During the Renaissance, the monarchy became the dominant ruling power in Europe. It was an era of formidable kings and queens who crushed the feudal rights of their nobles, defended the Catholic Church against the encroachments of Protestantism, fought self-aggrandizing wars and were great patrons of art, architecture, literature and music. This work chronicles the lives and reigns of the 42 monarchs in England, Scotland, France, Spain and the Holy Roman Empire between 1400 and 1600, presenting in the context of their era their personalities, accomplishments and failures.

What determined success or failure in Renaissance monarchy? Why was warfare endemic in Europe in the early sixteenth century and how did the great cultural and artistic changes of the period flourish amid this conflict? How did rival kings relate to each other and what steps did they each take to strengthen their monarchies? In short, how did they govern? Renaissance Monarchy approaches these and related issues in a revealing way, providing the first single-volume comparative history of the most renowned kings of the Renaissance: the Holy Roman Empire Charles V, Francis I of France and Henry VIII of England. Bringing these three kings together, out of the relative isolation in which they are each studied, adds a fresh dimension to our understanding of contemporary ideals of kingship and reveals how these monarchs strove to be regarded as great warriors, effective governors and generous patrons.

The first historical overview of the partnership between science and the state from the Scientific Revolution to World War II.

Evans (classics, U. of British Columbia) examines the history of the great emperor, whose reign marks the transition between Late Antiquity and the Byzantine period, including what is presently known about his life, the social structure of the empire, its relations with its neighbors, and naturally, its wars. It also examines theological issues, which split the empire and left deep divisions after Justinian's death. Annotation copyright by Book News, Inc., Portland, OR.

Scholars of early modern France have traditionally seen an alliance between the kings and the bourgeoisie, leading to an absolute, centralized monarchy, perhaps as early as the reign of Francis I (1515-47). In From Renaissance Monarchy to Absolute Monarchy, eminent historian J. Russell Major draws on forty-five years of research to dispute this view, offering both a masterful synthesis of existing scholarship and new information concerning the role of the nobility in these changes. Renaissance monarchs, Major contends, had neither the army nor the bureaucracy to create an absolute monarchy; they were strong only if they won the support of the nobility and other vocal elements of the population. At first they enjoyed this support, but the Wars of Religion revealed their inherent weakness. Major describes the struggle between such statesmen as Bellivre, Sully, Marillac, and Richelieu to impose their concept of reform and includes an account of how Louis XIV created an absolute monarchy by catering to the interests of the nobility and other provincial leaders. It was this "carrot" approach, accompanied by the threat of the "stick," that undergirded his absolutism. Major concludes that the rise of absolutism was not accompanied, as has often been asserted, by the decline of the nobility. Rather, nobles were able to adapt to changing conditions that included the decline of feudalism, the invention of gunpowder, and inflation. In doing so, they remained the dominant class, whose support kings found it necessary to seek.

This sumptuous catalogue provides an overview of French art circa 1500, a dynamic, transitional period when the country, resurgent after the dislocations of the Hundred Years' War, invaded Italy and all media flourished. What followed was the emergence of a unique art: the fusion of the Italian Renaissance with northern European Gothic styles. Outstanding examples of exquisite and revolutionary works are featured, including paintings, sculptures, illuminated manuscripts, stained glass, tapestries, and metalwork. Exciting new research brings to life court artists Jean Fouquet, Jean Bourdichon, Michel Colombe, Jean Poyer, and Jean Hey (The Master of Moulins), all of whose creations were used by kings and queens to assert power and prestige. Also detailed are the organization of workshops and the development of the influential art market in Paris and patronage in the Loire Valley.