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The article analyses the theatre of Sixt Birck, an evangelical teacher of the Reformation era, within educational and practical pedagogical background of the period. It is proved that in Basel, when school reform was in process, Birck, having studied Melanchthon's commentaries on Terence and Quintilian's theory of imitation and become familiar with city theatrical performances, formulated his own original pedagogical view on theatre. It united widespread ideas of ethical nurturing and encouraged theatrical practice (not reading of dramas). This was quite unusual for humanists and seemed to be connected to the special role of the St. Theodor school in Kleinbasel. However, after moving to his native city of Augsburg, Birck had to adapt his theatre to new cultural circumstances and educational aims. Since the programme of St. Anna gymnasium was planned as a quasi-university structure with special focus on law, history and languages, school performances allowed it to synthetically combine different skills and knowledge. Besides, the theatre was aimed at inspiring pupils to learn. However, after 8 years of successful practice Birck's curriculum with its explicit theatrical component was banned. Despite his unfortunate career, his dramas were quite influential and his ideas may be seen as precursors of those of Jan Amos Comenius. [ABSTRACT FROM AUTHOR]

The competition for “Pioneer Projects in Medical Libraries 2024” is presented and the jury’s reasons for awarding the prize are explained.

The article is an analysis of a dispute between the canons of Augsburg cathedral chapter and their bishop, Hermann II (1096–1133). It concentrates on a series of short texts collected in the margins of an older patristic manuscript and argues that most of these texts can be said to form a kind of dossier, likely assembled by the canons in the aftermath of a cancelled personal visit by Pope Paschal II (1099–1118) to Augsburg in 1107. In the conclusion, the case is situated in the broader context of papal communication at the time of the Investiture Contest. [ABSTRACT FROM AUTHOR]

The contribution is devoted to the authorship of a drawing with the subject of the Beheading of St Catherine from the collection of Jiří Karásek ze Lvovic, saved today in the Museum of Literature of the National Literature Memorial. Based on a comparison with a drawing of a similar subject and composition, the author of the article has come to the view that Karásek’s drawing can be attributed to the Augsburg painter Johann Matthias Kager (1566–1634) and may be considered one of the preparatory compositional studies for the now defunct altarpiece in the presbytery of the Dominican convent in Augsburg. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Carolinae Historia Universitatis Carolinae Pragensis is the property of Charles University Prague, Karolinum Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The subject of this article is the manuscript missal MS 2000, kept at the National and University Library in Ljubljana and known as the Slavinski Missal. According to the information in the colophon in the manuscript, it was purchased on October 25, 1481, for the needs of the filial church of St Daniel in Zalog, near Postojna. Analysis of the manuscript has shown that it is a missal of the Aquileian Rite, though many texts are taken from the Salzburg missal and other missals from the area north of the Alps. It was written in Augsburg, while the illuminated initials are the work of an illuminator from the workshop of Johannes Bämler. Franciscus Preining, signed beneath the body text, was probably the younger brother of the more famous Jörg Preining, but his role in the creation of the manuscript is unclear. It is possible that he was the head of a scribal workshop or a dealer in manuscripts. [ABSTRACT FROM AUTHOR]

The article traces a unique network of voluntarily poor non-cloistered sisters and beguines re- sembling a religious order – but was formed without ecclesiastical or lay support. The first com- munity we know of was founded in 1291 at Cologne by a woman known as Odelind of Pyritz in Pomerania. A 1332 inquisition at Schweidnitz in Silesia targets a convent of women who called themselves the Daughters of Udilind; the protocol names a number of towns with similar communi- ties. Some twenty years later a convent in Augsburg, Swabia, identifies itself as the Sisters of Udelhild. Odelind/Udilind/Udelhild was apparently the inspirational figure of an unobtrusive, yet respected group of convents scattered across the German-speaking lands. The convents were self-sufficient, distant to mendicants and clergy, and maintained communication by the exchange of members and financial assistance. The Sisters and Daughters of Odelind are a new phenomenon of independent women creating their own religious lifestyle of strict poverty and self-sufficiency. [ABSTRACT FROM AUTHOR]

