Further Notions of Notation: Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca. 1600
Ex. 1a–d: Passages in early Neapolitan keyboard music that are difficult to play with two hands. The music, originally printed in open score, has been transcribed into modern keyboard notation, with stem directions reflective of the parts in the open score (e.g. the tenor is notated on the bottom staff with upward stems).
a) The passage for which Mencoboni used his nose in performance: Giovanni Maria Trabaci, ‘Toccata Prima à Quattro’, mm. 32–37, transcribed from Trabaci, Il secondo libro de ricercate, & altri varij capricci (Naples, 1615), facs. repr. (Florence, 1984), 82–4.
b) Ascanio Mayone, ‘Canzon Francese terza’, mm. 34–35, transcribed from Mayone, Primo libro di diversi capricci per sonare (Naples: Constantino Vitale, 1603), 22–6, <https://imslp.org/wiki/Special:ReverseLookup/501050> (accessed on 31 Oct. 2024).
c) Giovanni de Macque, ‘Partite sopra Ruggiero di Gio. Macque’, mm. 68–74, transcribed from GB-Lbl Add. 30491, fol. 4v-6v.
d) Ascanio Mayone et al., ‘lo mi son giovinetta del Ferabosco diminuito per sonare da Scipione Stella, Gio. Dom. Montella, Ascanio Mayone’, mm. 9–11, transcribed from Mayone, Secondo libro di diversi capricci per sonare (Naples: Giovanni Battista Gargano & Lucretio Nucci, 1609), 68–78, <https://imslp.org/wiki/Special:ReverseLookup/462582> (accessed on 31 Oct. 2024).
Ex. 2a–b: Two excerpts demonstrating the extent of alteration in elaborate intabulations.
a) Anon. intabulation (bottom staves) of Alessandro Striggio’s ‘Nasce la pena mia’ (top staves), mm. 22–25, in: I-Fl Ms. Acquisti e Doni 641, fol. 25v–28v.
b) Anon. intabulation of Lassus’ ‘Susanne un jour’ (Susanna), mm. 34–36, in: I-TRmp [n.s.] (‘Feininger manuscript’), fol. 39v–44r.
Ex. 3: Anon. intabulation, entitled ‘Verso 6 tuono d. Trabace’, of the ‘Verso Nono, Sesto Tono’, mm. 1–8,from Trabaci, Il secondo libro de ricercate, & altri varij capricci (Naples, 1615), 69. Intabulation (bottom staves), transcribed from I-Nc Ms. Mus. st. 48, fol. 33v. Red arrows show the contour of the original voice leading in instances in which the intavolatura obscures it. The upper staves are transcribed from Trabaci, Il secondo libro de ricercate, & altri varij capricci (Naples, 1615), facs. repr. (Florence, 1984), 69.
Ex. 4a–d: Anon. intabulation of Frescobaldi’s Capriccio sopra un soggetto (1624), transcribed from I-RAc MS Classense 545 (bottom staves), fol. 27r–30v. Top staves transcribed from Frescobaldi, II primo libro di capricci […] in partitura (Rome: Luca Antonio Soldi, 1624), 69–77, <https://www.museibologna.it/musica/viewschedatwbca/&path=/images/ripro/gaspari/_Z/Z170/> (accessed on 10 Oct. 2025).
a) mm. 14–15. The red box highlights the use of a tie to clarify voice leading, which is ordinarily hidden by intavolatura practice.
b) mm. 54–55. The bottom box highlights a large interval in one hand, wider than usually seen in intavolatura practice; arrows show the contour of the original voices. The upper boxes show notes removed from the tablature.
c) mm. 60–63. The red arrow shows the contour of the original voice leading as it moves between the hands; note how the stem direction obscures the motion of the original voices. The tenor e1 (red box) is the opening note of the soggetto, which is omitted in the intabulation.
d) mm. 38–44. The purple boxes show unisons hidden by intavolatura convention. Red boxes show rests removed in the intabulation process. The red arrows show the original voice leading, again obscured by the conventions of intavolatura, while the purple arrows highlight the ‘fictitious’ tablature parts.
