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This work was Pinke’s most popular and well-received treatise on the sincere love of the true Christ to Jesus Christ. He works from three texts, “If any man love not the Lord Jesus Christ, let him be anathema maranatha,” (1 Corinthians 16:22). “Grace be with all them that love our Lord Jesus Christ in sincerity,” (Ephesians 6:24). And, “If any man come to me, and hate not his father, and mother, and wife, and children, and brethren, and sisters, yes, and his own life also, he cannot be my disciple,” (Luke 14:26). He covers loving the Lord Jesus Christ at his coming, what a true Christian is, having a sincere love to Christ, and our highest love to Christ. This work is not a scan or facsimile, has been carefully transcribed by hand being made easy to read in modern English, and has an active table of contents for electronic versions.

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.

Recasts the Reformation as a battleground over memory, in which new identities were formed through acts of commemoration, invention and repression.