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In this way, the intellectual background between particular architectural innovations which can be labelled as a kind of Romanesque Renaissance may perhaps be better understood. Therefore, this essay attempts to sketch out the first outlines of an entangled history ( histoire croisée) of early humanism and artistic developments in the late fifteenth century in Germany. 3 A rather new element in this context constitutes the analytical integration of the different roles taken on by learned and mobile Brückenfiguren (bridging figures), 4 a number of German and Italian humanist writers, councillors, politicians, and courtiers, within transregional networks. on the new engagement with the historical – and by then long out-of-date – world of Romanesque architectural style and its possible connections to emerging Renaissance historiography and thought. In what follows, the focus will be on a particular part of the history of early German Renaissance architecture, i.e. 1 For the last two decades, however, the interconnected and parallel histories of enfolding Renaissance humanism have produced new analytical models of reciprocal exchange and of an actively creative reception of knowledge, ideas, and texts yet to be adopted more widely by art historical research. The early history of northern Renaissance architecture has long been presented as being the inexorable occurrence of an almost viral dissemination of Italian Renaissance forms and motifs.
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