CONTENTS
List of Illustrations
Acknowledgemcnts
List of Contributors
vii
xi
xiii
Introduction: Orthodoxies and heterodoxies in the early
modern German experience
1
Randolph C. Head and Daniel Christensen
PART ONE
EPISTEMOLOGIES
From the history of religions to the history of 'religion':
the late Reformation and the challenge to sui generis
religion
27
Xathan Baruch Rein
Orthodoxy and Variation: The role of adiaphorism in early
modern Protestantism
45
Markus Friedrich
Dreams, Standards of knowledge and orthodoxy in Germany
in the sixteenth Century-
69
Ciaire Gantet
PART TWO
PRACTICES
Religious, confessional and cultural conflicts among
neighbors: Observations on the sixteenth and seventeenth
Centimes
Thomas Kaufmann
91
VI
CONTENTS
Editing Italian music for Lutheran Germany
117
Susan Lewis Hammond
God's plan for the Swiss Confederation: Heinrich Bullinger,
Jakob Ruf and their uses of historical myth in Reformation
Zürich
139
Hildegard Elisabeth Keller
Why did seventeenth-century estates address the jurisdictions
of their princes as fatherlands? War, territorial absolutism
and duties to the fatherland in seventeenth-century German
political discourse
169
Robert von Friedeburg
PART THREE
LIMITATIONS
The exemplary painting of Hans Burgkmair the Eider:
History at the Munich court of Wilhelm IV
197
Ashky West
'Von dem am Königl. Preußischen Hofe abgeschafften
CeremonieP: Monarchical representation and court ceremony
in Frederick William Fs Prussia
227
Benjamin Marschke
Ambiguities of silence: The provocation of the void for
Baroque culture
253
Claudia Benthien
Index
281
LIST OF ILLUSTRATIONS
Illustrations
Figure 1: Marginalia in the 1528 print of Bullinger's Anklag
(fol. A2r). Zürich,
Zentralbibliothek, Zw 291
144
r
Figure 2: Marginalia in detail (fol. A2 ). Zürich,
Zentralbibliothek, Zw 291
145
Figure 3: Marginalia with the comparison between Israel and
the Confederation in the 1528 print of Bullinger's Anklag
(fol. A2V). Zürich, Zentralbibliothek, Zw 291
149
Figure 4: Jakob Ruf's coat of arms from the tide-page of his
Wilhelm Teil, 1545, identical with the colored one on the
title-page of his Passion, 1545. Photo: Bayerische
Staatsbibliothek München, Rar. 76
157
Figure 5: Pen-drawing from Jakob Rufs Practica copiosa de arte
ophthalmica, ca. 1545 (fol. 13v). Photo: Medizinische
Universität Wien
158
Figure 6: Transmission of the shield of the heralds on a
woodcut in Jakob Rufs Wilhelm Teil, 1545 (fol. A2r). Photo:
Bayerische Staatsbibliothek München, Rar. 76
150
Figure 7: The bailiff speaks to the confederates; woodcut in
Jakob Rufs Wilhelm Teil, 1545 (fol. A7r). Photo: Bayerische
Staatsbibliothek München, Rar. 76
162
Figure 8 (also in color section): Hans Burgkmair, Battle at
Cannae, 1529. Munich, Alte Pinakothek. Photo:
Joachim Blauel - ARTOTHEK
198
Figure 9 (also in color section): Albrecht Altdorfer, The Battle of
Issus, 1529. Munich, Alte Pinakothek. Photo:
Joachim Blauel - ARTOTHEK
204
Figure 10 (also in color section): Jörg Breu, The Battle of £ama,
c. 1530. Munich, Alte Pinakothek. Photo: Blauel
Gramm ARTOTHEK
205
VÜi
LIST OF ILLUSTRATIONS
Figure 11: Hans Sebald Beham, 1529-30. The Siege of Vienna. Berlin,
Kupferstichkabinett, Staatliche Museen zu Berlin. Photo:
Bildarchiv Preussischer Kulturbesitz/Art Resource,
NY
209
Figure 12: Raphael and Workshop, Battle at the Milvian
Bridge, c. 1520-24, detail. Vatican State, Stanze di Raffaello,
Vatican Palace Photo: Scala/Art Resource, NY.
211
Figure 13 (also in color section): Hans Burgkmair,
The Battle at Cannae, detail. Photo: Joachim Blauel ARTOTHEK
213
Figure 14: School of Moderno, Gonzalo de Cördoba's Vwtory at
the Battle of Cerignola, 1527. Munich, Staatliche
Münzsammlung.
Photo: Ashley West
215
Figure 15 (also in color section): Hans Burgkmair, The Battle at
Cannae, detail. Photo: Joachim Blauel - ARTOTHEK
218
Figure 16: Hans Burgkmair, Prudence (Die Fürsichtigkeit)
ca. 1510. Berlin, Kupferstichkabinett, Staatliche Museen zu
Berlin. Photo: Bildarchiv Preussischer Kulturbesitz/Art
Resource, NY
220
Figure 17 (also in color section): Hans Burgkmair, The Battle
at Cannae, detail. Photo: Joachim Blauel - ARTOTHEK
223
Figure 18: In silentio et in spe, engraving from: Gabriel
Rollenhagen, Emblematum selectissimorum, Arnheim 1611
256
Figure 19 (also in color section): Lavinia Fontana: Sacra
Famiglia col Bambino dormiente e san Giovannino, oil painting,
1591. Rome, Galleria Borghese. Photo: Scala/Art
Resource, NY.
257
Figure 20: Xihil silentio utilius, engraving from: Otho Vaenius
Emblemata horatiana, Antwerp 1607
259
Figure 21: Tutum silentii praemium, frontispiece of: Gerhard
Johannes Vossius. Elementa rhetorica, Amsterdam 1646.
Herzog August Bibliothek, Wolfenbüttel (P 902
Heimst. 8°)
261
Figure 22 ialso in color section): Salvator Rosa: Seif Portrait,
oil painting, around 1640-49. Photo: National Gallery
Picture Library, London
270
LIST OF ILLUSTRATIONS
Figure 23: Muets du Grand Seigneur, engraving from:
Paul Ricaud, Histoire de l'etat present de l'empire Ottoman,
Amsterdam 1672. Herzog August Bibliothek, Wolfenbüttel
(Gv 964.2), between pp. 114 and 115
ix
274
Tables
Table 1: Martin Rinckart, Triumphi di Dorothea (Leipzig, 1619)
and its German predecessors
123
Table 2: German Psalm Paraphrases in Petrus Neander,
Canzonetten Horatii Vecchi I-II (Gera, 1614 and 1620). Text
and translation from Orazio Vecchi: The Four- Voice Canzonettas.
With Original Texts and Contrafacta by Valentin Haussmann and
Others, Part 1: Historical Introduction, Critical Apparatus, Texts,
Contrafacta, ed. Ruth I. DeFord (Recent Researches in the
Music of the Renaissance, vol. 92), (Madison, WI: A-R
Editions, Inc., 1993), 105-14
131