This essay considers the place of astrology at the early Tudor court through an analysis of British Library MS Arundel 66, a manuscript compiled for the use of Henry VII (r. 1485–1509) in the 1490s. It argues that an illustration on fol. 201 depicts King Henry being presented with prognostications by his astrologer, William Parron, with the support of Louis, Duke of Orleans, later King Louis XII of France (r. 1498–1515). It considers the activities of three Tudor astrologer courtiers, William Parron, Lewis of Caerleon, and Richard Fitzjames, who may have commissioned the manuscript, as well as the Fitzjames Zodiac Arch at Merton College, Oxford (1497) and the London Pageants of 1501. It concludes that Arundel 66 reflects the strategic cultural investment in astrology and English prophecy made by the Tudor regime at the time of the marriage negotiations and wedding of Arthur, Prince of Wales and Katherine of Aragon, descendant of Alfonso X, the most illustrious medieval patron of the science of the stars.

Portraits of cities and of human beings shared a nomenclature and developed along parallel courses in the Renaissance. This article traces their common history, examining evolving notions of likeness and approaches to the visual fashioning of identity across both categories of imagery, then considers one urban subject, Rome, that embodied all the challenges of the genre. In representations of the Eternal City such as those by Leonardo Bufalini and Mario Cartaro, artists sought to convey the appearance of Rome in their own time along with that of its glorious past, and to balance what they could see with an imagined, timeless ideal. In this way, images of Rome offer new insight into early modern portraiture and representation in general.

Despite the prominent career of Paolo (Caliari) Veronese (1528–88), much remains to be discovered about his patrons and peers. Several letters written by the artist are presented here for the first time, and their recipient is identified as the humanist Marcantonio Gandino. The letters reference artworks, visitors to Veronese’s studio, and economic data pertaining to the painter. Analyzing the correspondence from a variety of methodological viewpoints reveals how Veronese fulfilled commissions, interacted with nobility, and invested his painterly profits in land on the Venetian terraferma. In addition to promoting Veronese’s career and advising on financial matters, Gandino translated Plutarch and Xenophon, whose texts share classical subjects and content with Veronese’s paintings. The comparison of texts and images leaves open the possibility of an exchange between the writer and painter concerning matters of classical motifs.

This article examines the Ballet des Polonais (1573), a magnificent festival given by Catherine de Médicis on the occasion of the election of her son, Henri de Valois, the future Henri III of France, to the throne of Poland. It argues that the invention of spectacle, as described in the official Latin account by the poet and humanist Jean Dorat, is much more relevant to the political situation of the time than scholars have previously recognized. Placed in an immediate historical, literary, and visual context, the text of the Ballet makes allusions to contemporary topics, including the military glory of Henri de Valois and the imperial destiny of the French monarchy. The elaborate web of references to books 5 and 9 of the Aeneid and to Catullus 64 displays the primary role of Catherine de Médicis, who is lauded for overcoming her maternal sorrow at Henri’s departure for the sake of promoting the Valois Empire.