Ex. 5a–b: lntabulations by Bertoldo, of ricercars by Padovano.
a) Bottom staves transcribed from Sperindio Bertoldo, Ricercar del Primo Tuono, mm. 14–19,in: Bertoldo, Toccate, ricercari et canzoni francese (Venice, 1591), 15–9. Top staves transcribed from Annibale Padovano, Il primo libro de ricercari a quattro voci (Venice, 1556).
b) Bottom staves transcribed from Sperindio Bertoldo, Ricercar del Terzo Tuono, mm. 12–13,in: Bertoldo, Toccate, ricercari et canzoni francese (Venice, 1591), 20–3. Top staves transcribed from Annibale Padovano, Il primo libro de ricercari a quattro voci (Venice, 1556).
Ex. 6: Giovanni de Macque, ‘Capriccio di Gio. De Macque, sopra rè fà mi sol’, mm. 16–23, transcribed from Gb-LB Add 30491, fol. 23v.
Ex. 7a–b: Detabulations of Macque’s Capriccio from Ex. 6
Ex. 7a: A literal detabulation of Macque’s Capriccio, from Ex. 6. Due to the conventions of intavolatura, the two soggetti appear to be in separate voices; in detabulating, I have made sure that a given instance of a soggetto remained in the same voice. Apart from that concession, I have transcribed the parts literally from the tablature.
Ex. 7b: I have now added material to the detabulation, largely by sustaining the implied long notes. In addition, I have added contrapuntal material in two instances (brackets).
Ex. 8a–b: Trabaci, ‘Capriccio sopra la, fa, sol, la’, transcribed from Trabaci, Ricercate canzone francese capricci […] libro primo (Naples, 1603), 63–6. The music, originally printed in open score, has again been transcribed into modern keyboard notation, with stem directions reflective of the parts in the open score.
a) mm. 20–26
b) mm. 53–55
Ex. 9a–c: Mayone, Toccatas
Ex. 9a: Ascanio Mayone, ‘Toccata terza’, mm. 67–73, transcribed from Mayone, Secondo libro di diversi capricci per sonare (Naples, 1609), facs. repr. (Florence, 1984), 99–110. The music, originally printed in open score, has been transcribed into modern keyboard notation, with stem directions once again reflective of the parts in the open score, to facilitate comparison with the works in intavolatura.
Ex. 9b: Anon., [Toccata], mm. 4–8, in: I-TRmp [n.s.], fol. 45v-46r. Transcribed from Italian keyboard intavolatura.
Ex. 9c: Ascanio Mayone, ‘Toccata prima’, mm. 20–24, transcribed from Mayone, Primo libro di diversi capricci per sonare (Naples, 1603), 39–43. Transcribed into modern keyboard notation from open score.
Ex. 9d: Anon., ‘Toccata piena’, mm. 17–20, in: I-TRmp [n.s.], fol. 11v-13r. Transcribed from Italian keyboard intavolatura.
Ex. 10: Broken-chord figuration in Giovanni Maria Trabaci, ‘lo mi son giovinetto’, mm. 13–14, transcribed from Trabaci, Ricercate canzone francese capricci […] libro primo (Naples, 1603), 117–22.
Ex. 11a–c: A common falling-third diminution figure seen in ltalian intabulations and arrangements ca. 1600. Also, see previous example.
a) Ascanio Mayone, ‘Ancidetemi pur’, mm. 14–15, transcribed from Mayone, Primo libro di diversi capricci per sonare (Naples, 1603), 31–8.
b) Anon., ‘Nasce la pena mia’, m. 34, transcribed from I-FI Ms. Acquisti e Doni 641, fol. 25v–28v.
c) Anon., ‘Susanna’, m. 39, transcribed from I-TRmp [n.s.], fol. 39v–44r.
Ex. 12a–b: Giovanni Maria Trabaci, ‘lo mi son giovinetto’, transcribed from Trabaci, Ricercate canzone francese capricci […] libro primo (Naples, 1603), facs. repr. (Florence, 1984), 63–6.
a) mm. 6–7
b) mm. 41–46
Ex. 13a: Ascanio Mayone, ‘Ancidetemi pur’, mm. 5–6, (bottom staves), transcribed from Mayone, Primo libro di diversi capricci per sonare (Naples, 1603), 31–8. Colored rectangles show the rearrangement of material between parts.
