The fourteenth century Nagarakretagama, Canto 14, which identifies Timor as an island within Majapahit's realm, is the earliest historical record about Timor, the largest and easternmost of the Lesser Sunda Islands in the Malay Archipelago,.

Timor had been incorporated into Javanese, Chinese and Indian trading networks of the fourteenth century as an exporter of aromatic sandalwood, slaves, honey and wax.

The Portuguese begin trading with Timor in 1520.

The progressive internal decay of the Polish Church, in a situation analogous with that of other European countries, has created conditions favorable for the dissemination of the Reformation ideas and currents.

For example, there is a chasm between the lower clergy and the nobility-based Church hierarchy, which is quite laicized and preoccupied with temporal issues, such as power and wealth, often corrupt.

The middle nobility, which has already been exposed to the Hussite reformist persuasion, increasingly looks at the Church's many privileges with envy and hostility.

Sigismund I quickly reactsagainst the "religious novelties", issuing his first related edict in 1520, banning any promotion of the Lutheran ideology, or even foreign trips to the Lutheran centers.

Selim, whose victories over the Safavids and the Mamluks have made him in effect the ruler over all of Islam, has resurrected and assumed the title of caliph, which makes the Ottoman sultan the spiritual as well as the temporal ruler of the Muslim world.

He has spent the last few years in Istanbul solidifying the supremacy of the sultanate, exploiting the prestige and revenues that have resulted from his Eastern victories.

A great patron of Islamic art and literature and himself a poet, he dies at fifty September 22, 1520, at Çorlu; Süleiman, the only of Selim’s son that had survived his father’s massacre of all his relatives upon ascending the Ottoman throne, succeeds him with a position unequaled by any sultan before or after.

He is left without opposition and with a great deal of control over the devsirme class, as well as over the remnants of the Turkish notables.

The conquest of the Arab world has doubled the revenues of the treasury without imposing important additional financial obligations, leaving Süleyman with wealth and power unparalleled in Ottoman history.

As governor of Damascus, Janbirdi al-Ghazali is in charge of safeguarding the pilgrim caravan destined to make hajj in the Hejaz for the pilgrim route from Damascus to Aqaba in southern Transjordan.

In order to do this successfully, he subjugates the Turkmen nomads in the area.

After two years, he manages to have those same Turkmen tribes protecting the pilgrims.

By 1520, hajj caravans are traveling without incident.

In line with Ottoman state policy at this time, al-Ghazali embarks on major development projects in Damascus.

Having been appointed the nazir or "supervisor" of Damascus's main waqf, he has the Umayyad Mosque repaired and redecorated.

He also has a number of other mosques, schools and canals rebuilt and repaired.

Supervisors of madrasas ("religious schools") who are deemed negligent are stripped of their position and their school buildings restored.

Following the succession of Süleyman the Magnificent to the sultanate after Selim's death in 1520, al-Ghazali revolts against the Ottoman state.

He seeks to restore Mamluk suzerainty, declaring himself "sultan" or al-Malik al-Ashraf ("the most noble king").

He bans preachers in mosques from upholding the Ottoman sultan's name in Friday prayers, purges Ottoman officials and soldiers from Syria, and bans Ottoman dress by the provinces's citizens.

After he declares himself sultan, the cities of Tripoli, Hama, and Hims joins his rebellion.

Following failed attempts to enlist the support of Shah Ismail of the Safavid Empire and Kha'ir Bey, the Ottoman governor of Egypt, he nonetheless raises an army and sets out to conquer Aleppo.

The residents of Aleppo support the Ottoman sultanate, however, and resist al-Ghazali's efforts.

His army besieges the city for fifteen days, during which over two hundred residents and Ottoman soldiers are killed, but to no avail.

He withdraws to Damascus soon after to rally his forces.

The town of Zeila, identified in antiquity with the commercial port of Avalites described in the first century-Greco-Roman travelogue the Periplus of the Erythraean Sea, an area situated in the historic northern Barbara region of present Somlaia, had evolved into an early Islamic center with the arrival of Muslims shortly after the hijra.

