bluuebunny/crossref_metadata_2025_split huggingface dataset:
Het Toren van Babel-schilderij in het Mauritshuis. Een illustratie van de relatie tussen de 15 de-eeuwse miniatuur- en schilderkunst in de Nederlanden
Authors: Grieten Stefaan 
Published: July 2010

AbstractIn the Mauritshuis at Thc Hague is the earliest extant painting on the theme of the Tower of Babel (fig. I). The panel's smal size (19.7 × 17 cm) and the min ute detail of the narrative scene suggest a relationship with the art of the miniaturc. This connection, which is demonstrable in other early representations of the theme (figs. 2-3), is confirmed by numerous motivic similarities with a number of miniatures (figs.4 6) in Les anciennes croniques et conquestes de Charlemaine, a manuscript which was illuminated by Jan de Tavernier between 1458 and c. 1465 and shortly afterwards showed up in the library of Philip, Duke of Burgundy. It is now in the Albert I Royal Library in Brussels. The anonymous painter of the panel was probably not in a position to base his work directly on the actual miniatures, but he may well have made use of sketches which served for the illumination of manuscripts in De Tavernier's studio. However, it cannot be ruled out that a Tower of Babel was painted in that studio. Neither the obvious relationship with De Tavernier's oeuvre nor corresponding motifs in paintings from the Bruges (fig. 8) and Haarlem (fig. 9) environments yield a logical hypothesis for an attribution of the panel in The Hague. The article does however draw attention, to the important but hitherto insufficiently examined relationship between 15th-century painting and the contemporary miniature (and other art techniques).
Rembrandt en de Broederschap der Schilderkunst; een nieuwe hypothese voor de Pallas Athene in Museu Calouste Gulbenkian
Authors: Postma Hugo 
Published: July 2010

AbstractThe purchaser of a colour slide of the painting with the inventory number I488 in the Museu Gulbenkian in Lisbon will see that the work is entitled 'Palas Atcneia ou Alexandre'. This ambiguous designation is typical of the doubts surrounding this unsigned and undated painting, which is usually attributed to Rembrandt (fig. I). For some decades now, art-historical literature has put forward varying opinions about the painting, and it continues to give rise to questions. Its subject, date, backgrounds and attribution to Rembrandt are all controversial issues. The purpose of this article is to contribute to the forming of opinion regarding the Lisbon painting. The author presents a new hypothesis as to what prompted the work. On October 2I I654, painters, sculptors and their patrons gathered in the St. Joris Doelen in Amsterdam to celebrate the Feast of St. Luke. The occasion was marked by the publication of an anthology: 'Broederschap Der Schildcrkunst, INGEWYDT Door SCHILDERS, BEELDTHOUWERS En des Zelfs BEGUNSTIGERS; Op den zI van Wynmaent I654, op St. Joris Doelen, in ANISTER-DAM'. The book contains three texts, the third of which is by Asselijn. It seems to be a play that was performed during the festivities. Towards the end an election of a painter and a sculptor from among those present is described. Both must make a work of art. The painter has to paint a Minerva; the sculptor is asked to carve an Apollo from stone. Unfortunately Asselijn does not say who was the winner, although he does refer to the candidates as the foremost representatives of their profession. Jan Vos' well-known poem Strydt tusscben de Doodt en Natuur, of Zeege der Schilderkunst, also written in I654, may have been connected with the celebrations held that year. A passage in the text lists the names of a number of artists. The fact that Rembrandt comes first and the context in which this happens could suggest that Vos regarded Rembrandt as Amsterdam's leading painter at that time. Various indications support the author's assumption that this opinion was probably shared by members of Vos' circle such as Kretzer and Meures, both of whom participated in the I654 festivities, and Six and Soop, with whom Vos, Kretzer and Meures were well acquainted. All this suggests that Rembrandt was very likely a candidate for election and that he was invited to paint a Minerva at the time of the celebration. Assuming that the invitation really was issued, Rembrandt must have painted this subject in I654 or thereabouts. It could be the work which is now in Lisbon and whose subject might well be identified as Minerva.
Enkele biografische gegevens over Gillis I Coignet alias Gillis met de Vlek
Authors: Meskens AD 
Published: July 2010

