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seventeenth century képek

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An elderly man from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A child from the Khumi community with a dog in front of their traditional bamboo house. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A child from the Khumi community with a dog in front of their traditional bamboo house. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A child from the Khumi community in front of their traditional bamboo house. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A female from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
A bare-breasted mother with her baby from the Murang community at their traditional Bamboo made flute in the Village of Sakhei Murang Para. The Murang is an indigenous or ethnic people of Bangladesh. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
An elderly man from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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An elderly man from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
RM
An elderly man from the Khumi community at his traditional bamboo house in their village. The Khumis are an indigenous or ethnic group from Bangladesh. They arrived in the hills of Chittagong from the hills of Arakan and Akyab in the seventeenth century. Bandarban Hill Tracts District, Bangladesh.-stock-foto
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l-r: Ian Charleson (Peregrine), John Gielgud (Sir Politic Wouldbe) in VOLPONE or The Fox by Ben Jonson at the Olivier Theatre, National Theatre (NT), London SE1 26/04/1977 set design: John Bury costumes: Deirdre Clancy lighting: David Hersey director: Peter Hall-stock-foto
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17th century Old Abbey of Drongen, monastic complex and Jesuit retirement home near Ghent, East Flanders, Belgium-stock-foto
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Clock tower of the 17th century Old Abbey of Drongen, monastic complex and Jesuit retirement home near Ghent, East Flanders, Belgium-stock-foto
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A woodcut depicting young men playing an early form of tennis, known as real tennis, in an indoor court, from John Amos Comenius's (1592–1670) "Orbis Sensualis Pictus". This illustration of "jeu de paume" shows players in 17th-century attire using early stringed racquets to strike a ball across a low net or rope. Comenius's work, first published in 1658, was a revolutionary educational text that paired detailed woodcuts with Latin and vernacular descriptions to provide children with a visual encyclopaedia of the world. c.1658.-stock-foto
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An engraving titled 'Le Tabac' by Abraham Bosse (1602–1676) after Jean de Saint-Igny (c.1595–c.1649) depicting two officers drinking and smoking clay pipes. The scene illustrates the men seated at a barrel used as a table in a vaulted room, wearing the distinctive plumed hats and lace collars of the French court during the reign of Louis XIII. In the background, a curtained bed and ladder are visible, typical of a shared guardroom or tavern, highlighting the popularity of tobacco among the military classes in the early seventeenth century. c.1640.-stock-foto
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An engraving depicting a young woman in elaborate seventeenth-century attire smoking a long clay pipe and holding a glass tazza, representing the moralising theme of the 'Apish Art of Tasting'. Sold by John Garrett at the Royal Exchange in London, the print serves as a social critique of the excessive consumption of tobacco and alcohol, which were then perceived as wasteful foreign vices. The accompanying satirical verse warns that such habits lead to the loss of reputations, health, and fortunes, while a small figure of an enslaved servant is depicted smoking in the background. c.1670.-stock-foto
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An engraving of Francis Beaumont (1584–1616), an English playwright and poet of the Jacobean era during the Stuart dynasty (1603–1714) who was most famous for his collaboration with John Fletcher. This portrait was produced for George H. Townsend's Alphabetical Chronology of Ancient and Modern History. 1862.-stock-foto
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An engraving depicting Pierre Bayle (1647–1706), the French Protestant philosopher and writer whose seminal work, the Dictionnaire Historique et Critique, became a cornerstone of Enlightenment thought. Born in Le Carla, he spent much of his professional career in the Dutch Republic as an exile following the revocation of the Edict of Nantes. His advocacy for religious toleration and his sceptical philosophical method significantly influenced later Enlightenment thinkers and the development of modern secularism. c.1706.-stock-foto
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An engraving depicting Francis Bacon, 1st Viscount St Alban (1561–1626), an influential English philosopher and statesman who served as Lord Chancellor during the Stuart (1603–1714) reign of King James I. He is shown wearing a tall black hat and an elaborate lace ruff, attire characteristic of the early seventeenth century. Renowned as the father of empiricism, Bacon advocated for a scientific approach based on inductive reasoning and systematic observation, which fundamentally challenged the dominance of Aristotelian deductive logic. c.1850.-stock-foto
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An engraving titled "Mother Shipton" depicting Mother Shipton (c.1488–c.1561), the legendary English witch and prophetess whose reputations grew following the posthumous publication of her prophecies. Allegedly born Ursula Southeil during the Tudor dynasty (1485–1603), she was said to have possessed clairvoyant powers from her home in a cave in Knaresborough. She is shown here in traditional seventeenth-century attire, featuring a prominent steeple hat and a wide collar, accompanied by a small monkey acting as her familiar. 1804.-stock-foto
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A copperplate engraving titled 'Constellation of Andromeda' from Johannes Bayer (1572–1625) 'Uranometria'. The celestial map illustrates the mythological figure of Andromeda chained to a rocky outcrop in anticipation of her rescue by Perseus, with stars meticulously placed to correspond with their astronomical positions. This work originated from one of the most influential star atlases of the early modern period, which introduced a system of stellar nomenclature using Greek letters. The intricate detail reflects the seventeenth-century tradition of combining scientific observation with classi-stock-foto
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An engraving depicting the appearance of Halley's Comet over Jerusalem as featured in the 'Theatrum Cometicum' by Stanisław Lubieniecki (1623–1675). The image illustrates the astronomical event of 66 CE recorded by the historian Flavius Josephus (c.37–c.100 CE) as a portent of the impending destruction of the city during the First Jewish-Roman War. The stylised map of the walled city is shown with three crosses on the distant hill of Golgotha, reflecting the seventeenth-century interpretation of cometary omens as signs of divine intervention or historical turning points. This plate was include-stock-foto
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A woodcut depicting the potato (Solanum tuberosum), illustrating its foliage, flowers, fruit, and underground tubers. Originating in South America and introduced to Europe during the sixteenth century, the plant became a central agricultural crop by the late seventeenth century. This illustration was published in John Parkinson's (1567–1650) massive botanical compendium, Theatrum Botanicum, during the Stuart dynasty (1603–1714). 1640.-stock-foto
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An engraving depicting King Charles I (1600–1649) kneeling at the executioner's block outside the Banqueting House at Whitehall, London. Following his defeat in the English Civil War, the second monarch of the Stuart Dynasty (1603–1714) was tried and condemned for high treason against the people of England. The scene illustrates the king in prayer alongside Bishop William Juxon, with a masked executioner and pikemen standing nearby on the scaffold while crowds watch from the background. This work, designed by Robert Smirke and engraved by Thomas Wallis, commemorates the seventeenth-century reg-stock-foto
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A woodcut depicting the Devil in the guise of a winged goat transporting a witch through the air towards a Sabbath as a group of onlookers in contemporary dress watch from the ground. This illustration was featured in Francesco Maria Guazzo's (c.1570–c.1640) treatise Compendium Maleficarum, which served as a comprehensive manual on demonology and the perceived practices of witches. The work reflected the intense theological interest in the occult and the supernatural during the early seventeenth century in Milan. 1608.-stock-foto
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An engraving depicting the English astrologer William Lilly (1602-1681), who achieved fame for his astrological predictions and almanacs during the mid-seventeenth century. This portrait featured in his publication "Merlini Anglici Ephemeris" and Lilly was famously the inspiration for the character Sidrophel in Samuel Butler's satirical poem "Hudibras". 1673.-stock-foto
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