The art of the Netherlands (Dutch and Flemish) is unique in Early Modern Europe in its concern for military cruelty against civilians, principally the peasantry. Decimated by time and changes in taste, this popular iconography proves varied and extensive, stretching from Bruegel to and past Rubens. 'Massacres of the Innocents' continue to be a favourite subject through the Eighty Years War, in contrast to ruling-class glorifications of war. Dutch patriotic siege prints lay claim to 'scientific' precision in landscapes free of military terror, while the idea of military conquest is presented as generous rather than cruel in the ever-popular figure of Scipio Africanus. Most of the pictorial material is unfamiliar, some of it even to specialists and never before published; new light is shed on the more familiar phenomena of the civic guard groups and Ter Borch courtier-officers, 'good soldiers' overcoming a bad image.

Larry Silver investigates the origins of new pictorial types and their media as a phenomenon of sixteenth-century Antwerp and interprets several pictorial genres as he charts their evolution and their role in the development and marketing of individual artistic styles.

Peter Hainsworth's sparkling, eminently readable new English translation of The Book of the Courtier, Baldesar Castiglione's (1478–1529) literary and philosophical masterpiece, captures all the nuance, stylistic flair, and humor of this foundational work of Renaissance humanism.

Dramatic changes during the Reformation era in Northern Europe, such as witchcraft and new global discoveries, are examined through visual culture, both prints and paintings.

Shakespeare’s Ear presents dark and sometimes funny pieces of fact and folklore that bedevil the mostly unknown history of theater. All manner of skullduggery, from revenge to murder, from affairs to persecution, proves that the drama off-stage was just as intense as any portrayed on it. The stories include those of: An ancient Greek writer of tragedies who dies when an eagle drops a tortoise on his head. A sixteenth-century English playwright who lives a double life as a spy and perishes horribly, stabbed above the eye. A small Parisian theater where grisly horrors unfold on stage. The gold earring that Shakespeare wears in the Chandos portrait, and its connections to bohemians and pirates of the time. Journey back to see theatrical shenanigans from the ancient Near East, explore the violent plays of ancient Greece and Rome, revel in the Elizabethan and Jacobean golden age of blood-thirsty drama, delight in the zany and subversive antics of the Commedia dell’arte, and tremble at ghostly incursions into playhouses. Here you will find many fine examples of playwrights, actors, and audiences alike being horrible to each other over the centuries.