James's reign marked one of the very rare major breaks in England's monarchy. Already James VI of Scotland and a highly experienced ruler who had established his authority over the Scottish Kirk, he marched south on Elizabeth I's death to become James I of England and Ireland, uniting the British Isles for the first time and founding the Stuart dynasty which would, with several lurches, reign for over a century. Indeed his descendant still occupies the throne. A complex, curious man and great survivor, James drastically changed court life in London and presided over such major projects as the Authorized Version of the Bible and the establishment of English settlements in Virginia, Massachusetts, Gujarat and the Caribbean. Although he failed to unite England and Scotland, he insisted that ambassadors acknowledge him as King of Great Britain and that vessels from both countries display a version of the current Union Flag. He was often accused of being too informal and insufficiently regal - but when his son, Charles I, decided to redress these criticisms in his own reign he was destroyed. How much of the roots of this disaster were to be found in James's reign is one of the many problems dramatized in Thomas Cogswell's brilliant and highly entertaining new book.

Andrew Melville is chiefly remembered today as a defiant leader of radical Protestantism in Scotland, John Knox’s heir and successor, the architect of a distinctive Scottish Presbyterian kirk and a visionary reformer of the Scottish university system. While this view of Melville’s contribution to the shaping of Protestant Scotland has been criticised and revised in recent scholarship, his broader contribution to the development of the neo-Latin culture of early modern Britain has never been given the attention it deserves. Yet, as this collection shows, Melville was much more than simply a religious reformer: he was an influential member of a pan-European humanist network that valued classical learning as much as Calvinist theology. Neglect of this critical aspect of Melville’s intellectual outlook stems from the fact that almost all his surviving writings are in Latin - and much of it in verse. Melville did not pen any substantial prose treatise on theology, ecclesiology or political theory. His poetry, however, reveals his views on all these topics and offers new insights into his life and times. The main concerns of this volume, therefore, are to provide the first comprehensive listing of the range of poetry and prose attributed to Melville and to begin the process of elucidating these texts and the contexts in which they were written. While the volume contributes to an on-going process that has seen Melville’s role as an ecclesiastical politician and educational reformer challenged and diminished, it also seeks to redress the balance by opening up other dimensions of Melville’s career and intellectual life and shedding new light on the broader cultural context of Jacobean Scotland and Britain.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

The intellectual legacy of Andrew Melville (1545-1622) as a leader of the Renaissance and a promoter of humanism in Scotland has been obscured by "the Melville legend." In an effort to dispense with 'the Melville of popular imagination' and recover 'the Melville of history,' this work situates his life and thought within the broader context of the northern European Renaissance and French humanism and critically re-evaluates the primary historical documents of the period, namely James Melville's Autobiography and Diary and the Melvini epistolae. By considering Melville as a humanist, university reformer, ecclesiastical statesman, and man, an effort has been made to determine his contribution to the flowering of the Renaissance and the growth of humanism in Scotland during the early modern period.