The marriage in 1490 of Francesco Gonzaga, Marquis of Mantua, and Isabella d’Este, daughter of the Duke of Ferrara, cemented an important Italian dynastic alliance and was in no sense a love match. Francesco and Isabella were well aware, however, that they had to establish a harmonious conjugal rapport if the strategic aims of their union were to be realized. This study examines the ways in which the Este-Gonzaga couple built familiarity, affection, and shared interests through frequent letter exchanges that both shaped and facilitated their domestic and political collaboration. The epistolary evidence provides new insights into how an aristocratic Renaissance marriage was experienced by the couple themselves and about the means by which a relationship that was exposed to the full force of contemporary politics, with all its conflicts of dynastic loyalty, was sustained through dialogue and negotiation.

Queen Elizabeth I’s musical talents and the elaborate music of her courtly entertainments are widely acknowledged. However, while the effect of Elizabeth’s gender on her authority as a ruler has been the subject of much historical research, the impact of this musical activity on the creation and representation of her authority has not been recognized. Gender stereotypes were both exploited and subverted as music became a symbol and tool of Elizabeth’s queenship. Poets and courtiers drew inspiration from Elizabeth’s music-making, combining traditional notions of the erotic power of female music with the idea of a musical harmony that governed the heavens, the political world, and the human soul to legitimize female power. By blending the talents of Elizabeth’s natural body with those of her political body, and by merging practical musicianship with speculative harmony, Elizabeth and her courtiers used music as a source of political authority.

This essay situates Giovanni Stradano’s engravings of the discovery of the Americas from the Americae Retectio and Nova Reperta series within the context of their design in late sixteenth-century Florence, where the artist worked at the Medici court and collaborated with the dedicatee of the prints, Luigi Alamanni. Through an analysis of the images in relation to contemporary texts about the navigators who traveled to the Americas, as well as classical sources, emblems, and works of art in diverse media — tapestry, print, ephemera, and fresco — the study argues that Stradano’s allegorical representations of the Americas were produced in order to make clear Florence’s role in the invention of the New World.

What did abortion mean in late Renaissance Italy? In what ways did the reforming Church conceive of it and try to regulate its practice? This study explores attitudes toward abortion in Italy in the second half of the sixteenth century through the lens of confessional discourses and practices. In the last three decades of the century, bishops and popes attempted to eradicate the practice of abortion by imposing shaming and increasingly severe punishments for its procurers. However, such initiatives were hindered by the social and practical consequences of bringing procurers of abortion to light. The ecclesiastical establishment had to rely on the secret space of the confessional to reform this aspect of morality. Exploring the negotiations between theological pronouncements and the sociopolitical realities of ecclesiastical administration, this article draws attention to the ambiguities inherent in early modern conceptions of abortion and contends that these led to inconsistent responses among Counter-Reformation ecclesiastical authorities.