Copyright of NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article provides information about the early provenance of the Paolo Veronese painting entitled Saint Catherine of Alexandria in Prison in The Metropolitan Museum of Art in New York. The painting can most likely be traced back to sixteenth- and seventeenth-century Augsburg. Descriptions that match the Veronese painting are found in the inventories of two very wealthy Augsburg merchants: one is in the post mortem inventory of Octavian Secundus Fugger (ca. 1600/1601), the other in a list of works of art from the collection of Hans Steininger (ca. 1641/42). Octavian Secundus Fugger only occasionally bought paintings from Venice, never seeking to amass a systematic collection of art. The deeply religious Catholic merchant, who was a strong supporter of the Jesuits, hung his picture of Saint Catherine, along with other religious paintings, in the antechapel of his house, and it remained at this location until the early 17th century. The painting’s later owner, however, the Lutheran textile merchant Hans Steininger, was a highly educated art collector who created one of the most illustrious collections in Augsburg. In his Kunstkammer, Veronese’s painting was displayed in the company of mythological female figures, nymphs, and Venus, accompanied by a whole series of paintings by renowned artists such as Hans von Aachen, Christoph Amberger, Paris Bordone, Hans Burgkmair, Joseph Heintz and Titian. Steininger’s collection was dispersed after his death, but many of the paintings he owned can still be identified. Veronese’s Saint Catherine of Alexandria may be one of them.

This article examines the history of the various rites of seli@hot (penitential prayers) recitation for what it can tell us about the changes the legacy of medieval Ashkenaz underwent in the early modern period. An eminently local matter by definition, these penitential liturgies were inevitably affected by the large-scale emigration of Jews from the German lands that marked the end of the Middle Ages. They were also subject to the trend toward standardization that came with the new technology of printing. While the local seli@hot rites were among the first Hebrew books to be printed in northern Italy, in Prague, and in Krakow, a similarly direct transition from practice into print was not an option in post-expulsion Germany. Hence, when Jewish communities began to revive in western Ashkenaz from the sixteenth century onward, local choices were predicated upon the availability of printed editions that had originated elsewhere, and the liturgical landscape changed accordingly. Nevertheless, even as the first seli@hot editions printed in Germany itself followed the Italo-Ashkenazic rite for the bulk of their corpus, they also preserve unacknowledged evidence of an indigenous rite well rooted in medieval tradition. Pockets of local tradition, it turns out, sometimes remained in place when rural Jews continued to uphold the rite of a historical region even after the urban community that had served as its center had ceased to exist. Liturgical sources are thus shown to shed unexpected light on Jewish life in sixteenth-century Germany, a dark age in German-Jewish history in more than one respect. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Carolinae Historia Universitatis Carolinae Pragensis is the property of Charles University Prague, Karolinum Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Fire was an omnipresent element of premodern daily life, yet also an existential threat for urban communities. Drawing on a wide range of sources from contemporary eyewitness accounts to urban regulations from early modern Germany, this paper analyses town fires as multisensory events. It argues that urban dwellers’ senses were used to monitor the city space for potential outbreaks, alert the population to a fire, and move within a burning city. In connection with this, it discusses in which way urban spaces were constituted differently in an emergency situation. The contribution shows how positioning and movement shaped sensory perception and how perception, in turn, influenced the ways people perceived and used space. Town fires were not simply a time of disorder and sensory overload but situations when sensory and spatial ordering was tested and negotiated within political and social hierarchies.

Sensory Spaces in Emergencies. Sense Perception and Space Usage in Early Modern Town Fires. Fire was an omnipresent element of premodern daily life, yet also an existential threat for urban communities. Drawing on a wide range of sources from contemporary eyewitness accounts to urban regulations from early modern Germany, this paper analyses town fires as multisensory events. It argues that urban dwellers' senses were used to monitor the city space for potential outbreaks, alert the population to a fire, and move within a burning city. In connection with this, it discusses in which way urban spaces were constituted differently in an emergency situation. The contribution shows how positioning and movement shaped sensory perception and how perception, in turn, influenced the ways people perceived and used space. Town fires were not simply a time of disorder and sensory overload but situations when sensory and spatial ordering was tested and negotiated within political and social hierarchies. [ABSTRACT FROM AUTHOR]

