La Belle’s rigging assemblage has provided a rare and valuable source of knowledge of 17th-century rigging in general and in particular, French and small-ship rigging characteristics. With over 400 individual items including nearly 160 wood and iron artifacts, this assemblage stands out as one of the most substantial and varied among all available rigging assemblages and currently is the only assemblage of 17th-century French rigging published. Furthermore, French rigging in general has not been as well defined as English rigging, nor has the 17th century been as well researched as the 18th. As such, La Belle’s rigging assemblage has provided a valuable source of knowledge whose research will hopefully provide a valuable foundation on which future studies can be built. Specifically, this project has attempted to catalogue these artifacts and reconstruct a plausible 17th-century French rig. This project has further attempted to define the differences between the better known English rigging features and those more characteristic of the French and Dutch. The reconstruction is based on the specific details derived from La Belle’s artifacts as well as contemporary French and other continental sources such as rigging assemblages, ship models, treatises, and nautical dictionaries. Together, these have suggested that La Belle probably carried a relatively simple rig with decidedly seventeenth-century characteristics and a Dutch influence.

La Belle's rigging assemblage has provided a rare and valuable source of knowledge of 17th-century rigging in general and in particular, French and small-ship rigging characteristics. With over 400 individual items including nearly 160 wood and iron artifacts, this assemblage stands out as one of the most substantial and varied among all available rigging assemblages and currently is the only assemblage of 17th-century French rigging published. Furthermore, French rigging in general has not been as well defined as English rigging, nor has the 17th century been as well researched as the 18th. As such, La Belle's rigging assemblage has provided a valuable source of knowledge whose research will hopefully provide a valuable foundation on which future studies can be built. Specifically, this project has attempted to catalogue these artifacts and reconstruct a plausible 17th-century French rig. This project has further attempted to define the differences between the better known English rigging features and those more characteristic of the French and Dutch. The reconstruction is based on the specific details derived from La Belle's artifacts as well as contemporary French and other continental sources such as rigging assemblages, ship models, treatises, and nautical dictionaries. Together, these have suggested that La Belle probably carried a relatively simple rig with decidedly seventeenth-century characteristics and a Dutch influence.

This thesis re-evaluates the nature and impact of seventeenth-century Scottish-Swedish relations, as regards military, diplomatic and noble involvement during the Thirty Years' War and in terms of Scottish domestic political developments between 1638 and 1660. The innovative <I>Scotland, Scandinavia and Northern Europe, 1580-1707</I> database forms an integral part of the statistical analysis comparing the significant Scottish military presence in both the Swedish army and navy to the paucity of English and Irish involvement. Sweden's re-emergence as an independent nation capable of militarily subduing and economically influencing Europe in the seventeenth century is traced from its early sixteenth century role as a minor northern dependent of the Scandinavian Kalmar union. This is contrasted with Scotland's gradual merging with England in a regal union where opportunities for social advancement, particularly through ennoblement, were reduced and new positions were sought abroad. Scottish success in entering the highest ranks of Swedish society is linked to the development of a strong and influential Scottish network in Sweden. With the waning of royal authority experienced in Sweden and Scotland during the second half of the 1630s, the nobility of both states grew very powerful. Scottish officers such as Alexander Leslie, Patrick Ruthven and John Cochrane returned to Scotland during the British civil wars and became linchpins of Scottish-Swedish contacts. The Gothenburg-based Scot John Maclean also helped to organise military support for various campaigns, from the Covenanters through to the later Stuart fight to re-instate Charles II to his British kingdoms. The return of monarchic power under Kristina in Sweden, and the rise of Cromwell and the power of the English Parliament in the Stuart kingdoms, had a detrimental impact on Scottish-Swedish relations. Despite this the Scottish network retained a pro-Stuart bias, and even in the region of Karl X, when direct Swedish relations with Scotland were restricted largely to military recruitment, Stuart support was still a motivating factor. However, by the restoration of Charles II the major characters involved in the heyday of Scottish-Swedish diplomatic relations had died or retired from political activities, and Sweden's attention remained firmly focused on the London-based power source of the Stuart kingdoms.

