Fourteenth-century Italian humanists discussed the properties of tragedy while considering the value of Latin versus vernacular literature. Boccaccio was interested in these discussions because humanists were promoting classicizing tragic and epic literatures at the expense of vernacular writing. This article explores Boccaccio’s role in these debates by examining the tragic stories of the Decameron. It suggests that Boccaccio highlighted the virtues of his erotic tales by contrasting them to the tragic stories of day 4, a strategy inspired by Ovid’s elegiac poems. Boccaccio thus underscored the dignity of his low, Ovidian-inspired Decameron, and counterbalanced humanist fascination with high tragic-epic literatures.

Titian painted Christ with the Coin for Alfonso d’Este around 1516. The painting served as the cover piece for a collection of ancient coins and has been read as a commentary on politics and taxation. Instead, this article reveals how the painting reconfigured Alfonso’s interaction with ancient coins, transforming the everyday activity of the collector into an occasion of spiritual reformation. Reading numismatic antiquarianism against the exegetical tradition that accrued around the Gospel pericope (Matthew 22:21) reveals the painting as the nexus of two regimes of virtue — one Christian, one classical — both of which turn upon coins as manifold objects.

In the 1540s, Giambattista Gelli and Pierfrancesco Giambullari introduced a controversial theory concerning the foundation of Florence. Marshaling spurious textual sources and archaeological remains, they claimed that the city was Etruscan, challenging the long-standing belief in its Roman origin. In a painstaking rebuttal, Vincenzo Borghini rejected their sources, methods, and conclusions. Their three treatises are among the earliest efforts to develop critical methods to establish an artifact’s culture of origin, whether Etruscan, Roman, or medieval. While history has looked more favorably on the work of Borghini, all three manipulated the histories of artifacts to serve competing narratives of Florence’s past.

The second half of the seventeenth century was the first great period of legal reform in England’s history. This article situates John Milton in relationship to this contemporary context, arguing that he comments frequently on the need to change England’s laws and displays a finely tuned awareness of some of the major legal debates of his time. This article surveys Milton’s writings about the law and legal education, and it concludes by examining his 1659–60 political pamphlets where he calls for reform of the judicial system and the establishment of local courts.

This article explores domestic artifacts that testify to the afterlife of the European Reformation in the British Isles. Focusing especially on decorated and commemorative delftware, it investigates how the memory of the Protestant past was appropriated and altered in the English context and how it infiltrated the household in the guise of consumer goods in which taste, piety, politics, and private sentiment were intertwined. It analyzes their changing meanings as they moved in space and time, examines their role in cementing and complicating senses of confessional identity, and probes the process of selective remembering and forgetting by which the Reformation acquired the status of a momentous event.