Warfare and Politics: Cities and Government in Renaissance Tuscany and Venice brings together a group of prominent contributors to consider the topics of government and warfare in Tuscany and Venice in the Renaissance. The essays cover a remarkably broad geographical and topical range as they analyse the economic, military, political, and diplomatic history of Florence, Rome, Venice, and the Italian peninsula in general through the Renaissance and early modern period.

An incisive and erudite survey of Machiavelli, the catastrophes of his times and ours, and his counsel for responding to an era of constant crises

A study of the depictions of women’s executions in Renaissance England
 
A Weak Woman in a Strong Battle: Women and Public Execution in Early Modern England provides critical insights on representations of women on the scaffold, focusing on how female victims and those writing about them constructed meaning from the ritual. Jennifer Lodine-Chaffey draws on a wide range of genres, from accounts of martyrdom to dramatic works, to explore not only the words of women executed in Tudor and Stuart England, but also the ways that writers represented female bodies as markers of penitence or deviance.

A significant part of the execution spectacle—one used to assess the victim’s proper acceptance of death and godly repentance—was the final speech offered at the foot of the gallows or before the pyre. To ensure their final words held value for audiences, women adopted conventionally gendered language and positioned themselves as subservient and modest. The reception of women’s speeches, Lodine-Chaffey argues, depended on their performances of accepted female behaviors and language as well as physical signs of interior regeneration. Indeed, when women presented themselves or were represented as behaving in stereotypically feminine and virtuous ways, they were able to offer limited critiques of their fraught positions in society.

Just as important as their words, though, were the depictions of women’s bodies. The executed woman’s body, Lodine-Chaffey contends, functioned as a text, scrutinized by witnesses and readers for markers of innocence or guilt. The intense focus on the words and bodies of women facing execution during this period, Lodine-Chaffey argues, became a catalyst for a more thorough interest in and understanding of women’s roles not just as criminals but as subjects

A revelatory account of sexual nonconformity and radical religious dissent in Renaissance Italy, drawing on never-before-studied Inquisition trials.

Between the sixteenth and eighteenth centuries, a series of highly controversial Inquisition trials took place throughout the Italian peninsula. The defendants were all accused of the same heresy: claiming that Adam and Eve’s original sin had been committing sodomy, a “celestial” pleasure reserved for God alone. Such claims were not merely subversive sexual innuendo. Rather, they were the most radical expressions of a much broader critique—one that not only targeted repressive sexual taboos but also denounced the corruption of the Church, questioned the authority of the pope, and suggested that organized religion itself was a hoax designed to maintain elite power.

As Umberto Grassi shows, these dissenters’ beliefs about sexual freedom came to play a crucial role in the development of skeptical and atheistic positions. Many of the accused argued that, by violating God’s exclusive right to engage in sodomy, Adam and Eve dared to make themselves like gods. This view, which led to charges of atheism, radicalized a more widely held belief that the ruling classes banned sodomy to prevent the masses from enjoying it. In turn, such heresies fueled indictments of Christian morality as an all-too-human invention, whose purpose was to reinforce a social order in which the ruling classes controlled both sexuality and religious truth.

Tracing a radical tradition of thought on trial, What God Kept for Himself establishes the firm relationship between sexual nonconformity and religious dissent in the early modern Mediterranean world.

A revelatory account of sexual nonconformity and radical religious dissent in Renaissance Italy, drawing on never-before-studied Inquisition trials.

Between the sixteenth and eighteenth centuries, a series of highly controversial Inquisition trials took place throughout the Italian peninsula. The defendants were all accused of the same heresy: claiming that Adam and Eve’s original sin had been committing sodomy, a “celestial” pleasure reserved for God alone. Such claims were not merely subversive sexual innuendo. Rather, they were the most radical expressions of a much broader critique—one that not only targeted repressive sexual taboos but also denounced the corruption of the Church, questioned the authority of the pope, and suggested that organized religion itself was a hoax designed to maintain elite power.

As Umberto Grassi shows, these dissenters’ beliefs about sexual freedom came to play a crucial role in the development of skeptical and atheistic positions. Many of the accused argued that, by violating God’s exclusive right to engage in sodomy, Adam and Eve dared to make themselves like gods. This view, which led to charges of atheism, radicalized a more widely held belief that the ruling classes banned sodomy to prevent the masses from enjoying it. In turn, such heresies fueled indictments of Christian morality as an all-too-human invention, whose purpose was to reinforce a social order in which the ruling classes controlled both sexuality and religious truth.

Tracing a radical tradition of thought on trial, What God Kept for Himself establishes the firm relationship between sexual nonconformity and religious dissent in the early modern Mediterranean world.

In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral.

