Leon Battista Alberti based his treatise “On the Art of Building” on close examination of a great many buildings. His survey of Old St. Peter's was especially thorough. He not only investigated the structure, but also ransacked written sources to re-create the church's original décor and to reconstruct the ways in which early popes had celebrated Mass and delivered sermons. Like Lorenzo Valla, he offered a suggestive and polemical history of the church. His ideas seemingly shaped the ways in which Pope Pius II restored the basilica, and his example shows that serious efforts to trace the history of Christianity long predated the Reformation.

The reception of art is often described in ocularcentric terms, but all five senses could engage devotional objects in late medieval and early modern Europe. This article explores this phenomenon by considering a wooden crucifix with movable arms made by Donatello for the Franciscan church of S. Croce in Florence in the early fifteenth century. It makes new suggestions about the work's original location, its possible patrons, and its functions and reception, especially during the rituals associated with Good Friday. It also reflects on the challenges scholars face when taking a multisensory approach to premodern visual and material culture.

Several early editions of Thomas More's “Utopia,” first published in 1516, include the Utopian alphabet, as well as a quatrain of poetry in Utopian and its Latin transliteration. This essay traces the material conditions for the Utopian alphabet, exploring the intellectual contexts and epistemological questions that underlie its presence in these early editions and its absence in others. Reproduced by four early modern European printers via woodcut, metal type, or engraved plate, the alphabet in its materiality becomes a key component of “Utopia,” underscoring the intersection between print technology and an expansive humanism extending to ever wider intellectual and geographic horizons.

This article explores how some enslaved Black Africans litigated for their freedom in Spanish royal courts in the sixteenth century on the basis that—as Christians—they had been unjustly enslaved in Africa. With a focus on the port cities of Seville and Cartagena, I explore how freedom litigation suits illuminate how individuals from starkly different social worlds and intellectual milieus—who inhabited the same urban sites—affected and shaped one another's intellectual landscapes. I trace how enslaved Africans’ epistemologies of just slavery shaped broader discourses on the just enslavement of Africans in the Spanish Empire.