This article presents the first sustained study of Pietro Perugino's destroyed “Assumption of the Virgin” altarpiece commissioned by Pope Sixtus IV for the Sistine Chapel. My analysis reconstructs the frescoed altarpiece's ritual setting and relates it to imagery associated with Sixtus's promotion of the controversial Immaculate Conception feast. The altarpiece's ties to the Immaculate Virgin intensified during the 1483 Assumption feast, which marked the chapel's inauguration. The Assumption represented a salient event in Rome's liturgical calendar, and I demonstrate how the altarpiece allowed Sixtus to temporarily expand a local communal feast to include an expression of papal privilege and authority.

Do resonances of Cervantes's frustrated attempts to be granted a royal appointment in the Spanish Indies filter into the “Quijote”? Can the author be glimpsed in the novel of which he is also a reader? What holds Don Quijote and Sancho Panza together and gives this episodic novel its coherence? Attuned to the rich conversational exchanges between the two protagonists, I argue that Don Quijote's escalating promises and Sancho's dogged pursuit of an island to govern, together with the triangulated relationship of Don Quijote, Sancho, and the imagined Dulcinea, result in what can rightly be called Cervantes's anti-anthem to America.

This article considers the work of Maddalena Scrovegni (ca. 1360–1429), discussing her formation as a writer in the social and intellectual context of late Trecento Padua, and her changing reputation in early Renaissance humanist circles. It presents her best-known surviving work, a composition written for Jacopo dal Verme (ca. 1350–1409) in 1388, in a modern translation by Joseph Spooner. It discusses how this composition relates to the emergence of oratorical humanism in Padua, to contemporary developments in the city’s art, and to the early fourteenth-century frescoes painted by Giotto (ca. 1267–1334) in the Scrovegni family chapel. The article offers suggestions as to how Scrovegni’s creativity may have been shaped by her experiences of social privilege, gendered marginality, humanist scholarship, and art.

Antonio Averlino (1400–69), called Filarete, designed the Ospedale Maggiore (or Great Hospital) in Milan with an ingenious sewer and ventilation system, which this article connects to ancient medical treatises on the human body’s exhalation of air and evacuation of waste. Critical examination of the system in relation to Hippocratic and Galenic medical theory, Filarete’s architectural thought, and the medico-spiritual function of early modern hospitals suggests that the architect conceived the building as a living and breathing corpus mysticum, whose internal organs cleansed the souls of its corrupted members.

This article offers an intensive—although still not exhaustive—reading of a letter written to the adolescent Lorenzo de’ Medici by Braccio Martelli, a member of his brigata. It is a document that focuses on the celebrations accompanying the wedding of Lucrezia Donati, the object of Lorenzo's affections, to Niccolò Ardinghelli, an anti-Medicean living in exile. I examine some of the letter's multiple overlapping topics and contexts, including private sociability (wedding practices, music, dance, dress), the trophy status of Lucrezia, sexual and political tensions, and the ties between the letter writer and his addressee in terms of client/patron and homosocial relations.

This article examines the transformation of Muisca authority in sixteenth-century Ubaque, a valley in the northern Andes. It examines how two caciques conceived of and practiced their authority vis-à-vis their communities and the Spanish administration. While in the 1560s the cacique enacted his authority by appealing to Indigenous ritual and opposing evangelization, his successor in the 1580s claimed at court that he was a true Christian. Based on these cases, I argue that the Spanish empire’s effort to preserve Indigenous groupings that kept to their old customs while making them Catholic created a tense atmosphere and a deep fracture in the mechanics of colonialism that involved not only caciques but also other Indigenous authorities, encomenderos, clergy, and imperial officials and ultimately ended up transforming Indigenous authority.

