NINETEENTH CENTURY: Marx Before Marxism. By David McLellan THE NINETEENTH CENTURY: Baines's Account of the Woollen Manufacture of England. With a new Introduction by K. G. Ponting THE NINETEENTH CENTURY: The Victorian Crisis of Faith: Six Lectures. Edited by Anthony Symondson THE NINETEENTH CENTURY: Popular Movements, C. 1830–1850. Edited by J. T. Ward THE NINETEENTH CENTURY: The Pauper Press. A Study of Working‐Class Radicalism of the 1830s. By Patricia Hollis THE NINETEENTH CENTURY: The war of the Unstamped. The Movement to Repeal the British Newspaper Tax, 1830–1836. By J. H. Wiener THE NINETEENTH CENTURY: Free Trade: Theory and Practice from Adam Smith to Keynes. By N. McCord THE NINETEENTH CENTURY: The Dietary Surveys of Dr. Edward Smith. By T. C. Barker, D. J. Oddy and John Yudkin THE NINETEENTH CENTURY: The Red Shirt and the Cross of Savoy: The Story of Italy's Risorgimento (1748‐1871). By George Martin THE NINETEENTH CENTURY: The Social Foundations of German Unification 1858–1871, Ideas and Institutions. By Theodore S. Hamerow THE NINETEENTH CENTURY: The Victorian Underworld. By Kellow Chesney THE NINETEENTH CENTURY: Cosmopolitanism and the National State. By Friedrich Meinecke; translated by Robert B. Kimber THE NINETEENTH CENTURY: The Administration of Imperialism: Joseph Chamberlain at the Colonial Office. By Robert V. Kubicek THE NINETEENTH CENTURY: Sir John Brunner: Radical Plutocrat, 1842–1919. By Stephen E. Koss THE TWENTIETH CENTURY: From the Dreadnought to Scapa Flow. vol. 4. 1917: Year of Decision; vol. 5. 1918–1919: Victory and Aftermath. By Arthur J. Marder THE TWENTIETH CENTURY: The Russian Search for Peace February‐October 1917. By R. A. Wade THE TWENTIETH CENTURY: The Making of the Soviet State Apparatus. By Olga A. Narkiewicz THE TWENTIETH CENTURY: The Politics of Decontrol of Industry: Britain and the United States. By Susan Armitage THE TWENTIETH CENTURY: British Social Policy 1914–1939. By Bentley B. Gilbert THE TWENTIETH CENTURY: The Diplomatic Diaries of Oliver Harvey, 1937–1940. Edited by John Harey THE TWENTIETH CENTURY: American Aid to France 1938–40. By John McVickar Haight THE TWENTIETH CENTURY: The Resistance Versus Vichy. By Peter Novick THE TWENTIETH CENTURY: De Gaulle's Foreign Policy 1944–1946. By A. W. De Porte THE TWENTIETH CENTURY: Europe Since Hitler. By Walter Laqueur THE TWENTIETH CENTURY: The European Renaissance Since 1945. By Maurice Crouzet THE TWENTIETH CENTURY: France since 1918. By Herbert Tint THE TWENTIETH CENTURY: Wars, Plots and Scandals in Post‐War France. By Philip M. Williams THE TWENTIETH CENTURY: French Politicians and Elections 1951–1969. By Philip M. Williams AFRICA, ASIA AND AUSTRALASIA: A History of the Upper Guinea Coast 1545 to 1800. By Walter Rodney AFRICA, ASIA AND AUSTRALASIA: Trade and Politics on the Gold Coast 1600–1720. By Kwame Yeboa Daaku AFRICA, ASIA AND AUSTRALASIA: Province of Freedom: A History of Sierra Leone 1787–1870. By John Peterson AFRICA, ASIA AND AUSTRALASIA: West African Countries and Peoples. By James Africanus Horton with an introduction by George Shepperson AFRICA, ASIA AND AUSTRALASIA: Pre‐Colonial African Trade. Essays on Trade in Central and Eastern Africa Before 1900. Edited by Richard Gray and David Birmingham AFRICA, ASIA AND AUSTRALASIA: Colonialism in Africa 1870–1960. vol. i: The History and Politics of Colonialism 1870–1914. Edited by L. H. Gann and Peter Duignan AFRICA, ASIA AND AUSTRALASIA: Reluctant Rebellion. The 1906–1908 Disturbances in Natal. By Shula Marks AFRICA, ASIA AND AUSTRALASIA: The Administration of Nigeria: Men, Methods and Myths. By I. F. Nicolson AFRIC

The Value of Time in Early Modern English Literature. Tina Skouen. Abingdon: Routledge, 2018. Pp. x+234.

Fetishizing the Foot: Mobility and Meaning in Indian Ocean Sandals

David McKitterick. <i>The Invention of Rare Books: Private Interest and Public Memory, 1600–1840</i>.