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 Bouts¿s Justice of Otto III, Albrecht Dürer¿s Feast of the Rose Garland, Rembrandt van Rijn¿s Naked 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 Bouts's 
Justice of Otto III
.- "In Love and Faithfulness Toward One Another Like Brothers." Dürer's 
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 Women's Wildness:  Rembrandt's 
Naked Woman Seated on a Mound.