Accordingly, the inquiry endures as to what specific art galvanized the modern world’s original treatise on painting. How Alberti’s remarkable journey through the art of his past and present is both reflected and refracted in De pictura demands examination of the lines of transmission through education and career in Alberti’s decisive locales before Florence.

Chapter 6 takes as its subject the relatively sudden proliferation of narrative images of the virtuous deeds and dramatic martyrdom of the saints that became popular themes for altarpieces in the second half of the sixteenth century. These transformations to the altarpiece were the result of earlier artistic developments, but they were also shaped by the context of the Reformations.

We will turn now to two symbolic images: The allegory of Injustice in the Arena Chapel (Padua) by Giotto di Bondone (1303–1305) and the allegory of War in the Palazzo Pubblico (Siena) by Ambrogio Lorenzetti (1338–1339). They are major milestones in the visualization of rape in European art, condemnatory representations intended for a public audience. Despite the extensive secondary literature on these sites, the representations of sexual violence have never been examined or compared to each other, even in specialist studies. They can potentially reconfigure our views of wartime rape before modernity.

The first chapter examines notary-poet Albertino Mussato’s defenses of poetry in relation to his political role in Padua between 1309 and 1320 and to the poetry he composed during this period, a Senecan tragedy, Ecerinis (1314), and a Lucanian epic, De obsidione civitatis Padue (1320). Challenging received notions that Mussato’s defenses of poetry are not politically oriented, it argues that Mussato employs them to authorize his political role in the city. It describes Mussato as the poet of the city inasmuch as he establishes an institution of poetry which allows him to participate with increasing authority in the political debates of his city. This institution is formally recognized in the civic sphere with Mussato’s crowning as poet laureate in 1315. If in his defenses of poetry Mussato establishes the poet as equal to the theologian, then in his Ecerinis and De obsidione he performs that role by seeking to provide moral and political direction to the Latinate notaries and novices of the city. He assumes the role traditionally held by theologians of influencing the moral and political outlooks of the city’s inhabitants.