This volume provides an English translation of firsthand testimonies by three early modern French women. It illustrates the Huguenot experience of persecution and exile during the bloodiest times in the history of Protestantism: the St. Bartholomew’s Day Massacre, the dragonnades, and the Huguenot exodus following the Revocation of the Edict of Nantes. The selections given here feature these women’s experiences of escape, the effects of religious strife on their families, and their reliance on other women amid the terrors of war.

Edited by Colette H. Winn. Translated by Lauren King and Colette H. Winn
The Other Voice in Early Modern Europe: The Toronto Series, Vol. 68

A treatise on Dutch art on par with Vasari's critical history
of Italian art, Karel van Mander's Schilder-Boeck (or
Book on Picturing) has long been recognized for its critical
and historical influence—and yet, until now, no
comprehensive account of the book's conception, aims, and
impact has been available. In this in-depth analysis of the
content and context of Van Mander's work, Walter S. Melion
reveals the Schilder-Boeck's central importance to an
understanding of northern Renaissance and Baroque art.

By interpreting the terminology employed in the
Schilder-Boeck, Melion establishes the text's
relationship to past and contemporary art theory. Van Mander
is seen here developing his critical categories and then
applying them to Ancient, Italian, and Netherlandish artists
in order to mark changes within a culture and to characterize
excellence for each region. Thus Melion demonstrates how Van
Mander revised both the structure and critical language of
Vasari's Lives to refute the Italian's claims for the
superiority of the Tuscan style, and to clarify northern
artistic traditions and the concerns of Netherlandish
artists. A much needed corrective to the view that Dutch art
of the period was lacking in theory, Melion's work offers a
compelling account of a sixteenth- and seventeenth-century
theoretical and critical perspective and shows how this
perspective suggests a rereading of northern art.

Walter S. Melion is assistant professor of art history
at The Johns Hopkins University.