Petrarch’s 1345 discovery of Cicero’s personal letters in Verona has long been regarded as a foundational moment in the historiography of the Renaissance. In the traditional view, Petrarch’s discovery engenders a new historical self-consciousness that has frequently been described, since the middle of the twentieth century, in terms of a contrast between a medieval Dante and a Renaissance Petrarch. In keeping with recent work rethinking periodization, this essay revisits Petrarch’s letters on his discovery to reconsider the distance between Dante and Petrarch and to reveal how Petrarch constructs his new relationship with Cicero through Dante’s characterization of Virgil. While some critics have noted this Dantean presence, they have not examined its meaning. This study argues that Petrarch’s borrowing from Dante is significant because it shows how Dante’s complex relationship to the past embodied in the figure of Virgil shaped Petrarch’s construction of his Cicero and informed Renaissance ideas of history.

Methods for counting war deaths developed alongside structural changes in the ways that states enumerated mortality (for both fighters and citizens) between the fourteenth and sixteenth centuries. This paper argues that an alternative way to interpret observers’ comments on the magnitude and novelty of war damages during the Italian Wars (1494–1559) is to trace the history of enumerating mortality from the fourteenth century, using the Hundred Years’ War and the Black Death as departure points. Military heralds counted dead soldiers in Northern Europe and civic record keepers registered public mortality in Italy. Numbers carried cultural value. In war, disputants and observers used numbers rhetorically to argue political cases and to emphasize the scale of victories and defeats. By 1500, the proliferation of specific mortality numbers in public discourse — amplified by printed war reporting — forced observers to reckon with their meaning. The article concludes by illustrating how numbers entered memorial culture: monuments from the Italian Wars featured numbers as an index of the perceived magnitude of war in the sixteenth century.

In 1558, the Venetian patrician Nicolò Zen published Dello scoprimento, a text that suggested that his Venetian ancestors had made landfall in the Americas before Columbus. Generations of scholars have pored over Zen’s text and accompanying map with the hopes of determining whether or not this voyage took place. Zen’s text, however, cannot be classified as either history or fiction; like many other early modern travel accounts, it was a combination of both. Shifting the focus about what is significant from the text’s truthfulness to its tactics, from the historicity of the voyage to the mechanics of the composition, reveals a series of fascinating textual strategies surrounding the European production of knowledge about the New World. Specifically, Zen followed well-established patterns for European travel writing, playing with quotation, pastiche, and temporality in order to depict his fellow Venetians as experts on the Americas and as viable contestants in the race to New World empire.

The Life of Maria de’ Medici, the biographical series of twenty-four large-size paintings executed for the Queen Mother of France by Peter Paul Rubens in 1622–25, is traditionally regarded by historians as both a masterpiece of Baroque art and a monument of political naïveté. According to this view, the series was a disrespectful visual bravado that exposed both patron and painter to scandal by publicly advertising the queen’s political ideas and ambitions, which were not only audacious, but often in opposition to those of her son King Louis XIII. This article challenges this assessment by reading the Life within the context of seventeenth-century uses of dissimulation and spatial control as strategies to limit both intellectual and physical access to information. It argues that the series was imbued with multiple layers of meaning, intended for different audiences, and that access to these was strictly controlled by the queen and her circle.