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The global dimensions of Anthony van Dyck's portrait of Genoese noblewoman Elena Grimaldi Cattaneo have been largely overlooked by art historians. Seventeenth-century Genoa was immersed in the global movement of goods, knowledge, and peoples; these encounters and exchanges shaped Genoa's fashion system. This article situates the portrait within networks of international exchange to explore the meaningful representation of dress and globalized materials. The global is not restricted to Elena Grimaldi Cattaneo's attire, however; it extends to the African servant, whose presence and dress bring the portrait into dialogue with histories of global commodities, race, and Atlantic and Mediterranean slavery.
Esther Inglis (ca. 1570–1624), a Franco-Scottish writer, is known for her manuscript books, written in many handwriting styles and decorated with pen or brushwork in black-and-white or color. About twenty-five of her sixty or so surviving manuscripts contain self-portraits, which until now have not been examined in detail. This essay surveys the developing author portrait in manuscript and print for French women writers, along with portrait engravings and miniatures, considering their influence on Inglis. It shows further how she created a self within the broader context of transnational Protestant humanism and poetics, crossing boundaries of gender, language, and nationality.