AbstractAssembled in this article are biographical data concerning the painter Gillis I Coignct (Gillis met de Vlek) which are based on and have been confirmed by recent archival research. The year of the artist's birth can now be established as I542. He was a son of the goldsmith and instrument maker Gillis Coignet. Coignet became a master in I56I, travelled to Italy and by I570 had returned to Antwerp, where he had several pupils and served as a dean in the painters' guild. Judging by tax-registers, he was fairly well-to-do In I586 he left Antwerp for Amsterdam, moving on to Hamburg circa I595. He died there on December 27 I599. The article also presents some data pertaining to relatives of Gillis I Coignet, some of whom were likewise painters.
'Sterckheyt van Wij sheyt en Voorsichticheyt verwonnen': Overwegingen bij een Allegorie van Cornelis Ketel
Authors: Schulting TO 
Published: July 2010

AbstractDuring his sojourn in England, from 1573 to 1581, Cornelis Ketel received numerous portrait commissions, but did not paint many allegories. Van Mander gives a brief description of only one of them: Kracht door Wijsheid en 1 óorzichtzgheid overwonnen (Strength Conquered by Wisdom and Prudence, o.c. note 1, fol. 275 14-20). In 1986 an Allegory dating from the period in question (1580) appeared on the market. In a decor of captured weapons, it shows three nude men subjugated by a woman and tied up with snakes [figs. 1, 2). A number of circumstances preclude the conclusive identification of this painting as the one described by Van Mander: a) the woman with the snake might be Prudence, but Wisdom is missing; the reason for this might be that the canvas has been cropped, as is indicated by the absence of cusping; b) the attitude of Strength, the muscular man wearing a loincloth, is more consistent with the characteristics of Fury as described by Virgil, Cartari and Ripa (notes 7-9). A biblical source for this theme is Ecclesiastes 9:15-18, where Wisdom is rated higher than Strength and weapons of war. All sources associate Fortitude/ Fury with acts of war, so that a political connotation cannot be ruled out. In the Duke of Buckingham's collection was another allegory by Ketel representing victorious Virtues. This painting was not as tall as the work of 1580 published here (notes 13-19). The Duke of Buckingham's painting cannot be identified with the one for the Amsterdam jeweller Jan van Wely (Van Mander, fol. 275 r43 -275v30), as that painting was still in the collection of his family in 1670 (notes 17, 18). Iconographically, there is a remarkable correspondence with a work by Frans Floris, the subject of which has not been satisfactorily accounted for either (fig. 3, note 20). Pending a definitive identification, it seems to represent Fortitude/Mars/Fury rendered powerless by the loss of his weapons, and conquered by the female personifications of Wisdom and/or Prudence. Ketel was stylistically influenced not only by Floris (fig. 5, notes 23-25) but also by prints after Maarten van Heemskerck and Michelangelo (figs.6, 7). There is something of the Venetian style in the manner of painting. Ketel was acquainted with this style from an altar-piece by Dirck Barents, in the St. Janskerk in Gouda (note 29). It should be stressed that Ketel was unable to find a market for his allegories in England (cf. note 30), as may also be deduced from Van Mander. At the Tate Gallery's exhibition Dynasties 1530- 1630 (1995/96, note 32), Ketel's Allegory of 1580 contrasted starkly with the other exhibits: at the time when he was in England, the delicate subtlety of painters like Hilliard and Oliver was more to the British taste. Their manner was a far cry from Ketel's boldly painted allegory with its large figures. Not until some fifty years later, when the Venetian School, Rubens and Van Dyck were gaining ground, was Ketel duly appreciated in England.
Een embleem van Coornhert als bron van Jan Steens zogenaamde Burgemeester van Delft
Authors: Vinken Pierre 
Published: July 2010

