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In the summer of 1550, Habsburg forces from Genoa, Naples, and Sicily defeated the Ottoman corsair Dragut Rais at Mahdia, the Tunisian city also known as Africa (ancient Aphrodisium). Illustrated pamphlets, letters, and maps immediately began to circulate the news throughout Italy, often associating Mahdia with Charles V's 1535 victory at Tunis. Some published maps include troops that contemporary viewers were likely to have identified as «mori amici». In Palermo, the Viceroy of Sicily commissioned the Porta d'Africa to celebrate his role in the Mahdia campaign. But its relief sculptures, representing two European soldiers and a Turk, invited viewers to forget that allied Arab troops from Tunis and Kairouan had taken part in the battle. Nell'estate del 1550, truppe degli Asburgo provenienti da Genova, Napoli e dalla Sicilia sconfissero il corsaro ottomano Dragut Rais a Mahdia, la città tunisina chiamata anche Africa (l'antica Aphrodisium). Opuscoli illustrati, lettere e mappe iniziarono subito a far circolare questa notizia per tutta l'Italia, spesso associando la battaglia di Mahdia con la vittoria di Carlo V a Tunisi nel 1531. Alcune delle mappe pubblicate mostrano delle truppe che gli spettatori contemporanei avrebbero probabilmente identificato come «mori amici». Ma, a Palermo, il viceré della Sicilia commissionò la Porta d'Africa per celebrare il suo ruolo nella campagna militare di Mahdia. Tuttavia questi rilievi, che raffigurano due soldati europei ed un turco, portano gli spettatori a dimenticare che anche le truppe arabe alleate da Tunisi e Kairouan parteciparono alla battaglia.

In this article, a Modernist and a Renaissance art historian analyze the 1949 exhibition of Renaissance domestic painting at the Palazzo Strozzi in Florence. Based on unpublished documents at the Ragghianti foundation in Lucca, we trace the genesis, development, and installation of the show, as well as responses to it on the part of the scholarly community and in the popular press. We look at a variety of interests that drove the planners, ranging from postwar politics, historic reconstruction, museology, local economy and tourism, to changing definitions of the family and women's roles in the home. Finally, we uncover a link between the 1949 show and the establishment of the Palazzo Davanzati museum.

In this book, Baskins places Muley Hassan, the ruler of Tunis, center-stage in an analysis of the evolution and production of portraiture and the representation of Hafsid-Hapsburg-Ottoman confrontation. Portraits capturethe multi-faceted struggle for prestige, patronage, and sovereignty in Mediterranean courts. Palmira Brummett, Professor Emerita, History, University of Tennessee, USA Baskins interdisciplinary book opens new directions for the study of portraits and Habsburg visual propaganda about North African campaigns. She also breaks with traditional studies of the 'Muslim other' and presents a case study of fluid permeability and alterity in the Mediterranean. Borja Franco Llopis, Associate Professor, Art History, National Distance Education University, Madrid, Spain This work is distinguished by its use of a variety of primary sources, and its multifaceted approach, combining history and art history. It is an important addition to the study of early modern Tunisia in particular, and to acculturation in the Mediterranean in general. Houssem Eddine Chachia, Assistant Professor, History, University of Tunis, Tunisia This book explores an anonymous sixteenth-century portrait of Muley al-Hassan, the Hafsid king of Tunis (ca. 15281550), that bears witness to relations between North Africa, the Habsburgs, and the Ottomans. While Muley al-Hassan appears frequently in the vast literature on Charles V Habsburg, he is overshadowed by the emperor. Here he emerges as a protagonist, a figure whose shifting reputation can be traced well into the seventeenth century. Images of the King of Tunis circulated in broadsheets, ephemeral images made for triumphal entries, manuscripts, tapestry designs, engravings, and books. The ceaseless production of Tunisian imagery allowed Europeans to face their North African counterparts through scenes of battle but also through imaginary encounters and festive cross-dressing. This book shows how portraits of Hafsid rulers challenge assumptions about the absolute divide between Christian and Muslim, sovereign and subject, the familiar and the foreign, and they put a face on the entangled histories of the early modern Mediterranean. Cristelle L. Baskins is Associate Professor Emeritus, Tufts University, USA.