By David Ricks, Paul Magdalino
This choice of commissioned essays goals to offer an summary of a few of the several traits manifested by way of glossy Greek attitudes to Byzantium because the overdue 18th-century Enlightenment. the purpose of the e-book is to teach simply how formative perspectives of Byzantium were for contemporary Greek lifestyles and letters: for historiography and inventive literature and language, legislation, and the definition of a tradition. All Greek has been translated, and the quantity is aimed toward Byzantinists and Neohellenists alike.
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Additional resources for Byzantium and the Modern Greek Identity
In Holbein’s painting, the array of objects codes (or symbolically represents) a transactive commercial and territorial relationship between England and the major imperial powers with which it was negotiating – the Valois, Hapsburg and Ottoman empires – brokered by French diplomacy. The possibility of filling the void at the centre of the composition depended on the outcomes of events imminent at the time it was painted, for instance the birth of a male heir to Henry VIII; an ensuing binding alliance with the French, who had supported the marriage to Anne Boleyn; a successful treaty with the Ottomans; a possible appeasement of the Pope.
Under specified circumstances, however, he might dispense with the elaborate and heavy Great Collar, an elaborate chain of linked cockleshells, from which the image of Michael the Archangel was suspended: He shall not be obliged to wear the Great Collar when bearing arms, when the image of Saint Michael may simply be worn suspended from a thin gold chain or a silk lace, however he prefers to wear it. Jean de Dinteville is represented fully in public, in the company of another person of distinction.
Hans Holbein’s The Ambassadors (illus. ) was painted for Francis I’s ambassador, Jean de Dinteville, in London in the spring of . The new ambassador’s residency was politically significant, since it constituted low-key acceptance of the King’s divorce and thus aligned the Valois King with English, rather than Hapsburg, interests. Although The Ambassadors hangs in the National Gallery in London and was executed by a German artist in the employ of the English Hans Holbein, The Ambassadors, , oil on canvas.
Byzantium and the Modern Greek Identity by David Ricks, Paul Magdalino