Pt. 1. The international style. The backgrounds ; Bohemia ; The Valois courts ; The Rhenish-Mosan crescent. -- pt. 2. Painting, graphics, and sculpture in the Netherlands, Germany, and France from 1425 to 1500. Jan van Eyck ; Robert Campin and Rogier van der Weyden ; The northerners ; Two mystics ; The late Gothic dream ; Gardens of heaven and hell in the art of Bosch ; Diversity along the Rhine ; The impact of Netherlandish art on German painting of the later fifteenth century ; Painting in France during the second half of the fifteenth century ; Graphic arts before 1500 ; Developments in sculpture in the fifteenth century. -- pt. 3. The Renaissance in Germany, the Netherlands, and France from 1500 to 1575. Albrecht Dürer and the Renaissance in Germany ; The Isenheim altarpiece and Matthias Grünewald ; Danube landscapes and witches: Albrecht Altdorfer and Hans Baldung Grien ; Lucas Cranach the Elder: the conflicts of humanism and the Reformation ; Hans Holbein the Younger and the Renaissance portrait ; Antwerp: Quentin Metsys, Joachim Patinir, and Joos van Cleve ; Two currents in later South Netherlandish painting: the romanists and specialists ; Holland: Amsterdam, Delft, and Haarlem ; Lucas van Leyden ; Jan van Scorel, Maerten van Heemskerck, and Antonis Mor ; The Theatrum orbis terrarum of Pieter Bruegel the Elder ; Fontainebleau and the court style of France. -- Genealogy of the House of Valois. -- Timetable of the arts, history, and science 1300-1575.

Influenced by a revival of interest in Greco-Roman ideals and sponsored by a newly prosperous merchant class, fifteenth-century artists produced works of astonishingly innovative content and technique. The International Gothic style of painting, still popular at the beginning of the century, was giving way to the influence of Early Netherlandish Flemish masters such as Jan van Eyck, who emphasized narrative and the complex use of light for symbolic meaning. Patrons favored paintings in oil and on wooden panels for works ranging from large, hinged altarpieces to small, increasingly lifelike portraits. In the Italian city-states of Florence, Venice, and Mantua, artists and architects alike perfected existing techniques and developed new ones. The painter Masaccio mastered linear perspective; the sculptor Donatello produced anatomically correct but idealized figures such as his bronze nude of David; and the brilliant architect and engineer Brunelleschi integrated Gothic and Renaissance elements to build the self-supporting dome of the Florence Cathedral. This beautifully illustrated guide analyzes the most important people, places, and concepts of this early Renaissance period, whose explosion of creativity was to spread throughout Europe in the sixteenth century

A catalogue of fifteenth and sixteenth century German paintings in the National Gallery of Art, Washington DC.

Founded in 1977 as the publication organ for the Fifteenth-Century Symposium, Fifteenth-Century Studies has appeared annually since then. It publishes essays on all aspects of life in the fifteenth century, including literature, drama, history, philosophy, art, music, religion, science, and ritual and custom. The editors strive to do justice to the most contested medieval century, a period that is the stepchild of research. The period defies consensus on fundamental issues: some dispute, in fact, whether the fifteenth century belonged at all to the middle ages, arguing that it was a period of transition, a passage to modern times. At issue, therefore, is the very tenor of an age that stood under the tripartite influence of Gutenberg, the Turks, and Columbus. Volume 26 contains the customary survey of research on late-medieval drama. There are six articles on French literature, four on German topics, two on Italian art, one on Spanish medieval predication, and three on English literary matters. Six of the articles focus on women and misogyny. Further topics include: popular approaches to problems of daily living; the crusades and mysticism; an early warning against excess in travel and exploration; the conduct of princes as described in chronicles; the so-called Pope Joan; theater, including farces, passion pageants, and triumphant entries of princes; critique of the estates; the function of authors, and their rights, duties, and privileges. There are 17 book reviews and two obituary dedications. The volume has been assembled with special care for style, excellence of research, and variety of approaches. Edelgard DuBruck is professor emerita of Modern Languages at Marygrove College, Detroit, Michigan. Barbara Gusick is professor emerita of English at Troy University-Dothan, Dothan, Alabama.

Forest resources are indispensable capital assets to the tribal. Since time immemorial they have been residing in the forest, cultivating within the forest, and collecting forest produces which are highly valued and often finding no substitution. Forest is not merely a resource to consume but rather a reflection of their life support system forming a crucial ingredient in shaping the socio-economic development. In times of risk or say tragedy of the common such as droughts, flood and natural calamities, forest resources have the enormous potentialities in sustaining the tribal livelihoods and daily survival needs. Tribal maintains the balance between extractions of forest resources at optimum level on need based not greed based and there is no wanton destruction of resources as reflected in the wisdom of resource management.