Leading journal in the field of Renaissance and modern Latin As well as presenting articles on Neo-Latin topics, the annual journalHumanistica Lovaniensia is a major source for critical editions of Neo-Latin texts with translations and commentaries. Its systematic bibliography of Neo-Latin studies (Instrumentum bibliographicum Neolatinum), accompanied by critical notes, is the standard annual bibliography of publications in the field. The journal is fully indexed (names, mss., Neo-Latin neologisms).

Archives are considered to be collections of administrative, legal, commercial and other records or the actual place where they are located. They have become ubiquitous in the modern world, but emerged not much later than the invention of writing. Following Foucault, who first used the word archive in a metaphorical sense as "the general system of the formation and transformation of statements" in his "Archaeology of Knowledge" (1969), postmodern theorists have tried to exploit the potential of this concept and initiated the "archival turn". In recent years, however, archives have attracted the attention of anthropologists and historians of different denominations regarding them as historical objects and "grounding" them again in real institutions. The papers in this volume explore the complex topic of the archive in a historical, systematic and comparative context and view it in the broader context of manuscript cultures by addressing questions like how, by whom and for which purpose were archival records produced, and if they differ from literary manuscripts regarding materials, formats, and producers (scribes).

"This volume explores early modern recreations of myths from Ovid's immensely popular Metamorphoses, focusing on the creative ingenium of artists and writers and on the peculiarities of the various media that were applied. The contributors try to tease out what (pictorial) devices, perspectives, and interpretative markers were used that do not occur in the original text of the Metamorphoses, what aspects were brought to the fore or emphasized, and how these are to be explained. Expounding the whatabouts of these differences, the contributors discuss the underlying literary and artistic problems, challenges, principles and techniques, the requirements of the various literary and artistic media, and the role of the cultural, ideological, religious, and gendered contexts in which these recreations were produced. Contributors are: Noam Andrews, Claudia Cieri Via, Daniel Dornhofer, Leonie Drees-Drylie, Karl A.E. Enenkel, Daniel Fulco, Barbara Hrysko, Gerlinde Huber-Rebenich, Jan L. de Jong, Andrea Lozano-Vásquez, Sabine Lütkemeyer, Morgan J. Macey, Kerstin Maria Pahl, Susanne Scholz, Robert Seidel, and Patricia Zalamea"--

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.

Stemmatology studies aspects of textual criticism that use genealogical methods to analyse a set of copies of a text whose autograph has been lost. This handbook is the first to cover the entire field, encompassing both theoretical and practical aspects of traditional as well as modern digital methods and their history. As an art (ars), stemmatology’s main goal is editing and thus presenting to the reader a historical text in the most satisfactory way. As a more abstract discipline (scientia), it is interested in the general principles of how texts change in the process of being copied. Thirty eight experts from all of the fields involved have joined forces to write this handbook, whose eight chapters cover material aspects of text traditions, the genesis and methods of traditional "Lachmannian" textual criticism and the objections raised against it, as well as modern digital methods used in the field. The two concluding chapters take a closer look at how this approach towards texts and textual criticism has developed in some disciplines of textual scholarship and compare methods used in other fields that deal with "descent with modification". The handbook thus serves as an introduction to this interdisciplinary field.

One of the world's leading historians of Renaissance Italy brings to life here the vibrant--and violent--society of fifteenth-century Florence. His disturbing narrative opens up an entire culture, revealing the dark side of Renaissance man and politician Lorenzo de' Medici. On a Sunday in April 1478, assassins attacked Lorenzo and his brother as they attended Mass in the cathedral of Florence. Lorenzo scrambled to safety as Giuliano bled to death on the cathedral floor. April Blood moves outward in time and space from that murderous event, unfolding a story of tangled passions, ambition, treachery, and revenge. The conspiracy was led by one of the city's most noble clans, the Pazzi, financiers who feared and resented the Medici's swaggering new role as political bosses--but the web of intrigue spread through all of Italy. Bankers, mercenaries, the Duke of Urbino, the King of Naples, and Pope Sixtus IV entered secretly into the plot. Florence was plunged into a peninsular war, and Lorenzo was soon fighting for his own and his family's survival. The failed assassination doomed the Pazzi. Medici revenge was swift and brutal--plotters were hanged or beheaded, innocents were hacked to pieces, and bodies were put out to dangle from the windows of the government palace. All remaining members of the larger Pazzi clan were forced to change their surname, and every public sign or symbol of the family was expunged or destroyed. April Blood offers us a fresh portrait of Renaissance Florence, where dazzling artistic achievements went side by side with violence, craft, and bare-knuckle politics. At the center of the canvas is the figure of Lorenzo the Magnificent--poet, statesman, connoisseur, patron of the arts, and ruthless "boss of bosses." This extraordinarily vivid account of a turning point in the Italian Renaissance is bound to become a lasting work of history.