Welcome to the latest Early Modern instalment of Carnivalesque, hosted for the first time at the Virtual Stoa, and with apologies for appearing a little later than I think I said it would.
Kicking off in Tudor England, we’ve got another entry in the Dead King Watch, conceivably inspired by a regular feature on this blog, who knows?, with this one devoted to Edward VI.
Something Earmarks saw on telly brought Thomas Wrightï¿½s 1604 The Passions of the Minde in Generall to mind.
Misteraitch over at Spamula has been considering the artist Jacques de Gheyn, 1565-1629.
And while we’re thinking about artists in the Low Countries, the Interesting Thing of the Day a few days ago was a discussion of the possible use of a camera obscura by Johannes Vermeer.
Crossing back over the Channel, Escalus is advertising the Early Modern English Ballad Archive and shares a favourite ballad, “A Looking-Glass for Lascivious Young Men: OR, THE Prodigal Son SIFTED”, together with a bit of discussion and an attempt to date it to the 1680s.
And it’s ballads ballads ballads at the Carnivalesque, with Blogging the Renaissance telling us all about “My Bird is a Round-head”, a fine ballad from 1642.
Continuing the Puritan theme for a short while, at least, Early Modern Whale interested in face patches, and in what puritans thought about them (not keen).
And moving towards the broad sunny uplands of the eighteenth century, David Davisson has helpfully reproduced the text of a 1773 Connecticut law against mountebanks and told us a bit about his proposed research on itinerancy in colonial America…
… Brandon Watson has some valuable words and links about Moses Mendelssohn…
… and we end over at The Skwib with its presentation of lost power point slides of the Marquis de Sade…