This volume explores the various strategies by which appropriate pasts were construed in scholarship, literature, art, and architecture in order to create “national”, regional, or local identities in late medieval and early modern Europe. Because authority was based on lineage, political and territorial claims were underpinned by historical arguments, either true or otherwise. Literature, scholarship, art, and architecture were pivotal media that were used to give evidence of the impressive old lineage of states, regions, or families. These claims were related not only to classical antiquity but also to other periods that were regarded as antiquities, such as the Middle Ages, especially the chivalric age. The authors of this volume analyse these intriguing early modern constructions of “antiquity” and investigate the ways in which they were applied in political, intellectual and artistic contexts in the period of 1400–1700. Contributors include: Barbara Arciszewska, Bianca De Divitiis, Karl Enenkel, Hubertus Günther, Thomas Haye, Harald Hendrix, Stephan Hoppe, Marc Laureys, Frédérique Lemerle, Coen Maas, Anne-Françoise Morel, Kristoffer Neville, Konrad Ottenheym, Yves Pauwels, Christian Peters, Christoph Pieper, David Rijser, Bernd Roling, Nuno Senos, Paul Smith, Pieter Vlaardingerbroek, and Matthew Walker.

Includes a chapter on Proust.

This volume contains twenty-four essays, which, in their subjects and methodology, pay tribute to the scholarship of Walter S. Melion. The contributions are grouped under three categories: “Devotion,” “Art and Image Theory,” and “Vision and Contemplation.” The Devotion section addresses votive practices, theological theory and polemic literature. The Art and Image Theory section focuses on Jesuit image theory, the reflexive dimension of works, and artists’ reflections on the function of images. Finally, the Vision and Contemplation section discusses the ‘early modern eye’ as a tool for thoughtful, prolonged looking to ascertain visual wit, deception, self-assessment and friendship, sacred and profane allegories.

This volume engages with notions of lateness and modernity in medieval architecture, broadly conceived geographically, temporally, methodologically, and theoretically. It aims to (re)situate secular and religious buildings from the 14th through the 16th centuries that are indebted to medieval building practices and designs, within the more established narratives of art and architectural history.

During the sixteenth century, antiquarian studies (the study of the material past, comprising modern archaeology, epigraphy, and numismatics) rose in Europe in parallel to the technical development of the printing press. Some humanists continued to prefer the manuscript form to disseminate their findings – as numerous fair copies of sylloges and treatises attest –, but slowly the printed medium grew in popularity, with its obvious advantages but also its many challenges. As antiquarian printed works appeared, the relationship between manuscript and printed sources also became less linear: printed copies of earlier works were annotated to serve as a means of research, and printed works could be copied by hand – partially or even completely. This book explores how antiquarian literature (collections of inscriptions, treatises, letters...) developed throughout the sixteenth century, both in manuscript and in print; how both media interacted with each other, and how these printed antiquarian works were received, as attested by the manuscript annotations left by their early modern owners and readers.

In the renaissance also architecture from c. 800–1200 was regarded as a useful source of inspiration for contemporary building, sometimes by misinterpreting these medieval architecture as roman structures, sometimes because that era was also regarded as a glorious ‘ancient’ past.

This volume considers how the act through which historians interpret the past can be understood as one of epistemological and cognitive translation. The book convincingly argues that words, images, and historical and archaeological remains can all be considered as objects deserving the same treatment on the part of historians, whose task consists exactly in translating their past meanings into present language. It goes on to examine the notion that this act of translation is also an act of synchronization which connects past, present, and future, disrupting and resetting time, as well as creating complex temporalities differing from any linear chronology. Using a broad, deep interpretation of translation, History as a Translation of the Past brings together an international cast of scholars working on different periods to show how their respective approaches can help us to better understand and translate the past in the future.