Abstract
This paper discusses the Baroque period of 1600 - 1750. It discusses the role that patronage played in the lives of musicians and the repertoire that was composed or performed by them. It then examines three case studies in terms of their most significant musicians-in-residence, their socio-cultural environment, opportunities for performance and composition and their locally preferred musical styles.

Table of Contents:
Royal Patronage
Religious Patronage
Civic Patronage
Conclusions

From the Paper
"Patronage in the period of glory for Baroque music greatly influences the portfolio of compositions. This happens, at least in part, depending on the composer and the role he is playing within the patron-composer relationship. In the case of Lully, for example, the influence was total, in the sense that Lully's works existed only within the framework defined for him by the absolute monarchy. Ranging from the ampleness of his operas, to the fact that he is one of the first to promote the idea of a French opera and to the machineries that are used to make grandiose spectacles - everything points out that the role of the composer is strictly determined by the patron."

Tags:composition, environment, portfolio

Abstract
This paper provides an overview of why, in "Self-Crowned Laureates," Richard Helgerson places English Renaissance writers within a patronage system that frequently influenced the content of their works. To this end, an analysis of Ben Jonson's poem "To Penshurst" and his "Masque of Blackness"; Aemilia Lanyer's poems "The Description of Cooke-ham" and "Salve Deus Rex Judaeorum"; John Milton's masque "Comus," and Mary Wroth's "Urania" is conducted to determine what or why these works were written, as well as the specific patrons that provided these Renaissance writers with political or social favors or monetary remuneration in exchange for their services. An assessment of how women writers from this era frequently dedicated their writings to powerful figures is followed by an analysis of how the appeal to a patron authorized these writers to act and the manner in which these poets advance themselves socially through their art. A discussion of how class difference troubled or enhanced these writers is provided in the conclusion.

Outline
Introduction
Review and Discussion
Conclusion

From the Paper
"The patronage system under which Jonson created was one in which he was compelled write for the gentry but he was not that happy about it, because he thought himself the better person because of his talent, whereas the aristocracy had money but not talent. Yet he had to write such works as "To Penshurst" just to make a living and in the hopes, too, that he could raise up in society. In this regard, Loewenstein and Mueller (2002) report that, "Literature became the unofficial currency of the patronage system - well-turned sonnets, graceful compliments and effusive book-dedications being among the recognized ways by which hopeful candidates would present themselves for the job. Patronage came in all shapes and sizes, from permanent positions to more sporadic offerings, gifts or payments in kind" (346). In this regard, Briggs (1997) emphasizes that Jonson's poem, "To Penshurst," is absolutely rife with effusive praise for one such landholder who was deemed benevolent simply by virtue of not being evil. "

Tags:Aemilia, Lanyer, Ben, Johnson, milton, mary, roth

Abstract
This paper discusses how in the early 15th century, the city of Florence took cultural command of Italy and inaugurated the Renaissance, a period highlighted by great achievements in the arts and architecture. It looks at how the Medici, bankers to all of Europe, became such lavish patrons of the arts that to this day the name of Medici connotes any generous patron of the fine arts and thus, the history of Florence cannot be separated from the House of the Medici.

From the Paper
"Scarcely any great architect, painter, sculptor, philosopher or humanist scholar was unknown or unaffected by the power and influence of the Medici family. Cosimo de' Medici began the first public library since the ancient world (comparable to that at Alexandria), and it has been estimated that in the course of thirty years that Cosimo de' Medici and other members of his family spent almost $20,000,000 for manuscripts and books, a clear indication of the financial power behind the establishment of humanism in the Renaissance era. However, Cosimo de' Medici, always the careful businessman with a keen eye for what was truly beautiful and worth supporting, was not sentimental about his endowment of art and scholarship, for he once stated that his good works were "not only for the honor of God but (also) for my own remembrance." "

Tags:art, library, money, architecture

Abstract
This paper discusses a playwright's patronage by a wealthy individual. The paper explains that this was common practice and indeed essential, in Shakespeare's time. The paper examines William Shakespeare's "A Midsummer Night's Dream" in an effort to determine whether parts of it were rewritten by Shakespeare upon request of one of his patron's, in honor of a wedding.