Around 1641/42, a considerable number of paintings from the Augsburg art collections were offered for sale to the imperial court in Vienna, among them five paintings by Hans von Aachen. Jeremias Steininger, son of the well-known art collector Hans Steininger (1552– 1634), offered two allegorical paintings (Allegory of Justice, Triumph of Time) and a bust portrait of Duke William V of Bavaria. David Milbinger offered two works by Hans von Aachen: a small-format oil painting whose composition can be identified with Raphael Sadeler’s Amor Fucatus, and a self-portrait by the painter. The article provides identification possibilities of these paintings and investigates their origin with the help of written and visual sources. [ABSTRACT FROM AUTHOR]

The article deals with the analysis of paintings of planets in the château at Lnáře from the period after the middle of the 18th century, which were created according to graphics from the rich Augsburg output of Johann Georg Hertel (1700–1775). The Lnáře remnants of the cycle of planetary gods show a symbiosis of two principles. On the one hand, a long tradition, dating from late antiquity and maintained through late medieval and early modern graphic series; on the other hand, the impulses of progressive astronomical observations. The more or less receptive character of Hertel’s series thus shows above all the emphasis on the contemporary fashion Rococo mode in which the figural compositions are embedded. [ABSTRACT FROM AUTHOR]

Im Maximilianmuseum in Augsburg findet im ‚Maximiliansjahr‘ 2019 die Ausstellung „Maximilian I. (1459-1519). Kaiser. Ritter. Bürger zu Augsburg“ statt. Die Ausstellung beherbergt außer hochwertigen Leihgaben auch ein besonderes Highlight: In einer virtuellen Umgebung werden längst abgerissene Stadttore computergestützt nachmodelliert und für die Besucher wieder zugänglich, obwohl die Originale schon lange nicht mehr Teil des Stadtbildes sind. Eines davon war einst eine berühmte Touristenattraktion: Augsburgs ‚Alter Einlass‘, das Nachttor, erbaut 1514 angeblich für Kaiser Maximilian I. Abgerissen wurden die letzten Überreste der großflächigen Anlage 1867. Besonders die komplexen Mechaniken im Inneren des Durchgangs waren weithin berühmt und können nun durch penible wissenschaftliche Recherche und Virtual-Reality-Brillen wieder erfahrbar gemacht werden. +++ Augsburg‘s Maximilianmuseum, which is not only the city’s art-historical museum but also includes the history of the town, will be home to an exhibition themed around Emperor Maximilian Ist in the third quarter of 2019. Within the exhibition there is one very special highlight to be found: Embedded in a virtual-reality-environment, two of the city’s historical gates are getting a computer-based re-modeling and will be opened for visitors, even though the original buildings were torn down many years ago. The larger of those gates, the ‚Alter Einlass‘ of Augsburg, an entrance to the city erected in 1514, was initially built for Emperor Maximilian Ist. The last remains of this complex building were torn down in 1867. Once famous for its hidden mechanics, the famous portal can now be experienced once again through virtual-reality-glasses.

