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This multi-disciplinary collection of essays is the first cohesive attempt to integrate ladies-in-waiting into the master narrative of court studies. It provides evidence for the multitudinous ways in which 'women above stairs' influenced the politics and culture of their times.

Between the fifteenth and the eighteenth century, princely courts dominated the Italian political scene. These courts were effervescent centers of cultural production. As such, they became a model for European monarchies who imported Italian courtly forma del vivere ('style of life') to legitimize their power and to define social status. This phenomenon included architecture and painting, theater and music, manners and aesthetics, and all the objects, behaviors, and beliefs that contributed to homogenizing European culture in the age of the Old Regime. It involved a hemorrhage of art and a continuous circulation of people, texts, and symbols. The foundational material for this process was classicism and its purpose was political. This delineates a new geography and chronology of a truly European cultural history. It also provides the key traits for the European cultural identity.

Women Artists in the Early Modern Courts of Europe, c. 1450.1700 presents the first collection of essays dedicated to women as producers of visual and material culture in the Early Modern European courts, offering fresh insights into the careers of, among others, Caterina van Hemessen, Sofonisba Anguissola, Luisa Roldán, and Diana Mantuana. Also considered are groups of female makers, such as ladies-in-waiting at the seventeenth-century Medici court. Chapters address works by women who occupied a range of social and economic positions within and around the courts and across media, including paintings, sculpture, prints, and textiles. Both individually and collectively, the texts deepen understanding of the individual artists and courts highlighted and, more broadly, consider the variety of experiences of female makers across traditional geographic and chronological distinctions. The book is also accompanied by the Global Makers: Women Artists in the Early Modern Courts digital humanities project (www.globalmakers.ua.edu), extending and expanding the work begun here.

In this first in-depth study of the ruling family of Tunisia in the eighteenth and nineteenth centuries, Kallander investigates the palace as a site of familial and political significance. Through extensive archival research, she elucidates the domestic economy of the palace as well as the changing relationship between the ruling family of Tunis and the government, thus revealing how the private space of the palace mirrored the public political space. \"Instead of viewing the period as merely a precursor to colonial occupation and the nation-state as emphasized in precolonial or nationalist histories, this narrative moves away from images of stagnation and dependency to insist upon dynamism,\" Kallander explains. She delves deep into palace dynamics, comparing them to those of monarchies outside of the Ottoman Empire to find persuasive evidence of a global modernity. She demonstrates how upper-class Muslim women were active political players, exerting their power through displays of wealth such as consumerism and philanthropy. Ultimately, she creates a rich view of the Husaynid dynastic culture that will surprise many, and stimulate debate and further research among scholars of Ottoman Tunisia.

This volume presents new research on royal courts from antiquity to the modern world, from Asia to Europe. It addresses the interactions of rulers and and elites at court, as well as the multiple connections between court, capital, and realm.

Between the fifteenth and the eighteenth century, princely courts dominated the Italian political scene. These courts were effervescent centers of cultural production. As such, they became a model for European monarchies who imported Italian courtly forma del vivere ('style of life') to legitimize their power and to define social status. This phenomenon included architecture and painting, theater and music, manners and aesthetics, and all the objects, behaviors and beliefs that contributed to homogenize European culture in the age of the Old Regime. It involved a hemorrhage of art and a continuous circulation of people, texts and symbols. The foundational material for this process was classicism and its purpose was political. This delineates a new geography and chronology of a truly European cultural history. It also provides the key traits for the European cultural identity.

Ruy Gómez de Silva, or the prince of Eboli, was one of the central figures at the court of Spain in the sixteenth century. Thanks to his oily affability, social grace, and an uncanny knack for anticipating and catering to the desires of his prince, he rose from obscurity to become the favorite and chief minister of Philip II. From the scattered surviving sources James Boyden weaves a vivid, compelling narrative: one that breathes life not only into Ruy Gómez, but into the court, the era, and the enigmatic character of Phillip II as well. Elegantly written and highly readable, this book discovers in the career of Gómez the techniques, aspirations, and mentality of an accomplished courtier in the age of Castiglione. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.

The volume Gaining and Losing Imperial Favour in Late Antiquity studies fundamental dynamics of the political culture of the Later Roman Empire (4th and 5th centuries A.D.) by examining how people rose in and fell from the emperor's favour.

Over the course of the sixteenth and early seventeenth centuries, Mughal court painters evolved from illustrators of manuscripts and albums to active mediators of imperial visionary experience, cultivating their patrons' earthly and spiritual authority. Featuring over 80 color illustrations, The Brush of Insight traces this shift, demonstrating how royal artists created a new visual economy that featured highly naturalistic royal portraits and depictions of the emperors' dreams. These images, in turn, shaped the perception of the Mughal emperors' preeminence in all domains-temporal and spiritual-from the reign of Akbar to that of his son and successor, Jahangir. In analyzing a wide range of visual materials including manuscripts, albums, and coins, art historian Yael Rice documents how manuscript painters and paintings challenged the status of writing as the primary medium for the transmission of knowledge and experience. With compelling material and original arguments, The Brush of Insight probes how pictures and illustrated books became central to imperial modes of seeing and being in early modern Mughal South Asia.