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.

The Transformations of Tragedy: Christian Influences from Early Modern to Modern explores the influence of Christian theology and culture upon the development of post-classical Western tragedy. The volume is divided into three parts: early modern, modern, and contemporary. This series of essays by established and emergent scholars offers a sustained study of Christianity’s creative influence upon experimental forms of Western tragic drama. Both early modern and modern tragedy emerged within periods of remarkable upheaval in Church history, yet Christianity’s diverse influence upon tragedy has too often been either ignored or denounced by major tragic theorists. This book contends instead that the history of tragedy cannot be sufficiently theorised without fully registering the impact of Christianity in transition towards modernity.

What were the intentions of early China's historians? Modern readers must contend with the tension between the narrators' moralizing commentary and their description of events. Although these historians had notions of evidence, it is not clear to what extent they valued what contemporary scholars would deem "hard" facts. Offering an innovative approach to premodern historical documents, Garret P. S. Olberding argues that the speeches of court advisors reveal subtle strategies of information management in the early monarchic context. Olberding focuses on those addresses concerning military campaigns where evidence would be important in guiding immediate social and political policy. His analysis reveals the sophisticated conventions that governed the imperial advisor's logic and suasion in critical state discussions, which were specifically intended to counter anticipated doubts. Dubious Facts illuminates both the decision-making processes that informed early Chinese military campaigns and the historical records that represent them.