AbstractJan Steen's So-called Burgomaster of Delft and his Daughter (1655) honours a prosperous citizen of Delft well known in his day for his charitable works. The sitter himself may not actually have commissioned the painting. Its composition and related meaning would appear to have been drawn form one of Coornhert's emblems: 'It is God's will that the rich man shall support His humble porters, the poor who knock on his door'.
De ontdekking van de Hollandse primitieven
Authors: Grasman Edward 
Published: July 2010

AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.
Hendrick Cornelisz. van Vliet: Het gezin van Michiel van der Dussen
Authors: Laarmann Frauke 
Published: July 2010

AbstractSince I998 the Stedelijk Museum Het Prinsenhofin Delft owns a family portrait by Hendrick Cornelisz van Vliet. Signed in full and dated I640, the painting shows a wealthy and — in view of the details—Catholic family with five children. It predates Van Vliet's well-known architectural paintings by more than a decade, and is therefore very significant for our knowledge of his early oeuvre. In this article, however, attention is focused on the painting's unusual position in the pictorial and iconographic tradition of the North Netherlandish family portrait. We see a husband and wife with their five children, the sons making music with their father. Contrary to what is frequently stated in the literature, i.e. that music is an important attribute in the depiction of harmonieus family life, music hardly features at all in North Netherlandish family portraits of the first half of the seventeenth century. Highly exceptional in Van Vliet's painting is the circumstance that only the males are making music, as is the choice of instruments. The recorders, popular instruments but unique in the tradition of the group portrait, suggest that the sitters were fond of the instrument and wished to be portrayed while engaged in their favourite pastime. The instrument and the music book of the two sons, combined with the other children's attributes, hint at a representation of the five senses. The daughters are respectively depicted with a pecking parakeet (touch), a basket of fruit (taste) and flowers (smell). In this context the sons' attributes stand for hearing and sight, the two most highly ranked senses. With the aid of details in the painting — the obvious references to Catholic religion, the precise dating of the work and the name 'Michiel' in the piece on the music stand — the sitters have been identified as Michiel van der Dussen and Willemina van Setten with their five children: Cornelis, Otto, Anna, Maria and Elizabeth. This insubstantiates the traditional identification of another painting in the Koninklijk Museum voor Schone Kunsten in Antwerp as Michiel van der Dussen's family. The Van der Dussens were prominent regents in Delft; however, Michiel's branch of the family was Catholic and thus excluded from holding official executive positions in Delft. They must therefore have been active in other spheres. They are not recorded as having pursued a particular profession; their wealth seems to have accrued from their ownership of property and land. The Van der Dussens are likely to have been of independent means due to the family's erstwhile noble status. Their higher ambitions were confirmed by the marriage of a granddaughter of Michiel van der Dussen to a Baron van Leefdael. This family portrait with its extremely rich imagery, painted in a period when repression of the Catholics in Delft was at its strongest, represents the selfconndence and ambitions of a Catholic family.
Beobachtungen Über Das Benehmen Eines Grauen Gibbons (Hylobates Leuciscus)
Authors: Krijgsman B.J. , Krijgsman-Tiessen J. 
Published: July 2010

AbstractVerschiedene neue Daten über Ernährungsweise, Bewegung, Stimme, sinnliche Orientierung, Spiel, mimische Expression, Verhalten zu Mensch und Tier, Gedächtnis und Intelligenz eines jungen weiblichen Gibbons werden bekannt gegeben. Dabei zeigte sich, dass, obgleich das Gemütsleben dieses Affen stärker entwickelt war oder jedenfalls deutlicher zutage trat, die Intelligenz (in Anschluss an die Beobachtungen früherer Forscher) sich jedoch nicht über diejenige der niederen Affen erhob.
The Tegelen Fauna, With a Description of New Remains of Its Rare Components (Leptobos, Archidiskodon Meridionalis, Macaca, Sus Strozzii)
Authors: Schreuder A. 
Published: July 2010