Ex. 13b: Giovanni Maria Trabaci, ‘Ancidetemi pur, Per l’Arpa’, mm. 10–12, (bottom staves), transcribed from Trabaci, Il secondo libro de ricercate, & altri varij capricci (Naples, 1615), facs. repr. (Florence, 1984), 126–132.
Hacking the System II: Notational Conventions in Early Sixteenth Century Printed Italian Keyboard Intavolature
Fig. 1: Girolamo Diruta, Il Transilvano (Venezia, 1593), fol. 5v.
Fig. 2: Andrea Antico, ‘Hor chel ciel e la terra B[artolomeo]. T[romboncino].’, Frottole intabulate da sonare organi libro primo (Rome: Andrea Antico, 1517), fol. 36v. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.
Fig. 3: Andrea Antico, ‘Che debbio fare B[artolomeo]. T[romboncino].’ Frottole intabulate da sonare organi libro primo (Rome, 1517), fol. 12r. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.
Ex. 1: ‘Che debbio far B[artolomeo]. T[romboncino].’ Score of the choir-book version from Frottole libro septimo (Venice: Ottavio Petrucci, 1507), fol. 13v–14r (RISM 1507³) and the intabulation from Frottole intabulate da sonare organi libro primo (Rome, 1517), fol. 12r (see Fig. 3).
Fig. 4: Marcoantonio da Bologna, ‘Recercare primo’, Recerchari motetti canzoni […] libro primo (Venezia, 1523), fol. [Aiiiv].
Fig. 5: Marcoantonio da Bologna, ‘Recercare primo’, Recerchari motetti canzoni […] libro primo (Venezia, 1523), fol. Aiir.
Ex. 2: Standard cantizans cadence figurations in the 1523 print
Fig. 6: Marcoantonio da Bologna, ‘Recercare primo’, Recerchari motetti canzoni […] libro primo (Venezia, 1523), fol. Br.
Fig. 7: Girolamo Cavazzoni, ‘Recercar IIII’, Intavolatura cioe recercari canzoni himni magnificat (Venice, 1543), [D iiv]. Museo internazionale e biblioteca della musica di Bologna S411.
Fig. 8: Girolamo Cavazzoni, ‘Credo cardinalis’, Intabulatura dorgano, cioe misse himni magnificat […] libro secondo (Venice, [154?]), fol. Cr. Museo internazionale e biblioteca della musica di Bologna, S411.
Fig. 9: Girolamo Cavazzoni , ‘Missa Dominicalis Chirie primus’, Intabulatura dorgano, cioe misse himni magnificat […] libro secondo (Venice, [154?]), fol. Dr. Museo internazionale e biblioteca della musica di Bologna S411.
Fig. 10: Jacques Buus, ‘Recercar primo’, Intabolatura d’organo di recerari di M. Giaques Buus (Venice, 1549), fol. Aiir. Library of the Brussels Conservatories, B-Bc 26.671.
Ex. 3: Jacques Buus, ‘Recercar primo’: comparison of the partbook version and the intavolatura, mm. 6–17.
The Rhetoric of Invertible Counterpoint in the Sixteenth Century: Between Keyboard Pedagogy and Performance Practice
Ex. 1: Theme from Johann Sebastian Bach, Toccata (BWV 913).
Ex. 2: Adriano Banchieri, ‘Sonata ottava, in aria francese’ from L’Organo suonarino (Venice, 1605), 36–7.
Ex. 3: Invertible counterpoint in the two cadences (Banchieri, ‘Sonata ottava in aria francese’), bb. 5 and 9.
Fig. 1: Frontispiece of Hernando de Cabezón, Obras de música (Madrid, 1578).
Ex. 4: Antonio de Cabezón, First ‘Duo’ from Obras de música (Madrid, 1578), fol. 1r.
Fig. 2: Diego Ortiz, Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones / El primo libro […] nel qual si tratta delle glosse sopra le cadenze & altre sorte de punti in la musica del violone (Rome: Valerio & Luigi Dorico, 1553), table of contents, fol 4r, <http://bdh-rd.bne.es/viewer.vm?id=0000037748> (accessed on 17 July 2024).
Ex. 5: ‘Duo’ from Tomás de Santa María, Libro llamado arte de tañer fantasía, i, fol. 54v.
Ex. 6: Antonio de Cabezón, ‘Fabordon del primer tono’ from Obras de música (Madrid, 1578), fol. 13r.
