This book aims to understand the different readings of Castiglione's Cortegiano or Book of the Courtier from the Renaissance to the twentieth century.

"Exhilarating…Stewart has achieved a near impossibility, creating a page-turner about jousting metaphysical ideas, casting thinkers as warriors." —Liesl Schillinger, New York Times Book Review Once upon a time, philosophy was a dangerous business—and for no one more so than for Baruch Spinoza, the seventeenth-century philosopher vilified by theologians and political authorities everywhere as “the atheist Jew.” As his inflammatory manuscripts circulated underground, Spinoza lived a humble existence in The Hague, grinding optical lenses to make ends meet. Meanwhile, in the glittering salons of Paris, Gottfried Wilhelm Leibniz was climbing the ladder of courtly success. In between trips to the opera and groundbreaking work in mathematics, philosophy, and jurisprudence, he took every opportunity to denounce Spinoza, relishing his self-appointed role as “God’s attorney.” In this exquisitely written philosophical romance of attraction and repulsion, greed and virtue, religion and heresy, Matthew Stewart gives narrative form to an epic contest of ideas that shook the seventeenth century—and continues today.

The Book of the Courtier, Baldassare Castiglione's classic account of Renaissance court life, offers profound insight into the refined behavior which defined the era's ruling class. The courtly customs and manners of Italy to a great extent characterized the Renaissance, which elevated art and expression to new heights. Baldassare Castiglione published this book with the intention of chronicling the manners, customs and traditions which underpinned how courtiers, nobles, and their servants, behaved. Although ostensibly a book of etiquette and good conduct, Castiglione's treatise carries enormous historical value. He derived his observations directly from the many gatherings and receptions conducted by society's elite. Conversations with the officials, diplomats and nobility of the era further enhanced the accuracy of this book, imbuing it with an authenticity seldom seen elsewhere.

Castiglione’s Book of the Courtier (Il libro del cortegiano, 1528), a dialogue in which the interlocutors attempt to describe the perfect courtier, was one of the most influential books of the Renaissance. In recent decades a number of postmodern readings of this work have appeared, emphasizing what is often characterized as the playful indeterminacy of the text, and seeking to detect inconsistencies which are interpreted as signs of anxiety or bad faith in its presentation. In contrast to these postmodern readings, the present study conducts an experiment. What understanding does one gain of Castiglione’s book if one attempts an early modern reading? The author approaches The Book of the Courtier as a text in which some of its most important aspects are intentionally concealed and veiled in allegory. W.R. Albury argues that this early modern reading of The Book of the Courtier enables us to recover a serious political message which has a great deal of contemporary relevance and which is lost from sight when the work is approached primarily as a courtly etiquette book, or as a lament for the lost influence of the aristocracy in an age when autocratic nation-states were coming into being, or as an impersonal textual field upon which a free play of transformations and deconstructions may be performed.

Informed by currents in sociology, cultural anthropology, and literary theory, Galileo, Courtier is neither a biography nor a conventional history of science. In the court of the Medicis and the Vatican, Galileo fashioned both his career and his science to the demands of patronage and its complex systems of wealth, power, and prestige. Biagioli argues that Galileo's courtly role was integral to his science—the questions he chose to examine, his methods, even his conclusions. Galileo, Courtier is a fascinating cultural and social history of science highlighting the workings of power, patronage, and credibility in the development of science.

Here are The Prince and the most important Discourses, newly translated into spare, vivid English by one of the most gifted historians of his generation. Why a new translation? "Machiavelli was never the dull, worthy, pedantic author who appears in the pages of other translations", says David Wootton in his Introduction. "In the pages that follow I have done my best to let him speak in his own voice." (And indeed, Wootton's Machiavelli literally does so when the occasion demands: Renderings of that most problematic of words, virtù, are in each instance followed by the Italian). Notes, a map, and an altogether remarkable Introduction, no less authoritative for being grippingly readable, help make this edition an ideal first encounter with Machiavelli for any student of history and political theory.

The Absence of Grace is a study of male fantasy, representation anxiety, and narratorial authority in two sixteenth-century books, Baldassare Castiglione's Il libro del Cortegiano (1528) and Giovanni Della Casa's Galateo (1558). The interpretive method is a form of close reading the author describes as reconstructed old New Criticism, that is, close reading conditioned by an interest in and analysis of the historical changes reflected in the text. The book focuses on the way the Courtier and Galateo cope with and represent the interaction between changes of elite culture and the changing construction of masculine identity in early modern Europe. More specifically, it connects questions of male fantasy and masculine identity to questions about the authority and reliability of narrators, and shows how these questions surface in narratorial attitudes toward socioeconomic rank or class, political power, and gender. The book is in three parts. Part One examines a distinction and correlation the Courtier establishes between two key terms, (1) sprezzatura, defined as a behavioral skill intended to simulate the attributes of (2) grazia, understood as the grace and privileges of noble birth. Because sprezzatura is negatively conceptualized as the absence of grace it generates anxiety and suspicion in performers and observers alike. In order to suggest how the binary opposition between these terms affected the discourse of manners, the author singles out the titular episode of Galateo, an anecdote about table manners, which he reads closely and then sets in its historical perspective. Part Two takes up the question of sprezzatura in the gender debate that develops in Book 3 of the Courtier, and Part Three explores in detail the characterization of the two narrators in the Courtier and Galateo, who are represented as unreliable and an object of parody or critique.

This interdisciplinary study examines painted portraiture as a defining metaphor of elite self-representation in early modern culture. Beginning with Castiglione’s Book of the Courtier (1528), the most influential early modern account of the formation of elite identity, the argument traces a path across the ensuing century towards the images of courtiers and nobles by the most persuasive of European portrait painters, Van Dyck, especially those produced in London during the 1630s. It investigates two related kinds of texts: those which, following Castiglione, model the conduct of the ideal courtier or elite social conduct more generally; and those belonging to the established tradition of debates about the condition of nobility –how far it is genetically inherited and how far a function of excelling moral and social behaviour. Van Dyck is seen as contributing to these discussions through the language of pictorial art. The book will be of interest to scholars working in art history, cultural history, early modern history and Renaissance studies.