This article examines the chivalric encounters organized on the occasion of the Joyous Entry of Prince Philip in the Low Countries in 1549–50. It poses the question as to how they functioned as a performative tool to enhance cohesion among the nobles of the Habsburg composite state. The tournaments served as a regulated outlet for noble violence, controlled by the prince and his closest collaborators. In this way, they both created and cemented the bonds of knightly brotherhood within the entourage of the household, while at the same time reaching out to others who did not (yet) belong to the new prince's circle.

The Aztec (Mexica) city of Tenochtitlan was transformed after the Spanish invasion of 1519–21 into a staging ground for Habsburg colonial experiments. Indigenous response is glimpsed in this essay through the lens of annals, written in Nahuatl, that document urban festivals celebrating Spanish Habsburg monarchs. I argue that the redeployment of particular spaces—long charged with meaning by Indigenous residents—was crucial to the public legitimacy of the Habsburg festival. These festivals promoted new means of temporal orientation, thus disrupting Indigenous orientations in time, at the same moment that Indigenous calendars were coming under scrutiny for their heretical potentials.

This article explores Poggio Bracciolini's letters to Niccolò Niccoli from a variety of perspectives: it looks at what imitation meant for Poggio, examines the letters’ commentary on the manuscript culture of the early Quattrocento, discusses Poggio's efforts to craft a personal voice, and traces the interplay of optimism and pessimism in the letters, an interplay common to humanist texts of this period. By bringing together these different perspectives, the article articulates the range of ways in which one scholar used his epistolary collection to shape his own persona, connect himself to Ciceronian precedents, and create norms and expectations for a developing intellectual community.

This essay shows how Hugo Grotius (1583–1646) made use of classical poetry and drama, especially that of Lucan, Euripides, and Seneca, in developing his thought on the treatment of captives, prisoners of war, and slaves, and argues that his method was humanist and philological. From his early publishing projects to “The Rights of War and Peace” (De Iure Belli ac Pacis, 1625), Grotius developed an account of common social experience, a formal mechanism to represent dialogue with difference, and a refusal to apply categorical distinctions positing natural difference among peoples. His engagements with classical poetry and drama are thus an important piece of the story of early modern thought.

This essay examines deluxe copies of Katherine Parr's “Psalms or Prayers” (1544) distributed as gifts as part of Henry VIII's wartime campaign. The book promoted supplication for the king, and Parr used hand illumination to amplify its aesthetic and sacred character and to elicit political loyalty. I discuss two copies annotated by Henry, one previously unknown. I argue that the volumes shed new light on Parr's role as queen/author, on Henry's final illness, and on their transactional relationship: Parr's giftbooks advanced Henry's cause and enabled him to display exemplary piety; Henry's marginalia activated Parr's text and thanked her for her labor.

This essay brings to light a hitherto unnoticed network of Afro-Romani connections in later seventeenth-century French and English drama, and it construes that network as conceptual and ethical genealogy for the bonds that exist today between Black studies and the fledgling field of critical Romani studies. By close reading Molière's “Les fourberies de Scapin” (1671) and its 1677 adaptation by Edward Ravenscroft, among other objects, through the lens of critical race theory, this essay shows how theatrical culture across the Channel reckoned with the similar positionings of enslaved Roma and sub-Saharan Africans within the logic of early modern white supremacy.

This article uses writings of the French traveler François Bernier (d. 1688) on race as an inroad into the question of locating race in Mughal India. I explore Mughal discourses of alterity through an examination of Persian writings from various genres composed during the long seventeenth century. In contrast to Bernier, these writings do not offer concepts equivalent to that of race. However, by invoking narratives of descent from Noah's son Ham, ideas of climatic and physiognomic humoralism, and the attribution of physical qualities or character traits to social groups, these works engage in practices of racialization while also at times undermining them.

This article considers a corpus of images created between 1650 and 1750 within Italian Capuchin missions to Kongo and Angola. It demonstrates how these visual creations, though European in form, craftsmanship, and intended audience, were in fact penned by encounter and the products of cross-cultural interactions. Contrasting the Central African images with two well-known and oft-studied Franciscan visual projects from early colonial Mexico, the article further reflects on the stakes of making visible the mixings present, but often overlooked or silenced, in early modern images born from encounters between Europeans and the people they considered their Others.

This article argues that early modern literary and visual texts from Shakespeare's “Comedy of Errors” to Spenser's “Faerie Queene” repeatedly represent and render womanhood as a specifically and singularly white construction; in so doing, they establish the co-constitution of gender and race and their conscription by the contingencies of class. As this formation of white womanhood is in turn mobilized to underwrite the operations of violence and enslavement, white women themselves—and white womanhood as a politically and socially disciplined and disciplining category—emerge as not only the mediators but also the authors of these global and transhistorical processes.

This article reexamines the life of Luisa de Carvajal y Mendoza, a Spanish noblewoman who traveled to London in 1605 hoping to be martyred in service of the Catholic faith. By placing her at the intersection of a series of international, intra- and interconfessional tensions created by the sustained religious division of post-Reformation England, Carvajal emerges as a sophisticated political actor. She offers not only a unique account of female Catholic agency and opposition in early Stuart England, but also a lens through which to view the nature of religious identity and division in a period of Anglo-Spanish peace.

