"An art historical study of Rembrandt's use of religious imagery, arranged by subject matter. Demonstrates the new ideas the artist brought to his interpretations of the Jerusalem Temple and the apostolate church, as he explored the relationship between Jewish and Christian revelation in biblical history"--Provided by publisher.

This definitive study presents a complete account of the Dutch Republic’s naval fleet during its golden age as a world power. The Netherlands was by far the most important maritime power of the seventeenth century. It dominated seaborne trade with the largest merchant fleet in the world. Born out of an 80-year struggle against Spain for independence, the Dutch republic relied on naval power to protect its freedom, promote its trade and defend its overseas colonies. Yet the ships that made up its fleets are among the least studied of any in the age of sail. This is partly because a decentralized administration of five separate admiralties, often producing ships of the same name at the same time, as well as competing systems of measuring ships, all lead to confusion and error. In this comprehensive volume, James Bander delivers the first definitive listing of all Dutch fighting ships—whether purpose-built, purchased, hired or captured—from the heyday of the United Provinces. Each entry is complete with technical details and summaries of the ship’s career. It also provides administrative, economic and technical background, and outlines the many campaigns fought by one of the most successful navies in history.

‘A beautiful work of scholarship and synthesis that should immediately become a standard text . . . For the first time, the history of early modern European Jewry is presented as a coherent whole and in a form recognizable to non-Jewish scholars, adhering to all of the standards of scholarship . . . [a] sparkling book.’ David S. Katz, English Historical Review ‘An ambitious and much needed study of Jewish life and culture in the context of Europe’s intellectual and religious history . . . To this he has brought his own sharply critical judgement and a highly original interpretative theory . . . highly stimulating.’ Henry Roseveare, Economic History Review The first edition of this book was the joint winner of the Wolfson Literary Prize for History in 1986. For this third edition, the book has been updated and includes a new introduction.

This volume is the fruit of the colloquium "Les Pays-Bas, carrefour de la tolérance aux Temps Modernes", held in Wassenaar, the Netherlands, in 1994. Toleration in the strict sense of the word was very much against the grain of sixteenth-century European history. This volume charts the emergence and vicissitudes of the concept of tolerance and its practical implications in the Dutch Republic, from the revolt against Spain in the sixteenth century to the early eighteenth century. The various contributions, all by distinguished scholars, address such issues as Erasmus' views on toleration, the relation between tolerance and irenism, and the contemporary intellectual debate about toleration in the Dutch Republic. This important volume will prove indispensable to historians of the Low Countries, students of humanism and all those interested in the intellectual history of the 16th-18th centuries.

The Oxford History of Western Art is an innovative and challenging reappraisal of how the history of art can be presented and understood. Through a carefully devised modular structure, readers are given insights not only into how and why works of art were created, but also how works in different media relate to each other across time. Here--uniquely--is not the simple, linear "story" of art, but a rich series of stories, told from varying viewpoints. Carefully selected groupings of pictures give readers a sense of the visual "texture" of the various periods and episodes covered. The 167 illustration groups, supported by explanatory text and picture captions, create a sequence of "visual tours"--not merely a procession of individually "great" works viewed in isolation, but juxtapositions of significant images that powerfully convey a sense of the visual environments in which works of art need to be viewed in order to be understood and appreciated. The aim throughout is to make the shape and nature of these visual presentations a stimulating and rewarding experience, allowing readers to become active participants in the process of interpretation and synthesis. Another key feature of the narrative is the re-definition of traditional period boundaries. Rather than relying on conventional labels such as Medieval, Renaissance, and Baroque, the book establishes five major phases of significant historical change that unlock longer and more meaningful continuities. This new framework shows how the major religious and secular functions of art have been forged, sustained, transformed, revived, and revolutionized over the ages; how the institutions of Church and State have consistently aspired to make art in their own image; and how the rise of art history itself has come to provide the dominant conceptual framework within which artists create, patrons patronize, collectors collect, galleries exhibit, dealers deal, and art historians write. Though the coverage of topics focuses on European notions of art and their transplantation and transformation in North America, space is also given to cross-fertilizations with other traditions---including the art of Latin America, the Soviet Union, India, Africa (and Afro-Caribbean), Australia, and Canada. Written by a team of 50 specialist authors working under the direction of renowned art historian Martin Kemp, The Oxford History of Western Art is a vibrant, vigorous, and revolutionary account of Western art serving both as an inspirational introduction for the general reader and an authoritative source of reference and guidance for students.