In the fifteenth and sixteenth centuries popes increasingly depended on clerical and lay kin to supervise the implementation of papal policy. This article argues that the charge of papal nepotism is a result of the continuing idealization of the pope as separate from the issues of work and family. By acknowledging that the preoccupations of the early modern pope extended beyond pastoral activities into a world of administration, legislation, militarism, and diplomacy, historians can better understand the pope’s use of and observers’ criticism of nepotism.

This essay discusses a novel contribution to the Renaissance debate over women. In 1551, William Thomas translated a brief but significant moment from Livy’s History of Rome concerning the repeal of the Lex Oppia, a sumptuary law targeting women in particular. Thomas thereby adapted one of the most arresting examples of women’s engagement in Roman politics. The episode shows the women of Rome taking to the streets to demand the law’s repeal, forcing senators and tribunes alike to acknowledge their protest. By contextualizing Thomas’s translation amid Quattrocento debates over female apparel and contemporary, female-centric works printed by Thomas Berthelet, Thomas’s translation emerges as a clear though hitherto-unacknowledged intervention in the English querelle des femmes.

This article revisits Anthony Sherley’s Relation of his trauels into Persia (1613), reading the text within the larger context of early modern Eurasia. It highlights the ways in which at least one European traveler sought and found not alterity, but commensurable structures, social roles, political ideologies, and personal motivations in the Islamic polities to the east and emphasized these connections to his European readers. Furthermore, in making the case that Sherley’s narrative is informed by local actors in Safavid Persia, it maintains that a certain level of Eastern knowledge is present within Western texts from this period and awaits scholarly excavation.

After decades of civil war, the archdukes Albert and Isabella drew on the princely hunt to consolidate their regime in the Habsburg Netherlands. In essence a performance of dominion, the hunt served to enact their exalted birth and the return to peace and order. Attempts to unify the hunting laws of their possessions were, however, frustrated by provincial liberties. As a result the archducal hunt had to derive its prestige from where it was held, rather than from the species that were hunted. Appropriating the cult of Saint Hubertus and patronizing artistic representations further enhanced the prestige of these locations.

This article examines how still-life painting contributed to the creation of a distinct urban aristocratic culture in seventeenth-century Madrid. Focusing on a group of paintings by Juan van der Hamen, the article situates these images within the context of the picture gallery and the practice of aristocratic hospitality. By giving visual form to this new urban mode of magnificence, Van der Hamen’s still lifes created a fiction of abundance that glossed over Madrid’s economic realities. At the same time, Van der Hamen concealed signs of manual craftsmanship and commercial interest in order to advance and ennoble his own artistic identity.