Notes on the Contributors
Brian J. Boeck
obtained his Ph.D. in Russian History from Harvard University and is Professor of Russian History at DePaul University. He is the author of Imperial Boundaries: Cossack Communities and Empire Building in the Age of Peter the Great (2010) and Stalin’s Scribe: Literature, Ambition, and Survival: The Life of Mikhail Sholokhov (2019).
Federica Boldrini
is a researcher in medieval and modern legal history at the University of Parma. Her research interests include Franciscan legal literature and law and theology in the romano-canonical system of law.
Patricia Pires Boulhosa
is Honorary Research Associate at the Department of Anglo-Saxon, Norse and Celtic at the University of Cambridge. She specialises in medieval Icelandic law. Her publications include Gamli sáttmáli: Tilurð og tilgangur (2006) and Icelanders and the Kings of Norway: Mediaeval Sagas and Legal Texts (2005).
Laurent Curelly
is Professor of English at the Université de Haute Alsace in Mulhouse, France. He specialises in the literature and the history of the British Civil Wars. He is especially interested in the Civil War press, sectarian radicalism and devotional poetry. He has written extensively on all these topics. His key-publications include An Anatomy of an English Radical Newspaper – The Moderate (1648–9) (2017) and a collection of essays that he co-edited with Nigel Smith, Radical Voices, Radical Ways – Articulating and Disseminating Radicalism in Seventeenth- and Eighteenth-Century Britain (2016). Forthcoming is a joint French translation of some of the Digger leader Gerrard Winstanley’s political pamphlets. He is also the editor of two online scientific journals, XVII–XVIII and Revue française de civilisation britannique, as well as the reviews editor of Marvell Studies.
Helen Hughes
is a Senior Lecturer in Art History, Theory and Curatorial Practice at Monash University in Melbourne, Australia. She was a 2019–20 Getty/ACLS Postdoctoral Fellow in the History of Art. Her research focuses on Australian art, both historical and contemporary. She is currently writing a book on late eighteenth- and early nineteenth-century convict art of Australia. Recent publications include: Double Displacement: Rex Butler on Queensland Art (co-edited with Francis Plagne, 2019); Tom Nicholson: Lines towards Another (co-edited with Amelia Barikin, 2019); and Mutlu Çerkez: 1988–2065 (co-edited with Charlotte Day and Hannah Mathews, 2018).
Jacqueline Hylkema
is Assistant Professor of Cultural History and History of Art at Leiden University, the Netherlands. Her research focuses on different kinds of forgery in seventeenth- and early eighteenth-century print, and their cultural, social and political implications. She has published widely on this subject, in terms of individual forgery cases as well as the general role and perception of faked texts and images in early modern societies. In 2014, she curated an exhibition on the dynamics of print in early modern forgery at Leiden University Library, Books, Crooks and Readers: The Seduction of Forgery (1600–1800).
Lorenzo Paoli
is a Ph.D. student at the Centre d’Études Supérieures de la Renaissance of Tours, under the direction of Florence Alazard, and at the University of Bologna, under the direction of Isabella Lazzarini. He is currently working on the fortune of Annius of Viterbo in French historiography with his thesis, Annius de Viterbe et les historiens français du XVIe siècle: les vrais usages d’un faux, expected to be defended in 2023.
Ingrid Rowland
is Professor at the University of Notre Dame’s School of Architecture in Rome. She is also Associate Professor of Art History at the University of Chicago. As well as being a frequent contributor to the New York Review of Books she is author of numerous articles and monographs on classical, early modern and baroque culture, among which can be mentioned The Culture of the High Renaissance: Ancients and Moderns in Sixteenth-Century Rome (1998), The Scarith of Scornello: A Tale of Renaissance Forgery (2004), The Collector of Lives: Giorgio Vasari and the Invention of Art (2017), co-written with Noah Charney, and The Divine Spark of Syracuse (2018).
Camilla Russo
is a post-doctoral researcher at the University of Trento, working on the PRIN (Research Projects of National Relevance) project ‘Charte vulgares antiquiores’. She is the author of a monograph, Firenze Nuova Roma: Arte retorica e impegno civile nelle miscellanee di prosa del primo Rinascimento (2019), on the rhetorical miscellanies of speeches and letters in the vernacular produced in Florence in the Quattrocento. At the University of Trento, she has collaborated on the creation of the Archivio dei falsi letterari Italiani (ArFLI), the first digital database of Italian literary forgeries in the vernacular, and has contributed particularly with regard to those forgeries attributed to the earlier centuries.
Ksenija Tschetschik-Hammerl
is Assistant Curator at the Department of Prints and Drawings, Hessisches Landesmuseum Darmstadt. She completed her Ph.D. in History of Art at Humboldt-University in Berlin. In her dissertation, Die Originalität der Nachahmung um 1600: Kunst begegnet Natur bei Hans Hoffmann und Daniel Fröschel, she examined, by focusing on two artists from the Rudolfine court in Prague, the interplay of illusion of nature and imitation of art in the Early Modern period.