This article provides a new framework for understanding sexuality in Erasmus. It examines his correspondence with the monk Servaas Rogerszoon and with other familiars, making a critique of the use of letters for life writing before and after P. S. Allen’s edition. It discusses monastic contexts, especially within the Augustinian order, and humanist knowledge of same-sex values in Greek and Latin philology. Moving beyond biography, it recreates discourses of same-sex practice in the “Adagia.” In placing the letters and adages within a domain of queer studies, it demonstrates for the first time the existence in Erasmus of a private coterie language of sex.

Across the early modern Iberian world, a unique form of infamy materialized in the sambenito. Mostly known as the penitential garment imposed by the Inquisition on the individuals it condemned, the sambenito was also exhibited in churches and monasteries as a monument of infamy. This article traces the origins, development, and decline of the sambenito, with a particular focus on its material and visual aspects. It argues that displayed sambenitos performed mnemonic and evidentiary roles in societies obsessed with genealogy, while also bringing to light the continuous resistance and opposition to the sambenito on the ground.

This essay traces parallel developments in the myths and legends associated with the historical noblewoman Marfisa d’Este (1554–1608) and her literary counterpart Marfisa, the warrior knight from chivalric romance epic poetry. Through the Este princess’s embrace of her cross-dressing fictional double in courtly performance, alongside the evolution of the figure “Marfisa bizzarra” in Italian mock epic, the intermedial afterlives of these two figures reinterpreted the women’s brazen, autonomous agency as nefarious, destructive desire. Fantasies of decadent-turned-grim Ferrara, Marfisa’s native city in poetic and historical terms, guided overlapping acts of reception and transmission between the fifteenth and twenty-first centuries.

Andrea Riccio was renowned for making bronze statuettes of classical subjects, especially satyrs. His sculptures have long been associated with humanist culture in Padua, where he worked, but this article reveals how they also engaged regional vernacular traditions in the aftermath of the War of the League of Cambrai. An impactful source was Ruzante's plurilingual comedy “La Pastoral.” Confronting Venetian hegemony, Riccio and Ruzante revitalized Padua's ancient legacy by molding the pastoral around popular concerns. While Renaissance bronze casting and dialect literature have been analyzed independently, their local interchange demonstrates sculpture's potency in addressing interests shared among artisans and writers.

This article considers a previously unremarked manuscript edition of an early sixteenth-century poem written on the last page of an early seventeenth-century book in the British Library. A pasted bookseller’s catalogue entry and handwritten notes on the inside cover attribute the verses to Galileo Galilei (1564–1642). No other documentation connects the book or the poem to him, and the analysis begins from the premise that a forgery is certainly possible. The article then assesses the ways in which different humanistic methods of analysis support or undermine the interpretation of the book-manuscript hybrid as an imposture, misattribution, or authentic Galilean manuscript.

In 1492, Peter Martyr d'Anghiera, the future author of “De Orbe Novo,” sent a letter to Cardinal Pedro González de Mendoza, the primate of Spain, describing the state of Spanish education as Martyr took up a post as court tutor. This study argues that Martyr's letter was a satire that relied upon a close intertextual relationship with Juvenal's “Satires.” This framework allowed Martyr to offer layered analyses of Spanish Latinity, the dynamics between Spanish and Italian humanists, patronage, and the role of arms and letters in noble life. Martyr's letter revealed a complex, and sometimes contradictory, assessment of court education, as well as an active reception of Juvenal.

Scotland's mythical and medieval history has long been acknowledged as of critical importance in its sixteenth-century present. This article tracks these discourses across the channel, showing for the first time the limited circulation of Scottish histories in France and the dominance of English versions of the past in French texts, ranging from short, printed books to royal presentation manuscripts. This Anglocentric view not only helps to explain the discordant French views of the Scots (as loyal yet uncivil, and above all warlike) but also contributes to the ongoing reassessment that the auld alliance was not permanently binding but, rather, intermittently activated when political or economic interests required.