This article examines a lineage of retrospective images that portray Maximilian I as armored Archduke of Austria and Duke of Burgundy, riding a horse that is clad in impressive plate armor from its head to its hooves. These artworks, which span the sixteenth century, participate in the early modern cultures of remembrance that surround Maximilian’s knightly persona and posthumous mythos. The central image of the study is a drawing, created during the 1540s, that is bound into the so-called Thun-Hohenstein Album. This drawing synthesizes two earlier paintings, now in the Kunsthistorisches Museum in Vienna, that represent triumphal entries into the cities of Namur and Luxembourg in 1480. A later image, created in Augsburg around 1575, exactly parallels the drawing in the Thun album, which it may copy. Careful consideration of these images, their meanings and their different contexts of creation and reception, as well as the equine armor that they depict, demonstrates the persistent significance of armor in the early modern cultures of remembrance of the Holy Roman Empire. +++ Dieser Artikel untersucht eine Reihe von retrospektivischen Bildern, welche Maximilian I. als geharnischten Erzherzog von Österreich und Herzog von Burgund auf einem eindrucksvoll ausgerüsteten, von Kopf bis zu den Hufen gepanzerten Pferd reitend zeigen. Diese Kunstwerke, welche allesamt aus dem sechzehnten Jahrhundert stammen, nehmen an der frühneuzeitlichen Erinnerungskultur um die ritterliche Rolle Maximilians und an den posthumen Mythen um seine Person teil. Im Zentrum der Überlegungen steht eine Zeichnung, welche um 1540–1550 datiert und im sogenannten Thun-Hohenstein-Album gebunden ist. Diese Zeichnung kombiniert zwei frühere Gemälde, gegenwärtig in der Sammlung des Kunsthistorischen Museums Wien, welche zwei Triumphzüge durch die Städte Namur und Luxembourg im Jahre 1480 darstellen. Ein späteres Bild, entstanden um 1575 in Augsburg, zeigt dasselbe Motiv wie die Zeichnungen im Thun-Hohenstein Album: Es könnte sich demnach hier um eine Kopie handeln. Eingehende Untersuchungen zu diesen Bildern, ihren verschiedenen Kontexten und Bedeutungen, sowie zu den dargestellten Rossharnischen können die kontinuierliche Bedeutung von Rüstungen in der frühneuzeitlichen Erinnerungskultur des Heiliges Römischen Reiches demonstrieren.

The aim of this study was to evaluate the impact of the COVID-19 pandemic lockdown on acute myocardial infarction (AMI) care, and to identify underlying stressors in the German model region for complete AMI registration. The analysis was based on data from the population-based KORA Myocardial Infarction Registry located in the region of Augsburg, Germany. All cases of AMI (n = 210) admitted to one of four hospitals in the city of Augsburg or the county of Augsburg from February 10th, 2020, to May 19, 2020, were included. Patients were divided into three groups, namely pre-lockdown, strict lockdown, and attenuated lockdown period. An additional survey was conducted asking the patients for stress and fears in the 4 weeks prior to their AMI. The AMI rate declined by 44% in the strict lockdown period; in the attenuated lockdown period the rate was 17% lower compared to the pre-lockdown period. The downward trend in AMI rates during lockdown was seen in STEMI and NSTEMI patients, and independent of sex and age. The door-to-device time decreased by 70–80% in the lockdown-periods. In the time prior to the infarction, patients felt stressed mainly due to fear of infection with Sars-CoV-2 and less because of the restrictions and consequences of the lockdown. A strict lockdown due to the Covid-19 pandemic had a marked impact on AMI care even in a non-hot-spot region with relatively few cases of COVID-19. Fear of infection with the virus is presumably the main reason for the drop in hospitalizations due to AMI. [ABSTRACT FROM AUTHOR]

Copyright of Acta Musei Brukenthal is the property of Brukenthal National Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Schneidhaus was a hospital foundation of the counts Fugger specialized in surgery of hernia and bladder-stones and characterized by a number of apparently unique features, which allow to trace aspects of how the counts Fugger represented themselves during the sixteenth and early seventeenth centuries. An allusion to charity covers just one functional aspect. During major confessional crises the hospital, including its localization(s) in Augsburg, also served to represent the Fugger as exemplary Catholic citizens. Moreover, evasive traces of several buildings designated as Schneidhaus and singular hints at their architecture point to additional functions: the hospital also was a means to support the efforts of the Counts Fugger to establish themselves among the German (and European) noblemen by displaying model behavior as rulers and humanists. A recently acquired illustrated manuscript in the German Museum of the History of Medicine in Ingolstadt was a further tool to assist these functions. The manuscript transferred practices inside the Schneidhaus into transportable evidence, thus allowing the counts Fugger to display, wherever necessary, their practice as models for Catholic charitable citizens and rulers of territories in combination with hints at their noble engagement for revealing wonders and marvels while also encouraging accountability of medical personnel and advancement of medical knowledge.

