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Moors are not a single, distinct or self-defined people. [2] The 1911 Encyclopædia Britannica observed that the term had "no real ethnological value." [3] Europeans of the Middle Ages and the early modern period variously applied the name to Arabs, Berbers, and Muslim Europeans. [4]
Pair of Italian figures in painted wood, 18th century "Moor with Emerald Cluster" by Balthasar Permoser in the collection of the Grünes Gewölbe. Blackamoor is a type of figure and visual trope in European decorative art, typically found in works from the Early Modern period, depicting a man of sub-Saharan African descent, usually in clothing that suggests high status.
It is a two-part series on the contribution the Moors made to Europe during their 700-year reign in Spain and Portugal ending in the 15th century. It was first broadcast on Channel 4 Saturday 5 November 2005, [ 2 ] and was filmed in the Spanish region of Andalusia , mostly in the cities of Granada , Cordoba and the Moroccan city of Fes .
Wild men support coats of arms in the side panels of a portrait by Albrecht Dürer, 1499 (Alte Pinakothek, Munich).. The wild man, wild man of the woods, woodwose or wodewose is a mythical figure and motif that appears in the art and literature of medieval Europe, comparable to the satyr or faun type in classical mythology and to Silvanus, the Roman god of the woodlands.
The rich were often able to secure release through ransom, but the poor were condemned to slavery. Their masters would, on occasion, allow them to secure freedom by professing Islam. A long list might be given of people of good social position, not only Italians or Spaniards but German or English travelers in the south, who were captives for a ...
A storm struck when they were near Galveston Island, Texas. Approximately 80 men survived the storm, being washed ashore at Galveston Island. After 1529, three survivors from one boat, including Estevanico, became enslaved by Coahuiltecan Indians; in 1532, they were reunited with a survivor from a different boat, Álvar Núñez Cabeza de Vaca. [5]
Portugal and the Iberian Peninsula in 1157. Afonso had already won many victories over the Moors. At the beginning of his reign the religious fervor which had sustained the Almoravid dynasty was rapidly subsiding; in Portugal independent Moorish chiefs ruled over cities and petty taifa states, ignoring the central government; in Africa the Almohades were destroying the remnants of the ...
Saint Maurice was very often depicted as a black soldier in northern Europe, and the years just before Mostaert's painting had produced such depictions in altarpieces by the leading artists Matthias Grünewald (c. 1517–23) and Lucas Cranach the Elder (1522–25). [11] But the small size of the Mostaert is more typical of a personal portrait.