Contrary to the idea that awareness of extinction is quintessentially modern, this article argues that Bernard Palissy conceived of extinct species—what he called “lost species” (“espèces perdues”)—in the sixteenth century. This premodern craftsman knew that human activity caused species to vanish. But how? By retracing his interactions with merchants and fishermen at the French Atlantic ports, I show that Palissy learned about the overfishing of waters from other commercial actors. Rather than paint human-caused extinction as a novel insight, I demonstrate that Palissy drew on common vernacular knowledge about the depletion of the ocean. Palissy's pronouncements, it is further shown, expand his well-known polemic against bookish learning. The artisan championed practical experience against a textual tradition of natural history, exposing the latter's silence on commercially decimated species.

This essay argues that emerging scholar and artist Anna Maria van Schurman (1607–78) disseminated her 1633 engraved self-portrait as a bid to enter the Republic of Letters and add her voice to the Europe-wide debate on women’s intellectual equality. To assess the portrait’s significance, I examine its sociocultural and artistic complexities, as well as its effect on two elite viewers, poet and diplomat Constantijn Huygens (1596–1687) and Neo-Latin poet Caspar Barlaeus (1584–1648). I conclude that although Van Schurman was unable to control the responses to her self-portraiture, its circulation afforded a crucial inflection point in her life’s journey, both outward and inward.

By early modern Roman law, persons born deaf, if they could neither speak nor write, could not make their last will and testament. In the event recounted here, thanks to a coordinated effort by her family, her advocates, papal officialdom, her beneficiaries, and Magdalena herself, the formally impossible proved possible. This article, offering a close reading of the unusual document that lays out the complex tests applied to Magdalena to let her act as a legal persona, asks what her story reveals about the attitudes of the papal state, and of Romans, both to this disability and to the personhood of those who struggled successfully to overcome legal discrimination surrounding it.

Most scholars who comment on Catherine of Aragon's speech and movements at the annulment trial on 21 June 1529 have overlooked significant discrepancies between the five eyewitness accounts of this day—by an English gentleman, the English king, and the French, Venetian, and Vatican envoys. This essay, in contrast, gives particular focus to discrepancies in these accounts. These contradictions speak to a rhetorical war over Catherine's reputation, one that reflects tensions across Europe that were exacerbated by the trial. Catherine herself may be termed an agent in this rhetorical war, given that her own voice makes itself heard within each account.

In sixteenth-century Brazil, several European women governed the captaincies of their late or absent husbands during the first century of Portuguese colonization. A contextual and lexical analysis of the male-authored sources reveals that these women acted decisively to protect and expand familial patrimonies and, in doing so, were part of the colonizing movement. Although extensive written evidence survives that attests to their authority and agency over colonial affairs, their importance has been overlooked in the scholarship. Therefore, this essay argues that a small group of elite European women became imperial agents who wielded power against colonial subjects in select circumstances.

This article examines the relationship between protofeminism and faith in Lucrezia Marinella’s “Holocausto d’amore della vergine Santa Giustina” (1648). In particular, it explores Marinella’s departures from her sources, which serve to assert women’s excellence as preachers, exegetes, and rulers. Situating the life of the martyr Saint Justina within the context of the querelle des femmes and the Counter-Reformation backlash against public displays of female mysticism and religious authority, this contribution proposes that the hagiography promotes a form of female holiness inspired by the mystics and living saints who dispensed with male ecclesiastical mediation and exercised power beyond the monastic enclosure. This reading complicates the hypothesis that Marinella relinquished her pro-woman advocacy in her later years.

The language of precariousness—précaire, précairement—occupied a crucial but fiercely contested position in early modern French culture. This article traces the emergence of this concept, tracking its journey from legalistic jargon to buzzword as it was applied, co-opted, and subverted in service of the political and constitutional arguments that gripped France in the century following the outbreak of the Wars of Religion. Arguing for the significance of these largely neglected political discourses, it uncovers a conception of precarity radically unfamiliar to contemporary eyes and an early modern culture capitalizing on the rhetorical potential this language afforded.