Why do the paintings and poetry of the Italian Renaissance—a celebration of classical antiquity—also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Upending conventional interpretations of this well-studied period, Charles Dempsey argues that a fusion of classical form with contemporary content, once seen as the paradox of the Renaissance, can be better understood as its defining characteristic.

Dempsey describes how Renaissance artists deftly incorporated secular and popular culture into their creations, just as they interwove classical and religious influences. Inspired by the love lyrics of Parisian troubadours, Simone Martini altered his fresco Maestà in 1321 to reflect a court culture that prized terrestrial beauty. As a result the Maestà scandalously revealed, for the first time in Italian painting, a glimpse of the Madonna’s golden locks. Modeled on an ancient statue, Botticelli’s Birth of Venus went much further, featuring fashionable beauty ideals of long flowing blonde hair, ivory skin, rosy cheeks, and perfectly arched eyebrows. In the only complete reconstruction of Feo Belcari’s twelve Sybilline Octaves, Dempsey shows how this poet, patronized by the Medici family, was also indebted to contemporary dramatic modes. Popularizing biblical scenes by mixing the familiar with the exotic, players took the stage outfitted in taffeta tunics and fanciful hats, and one staging even featured a papier-maché replica of Jonah’s Whale. As Dempsey’s thorough study illuminates, Renaissance poets and artists did not simply reproduce classical aesthetics but reimagined them in vernacular idioms.

A renowned Renaissance poet’s homage to Naples makes its debut in modern English translation.

Giovanni Pontano (1429–1503), whose academic name was Gioviano, was one of the great scholar-poets of the Renaissance as well as a leading statesman who served as prime minister to the Aragonese kings of southern Italy. The dominant literary figure of quattrocento Naples, Pontano produced literary works in several genres and was the leader of the Neapolitan academy. The two works included in the present volume, broadly inspired by Virgil, might be considered Pontano’s love songs to the landscapes of Naples. The Eclogues offer a spectacular, panoramic tour of the Bay of Naples region, even as they focus on intimate domestic scenes and allegorize the people and places of the poet’s world. The Garden of the Hesperides is a work of brilliant erudition on an unprecedented poetic topic: the cultivation of citrus trees and the splendid pleasures of gardens. This volume features a newly established Latin text of the Garden of the Hesperides as well as the first published translations of both works into English.

Renaissance humanists believed that the origins of peoples could reveal crucial facts about their modern political character. Margaret Meserve explores what happened when European historians turned to study the political history of a faith other than their own.

Meserve investigates the methods and illuminates the motives of scholars negotiating shifting boundaries—between scholarly research and political propaganda, between a commitment to critical historical inquiry and the pressure of centuries of classical and Christian prejudice, between the academic ideals of humanism and the everyday demands of political patronage. Drawing on political oratory, diplomatic correspondence, crusade propaganda, and historical treatises, Meserve shows how research into the origins of Islamic empires sprang from—and contributed to—contemporary debates over the threat of Islamic expansion in the Mediterranean. Humanist histories of the Turks were sharply polemical, portraying the Ottomans as a rogue power. But writings on other Muslim polities include some of the first positive appraisals of Muslim statecraft in the European tradition.

This groundbreaking book offers new insights into Renaissance humanist scholarship and the longstanding European debates over the relationship between Christianity and Islam.

The world of wealth and patronage that we associate with sixteenth- and early seventeenth-century Italy can make the Renaissance seem the exclusive domain of artists and aristocrats. Revealing a Renaissance beyond Michelangelo and the Medici, Sarah Gwyneth Ross recovers the experiences of everyday men and women who were inspired to pursue literature and learning.

Ross draws on a trove of original unpublished sources—wills, diaries, household inventories, account books, and other miscellany—to reconstruct the lives of over one hundred artisans, merchants, and others on the middle rung of Venetian society who embraced the ennobling virtues of a humanistic education. These men and women sought out the latest knowledge, amassed personal libraries, and passed both their books and their hard-earned wisdom on to their families and heirs.

Physicians were often the most avid—and the most anxious—of professionals seeking cultural legitimacy. Ross examines the lives of three doctors: Nicolò Massa (1485–1569), Francesco Longo (1506–1576), and Alberto Rini (d. 1599). Though they had received university training, these self-made men of letters were not patricians but members of a social group that still yearned for credibility. Unlike priests or lawyers, physicians had not yet rid themselves of the taint of artisanal labor, and they were thus indicative of a middle class that sought to earn the respect of their peers and betters, protect and advance their families, and secure honorable remembrance after death.