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As the wealthiest German merchant family of the sixteenth century, the Fuggers have attracted wide scholarly attention. In contrast to the other famous merchant family of the period, the Medici of Florence, however, no English-language work on them has been available until now. The Fuggers of Augsburg offers a concise and engaging overview that builds on the latest scholarly literature and the author’s own work on sixteenth-century merchant capitalism. Mark Häberlein traces the history of the family from the weaver Hans Fugger’s immigration to the imperial city of Augsburg in 1367 to the end of the Thirty Years’ War in 1648. Because the Fuggers’ extensive business activities involved long-distance trade, mining, state finance, and overseas ventures, the family exemplifies the meanings of globalization at the beginning of the modern age. The book also covers the political, social, and cultural roles of the Fuggers: their patronage of Renaissance artists, the founding of the largest social housing project of its time, their support of Catholicism in a city that largely turned Protestant during the Reformation, and their rise from urban merchants to imperial counts and feudal lords. Häberlein argues that the Fuggers organized their social rise in a way that allowed them to be merchants and feudal landholders, burghers and noblemen at the same time. Their story therefore provides a window on social mobility, cultural patronage, religion, and values during the Renaissance and the Reformation.
A biography of the powerful and successful merchant.
A Companion to Late Medieval and Early Modern Augsburg introduces readers to major political, social and economic developments in Augsburg from c. 1400 to c. 1800 as well as to those themes of social and cultural history that have made research on this imperial city especially fruitful and stimulating. The volume comprises contributions by an international team of 23 scholars, providing a range of the most significant scholarly approaches to Augsburg’s past from a variety of perspectives, disciplines, and methodologies. Building on the impressive number of recent innovative studies on this large and prosperous early modern city, the contributions distill the extraordinary range and creativity of recent scholarship on Augsburg into a handbook format. Contributors are Victoria Bartels, Katy Bond, Christopher W. Close, Allyson Creasman, Regina Dauser, Dietrich Erben, Alexander J. Fisher, Andreas Flurschütz da Cruz, Helmut Graser, Mark Häberlein, Michele Zelinsky Hanson, Peter Kreutz, Hans-Jörg Künast, Margaret Lewis, Andrew Morrall, Marjorie Elizabeth Plummer, Barbara Rajkay, Reinhold Reith, Gregor Rohmann, Claudia Stein, B. Ann Tlusty, Sabine Ullmann, Wolfgang E.J. Weber.
“A colorful introduction to one of the most influential businessmen in history” (The New York Times Book Review), Jacob Fugger—the Renaissance banker “who wrote the playbook for everyone who keeps score with money” (Bryan Burrough, author of Days of Rage). In the days when Columbus sailed the ocean and Da Vinci painted the Mona Lisa, a German banker named Jacob Fugger became the richest man in history. Fugger lived in Germany at the turn of the sixteenth century, the grandson of a peasant. By the time he died, his fortune amounted to nearly two percent of European GDP. In an era when kings had unlimited power, Fugger dared to stare down heads of state and ask them to pay back their loans—with interest. It was this coolness and self-assurance, along with his inexhaustible ambition, that made him not only the richest man ever, but a force of history as well. Before Fugger came along it was illegal under church law to charge interest on loans, but he got the Pope to change that. He also helped trigger the Reformation and likely funded Magellan’s circumnavigation of the globe. His creation of a news service gave him an information edge over his rivals and customers and earned Fugger a footnote in the history of journalism. And he took Austria’s Habsburg family from being second-tier sovereigns to rulers of the first empire where the sun never set. “Enjoyable…readable and fast-paced” (The Wall Street Journal), The Richest Man Who Ever Lived is more than a tale about the most influential businessman of all time. It is a story about palace intrigue, knights in battle, family tragedy and triumph, and a violent clash between the one percent and everybody else. “The tale of Fugger’s aspiration, ruthlessness, and greed is riveting” (The Economist).
Dirk Jacob Jansen provides an overview of the life and career of the sixteenth-century cosmopolitan courtier, architect and antiquary Jacopo Strada.
This captivating book reproduces arguably the most extraordinary primary source documents in fashion history. Providing a revealing window onto the Renaissance, they chronicle how style-conscious accountant Matthäus Schwarz and his son Veit Konrad experienced life through clothes, and climbed the social ladder through fastidious management of self-image. These bourgeois dandies' agenda resonates as powerfully today as it did in the sixteenth century: one has to dress to impress, and dress to impress they did. The Schwarzes recorded their sartorial triumphs as well as failures in life in a series of portraits by illuminists over 60 years, which have been comprehensively reproduced in full color for the first time. These exquisite illustrations are accompanied by the Schwarzes' fashion-focussed yet at times deeply personal captions, which render the pair the world's first fashion bloggers and pioneers of everyday portraiture. The First Book of Fashion demonstrates how dress – seemingly both ephemeral and trivial – is a potent tool in the right hands. Beyond this, it colorfully recaptures the experience of Renaissance life and reveals the importance of clothing to the aesthetics and every day culture of the period. Historians Ulinka Rublack's and Maria Hayward's insightful commentaries create an unparalleled portrait of sixteenth-century dress that is both strikingly modern and thorough in its description of a true Renaissance fashionista's wardrobe. This first English translation also includes a bespoke pattern by TONY award-winning costume designer and dress historian Jenny Tiramani, from which readers can recreate one of Schwarz's most elaborate and politically significant outfits.
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of Habsburg musical patronage over a broad timeframe. Bringing together existing research and drawing upon primary sources, the authors, all established experts, provide overviews of the musical institutions, the functions of music, the styles and genres cultivated, and the historical, political, and cultural contexts for music at the Habsburg courts. The wide geographical scope includes the imperial courts in Vienna and Prague, the royal court in Madrid, the archducal courts in Graz and Innsbruck, and others. This broad view of Habsburg musical activities affirms the dynasty’s unique position in the cultural life of early modern Europe. Contributors are Lawrence Bennett, Charles E. Brewer, Drew Edward Davies, Paula Sutter Fichtner, Alexander J. Fisher, Christine Getz, Beth L. Glixon, Jeffrey Kurtzman, Virginia Christy Lamothe, Honey Meconi, Sara Pecknold, Jonas Pfohl, Pablo L. Rodríguez, Steven Saunders, Herbert Seifert, Louise K. Stein, and Andrew H. Weaver.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.