This collection examines gender and Otherness as tools to understand medieval and early modern art as products of their social environments. The essays, uniting up-and-coming and established scholars, explore both iconographic and stylistic similarities deployed to construct gender identity. The text analyzes a vast array of medieval artworks, including Dieric BoutssJustice of Otto III,Albrecht DürersFeast of the Rose Garland, Rembrandt van RijnsNaked Woman Seated on a Mound,and Renaissance-era transi tombs of French women to illuminate medieval and early modern ideas about gender identity, poverty, religion, honor, virtue, sexuality, and motherhood, among others. 

Carlee A. Bradbury is Associate Professor of Art History at Radford University.

Michelle Moseley-Christian is Associate Professor of Art History at Virginia Polytechnic Institute and State University. 

1 Introduction .- Aspectu Desiderabilis: A Thirteenth Century Reliquary of David with the Face of Medusa.- Picturing Maternal Anxiety in the Miracle of the Jew of Bourges.- Gender and Poverty in Late Medieval Art.- Forms of Gendered Testimony in Dieric Boutss Justice of Otto III.- In Love and Faithfulness Toward One Another Like Brothers. Dürers Feast of the Rose Garland and the Scuola dei Tedeschi as Strategies for Mediating Masculine Identity.- The monster, death, becomes pregnant: Female Transi Tombs from Renaissance France.- Embodying Gluttony as Womens Wildness:  Rembrandts Naked Woman Seated on a Mound.