section_path: Legacy/Cultural depictions/Medieval and Early Modern reception
section_name: Medieval and Early Modern reception
paragraph_text: Medieval and Early Modern reception
  
  In modern times Cleopatra has become an icon of popular culture, a reputation shaped by theatrical representations dating back to the Renaissance as well as paintings and films. This material largely surpasses the scope and size of existent historiographic literature about her from classical antiquity and has made a greater impact on the general public's view of Cleopatra than the latter. The 14th-century English poet Geoffrey Chaucer, in The Legend of Good Women, contextualized Cleopatra for the Christian world of the Middle Ages. His depiction of Cleopatra and Antony, her shining knight engaged in courtly love, has been interpreted in modern times as being either playful or misogynistic satire.
  
  Chaucer highlighted Cleopatra's relationships with only two men as hardly the life of a seductress and wrote his works partly in reaction to the negative depiction of Cleopatra in De Mulieribus Claris and De Casibus Virorum Illustrium, Latin works by the 14th-century Italian poet Giovanni Boccaccio. The Renaissance humanist Bernardino Cacciante, in his 1504 Libretto apologetico delle donne, was the first Italian to defend the reputation of Cleopatra and criticize the perceived moralizing and misogyny in Boccaccio's works. Works of Islamic historiography written in Arabic covered the reign of Cleopatra, such as the 10th-century Meadows of Gold by Al-Masudi, although his work erroneously claimed that Octavian died soon after Cleopatra's suicide.
  
  Cleopatra appeared in miniatures for illuminated manuscripts, such as a depiction of her and Antony lying in a Gothic-style tomb by the Boucicaut Master in 1409. In the visual arts, the sculpted depiction of Cleopatra as a free-standing nude figure committing suicide began with the 16th-century sculptors Bartolommeo Bandinelli and Alessandro Vittoria. Early prints depicting Cleopatra include designs by the Renaissance artists Raphael and Michelangelo, as well as 15th-century woodcuts in illustrated editions of Boccaccio's works.
  
  In the performing arts, the death of Elizabeth I of England in 1603, and the German publication in 1606 of alleged letters of Cleopatra, inspired Samuel Daniel to alter and republish his 1594 play Cleopatra in 1607. He was followed by William Shakespeare, whose Antony and Cleopatra, largely based on Plutarch, was first performed in 1608 and provided a somewhat salacious view of Cleopatra in stark contrast to England's own Virgin Queen. Cleopatra was also featured in operas, such as George Frideric Handel 's 1724 Giulio Cesare in Egitto, which portrayed the love affair of Caesar and Cleopatra; Domenico Cimarosa wrote Cleopatra on a similar subject in 1789.