The objective of my research is to develop a body of work for exhibition based on an examination of the ways that corporate space, as exemplified by the foyers and conference rooms of contemporary corporate offices, reflect societal anxieties about wealth and power. These works will draw on the history of painting, with particular reference to 17th century Dutch still life painting, as a framework within which to conduct the exploration of contemporary space. This will be done by applying or interpreting the principles, motifs and techniques used in that period in the visual representation of the connection between wealth and decadence and western culture's ambiguous attitude towards the creation and accumulation of wealth. Boardrooms, corporate foyers and office interiors have developed into instantly recognisable types of space with a particular atmosphere, typified by large empty space and the use of materials such as marble and granite and surfaces with reflective finishes.. These spaces are often open to the public, but the intention is for people to be impressed by the wealth and power of the occupants, an idea initially perfected in Ancient Rome. The impression of wealth and power created in these spaces is balanced against a need to demonstrate prudence and restraint - the corporations need to avoid creating an impression of extravagance or wastefulness. The emergence of the genre still life painting in the Netherlands during the 17th century provides useful source material for their representations of restrained prosperity as well as the moral content related to the virtues of modesty and the transience of material life and wealth. The illusory space in the church interiors of Saenredam and de Witte, with their sense of expansive space and light, are echoed in the real space of contemporary corporate foyers and provide a basis for considering the format, composition and modes of representation of constructed space.

This thesis attempts to understand Marshall in a similar vein but on a much larger scale. Our work will progress in four remaining chapters. In chapter II we will explore Marshall’s diachronic context, explaining how Protestant theology wrestled with correlating free justification and the need for a renewed life. We will look at Luther, Trent, and Calvin because they were highly influential in shaping the theological context in the seventeenth century and because they offer clear examples of theologians struggling to formulate their doctrine of Sanctification. In chapter III we will look at Marshall’s synchronic context. Our main task is to trace the development of Antinomianism and Neonomianism. Both systems were significant factors in Marshall’s context. We will also study those who influenced them, including Perkins, the English Arminians, and Owen. We will conclude this section with several tensions that were present in English Reformed theology in the middle of the seventeenth century. Chapter IV accounts for about half of this thesis. This is where we will explore Marshall’s theology. We will analyze Marshall’s book The Gospel Mystery rhetorically and systematically, examining how Marshall constructed his argument and the system of theology on which his argument was based. Our goal is to reconstruct his theological system. This chapter is subdivided into chapter length sections, which include the nature of sin and depravity, union with Christ, the new nature, justification, faith, assurance, and practical sanctification. Finally we will conclude in chapter V by showing that although Marshall is not unique in his theological construction, Marshall’s work demonstrates several factors that make it uniquely helpful in countering the twin errors of Antinomianism and Neonomianism, which are perennial dangers for Reformed churches. To bolster this conclusion, we will briefly explore how Marshall was used in the generations immediately following him.

In the seventeenth- and early eighteenth centuries, fluits were the most common type of merchant ship used in Baltic trade. Originally a Dutch design, the majority of all goods transported between Sweden and the Republic was carried on board such vessels. Far from all voyages reached their destination. Down in the cold brackish water of the Baltic, the preservation conditions are optimal, and several of these unfortunate vessels remain nearly intact today. Although thousands of more or less identical fluits were built, surprisingly little is known about the arrangement of space on board, their sculptural embellishment and other aspects that formed the physical component of everyday life on and alongside these ships. Fluits were a fixture in early modern society, so numerous that they became almost invisible. The study of wrecks thus holds great potential for revealing vital components of early modern life. Inspired by phenomenological approaches in archaeology, this thesis aims to focus on the lived experience of fluits. It sets out to grasp for seemingly mundane everyday activities relating to these ships, from the physical arrangements for eating, sleeping and answering nature’s call, to their rearrangement for naval use, and ends with a consideration of the architectonical contribution of the fluit to the urban landscape.

