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The eighteenth century is recognized as a complex period of dramatic epistemic shifts that would have profound effects on the modern world. Paradoxically, the art of the era continues to be a relatively neglected field within art history. While women's private lives, their involvement with cultural production, the project of Enlightenment, and the public sphere have been the subjects of ground-breaking historical and literary studies in recent decades, women's engagement with the arts remains one of the richest and most under-explored areas for scholarly investigation. This collection of new essays by specialist authors addresses women's activities as patrons and as \"patronized\" artists over the course of the century. It provides a much needed examination, with admirable breadth and variety, of women's artistic production and patronage during the eighteenth century. By opening up the specific problems and conflicts inherent in women's artistic involvements from the perspective of what was at stake for the eighteenth-century women themselves, it also acts as a corrective to the generalizing and stereotyping about the prominence of those women, which is too often present in current day literature. Some essays are concerned with how women's involvement in the arts allowed them to fashion identities for themselves (whether national, political, religious, intellectual, artistic, or gender-based) and how such self-fashioning in turn enabled them to negotiate or intervene in the public domains of culture and politics where \"The Woman Question\" was so hotly debated. Other essays examine how men's patronage of women also served as a vehicle for self-fashioning for both artist and sponsor. Artists and patrons discussed include: Carriera; Queen Lovisa Ulrike and Chardin; the Bourbon Princesses Mlle Clermont, Mme Adélaïde and Nattier; the Duchess of Osuna and Goya; Marie-Antoinette and Vigée-Lebrun; Labille-Guiard; Queen Carolina of Naples, Prince Stanislaus Poniatowski of Poland and Kauffman; David and his students, Mesdames Benoist, Lavoisier and Mongez. Contents: Introduction: art, cultural politics and the woman question, Melissa Hyde and Jennifer Milam; 'An ornament of Italy and the premier female painter of Europe': Rosalba Carriera and the Roman academy, Christopher M.S. Johns; Lovisa Ulrike of Sweden, Chardin and enlightened despotism, Paula Rea Radisich; Practicing portraiture: Mademoiselle de Clermont and J.-M. Nattier, Kathleen Nicholson; Commerce in the boudoir, Jill H. Casid; Matronage and the direction of sisterhood: portraits of Madame Adélaïde, Jennifer Milam; Under the sign of Minerva: Adélaïde Labille-Guiard's Portrait of Madame Adélaïde, Melissa Hyde; The cradle is empty: Elisabeth Vigée-Lebrun, Marie-Antoinette, and the problem of intention, Mary D. Sheriff; Ancient matrons and modern patrons: Angelica Kauffman as a classical history painter, Wendy Wassyng Roworth; Angelica's odyssey: Kauffman's paintings of Penelope and the weaving of narrative, Angela Rosenthal; The 'other atelier': Jacques-Louis David's female students, Mary Vidal; Goya's portraits of the Duchess of Osuna: fashioning identity in enlightenment Spain, Andrew Schulz; Bibliography; Index. Melissa Hyde, University of Florida, USA. Jennifer Milam, University of Sydney, Australia.

There exist literary histories of probability and scientific histories of probability, but it has generally been thought that the two did not meet. Campe begs to differ. Mathematical probability, he argues, took over the role of the old probability of poets, orators, and logicians, albeit in scientific terms. Indeed, mathematical probability would not even have been possible without the other probability, whose roots lay in classical antiquity. The Game of Probability revisits the seventeenth and eighteenth-century \"probabilistic revolution,\" providing a history of the relations between mathematical and rhetorical techniques, between the scientific and the aesthetic. This was a revolution that overthrew the \"order of things,\" notably the way that science and art positioned themselves with respect to reality, and its participants included a wide variety of people from as many walks of life. Campe devotes chapters to them in turn. Focusing on the interpretation of games of chance as the model for probability and on the reinterpretation of aesthetic form as verisimilitude (a critical question for theoreticians of that new literary genre, the novel), the scope alone of Campe's book argues for probability's crucial role in the constitution of modernity.

Historians have traditionally used the discourses of free trade and laissez faire to explain the development of political economy during the Enlightenment. But from Sophus Reinert's perspective, eighteenth-century political economy can be understood only in the context of the often brutal imperial rivalries then unfolding in Europe and its former colonies and the positive consequences of active economic policy. The idea of economic emulation was the prism through which philosophers, ministers, reformers, and even merchants thought about economics, as well as industrial policy and reform, in the early modern period. With the rise of the British Empire, European powers and others sought to selectively emulate the British model. In mapping the general history of economic translations between 1500 and 1849, and particularly tracing the successive translations of the Bristol merchant John Cary's seminal 1695 Essay on the State of England, Reinert makes a compelling case for the way that England's aggressively nationalist policies, especially extensive tariffs and other intrusive market interventions, were adopted in France, Italy, Germany, and Scandinavia before providing the blueprint for independence in the New World. Relatively forgotten today, Cary's work served as the basis for an international move toward using political economy as the prime tool of policymaking and industrial expansion. Reinert's work challenges previous narratives about the origins of political economy and invites the current generation of economists to reexamine the foundations, and future, of their discipline.

In 1540, Zamumo, the chief of the Altamahas in central Georgia, exchanged gifts with the Spanish conquistador Hernando de Soto. With these gifts began two centuries of exchanges that bound American Indians and the Spanish, English, and French who colonized the region. Whether they gave gifts for diplomacy or traded commodities for profit, Natives and newcomers alike used the exchange of goods such as cloth, deerskin, muskets, and sometimes people as a way of securing their influence. Gifts and trade enabled early colonies to survive and later colonies to prosper. Conversely, they upset the social balance of chiefdoms like Zamumo's and promoted the rise of new and powerful Indian confederacies like the Creeks and the Choctaws.Drawing on archaeological studies, colonial documents from three empires, and Native oral histories, Joseph M. Hall, Jr., offers fresh insights into broad segments of southeastern colonial history, including the success of Florida's Franciscan missionaries before 1640 and the impact of the Indian slave trade on French Louisiana after 1699. He also shows how gifts and trade shaped the Yamasee War, which pitted a number of southeastern tribes against English South Carolina in 1715-17. The exchanges at the heart of Zamumo's Gifts highlight how the history of Europeans and Native Americans cannot be understood without each other.

Ends of Enlightenment explores three realms of remarkable innovation in eighteenth-century Europe that remain active in today: the realist novel, philosophical thought, and the physical sciences, especially human anatomy.