Recent scholarship has challenged the still-powerful claim that long-distance pilgrimage and the journey to Jerusalem dramatically declined in number and significance in the sixteenth century. This article seeks to explore the different ways in which pilgrimage was embedded in the culture of the period. We interpret pilgrimage as a field of shared cross-confessional practices, representational conventions, and contestation. The paper presents a series of interlinked case studies, based on printed sources, correspondence, family archives, and material evidence. Together they demonstrate that early modern pilgrimage perpetuated medieval practices and yet was in constant dialogue with contemporary, post-Reformation religious and intellectual trends.

This article questions the traditional reading of Pier Candido Decembrio's “Life of Filippo Maria Visconti” (1447) as a tyrant narrative, a reading first proposed by Jacob Burckhardt and highly influential ever since. An examination of the Milanese context and relevant collateral documentation establishes the unlikelihood that Decembrio wished to denounce his former master as a tyrant. Rather, his avowed aim was to spread his prince's fame and glory. In so doing, however, Decembrio avoided the encomiastic model of biography dear to most humanists, delivering instead an insider's account of the astute political practices that underpinned his master's grip on power.

Peter Paul Rubens's Rockox Triptych is generally thought to represent the incredulity of Saint Thomas, even though the side wound that presented Christ's famously distrustful disciple with proof of the resurrection is nowhere to be seen. This article explores the significance of the missing side wound. Drawing attention to the circulation of skeptical philosophy within the artist's milieu, it argues that he conceived of the painting as an epistemic dilemma that would both elicit doubt and suggest how it might be set aside.

This article explores Renaissance news maps and their cultural impact, focusing on works produced during the Great Siege of Malta in 1565, a media event of unprecedented scope that became a laboratory for the genre's development. News maps were a key early form of reporting—a visual form—that, much like their textual counterparts, aimed to shape public views about conflict. Ultimately, these relatively modest items even influenced commemorative battle murals in halls of state. This study of news maps suggests an emerging media landscape that was highly pluralistic and experimental, going well beyond the written word.

By their very nature writing manuals encourage viewer participation, as they illustrate how to form lines into letters. In Johann Neudörffer's “Gute Ordnung” (Good order, 1538–50s) this genesis of lines extends beyond pure pedagogy. By displaying etchings in mirror writing alongside true-sided counterproofs, Neudörffer invites viewers to consider methods of mechanical production of seemingly handwritten lines. His text-images share their self-aware attention to linear aesthetics and process with drawings and etchings by Albrecht Altdorfer and Albrecht Dürer. As Neudörffer's manual taught the formation of beautiful written lines, it also trained contemporaries to become sophisticated consumers of linear beauty in figurative art.

Leonardo da Vinci studies are in effect two different—almost antagonistic—domains: a narrowly defined field that is so specialized that it scares scholars away (it takes years of dedicated work to learn how to deal with Leonardo's legacy), and a phenomenon of popular culture that is so massive that news about the artist's works makes headlines worldwide. Both aspects of Leonardo studies—the specialized scholarship and the vast public interest—grew exponentially in the past few decades and exploded in 2019, the year that marked the 500th anniversary of the artist's death. Although they only rarely come together, their convergence may offer the best hope for the future of Leonardo studies. Indeed, the recent anniversary provided a reminder that Leonardo da Vinci still touches the imagination of scholars and the general public in ways that force us to ask what is it that connects to our current age. Why is the study of this master of visualization, who made visible what could not be seen—vessels, muscles, water vortexes, wind, the intentions of people's minds—in diagrams, maps, sketches, figurative images, and paintings, significant for the current historical moment? Can we learn something from Leonardo studies—and, more broadly, from Renaissance studies, of which Leonardo studies are a part—as we struggle to find new frameworks to teach, research, innovate, and communicate with one another, or, to quote the mission statement of the Andrew W. Mellon Foundation, “to build just communities enriched by meaning and empowered by critical thinking, where ideas and imagination can thrive”?

This article offers a new interpretation of the concept of wonder in early modern Europe by focusing on large collections. It shows that many princely Kunstkammern were located above stables, and argues that the horses downstairs and the curiosities upstairs performed similar roles in the courtly display of power. The size and design of stables shaped how curiosities were exhibited and viewed. These majestic buildings facilitated cursory viewing experiences of the assemblage of a great number of animals and objects. They did not necessarily encourage the detailed examination of particular and unique exhibits.

This article shows how the rise of printed news media during the opening decades of the seventeenth century fomented and fragmented authority in the polycentric Spanish Habsburg empire. Analyzing the making, dissemination, and reception of transatlantic news from Madrid to Mexico and from Lisbon to Lima, the article explores how the influx of fragments of unverifiable information from overseas undermined the possibility of complete knowledge. While the Spanish Crown exploited news media to create a sense of a unified imperial space, the dynamics of distance resulted in uncertainty and the spread of conflicting narratives that fractured central control.