Social Impact Bond (SIBs) attracts massive attention recently not only by major enterprises, but by SMEs in Japan to solve the social problems. This paper analyzes the first SIBs case on youth employment support in Amagasaki, Japan as well as the first SIBs case in Augsburg, Germany. Further, it considers the entry of SMEs that are familiar with local fields and circumstances to realize public-private partnerships and examine the possibility of their participating into the SIBs in Japan. SIBs invite the process improvement of the public procurement. Across SIBs, participation of SMEs in solving social problems conforms to the growth strategy of the Japanese government, and as a result to contribute the process improvement of public procurement.

When the Tambora volcano erupted in Indonesia in 1815 with the highest intensity ever measured in Modern Times, this had consequences for the whole world. This paper will not deal with the negative consequences such as climate deterioration or crop failures, but with a positive side effect: the increased atmospheric opacity caused by the volcanic eruption made observations of sunspots easier. At that time, the now confirmed assumption that there is a connection between sunspot activity and climate was discussed. Regular observations were required for confirming this hypothesis. At the Benedictine monastery in Admont (Styria) the first meteorological measurements were carried out by the monk and physicist Gotthard Wisiak in the years 1814-1818. During his recordings, which were carried out three times a day, Wisiak noted various climatic elements and sunspot phenomena. The latter form the focus of this contribution. Although Wisiak's observations fall within the so-called "Dalton Minimum" (ca. 1790--1820), a period of low sunspot activity, the year 1816 was well suited for such observations because the maximum of solar cycle 6 was in that year. Wisiak mentioned the term sunspot 64 times in his records, including 9 times of explicit absence and 55 times of sightings of them. The recorded number of sunspots varied between 1 and 30. Also sunspot formations like an "army" (meaning a rather large group of sunspots) were mentioned. According to Wisiak's meteorological data, the observations of sunspots were in most cases carried out at conditions with high air humidity causing additional opacity. Quantitative comparisons with contemporary sunspot studies by Augustin Stark (Augsburg, Germany) and Thaddäus Derfflinger (Kremsmünster, Upper Austria) show overall consistency with the Admont observations especially for the period July to October 1816, despite different sophisticated instruments, topographical constraints at Admont, and the difference between primary (focus on astronomical monitoring) and secondary (focus on meteorological monitoring) sunspot observation activities. This contribution thus also gives new hints on the evaluability of historical sunspot observations in Austria based on primarily meteorologically oriented archive records. [ABSTRACT FROM AUTHOR]

A small collection of certificates of Marian sodalities from Austria and South Germany is preserved in the Archives of the Austrian Jesuit Province. These engraved documents were mainly used by wandering fellow guild members as passports. They complemented customary guild documents, as they testified to the reliable confessional character of their holder. Though the certificates preserved in Vienna were mostly issued and sealed only in the second half of the 18th century, research has shown that the copperplate matrices that were used are significantly older, partly going back to the third quarter of the 17th century. In an iconographic sense they are rich sources because they show city views and frequently interiors, altars, and liturgical furnishings that no longer exist. The certificates served not only their owners, but also as a pictorial representation of their place of origin and of the actual congregation.

The Schneidhaus was a hospital foundation of the counts Fugger specialized in surgery of hernia and bladder-stones and characterized by a number of apparently unique features, which allow to trace aspects of how the counts Fugger represented themselves during the sixteenth and early seventeenth centuries. An allusion to charity covers just one functional aspect. During major confessional crises the hospital, including its localization(s) in Augsburg, also served to represent the Fugger as exemplary Catholic citizens. Moreover, evasive traces of several buildings designated as Schneidhaus and singular hints at their architecture point to additional functions: the hospital also was a means to support the efforts of the Counts Fugger to establish themselves among the German (and European) noblemen by displaying model behavior as rulers and humanists. A recently acquired illustrated manuscript in the German Museum of the History of Medicine in Ingolstadt was a further tool to assist these functions. The manuscript transferred practices inside the Schneidhaus into transportable evidence, thus allowing the counts Fugger to display, wherever necessary, their practice as models for Catholic charitable citizens and rulers of territories in combination with hints at their noble engagement for revealing wonders and marvels while also encouraging accountability of medical personnel and advancement of medical knowledge. [ABSTRACT FROM AUTHOR]