Search Results (7)

At the beginning of the 21st century, there were sensational discoveries in two palaces located in Ciechanowice and Struga in Silesia (Poland). During their renovations, Renaissance fresco cycles of portraits of emperors from the Roman, medieval, and early modern times appeared under the layer of plaster in the representative dining rooms (27 in the palace in Struga and about 50 in the palace in Ciechanowice). They were painted in the 1580s (in Ciechanowice, the date is 1588) by the same unknown artist. This article is the first to attempt to establish the most important facts related to the creation of both fresco cycles. The frescoes were founded by representatives of influential Silesian Protestant nobility: Heinrich von Reichenbach (Ciechanowice) and Abraham von Czettritz und Neuhaus (Struga). Both nobles attended the funeral of Emperor Maximilian II, which took place in Prague in 1577. This is where they purchased a work by the Dutch printmaker, painter, and numismatist, Hubert Goltzius, Lebendige Bilder Gar Nach Aller Keysern […] (published in Antwerp in 1557), whose specially prepared copy had been solemnly presented to Emperor Maximilian II in 1562. The book contains 133 monochrome woodcut illustrations with portraits of emperors in circular frames by the Dutch artist Joss van Gietleughen, which—together with accompanying inscriptions—were used as models for fresco paintings in both Silesian palaces. The foundation of the cycles of portraits of the emperors of the Roman Empire and the Holy Roman Empire of the German Nation in the representative halls of the palaces in Ciechanowice and Struda, which ended with a joint representation of Emperor Maximilian II and the King of Spain, Philip II Habsburg, was a way to show the gratitude of both prominent and wealthy Protestant nobles towards Emperor Maximilian II. During his reign, imperial power was the source and guarantee of religious freedoms for Protestants in Silesia. It is significant that both cycles left out the person of emperor regnant, Rudolf II, who soon after assuming the imperial throne abandoned his father’s tolerant policy towards Protestants. Although the author of both series of frescoes was probably a local painter, they are a unique artistic realization not only in Silesia but also in the whole of Central Europe, and they can only be compared to the popular Renaissance portrait galleries of “famous men” (uomini famosi). Full article

The Count de Rethel: An Historical Novel (1779) can be ascribed to Georgiana Spencer Cavendish, Duchess of Devonshire (1757–1806) as a translation of Anecdotes de la cour de Philippe-Auguste (1733) by Marguerite de Lussan. The action is set at the court of Philip II of France, known as Philip Augustus, at the time of the war with King Henry II and the Crusade with Richard I, known as the Lionheart. This inspired revival of fictionalised medieval history heralding romanticism in the age of sensibility refashions the codes of chivalry according to the aesthetics of the second half of the eighteenth century. This essay focuses on the interplay between fiction and history, between the present of writing and the rewriting of history through Cavendish’s translational prism, featuring the Middle Ages as a golden age of heroism and the Count de Rethel as a paragon of ancient virtue set against contemporary men of fashion. Full article

For over five centuries, the History of the Great and Mighty Kingdom of China, written by Spanish missionary Juan González de Mendoza and published in 1585 in Rome, has captured the interest of the international academic community. However, scholarship has primarily focused on Mendoza’s depiction of China as rich and powerful, potentially overlooking the evangelical purpose of his narrative and failing to explain the correlation between the positive Chinese image and the author’s evangelical intention. This study aims to clarify the image of China presented by the Spanish author through a detailed textual analysis, concluding that Mendoza portrayed China as a rich and great nation that also had misguided beliefs and was open to evangelization. The Spanish author’s identity as an Augustinian preacher and ambassador of King Philip II of Spain to the Ming dynasty of China, as well as the global and evangelistic social context in which he lived, significantly influenced his perceptions of China. Furthermore, his hybrid profile of China was accepted in Europe at the time and became a collective memory because it embodied the spiritual context shared by the European community in the 16th century. This spiritual purpose was achieved through the idealized imagination, which serves as an affective medium in the formation of collective memory. Full article

The city of Seville experienced a remarkable rise in the 16th century thanks to trade with America. Based on a report by the architect Hernán Ruiz, it was decided to renovate the gates of the walled city. The Puerta Real, also called Puerta de Goles, was remodelled between 1560 and 1566, and King Philip II entered through it in 1570. However, it was demolished around 1864, and only the remains of the adjacent wall stand today. This research aims to graphically analyse the gate and its immediate surroundings to gain a more profound knowledge of it and to promote its heritage value. To this end, an extensive collection and analysis of historical images has been carried out, which are essential for understanding the transformations of the site. A photograph by Masson (c. 1855–1860) was next used to support the virtual reconstruction of the gate. A 3D laser scanner was also used to document the existing archaeological remains and, via game-engine technology, to recreate rigorously, for the first time, this 16th-century gate in its current environment. This research could be useful for future scientific reconstruction to promote the heritage revitalisation of this city area. Full article

In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. Finally, to boost British morale on D-Day at Churchill’s behest, Laurence Olivier directed a masterly film version of William Shakespeare’s Henry V (1944), edited to emphasize the king’s virtues and courage, as in the St. Crispin’s Day speech with its “We few, we proud, we band of brothers”. This essay examines the aesthetic appeal, the historical accuracy, and the presentist propaganda in such films. Full article

Though there are a great number of studies of the Monastery of El Escorial, the surrounding buildings built in the 16th century have gone almost unnoticed. Among them, the Botica or Apothecary was designed by a disciple of Juan de Herrera and still arouses interest for several reasons. Firstly, because it composes an outstanding closure to the Monastery’s main building and the surrounding Lonja, while at the same time it connects other neighbouring buildings; secondly, because the surviving documents about its history, uses, and construction processes had not then been studied; and thirdly, because there was no accurate survey permitting an in-depth study of its materials, construction methods, and techniques. We based our research on the information in archive documents, on the study of an outstanding set of ancient drawings, and on the production of a new survey. As a first step, we drew the first set of accurate plans of the building. From this base we undertook the essential formal, functional, and constructive analysis. We also put forward and confirmed the main hypotheses about the building’s chronology and the stages of its construction. Finally, we analysed the conservation works that were carried out facing the two main risks of termite attacks and weathering. Full article

Philip II, father of Alexander the Great, succeeded his brother, Perdiccas III, to the throne of Macedonia in 360 BC. He has been described by historians as a generous king and military genius who managed to achieve his ambitious plans by expanding the Macedonian city-state over the whole Greek territory and the greater part of the Balkan Peninsula. The aim of our study was to present the evidence with regard to the facial injury of King Philip II of Macedonia and discuss the treatment of the wound by his famous physician, Critobulos. We reviewed the literature for historical, archaeological, and paleopathological evidence of King Philip's facial injury. We include a modern reconstruction of Philip's face based on the evidence of his injury by a team of anatomists and archaeologists from the Universities of Bristol and Manchester. In the light of the archaeological findings by Professor Andronikos and the paleopathological evidence by Musgrave, it can be claimed with confidence that King Philip II suffered a significant injury of his zygomaticomaxillary complex and supraorbital rim caused by an arrow as can be confirmed in many historical sources. To the best of our knowledge, this is the first attempt to present the trauma of King Philip II from a maxillofacial surgeon's point of view. Full article