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Gaius Julius Caesar is not only the most well-known figure in Roman history, but he is also one of the most difficult to understand. Since his assassination, Caesar has played an important role in discussions of political power, imperial government, tyranny, and tyrannicide. While there have been literary treatments of Caesar from William Shakespeare to the present, little has been done to trace the image of Caesar through the Middle Ages and into the Renaissance. The present work attempts to fill that hole by examining portrayals of Caesar in medieval and early Renaissance texts. An examination of specific authors such as Geoffrey of Monmouth, John of Salisbury, Thomas Aquinas, Dante, Petrarch, Salutati, and Bruni, clearly demonstrates that Caesar was consistently portrayed as the first emperor and used to represent the Roman Empire. As the first emperor, representations of Caesar figured significantly in debates about the power of the Church and the Empire, the benefits and downfalls of imperial government, and tyrannicide. Authors were influenced in their portrayals of Caesar by the classical portrayals found in the works of Vergil, Lucan, and Suetonius. Each author's interpretation of Caesar was also impacted by the political and intellectual milieu in which he flourished. Analysis of Caesar's image over this time period serves not only as a part of Caesar historiography, but also provides insight into the ways that scholars write history to understand the world around them.

Laurence Bernard-Pradelle’s Leonardo Bruni Aretino: Histoire, e´loquence et poe´sie a` Florence au de´but du Quattrocento seeks to broaden Bruni’s appeal among readers of French. Toward this end, the book offers an extensive introduction to the life and works of Leonardo Bruni. It also includes new Latin editions of several of Bruni’s shorter works with facing-page French translations. The book concludes with a lengthy bibliography. The volume’s primary interest for readers of English will be Bernard-Pradelle’s detailed and learned analysis of Bruni’s sources for the texts published in the volume

Leonardo Bruni published one of his most widely copied translations, Xenophon's pro-monarchical Hiero, shortly before he penned his more famous original works, his Dialogues and Panegyric to the City of Florence. Scholars have traditionally focused on the political ideas present in these original treatises; yet, despite the centrality of political ideas to the Hiero, its temporal proximity to these works, and its enormous popularity (the work exists in 200 fifteenth-century manuscripts), scholars have neglected to offer a full assessment of Bruni's translation in the context of these works. Bruni's translation of Xenophon's Hiero fit into a debate in early fifteenth-century Florence about Julius Caesar and the Florentine poet Dante. The two major thinkers in the debate, Bruni and Coluccio Salutati, agreed that a distinction had to be made between kings and tyrants based on legal claim and quality of rule. The Hiero reinforced this assumption. The two men disagreed, however, about which category applied to Julius Caesar and what this meant for the reputation of Dante.