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"The first major exhibition in forty-five years devoted to the Burgundian Netherlandish artist Jan Gossart (ca. 1478-1532) brings together Gossart's paintings, drawings, and prints and places them in the context of the art and artists that influenced his transformation from Late Gothic Mannerism to the new Renaissance mode. Gossart was among the first northern artists to travel to Rome to make copies after antique sculpture and introduce historical and mythological subjects with erotic nude figures into the mainstream of northern painting. Most often credited with successfully assimilating Italian Renaissance style into northern European art of the early sixteenth century, he is the pivotal Old Master who changed the course of Flemish art from the Medieval craft tradition of its founder, Jan van Eyck (ca. 1380/90-1441), and charted new territory that eventually led to the great age of Peter Paul Rubens (1577-1640). "

"But it is now the quadricentennial of Milton's birth in 1608, and it is startling that this work, once central to the literary and religious experience of the English-speaking world, is so much a curiosity, sentenced to the margins by its preoccupations with biblical interpretation, condemned by the density of its prosody, which does not instantly seduce but, instead, commands the reader to give way before it, persisting until no resistance is possible. So perhaps the most we can expect is the library's modest, one-room exhibition "John Milton at 400: A Life Beyond Life."

„In August 1617 a small group of Saxon nobles gathered in Castle Hornstein near Weimar to establish a type of institution previously unknown on German soil ‚the learned society'. It was based on the Italian model of the previous century and specifically on the Academia della Crusca of Florence, to whose ranks one of its founding members, Prince Ludwig of Anhalt-Köthen, had been elected in 1600. Ludwig was the chief benefactor and the head of this new German society until his death in 1650, and he and its other founding members sought inspiration in their pursuit of learning from the many Italian literary societies which had contributed so much to the purification and normalization of Italian letters in the sixteenth century. The new German society was called the ‚Fruchtbringende Gesellschaft', the Fruitbearing Society, and its motto was „Alles zum Nutzen" - ‚Everything for a purpose'".

"Francesco Petrarca was born on July 20, 1304. Commemorations of the 700th anniversary of his birth are taking place this year (2004), primarily in Italy but also around the world and in the United States. At Yale University, the celebration includes an international conference on Petrarch, September 23 - 25, and an exhibition at the Beinecke Library, as well as this web exhibition. The Beinecke Library is the leading institution in the United States in collecting Petrarch manuscripts (codices or fragments that contain works by or about Francesco Petrarca), from popular copies of the Canzoniere and Trionfi to the lesser-known De remediis utruisque fortune and Nota de Laura, as well as the memoirs and drawings of the English clergyman and literary editor John Mitford (1781-1859). "

"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."

"Die Bayerische Staatsbibliothek nimmt das Jubiläum ihres 450-jährigen Bestehens zum Anlass für eine archäologische Grabung in eigener Sache: Eine Ausstellung zeigt grossartige Handschriften und Drucke aus dem reichen Gründungsbestand am Ende des 16. Jahrhunderts."

"Created in Utrecht, The Netherlands, around 1440, the manuscript was taken apart sometime before 1856. Its leaves were shuffled and then rebound into two volumes to make each look more or less complete."

Au lendemain de la paix de Nimègue qui met fin à la guerre de Hollande, Louis XIV vient de faire de la France la plus florissante monarchie du monde. Il est aussi le protecteur des sciences et des arts et les deux globes que Coronelli lui dédie magnifient l'image d'un monde pacifié qui lui offre, grâce au commerce et à la navigation, toutes les ressources des contrées les plus lointaines.\nLes Globes de Louis XIV devaient présenter les connaissances scientifiques de l'époque, mais aussi célébrer la gloire du Roi, témoigner de sa mission "terrestre" comme de son origine "céleste".

"Slides / Photo Cds Illustrating Maps from the Renaissance Period 1500-1700."

"Hans Holbein the Younger. German painter (b. 1497, Augsburg, d. 1543, London)"

"Bürgermeister Johann Heinrich Waser war eine prägende Gestalt der Zürcher und eidgenössischen Politik in der zweiten Hälfte des 17. Jahrhunderts. Kaum bekannt ist dagegen Wasers umfangreiche publizistische Tätigkeit. Sie gibt reichen Aufschluss über die Laufbahn dieses Zürcher Staatsmannes und bietet zugleich faszinierende Einblicke in die Alltagsgeschichte der Zürcher Elite jener Zeit."

"The Mourners: Medieval Tomb Sculptures from the Court of Burgundy. March 2, 2010-May 23, 2010. Medieval Sculpture Hall. The renovation of the Musée des Beaux-Arts in Dijon provides an opportunity for the unprecedented loan of the alabaster mourner figures from the tomb of John the Fearless, Duke of Burgundy, and his wife, Margaret of Bavaria. Each of the statuettes is approximately sixteen inches high. They were carved by Jean de La Huerta and Antoine Le Moiturier between 1443-1456 for the ducal tomb originally in the church of Champmol, and they follow the precedent of the mourner figures carved by Claus Sluter and colleagues for the tomb of Duke Philip the Bold (1342-1404). The tombs are celebrated as among the most sumptuous and innovative of the late Middle Ages. The primary innovation was the space given to the figures of the grieving mourners on the base of the tomb, who seem to pass through the real arcades of a cloister."