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Digiberichte.de aims to advance research on late medieval and early modern European travel accounts. This project provides digitized editions and research literature on approx. 375 different travels and pilgrimages through Europe in historical times. The bibliographical database allows quick reference for the travel accounts. Due to copy right restrictions only literature from the 19th century and earlier is provided in full text. The majority of the material provided here is based on the so called "analytical bibliographies" of medieval travel accounts that have been edited under the direction of Prof. Werner Paravicini and published by Peter Lang. Initially only bibliographies on German, French and Dutch travel-accounts have been published, but there was always the idea of collecting material for the other European countries (especially Italy, England, Spain, Portugal, Scandinavia and East-Europe) als well. Digiberichte.de therefore collects information also for travellers from these countries that left accounts of their journey.

A fair maid sits at the foot of the tower and weeps and sighs and grieves full sore. Her father asks her: 'What is it, daughter? Do you want a husband, or do you want a lord?' 'I do not want a husband, I do not want a lord, I want my true love who pines in the tower!' 'By God, dear daugther, he will not be yours, for tomorrow he will be hung at dawn!' 'Father, if they hang him, bury me underneath, and people will say: '"This is true love!" (transl. Micrologus2, youtube) "Guillaume Dufay (Du Fay, Du Fayt) (August 5, 1397? - November 27, 1474 in Cambrai) was a Franco-Flemish composer of the early Renaissance. As the central figure in the Burgundian School, he was the most famous and influential composer in Europe in the mid-15th century. From the evidence of his will, he was probably born in Beersel, in the vicinity of Brussels. He was the illegitimate child of an unknown priest and a woman named Marie Du Fayt." Also cp.: http://www.hoasm.org/IIID/IIIDNetherlanderstoOckegh.html

"Engravings are objects of exquisite beauty and incomparable intricacy whose visual language is composed entirely of lines. From 1480 to 1650 Renaissance and Baroque (Early Modern) engravers made dramatic and rapid visual changes to the technique of engraving as they responded to the demands of reproducing artworks. ‚The Brilliant Line' follows these visual transformations and offers new insight intothe special inventiveness and technical virtuosity of Early Modern engravers."

"Aside from information about the history, the objectives and the workings of our organisation, this site offers a comprehensive overview of the research projects and activities carried out since the start of the Alamire Foundation in 1991. Short summaries and practical information concerning the scientific publications are provided. If you want to stay informed of our oncoming activities, please take a look at the calendar."

"Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity. He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci. Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was praised by 16th-century literary figures (including Castiglione and Rabelais) and was Martin Luther's favourite composer. Josquin was the greatest composer of the high Renaissance, the most varied in invention and the most profound in expression. Much of his music cannot be dated.

"Loyset Compère (c. 1445 - 16 August 1518) was a Franco-Flemish composer of the Renaissance. Of the same generation as Josquin des Prez, he was one of the most significant composers of motets and chansons of that era, and one of the first musicians to bring the light Italianate Renaissance style to France."

"Vergesst Aeneas nicht! Enea Silvio Piccolomini - Humanist, Poet, Gelehrter, Diplomat und Papst. Vor 600 Jahren wurde Enea Silvio Piccolomini geboren, der als Papst Pius II. in die Kirchengeschichte eingegangen ist, mit seinem literarischen Werk und seinen biografischen und historischen Schriften aber wohl mehr in die Waagschale gelegt hat."