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<p> Recent scholarship has added to our knowledge about the court masque, reinforcing its significance for the literature of the sixteenth and seventeenth centuries. Milton's Comus has profited from such re-assessment so that its high valuation as dramatic literature need no longer be regarded as incompatible with its success as a court masque. The new seriousness of approach to the court masque in general and Milton's Comus in particular provides the impetus for an examination of the rest of Milton's poetic output for the purpose of tracing there the influence of his experience with the complimentary court entertainment.</p> <p> The court entertainment was encomiastic in intent, this encomium being patterned according to certain conventions. Paradise Lost, which praises God, uses a number of these conventions. Contrary to usual epic practice, Milton does not immortalize worldly conquests and compliment the statesmanship of his nation's leaders. Early notions of a British epic, to use the Arthurian or other indigenous material, were abandoned in favour of a work to celebrate the heavenly king and the spiritual kingdom. In the finished poem epic structures are interpreted in ways suggestive of the influence of court pageantry. Encomium of the heavenly king is expressed in the God-centred structure of Paradise Lost. The whole action of the poem focusses on the throne of the omniscient viewer. The angels sing and dance about this throne as the court danced before royalty in the court entertainment, and even creation is the setting for "a Race of Worshippers" (VII.630). A foil to the glory of Heaven, provided in the parodic activities of the fallen angels in Hell, suggests the conventions of the antimasque and the comedy of misrule. The victorious reign of Christ is celebrated, as many a pageant celebrated the reign of a seventeenth-century king, in a tournament. A mock battle in which no one is maimed, this culminates in the triumphal entry of Christ himself in a pageant chariot, symbolically banishing, rather than waging battle with, the forces of evil. In Satan's pilgrimage to earth even the traditional epic wanderings are transformed into an allegoric progress. The devices of the court entertainment inform the action of the poem, which is made up of processions, ceremonies and masques. The scenic spectacle, too, is influenced by the theatrical effects and iconography of royal pageantry.</p> <p> One might expect Heaven and Hell to be presented in terms of allegoric theatre, but in Paradise Lost even the garden itself is a golden world which works according to the pastoral conventions that so often informed court entertainments. Adam and Eve are the poem's legendary rulers. As he describes the pomp of the prelapsarian kingdom, Milton relies on a knowledge of contemporary pageantry. Here such pageantry expresses the perfection of the most perfect earthly kingdom of all. Referring to a legend often used to glorify the British court, Milton says of Paradise: "Hesperian Fables true, / If true, here only" (IV.250-51). To see Paradise Lost in the context of the contemporary pageantry and masque theatre is to see it not as history reconstructed, but as historic incident transmuted through the use of a series of literary devices into encomiastic fiction. The fictional world of the poem is designed to justify the workings of God's creation; it glorifies the providence of the omnipotent creator.</p> / Thesis / Doctor of Philosophy (PhD)

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This project analyzes the role of religion, both institutional and private, in Virginia's dealings with witchcraft during the seventeenth century. The witch trials of New England and Europe during the 1600s have tended to overshadow those that simultaneously took place in Virginia, leaving historians to prematurely regard Virginia as an anomaly of rationality in an otherwise superstitious period of witches and demons. Virginia's failure to prosecute those accused of witchcraft was not due to a lack of allegations, my thesis will argue, but can instead be partly attributed to the nature of the colony's religious experience and the theology and practices of Virginia's Anglican Church. While Virginia's seventeenth-century inhabitants migrated to the New World with firmly entrenched English religious values, their relationship with God and their response to the supernatural world were profoundly influenced by New World experiences and peoples. To protect the social fragility of their colony, Virginia's political and religious leaders consciously chose to prosecute offenses that they felt threatened the social cohesion of the colony, such as fornication, gossip, and slander, and dismissed those, such as witchcraft, that threatened to tear it apart. / Master of Arts