Niccolo Ridolfi and the Cardinal's Court will appeal to all those interested in the organisation of these elite establishments and their place in sixteenth-century Roman society, the life and patronage of Niccolo Ridolfi in the context of the Florentine exiles who desired a return to republicanism, and the history of the Roman Catholic Church.

This book considers two of the most potent Christian concepts - Hell and the Eucharist. In the first part of the book, the author argues that fear of Hell was a common preoccupation in the 16th and 17th centuries. Drawing on the sermons of the preachers of the Counter-Reformation, he shows how the image of Hell developed into a grotesque parody of divine judgement which was only arrested by the onset of the Enlightenment. The second part considers the Eucharist, or Host, the embodiment of corporeal salvation. The author describes how it was related to the human body, and the kinds of mystical properties with which it was invested.

Giovanni Andrea Gilio's "Dialogue on the Errors and Abuses of Painters" (1564) is one of the first treatises on art published in the post-Tridentine period. It remains a key primary source for the discussion of the reform of art as it unfolded at the time of the Council of Trent and the Catholic Reformation. Relatively little is known about Gilio himself, a cleric from Fabriano, Italy, although he was evidently familiar with Cardinal Alessandro Farnese's lively court circle in Rome as he dedicated his book to the cardinal. His text-available in English in full for the first time-takes the form of a spirited dialogue among six protagonists, using the voices of each to present different points of view. Through their dialogue Gilio grapples with a host of issues, from the relationship between poetry and painting, to the function of religious images, to the effects such images have on viewers. The primary focus is the proper representation of history, and Michelangelo's Last Judgment fresco in the Sistine Chapel is the exemplary case. Indeed, Michelangelo's painting is both praised and condemned as an example of the possibilities and limits of art. Although Gilio's dialogue is often quoted by art historians to point out the more controlling view of art and artists by the Roman Catholic Church, the unabridged text reveals the nuanced and provisional debates, happening during this critical era.