Austrian History Yearbook

Louthan, Howard

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000163

Louthan, Howard

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000163

Zahra, Tara

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000047

In Joseph Roth's novel Die Kapuzinergruft, a Polish count bemoans the fate of a chestnut seller. “He is only a chestnut roaster, but he is quite symbolic. Symbolic for the old Monarchy. This gentleman once sold his chestnuts everywhere, through half of Europe one might say. And everywhere where his roasted chestnuts were eaten was Austria, and the Emperor Franz Joseph reigned. Now there is no chestnut without a visa.”

Zahra, Tara

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000047

In Joseph Roth's novel Die Kapuzinergruft, a Polish count bemoans the fate of a chestnut seller. “He is only a chestnut roaster, but he is quite symbolic. Symbolic for the old Monarchy. This gentleman once sold his chestnuts everywhere, through half of Europe one might say. And everywhere where his roasted chestnuts were eaten was Austria, and the Emperor Franz Joseph reigned. Now there is no chestnut without a visa.”

Louthan, Howard

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000084

Reading these articles in our AHY Forum brought back a flood of memories to my last days as a university undergraduate at Emory University when I first encountered Emperor Rudolf II and Renaissance Prague in a course taught by the late James Allen Vann. What captivates us about the past? What prompts naive undergraduates to take that fateful step and pursue a PhD in history? For me, it was simply Rudolf. I was not alone. The quizzical emperor ensconced in his castle high above the city has intrigued the imaginations of many. There is certainly irony in this, for Rudolf as an emperor was no success. He ended his reign an ineffective ruler browbeaten by his own brother to abdicate as king of Bohemia. But if he failed politically, there were lasting triumphs elsewhere. Rudolf's contemporary, the Flemish painter and theoretician Karel van Mander, famously pointed to Prague and the emperor as the “greatest art patron in the world.” And what emperor can boast that his most acclaimed “likeness” was a collage of fruits and vegetables, a portrait executed by a student of Leonardo da Vinci?

Louthan, Howard

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000084

Reading these articles in our AHY Forum brought back a flood of memories to my last days as a university undergraduate at Emory University when I first encountered Emperor Rudolf II and Renaissance Prague in a course taught by the late James Allen Vann. What captivates us about the past? What prompts naive undergraduates to take that fateful step and pursue a PhD in history? For me, it was simply Rudolf. I was not alone. The quizzical emperor ensconced in his castle high above the city has intrigued the imaginations of many. There is certainly irony in this, for Rudolf as an emperor was no success. He ended his reign an ineffective ruler browbeaten by his own brother to abdicate as king of Bohemia. But if he failed politically, there were lasting triumphs elsewhere. Rudolf's contemporary, the Flemish painter and theoretician Karel van Mander, famously pointed to Prague and the emperor as the “greatest art patron in the world.” And what emperor can boast that his most acclaimed “likeness” was a collage of fruits and vegetables, a portrait executed by a student of Leonardo da Vinci?

Ivanič, Suzanna

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000138

Abstract The histories of early modern religion and trade have both benefited from the global turn in recent years. This article brings the two fields together through the study of religious objects in Prague in the seventeenth century and shows ways in which religion and religious practice were entangled with new commercial and artistic ventures that crossed regional and international borders. Among the possessions of seventeenth-century Prague burghers were religious objects that had come from exotic lands, such as a “coconut” rosary and a ruby and diamond “pelican in her piety” jewel. These objects were made in multiple locations and traded to satisfy a new demand for items that could aid and display devotion as well as act as markers of wealth and confessional identity. Through this study of religious objects, Central Europe is revealed to be an important locale to the global history of the early modern period.

Ivanič, Suzanna

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000138

Abstract The histories of early modern religion and trade have both benefited from the global turn in recent years. This article brings the two fields together through the study of religious objects in Prague in the seventeenth century and shows ways in which religion and religious practice were entangled with new commercial and artistic ventures that crossed regional and international borders. Among the possessions of seventeenth-century Prague burghers were religious objects that had come from exotic lands, such as a “coconut” rosary and a ruby and diamond “pelican in her piety” jewel. These objects were made in multiple locations and traded to satisfy a new demand for items that could aid and display devotion as well as act as markers of wealth and confessional identity. Through this study of religious objects, Central Europe is revealed to be an important locale to the global history of the early modern period.

Horacek, Ivana

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000151

Abstract This article considers the function of twenty-two hand-colored prints of mathematical instruments in Tycho Brahe's Astronomiae instauratae mechanica (Instruments of the renewed astronomy; 1598), a hand-painted presentation treatise dedicated to Emperor Rudolf II and conferred on a network of individuals connected to the imperial court in Prague. Although the accompanying text communicates the instruments’ use and composition, the images demand close inspection because they articulate Brahe's observationally driven astronomy. They do so through structured, repeated, and consecutive representations; through expanded viewer access, achieved by adhering to multiple perspectives; through the juxtaposition of colors, which focuses attention on the heads of the instruments (the part that does the measuring); and through the use of gold paint, which emphasizes the head and brings to mind the very metallic nature of the instruments. Much like an astronomer taking multiple measurements of cosmological phenomena, these images allow viewers and readers, as they leaf through the pages of the treatise, to become virtual participants in Brahe's instauration of astronomy.

Horacek, Ivana

2021 Austrian History Yearbook

doi: 10.1017/S0067237821000151

Abstract This article considers the function of twenty-two hand-colored prints of mathematical instruments in Tycho Brahe's Astronomiae instauratae mechanica (Instruments of the renewed astronomy; 1598), a hand-painted presentation treatise dedicated to Emperor Rudolf II and conferred on a network of individuals connected to the imperial court in Prague. Although the accompanying text communicates the instruments’ use and composition, the images demand close inspection because they articulate Brahe's observationally driven astronomy. They do so through structured, repeated, and consecutive representations; through expanded viewer access, achieved by adhering to multiple perspectives; through the juxtaposition of colors, which focuses attention on the heads of the instruments (the part that does the measuring); and through the use of gold paint, which emphasizes the head and brings to mind the very metallic nature of the instruments. Much like an astronomer taking multiple measurements of cosmological phenomena, these images allow viewers and readers, as they leaf through the pages of the treatise, to become virtual participants in Brahe's instauration of astronomy.