AbstractA historical survey of the increase of the list of Tegelen mammals precedes the description of some fossils, namely a scapula, a few upper and one lower molar, a humeral shaft and part of a horn-core of Leptobos cf. elatus (Pomel),, fragments of an upper and a lower last milk molar and a large fragment of a second molar of Archidiskodon meridionalis, archaic form, some upper and lower teeth of Macaca florentina, and the young, almost complete lower dentition of Sus strozzii. A comparison of the Tegelen mammals with other Villafranchian faunas leads to the conclusion that the resemblance to the mammalian assemblages of Val d'Arno superiore and of SenÃ¨ze is great, and that the Tegelen Clay is a deposit of the GÃ¼nzian period, and thus distinctly older than the Cromer Forest-Bed which has been formed in the GÃ¼nz-Mindel Interglacial. The Tegelen mammalian fauna belongs to the Upper-Villafranchian, and most probably lived in the GÃ¼nz-Interstadial.
Theological Education At the Dutch Universities in the Seventeenth Century: Four Professors On Their Ideal of the Curriculum
Authors: Broeyer F.G.M. 
Published: July 2010

AbstractDuring the seventeenth century the academic teaching of theology in the Dutch Republic was on a high level. The universities had first-rate professors at their disposal for the subjects taught at the time. In this article some treatises on theological education are discussed. The authors are the professors Antonius Walaeus, Gisbertus Voetius, Franciscus Burman, and Samuel Maresius. Walaeus, Voetius, and Burman wrote about the content of the curriculum and the ideal way of studying theology. They differ in outlook. Burman even advocates a critical attitude based upon a Cartesian principle. Precisely because of unorthodox ideas gaining ground Maresius voiced somber reflections on an assumed decline of the Dutch faculties of theology.
François De Sales and Catholic Reform in Seventeenth-Century France1
Authors: Sager Jason 
Published: July 2010

AbstractUntil recently, studies on French pastoralism have overlooked the existence of a political ideology within late sixteenth- and early seventeenth-century sermon literature. And yet it appears that court preachers were co-opted by the Bourbon monarchy to assist in the pacification of the nobility and radical elements of both Catholic and Protestant confessions. This essay examines the sermon literature of the French saint, François de Sales, 1567-1622, in order to demonstrate that de Sales's sermon literature consciously supported the crown's pacification agenda. It is further argued that this political ideology in the sixteenth- and seventeenth-century sermon literature shaped the relations between court preachers such as de Sales and the Huguenot factions in the aftermath of the Edict of Nantes. With the emphasis on pacifying rebellious elements in the realm, the rhetoric in the sermon literature exhibited a sense of toleration of the existing Huguenot faction that had been absent in the sermon literature of the mid sixteenth-century.
Advice Manuals and the Formation of English Protestant and Catholic Clerical Identities, 1560-1660
Authors: Macek Ellen A. 
Published: July 2010

AbstractDrawing from personal experience or the preparation of aspiring pastors, some English authors sought to refine clerical job descriptions during the first century of religious reform. Although clerical advice manuals consistently demanded a morally upright life and suitable academic training, the pastor's ongoing spiritual formation assumed more importance. Handbooks written by authors as diverse as the "Puritan" Richard Bernard, the "establishment" pastor George Herbert, and the "papist" George Gilbert also outlined the use of several novel methods to deal with individuals who failed to respond to more traditional means of preaching and provision of the sacraments. A close reading of such manuals provides a window on competing visions of English clerical life before 1660.
"Anyone Who Can Read May Be a Preacher"1: Sixteenth-Century Roots of the Collegiants
Authors: Voogt Gerrit 
Published: July 2010

