Equipped with the most refined tools of forensic eloquence, seething with outrage, Malvasia is at his best in challenging Vasari’s historical distortions and prejudices not only in connection with Francia, but also his disciples, Timoteo Viti (1469–1523), Lorenzo Costa (1460–1535), and Giovanni Maria Chiodarolo (1480–1530).

This anthology examines the workings of historical imagery in fourteen essays, offering fresh perspectives from leading researchers on a wide range of medieval and early modern artworks in a similarly wide range of functional contexts.

This volume brings together twelve essays from an international collection of scholars that collectively explore the formation and expression of individual and collective identities within pre-modern Iberian context.