Apolloni’s chapter explores the connection between violence and gender, and the legitimization of gendered violence in a legal and dramatic context. Focusing on the Inner Temple play Gismond of Salerne, she explores the changes made to the Boccaccio source which foreground the action of revenge. Alongside the addition of structural characters, this reveals the innsmen’s interest in key elements of Senecan tragedy. Boccaccio’s divine forces of fortune become forces of vengeance, and in this context traditional legal icons are reassessed: the scales of justice are skewed by Cupid’s involvement, and the law’s blindfold, instead of impartiality, now renders callous indifference. Apolloni’s reassessment of the performance of law in the play shows what the adaptations of Boccaccio reveal about politico-legal control and the staging of legal violence, and she uses a gendered lens to look at the connection between emotion and a monarch’s legal performance.