Widow City: Gender, Emotion, and Community in the Italian Renaissance investigates the ever-evolving role of the widow in medieval and early modern Italian literature, from canonical authors such as Dante, Petrarch, and Boccaccio, to the numerous widowed writers who rose to prominence in the sixteenth century—including Vittoria Colonna, Veronica Gambara, and Francesca Turina—and radically changed the conversation on public mourning. Engaging with broader intellectual discussions around gender, the history of emotions, the politics of mourning, and the construction of community, Widow City argues that widows served as key models demonstrating to readers not just how to mourn, but how to live well after devastating loss. At the same time, widows were figures of great anxiety: their status as unattached women, and the public performance of their grief, were viewed as very real threats to the stability of the social order. They are thus key to broader intellectual understandings of community and civic life in the Italian Middle Ages and Renaissance.

Premodern kings and queens had splendid courts to show their God-given power. But where did the money for these come from? Following the money trail back often leads to unexpectedly savvy women who knew how to deal with money, and how to manage huge estates, treasuries, or accounts. This volume focuses on the economic and financial dimensions of the premodern royal court, and especially on the women using money as an instrument of power. Methodological and theoretical reflections on an economic history of royal courts frame case studies from medieval England to early modern Denmark and the Holy Roman Empire. Empresses and queens, but also mistresses and favourites are discussed, including considerations of their spheres of influence, their financial strategies and means, and their successes and failures.

In a late 1590s atlas proof from cartographer John Speed, Queen Elizabeth appears, crowned and brandishing a ruler as the map's scale-of-miles. Not just a map key, the queen's depiction here presents her as a powerful arbiter of measurement in her kingdom. For Speed, the queen was a formidable female presence, authoritative, ready to measure any place or person. The atlas, finished during James' reign, later omitted her picture. But this disappearance did not mean Elizabeth vanished entirely; her image and her connection to geography appear in multiple plays and maps. Elizabeth becomes, like the ruler she holds, an instrument applied and adapted. Women and Geography on the Early Modern English Stage explores the ways in which mapmakers, playwrights, and audiences in early modern England could, following their queen's example, use the ideas of geography, or 'world-writing', to reshape the symbolic import of the female body and territory to create new identities. The book demonstrates how early modern mapmakers and dramatists -- men and women -- conceived of and constructed identities within a discourse of fluid ideas about space and gender.

Caterina Vigri (later Saint Catherine of Bologna) was a mystic, writer, teacher and nun-artist. Her first home, Corpus Domini, Ferrara, was a house of semi-religious women that became a Poor Clare convent and model of Franciscan Observant piety. Vigri's intensely spiritual decoration of her breviary, as well as convent altarpieces that formed a visual program of adoration for the Body of Christ, exemplify the Franciscan Observant visual culture. After Vigri's departure, it was transformed by d'Este women patrons, including Isabella da Aragona, Isabella d'Este and Lucrezia Borgia. While still preserving Observant ideals, it became a more elite noblewomen's retreat.

Grounded in archival research and extant paintings, drawings, prints and art objects from Corpus Domini, this volume explores the art, visual culture, and social history of an early modern Franciscan women's community.

This book of essays highlights the lives, careers, and works of art of women artists and artisans in Venice and its territories from the fourteenth to the eighteenth centuries. The collection represents the first fruits of an ongoing research program launched by Save Venice, Inc., Women Artists of Venice, directed by Professor Tracy Cooper of Temple University, in conjunction with a conservation program, led by Melissa Conn, Director of Save Venice, Inc. Inspired by a growing body of research that has resurrected female artists and artisans in Florence and Bologna during the last decade, the Save Venice project seeks to recover the history of women artists and artisans born or active in the Venetian republic in the early modern period. Topics include their contemporary reception — or historical silence — and current scholarship positioning them as individuals and as an underrepresented category in the history of art and cultural heritage.

This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.

Women Artists in the Early Modern Courts of Europe, c. 1450.1700 presents the first collection of essays dedicated to women as producers of visual and material culture in the Early Modern European courts, offering fresh insights into the careers of, among others, Caterina van Hemessen, Sofonisba Anguissola, Luisa Roldán, and Diana Mantuana. Also considered are groups of female makers, such as ladies-in-waiting at the seventeenth-century Medici court. Chapters address works by women who occupied a range of social and economic positions within and around the courts and across media, including paintings, sculpture, prints, and textiles. Both individually and collectively, the texts deepen understanding of the individual artists and courts highlighted and, more broadly, consider the variety of experiences of female makers across traditional geographic and chronological distinctions. The book is also accompanied by the Global Makers: Women Artists in the Early Modern Courts digital humanities project (www.globalmakers.ua.edu), extending and expanding the work begun here.