AbstractCollegiantism arose in Dutch Remonstrant circles after the Synod of Dordt outlawed the Remonstrants (1619) and their leaders had been sent into exile. It offered a "church" for all, "run" by laymen without a clergy and hailed the freedom to "prophesy." Collegiantism was intended, paradoxically, to give concrete form to a "non-church," an "invisible church" of all "unpartisan" believers, one that brought believers together without binding them or passing judgment. The structural roots of Collegiantism lead to Sebastian Franck's anti-sacerdotalism and his definition of the true church as a "free, non-sectarian, party-less Christianity"; to Sebastian Castellio's rationalism, his deconstruction of the notion of heresy, and his dogmatic minimalism; to Jacob Acontius's advocacy of free prophecy in church for congregants and his insistence that possession of a monopoly of truth renders a church spiritually lazy; and to Dirck Coornhert. The latter's championship of free investigation, ideas on fairness and struggle against the ruling orthodoxy, and especially his draft for a non-partisan church, all came to fruition in the early Collegiants, who thus crafted a "confessional identity" that was not dogmatically defined but that would fill itself, due to its very nature, with radical content.
Evaluation and Sensitivity Analysis of an Ocean Model Response to Hurricane Ivan
Authors: Halliwell G. R. , Shay L. K. , Brewster J. K. , Teague W. J. 
Published: July 2010

Abstract
An ocean model response to Hurricane Ivan (2004) over the northwest Caribbean Sea and Gulf of Mexico is evaluated to guide strategies for improving performance during strong forcing events in a region with energetic ocean features with the ultimate goal of improving coupled tropical cyclone forecasts. Based on prior experience, a control experiment is performed using quasi-optimal choices of initial ocean fields, atmospheric forcing fields, air–sea flux parameterizations, vertical mixing parameterizations, and both horizontal and vertical resolutions. Alternate experiments are conducted by altering one single model attribute and comparing the results to SST analyses and moored ADCP current measurements to quantify the sensitivity to that attribute and identify where to concentrate model improvement efforts. Atmospheric forcing that does not resolve the eye and eyewall of the storm (scales &gt;10 km) substantially degrades the ocean response. Ordering other model attributes from greatest to least sensitivity, ocean model initialization with regard to the accuracy of upper-ocean temperature–salinity profiles along with accurate location of ocean currents and eddies is the most important factor for ensuring good ocean model performance. Ocean dynamics ranks second in this energetic ocean region because a one-dimensional ocean model fails to capture important physical processes that affect SST cooling. Wind stress drag coefficient parameterizations that yield values exceeding 2.5 × 10−3 at high wind speeds or that remain &lt;2.0 × 10−3 over all wind speeds reduce the realism of wind-driven current profiles and have a large impact on both SST cooling and the heat flux from ocean to atmosphere. Turbulent heat flux drag coefficient parameterizations substantially impact the surface heat flux while having little impact on SST cooling, which is primarily controlled by entrainment at the mixed layer base. Vertical mixing parameterizations have a moderate impact on SST cooling but a comparatively larger impact on surface heat flux. The impacts of altering the horizontal and vertical resolutions are small, with horizontal resolution of ≈10 km and vertical resolution of ≈10 m in the mixed layer being adequate. Optimal choices of all attributes for simulating the ocean response to Ivan are identified.
A Non-Gaussian Ensemble Filter Update for Data Assimilation
Authors: Anderson Jeffrey L. 
Published: July 2010

Abstract
A deterministic square root ensemble Kalman filter and a stochastic perturbed observation ensemble Kalman filter are used for data assimilation in both linear and nonlinear single variable dynamical systems. For the linear system, the deterministic filter is simply a method for computing the Kalman filter and is optimal while the stochastic filter has suboptimal performance due to sampling error. For the nonlinear system, the deterministic filter has increasing error as ensemble size increases because all ensemble members but one become tightly clustered. In this case, the stochastic filter performs better for sufficiently large ensembles. A new method for computing ensemble increments in observation space is proposed that does not suffer from the pathological behavior of the deterministic filter while avoiding much of the sampling error of the stochastic filter. This filter uses the order statistics of the prior observation space ensemble to create an approximate continuous prior probability distribution in a fashion analogous to the use of rank histograms for ensemble forecast evaluation. This rank histogram filter can represent non-Gaussian observation space priors and posteriors and is shown to be competitive with existing filters for problems as large as global numerical weather prediction. The ability to represent non-Gaussian distributions is useful for a variety of applications such as convective-scale assimilation and assimilation of bounded quantities such as relative humidity.