Why do the paintings and poetry of the Italian Renaissance—a celebration of classical antiquity—also depict the Florentine countryside populated with figures dressed in contemporary silk robes and fleur-de-lys crowns? Upending conventional interpretations of this well-studied period, Charles Dempsey argues that a fusion of classical form with contemporary content, once seen as the paradox of the Renaissance, can be better understood as its defining characteristic.

Dempsey describes how Renaissance artists deftly incorporated secular and popular culture into their creations, just as they interwove classical and religious influences. Inspired by the love lyrics of Parisian troubadours, Simone Martini altered his fresco Maestà in 1321 to reflect a court culture that prized terrestrial beauty. As a result the Maestà scandalously revealed, for the first time in Italian painting, a glimpse of the Madonna’s golden locks. Modeled on an ancient statue, Botticelli’s Birth of Venus went much further, featuring fashionable beauty ideals of long flowing blonde hair, ivory skin, rosy cheeks, and perfectly arched eyebrows. In the only complete reconstruction of Feo Belcari’s twelve Sybilline Octaves, Dempsey shows how this poet, patronized by the Medici family, was also indebted to contemporary dramatic modes. Popularizing biblical scenes by mixing the familiar with the exotic, players took the stage outfitted in taffeta tunics and fanciful hats, and one staging even featured a papier-maché replica of Jonah’s Whale. As Dempsey’s thorough study illuminates, Renaissance poets and artists did not simply reproduce classical aesthetics but reimagined them in vernacular idioms.

In his application of statistical methods to history, Mr. Molho offers a new approach to the study of Florentine politics.

Scholars have long recognized that Florence’s deficit-financing of its wars of independence against the Visconti of Milan had far-reaching economic, political, and social effects, but this is the first document-based history to provide concrete support for that general knowledge.

Focusing on the governmental and fiscal agencies of Florence as well as a number of memoirs and account hooks written by Florentine citizens, Mr. Molho has gathered and statistically reconstructed much archival material on Florentine taxation, public income, and expenses.

He concludes that between 1423 and 1433 Florence underwent a prolonged and vast fiscal crisis that affected both the fiscal structure of the city and its constitutional and institutional framework. His work thus sheds new light on Cosimo de’ Medici’s rise to power in 1434.