The sixteenth century was a period of crisis in the Catholic Church. Monastic reorganization was a major issue, and women were at the forefront of charting new directions in convent policy. The story of the Carmelite Reform has been told before, but never from the perspective of the women on the front lines. Nearly all accounts of the movement focus on Teresa de Avila, (1515-1582), and end with her death in 1582. Women Religious and Epistolary Exchange in the Carmelite Reform: The Disciples of Teresa de Avila carries the story beyond Teresa’s death, showing how the next generation of Carmelite nuns struggled into the seventeenth century to continue her mission. It is unique in that it draws primarily from female-authored sources, in particular, the letters of three of Teresa’s most dynamic disciples: María de San José, Ana de Jesús and Ana de San Bartolomé.

Only one out of ten early modern Europeans lived in cities. Yet cities were crucial nodes, joining together producers and consumers, rulers and ruled, and believers in diverse faiths and futures. They also generated an enormous amount of writing, much of which focused on civic life itself. But despite its obvious importance, historians have paid surprisingly little attention to urban discourse; its forms, themes, emphases and silences all invite further study. This book explores three dimensions of early modern citizens’ writing about their cities: the diverse social backgrounds of the men and women who contributed to urban discourse; their notions of what made for a beautiful city; and their use of dialogue as a literary vehicle particularly apt for expressing city life and culture. Amelang concludes that early modern urban discourse increasingly moves from oral discussion to take the form of writing. And while the dominant tone of those who wrote about cities continued to be one of celebration and glorification, over time a more detached and less judgmental mode developed. More and more they came to see their fundamental task as presenting a description that was objective.

The first in-depth examination of the texts produced in English Benedictine convents between 1600 and 1800
 
After Catholicism became illegal in England during the sixteenth century, Englishwomen established more than twenty convents on the Continent that attracted thousands of nuns and served as vital centers of Catholic piety until the French Revolution. Today more than 1,000 manuscripts and books produced by, and for, the Benedictine convents are extant in European archives. Writing Habits: Historicism, Philosophy, and English Benedictine Convents, 1600–1800 provides the first substantive analysis of these works in order to examine how members of one religious order used textual production to address a major dilemma experienced by every English convent on the Continent: How could English nuns cultivate a cloistered identity when the Protestant Reformation had swept away nearly all vestiges of English monasticism?
 
Drawing on an innovative blend of methodologies, Jaime Goodrich contends that the Benedictines instilled a collective sense of spirituality through writings that created multiple overlapping communities, ranging from the earthly society of the convent to the transhistorical network of the Catholic Church. Because God resides at the heart of these communities, Goodrich draws on the works of Martin Buber, a twentieth-century Jewish philosopher who theorized that human community forms a circle, with each member acting as a radius leading toward the common center of God. Buber’s thought, especially his conception of the I-You framework for personal and spiritual relationships, illuminates a fourfold set of affiliations central to Benedictine textual production: between the nuns themselves, between the individual nun and God, between the convent and God, and between the convent and the Catholic public sphere. By evoking these relationships, the major genres of convent writing—administrative texts, spiritual works, history and life writing, and controversial tracts—functioned as tools for creating community and approaching God.

Through this Buberian reading of the cloister, Writing Habits recovers the works of Benedictine nuns and establishes their broader relevance to literary history and critical theory.
 

Leonardo Bruni (1370–1444) is widely recognized as the most important humanist historian of the early Renaissance. But why this recognition came about—and what it has meant for the field of historiography—has long been a matter of confusion and controversy. Writing History in Renaissance Italy offers a fresh approach to the subject by undertaking a systematic, work-by-work investigation that encompasses for the first time the full range of Bruni’s output in history and biography.

The study is the first to assess in detail the impact of the classical Greek historians on the development of humanist methods of historical writing. It highlights in particular the importance of Thucydides and Polybius—authors Bruni was among the first in the West to read, and whose analytical approach to politics led him in new directions. Yet the revolution in history that unfolds across the four decades covered in this study is no mere revival of classical models: Ianziti constantly monitors Bruni’s position within the shifting hierarchies of power in Florence, drawing connections between his various historical works and the political uses they were meant to serve.

The result is a clearer picture of what Bruni hoped to achieve, and a more precise analysis of the dynamics driving his new approach to the past. Bruni himself emerges as a protagonist of the first order, a figure whose location at the center of power was a decisive factor shaping his innovations in historical writing.

Nicholas of Cusa (1401–1464), widely considered the most important original philosopher of the Renaissance, was born in Kues on the Moselle River. A polymath who studied canon law and became a cardinal of the Roman Catholic Church, he wrote principally on speculative theology, philosophy, and church politics. As a political thinker he is best known for De concordantia catholica, which presented a blueprint for peace in an age of ecclesiastical discord.

This volume makes most of Nicholas’s other writings on Church and reform available in English for the first time, including legal tracts arguing the case of Pope Eugenius IV against the conciliarists, theological examinations of the nature of the Church, and writings on reform of the papacy and curia. Among the works translated are an early draft of De concordantia catholica and the Letter to Rodrigo Sanchez de Arevalo, which discusses the Church in light of the Cusan idea of “learned ignorance.”