"Roman Charity" investigates the iconography of the breastfeeding daughter from the perspective of queer sexuality and erotic maternity. The volume explores the popularity of a topic that appealed to early modern observers for its eroticizing shock value, its ironic take on the concept of Catholic "charity", and its implied critique of patriarchal power structures. It analyses why early modern viewers found an incestuous, adult breastfeeding scene "good to think with" and aims at expanding and queering our notions of early modern sexuality. Jutta Gisela Sperling discusses the different visual contexts in which "Roman Charity" flourished and reconstructs contemporary horizons of expectation by reference to literary sources, medical practice, and legal culture.

Measured Words explores the rich commerce between computation and writing that proliferated in fifteenth- and sixteenth-century Italy. In this captivating and generously illustrated work, Arielle Saiber studies the relationship between number, shape, and the written word in the works of four exceptional thinkers of the time: Leon Battista Alberti, Luca Pacioli, Niccolo Tartaglia, and Giambattista Della Porta. Although these Renaissance humanists came from different social classes and practised the mathematical and literary arts at varying levels of sophistication, they were all guided by a sense that there exist deep ontological and epistemological bonds between computational and verbal thinking and production. Their shared view that a network or continuity exists between the literary arts and mathematics yielded extraordinary results, from Alberti's treatise on cryptography and Pacioli's design calculations for the Roman alphabet to Tartaglia's poetic solutions of cubic equations and Della Porta's dramatic applications of geometry. Through lively, cogent analysis of these and other related texts of the period, Measured Words presents, literally and figuratively, brilliant examples of what interdisciplinary work can offer us.

This book, the first comprehensive interdisciplinary account of Michelangelo's work as a sculptor in bronze, is the outcome of extensive original research undertaken over several years by academics at the University of Cambridge together with a team of international experts, directed by Dr Victoria Avery, a leading authority on the history, art and technology of bronze casting in Renaissance Italy. The catalyst for this innovative project was the attribution to Michelangelo of the Rothschild bronzes - two extraordinary bronze groups of nude men on fantastical panthers - prior to their display at the Fitzwilliam Museum in 2015. First proposed by the distinguished Michelangelo scholar Professor Paul Joannides and validated by the wide-ranging research published here, the attribution to Michelangelo has now gained widespread acceptance. As part of this pioneering project, Professor Peter Abrahams, the eminent clinical anatomist specialising in dissection, has carried out the first ever in-depth scientific analysis of the anatomy of Michelangelo's nude figures. Abrahams' findings have uncovered hitherto unrecognised features of Michelangelo's unparalleled mastery of the structure and workings of the human body that give the gesture and the motion of his figures their unique expressive force. Enigmatic and visually-striking masterpieces, the Rothschild bronzes are the focus of this multi-authored, interdisciplinary volume that contains ground-breaking contributions by leading experts in the fields of art history, anatomy, conservation science, bronze casting and the history of collecting.

For the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser's Die Kunst- und Wunderkammern der Spatrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser's book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann's substantial introduction. Tracing Schlosser's biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.