By the ninth century, Zeila is described as the capital of an already-established Adal kingdom, and had attained its height of prosperity in the fourteenth century.

Travelers' reports, such as the memoirs of the Italian Ludovico di Varthema, indicate that Zeila continued to be an important marketplace during the sixteenth century, despite being sacked by the Portuguese in 1517.

The Ottoman Turks, consolidating their position at the entrance to the Red Sea, garrison Zeila in 1520.

Pedro Machuca had painted The Virgin and the Souls in Purgatory in 1517 the increasingly popular Mannerist style.

The details of his life are poorly known.

Born in Toledo, he is said to have been a pupil or friends with Michelangelo and Pontormo.

Returning to Spain in 1520, he works as a painter in the Royal Chapel of Granada, as well as in Jaén, Toledo, and Uclés.

Ludovico Ariosto and Leonardo da Vinci had shared a patron in Cardinal Ippolito d'Este’s older sister the Marchioness Isabella d’Este, who appears in Ludovico’s masterpiece, Orlando Furioso.

She also appears in Leonardo’s “Sketch for a Portrait of Isabella d’Este,” at the Louvre.

The cardinal had gone to Hungary in 1518, and wished Ariosto to accompany him.

The poet had excused himself, pleading ill health, his love of study, and the need to care for his elderly mother.

His excuses were not well-received, and he was denied even an interview.

The cardinal's brother, Alfonso, duke of Ferrara, now took Ariosto under his patronage.

By then, Ariosto had already distinguished himself as a diplomat, chiefly on the occasion of two visits to Rome as ambassador to Pope Julius II.

In 1520, Ariosto writes an Italian comedy, Il negromante, in the style of the comedies of Plautus and Terence.

Pope Leo X and his kinsman, Cardinal Guilio de'Medici, commission Michelangelo to design and construct the Medici Chapel, or New Sacristy, in 1520 as a burial chapel for the Medici family, located on the north side of the church of San Lorenzo in Florence.

This four-year project will be Michelangelo’s first essay in architecture.

He will also design its monuments dedicated to certain members of the Medici family, with sculptural figures of the four times of day that are destined to influence sculptural figures reclining on architraves for many generations to come.

Raphael works on the Transfiguration until his death in 1520.

Commissioned by Cardinal Giulio de Medici (the later Pope Clement VII) and conceived as an altarpiece for the Narbonne Cathedral in France, the painting exemplifies Raphael's development as an artist and the culmination of his career.

Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with an additional episode from the Gospels in the lower part of the painting.

The Transfiguration stands as an allegory of the transformative nature of representation Raphael lives in the Palazzo Caprini in the Borgo, in rather grand style in a palace designed by Bramante.

He never married, but in 1514 had become engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the Cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she dies in 1520.

He is said to have had many affairs, but a permanent fixture in his life in Rome is "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio.

He had been made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur.

Vasari claims he had toyed with the ambition of becoming a Cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.

According to Vasari, the cause of Raphael's premature death on Good Friday (April 6, 1520), which is possibly his thirty-seventh birthday, was a night of excessive sex with Luti, after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure, which killed him.

Vasari also says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28.

Whatever the cause, in his acute illness, which lasted fifteen days, Raphael had been composed enough to confess his sins, receive the last rites, and to put his affairs in order.

He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni.

At his request, Raphael is buried in the Pantheon.

His funeral is extremely grand, attended by large crowds.

The inscription in his marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori", meaning: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."

Anticlassical tendencies had begun to manifest themselves in Roman art before the death of Raphael in 1520, which marks the close of the so-called High Renaissance painting style.

In paintings executed in the late Renaissance style sometimes called Mannerism, which emerges around this time, the classical proportions of the figures become exaggerated, the colors harsh, and the composition agitated and asymmetrical.

Italian painter, stage designer, and architect Baldassare Peruzzi becomes a superintendent at Saint Peter's Basilica in 1520.

Little construction is done on the church, but Peruzzi produces several notable drawings. (One of these, a sketched plan and elevation, establishes for later years a new mode of architectural rendering using multiple perspectives.)