In his critique of the language and thought of the Scholastics, Lorenzo Valla contrasts classical Latin as a natural, common language to the so-called artificial, technical, and unnatural language of his opponents. He famously champions Quintilian’s view that one should follow common linguistic usage. Scholars, however, have disagreed about the precise interpretation of these qualifications of Latin. This article argues that, depending on the historical, rhetorical, and argumentative contexts, Valla uses notions such as common and natural in different ways to suit different purposes. Such a contextualized reading has repercussions for an evaluation of the coherence of Valla’s humanist program.

This article examines five miniatures in the “Hours of Catherine of Cleves” (completed 1442), each containing representations of jewelry in the margins, which operate on two different levels. First, they demonstrate Catherine of Cleves’s adoration of five female saints. I argue that the fictive jewelry may be understood as simulated ex-votos designed to secure the aid and protection of the saints. Second, the images establish strategic alliances with each saint. As a final dimension, I explore how the vitae of these saints may have had resonances for the duchess that help explain the focus placed on them in the manuscript.

This article shows how François de Belleforest (1530–83) adapted a variety of historical and geographical sources to meet the demands of the histoire tragique genre in composing three narratives set in the Americas. One recounts the destiny of conquistador Francisco Pizarro; another is the story of Marguerite de Roberval, who was allegedly marooned on a Canadian island; the third concerns Taino cacique Enriquillo’s heroic rebellion in 1520s Hispaniola. These narratives fostered a tragic image of the Americas that had a considerable influence on early modern readers, inviting them to ponder essential questions about European encounters with the American continent and its inhabitants.

In the third decade of the sixteenth century, engravers began to frame booklets that offered examples of decorative images and objects with written explanations of their motivations for issuing the proposed designs. Prior to this use of text, earlier engravings by Martin Schongauer and Israhel van Meckenem employed vegetal motifs with severed stems to convey that their compositions were available for selection, drawing an analogy between the utilization of prints by fellow craftsmen and the process of plucking from nature. This vocabulary of extraction returns in the rhymed couplets and playful images of Christoph Jamnitzer’s “Neuw Grotteßken Buch” of 1610.

The toleration of Jews in early modern Dutch society is commonly seen as predicated on the maintenance of a clear social and religious separation between Jews and Christians. I argue that this view is incomplete and misleading. Close analysis of the only judicial persecution of Jews in the Dutch Republic’s history, the trial of three Jewish proselytes in the anti-Calvinist city of Hoorn in 1614–15, yields a more complex picture. Comparison of the Hoorn trial with cases of apostasy to Judaism in orthodox Calvinist Amsterdam during the same period suggests that the theological commitments of orthodox Calvinism played an important and hitherto unrecognized role in Dutch toleration.