From the Paper
"Whether Shakespeare was pandering to Elizabeth Carey's powerful father and grandfather or not, his other patron was-and had to be-Queen Elizabeth herself. In addition, it is in honor of that patronage that Shakespeare used abundant maritime references in the play. Shakespeare is thought to have been creating his own specialized mythology in the play-something he could well be expected to do considering his education-but he was also have been honoring Queen Elizabeth's maritime prowess, and certainly he made reference to the "Virgin Queen" when he wrote of the "fair vestal throned by the west" (Edgecombe, 2000, unpaged)."

Tags:elizabeth, queen, theseus, egeus

Abstract
This essay - discussing the life and art of Kano Tanyu (1602-1674) - will argue that Tanyu represents a classic example of the function of patronage in the production of art. In 17th century Japan the styles and subjects of art differed depending upon the class who were to be the designated audience for the art. The Kano family had tied its fortunes to the ruling Tokugawa clan from an early date; Tanyu's artist father having moved to Edo at the order of the shogun.

Tags:kano, tanyu, life

From the Paper
"Rococo. The very term has become commonplace as the synonym for "decorative," "frilly" and "frivolous" art. That in itself is a step up from its origins as a derogatory term derived from the French word rocaille. The original invention of the term in the early 1800s was essentially a caricature, a satirical disparagement which consigned the entire Rococo period (circa 1680-1775) to being little more than an architectural style of playful decoration.. Likewise, our contemporary art historians and critics are rarely kind to the Rococo style - and are particularly hard on its artists. "The eighteenth century," one college text proclaims,. "did not produce a single figure in the visual arts to rank with the universal masters of previous epochs." Like all such sweeping generalizations, both criticisms - new and old - miss key elements in the character of Rococo ..."

From the Paper
"This paper will be concerned with the presidential career of James K. Polk. It will evaluate various aspects of Polk's presidency in order to arrive at an overall assessment of his effectiveness. James Knox Polk was born in North Carolina in 1795. After graduating from the University of North Carolina, Polk became a respected lawyer in the state of Tennessee. By age thirty, Polk had become a member of the House of Representatives, and ten years later he was elected Speaker of the House. In 1839, Polk was elected to the governorship of Tennessee. In 1841 and 1843, he tried unsuccessfully to be re-elected as governor. In 1844, Polk gave up on the governorship and entered the Democratic national elections as running mate under presidential hopeful Martin Van Buren. Van Buren had already served as president from 1837 to 1841. In 1844, the former president ...

From the Paper
"The purpose of this research is to examine Lorenzo de' Medici and the arts in Florence during the Italian Renaissance. The plan of the research will be to set forth the historical context in which Florence and the Medici family became relevant to the emergence of Italian Renaissance art, and then to discuss the shape and significance of Medici influence on the phenomenon.

In order to appreciate the significance of Lorenzo de Medici for the Renaissance and for the arts of the period, it is first necessary to examine how the concept emerged in Europe, setting the stage for Medici influence. The Renaissance refers to the period, beginning as early as the fourteenth century, when the culture of Western civilization made transition from medievalism to modernism. Kirchner says that it dates from 1350 and "was distinguished by a spirit of confidence in man's achievements and .."

From the Paper
"The reasons for the extraordinary flowering of art in fifteenth-century Florence are extremely complex and range from the prosperity and cosmopolitanism of the city to the humanists' new ideas about humanity and new relationship with antiquity to the earliest stirrings of the modern concept of the artist. One undoubted source of the sheer volume of Florentine art and its innovative nature is the demand formulated by the city's patrons--guilds, confraternities, churches, religious orders, civil government, and, above all, the Medici Family--with its special devotion to the ideal of magnificence--and the many other wealthy Florentines who imitated them. In the midst of their prosperity and under the influence of evolving ideas fifteenth-century Florentines became a new kind of consumer and their patronage facilitated the extraordinary performance of art as "it underwent.."

From the Paper
"In the fifteenth century, the Medici family rose to power in Florence from an undistinguished background. Like most of the Renaissance rulers in Italian towns, the Medici became prominent patrons of learning and the arts. In the rapidly expanding cities, the merchant guilds, mendicant orders, and leading families saw patronage as a means of expressing both their growing wealth and power. The arts were good for the cities' economy and prestige, and, for an obscure family like the Medici, such sponsorship increased their personal prestige. In the fifteenth century, "merchants turned into courtiers" (Kempers 15). No matter whether they were particularly interested in scholarship or the arts, the families also began to value patronage because it demonstrated their cultured attitudes. Men like Cosimo de' Medici spent heavily on public works because.."