Ex. 7: Antonio de Cabezón, ‘Fabordon del primer tono’ [‘Glosado con el contrabaxo’] from Obras de música (Madrid, 1578), fols. 13r-v.
Ex. 8: Andrea Gabrieli, ‘Canzon ariosa’, bb. 1–10, from Il terzo libro de ricercari (Venice: Angelo Gardano, 1596) fol. 30r-v (author’s transcription), <https://doi.org/10.3931/e-rara-55399> (accessed on 27 August 2024).
Ex. 9: Andrea Gabrieli, ‘Ricercare del quinto tono’, bb. 1–16, from Ricercari di Andrea Gabrieli […] libro secondo (Venice: Angelo Gardano, 1595), fol. 17v (author’s transcription), <https://doi.org/10.3931/e-rara-56111> (accessed on 17 July 2024).
Ex. 10: Antonio Valente, ‘Verso primo sopra dell’Ut’, bb. 1–8, from Versi spirituali sopra tutte le note (Naples, 1580), 1.
Ex. 11: Antonio Valente,‘Verso sesto sopra il Re’, bb. 1–5, from Versi spirituali sopra tutte le note (Naples, 1580), 30.
Ex. 12: Antonio Valente, ‘Verso quarto sopra il Re’, bb. 1–13, from Versi spirituali sopra tutte le note (Naples, 1580), 23.
Ex. 13: Adriano Willaert, ‘Ricercare I’ from Musica nova (Venice, 1540) / Musicque de joye (Lyon, [1544]), bb. 1–10.
Ex. 14
Ex. 15: ‘Accadenzie di Gabriel Fattorini’ from Diruta, Seconda parte del Transilvano (Venice, 1609), lib. ii, p. 19.
Why Should One Build an Archicembalo? An Attempt at a Response According to Nicola Vicentino
Fig. 1: Reconstruction of Vicentino’s arciorgano by ‘Studio31’ and Bernhard Fleig, Basel 2016 (Photo: Susanna Drescher).
Fig. 2: Reconstruction of the clavemusicum omnitonum by ‘Studio31’ and Markus Krebs, Schaffhausen 2016 (Photo: Susanna Drescher).
Fig. 3: Portrait of Nicola Vicentino dei Vicentini at the age of 44; frontispiece of Vicentino, L’antica musica, fol. [A1v].
Fig. 4: Titlepage of Vicentino, L’antica musica, fol. [A1r].
Fig. 5: CAD drawing of the assembled woodcuts for the keyboard of the archicembalo from the appendix of Vicentino, L’antica musica by ‘Vicentino21’ (Jacqueline Benzinger, Architekturbüro Werner Keller).
Fig. 6: ‘arbore delle proportoni & delle diuisioni’ in Vicentino, L’antica musica, I.42 (fol. 26v).
Fig. 7: ‘tutte le consonanze di B fa b mi quinto discendenti con tutte le sue propinque & propinquissime, & il simile di B mi quinto ascendente per una Ottaua’, in Vicentino, L’antica musica, V.38 (fol. 118v) in the edition of Vicentino21: a) digital representation of the original music example and b) transcription in modern notation and clefs with c) video of the presentation on the arciorgano (Johannes Keller – Vicentino21).
Fig. 8: Advertising sheet of the arciorgano, Venice 1561 (Museo internazionale e biblioteca della musica di Bologna, C.32).
Alessandro Fabri and his Pupils: Protagonists of the Art of the ‘Zimbararo’ in Naples
Fig. 1: Alessandro Fabri, Rectangular Spinet (Naples, 1598), Tagliavini Collection, Bologna (Photo: Catalina Vicens, @Museo di San Colombano – Collezione Tagliavini, Genus Bononiae).
Fig. 2: Church of Monteoliveto, Organ, prospect of the facade, 1607, Naples (Photo: F. Nocerino).
Fig. 3: ASN, Notai del Cinquecento, scheda 437 (notaio Lutio Capezzuto), protocollo 24, 10 febbraio 1609, fol 102v–104r.
Fig. 4: Persons in Fabri’s workshop. Image: Francesco Nocerino.
Fig. 5: Construction diagram of the Sambuca lincea; Fabio Colonna, La sambuca lincea, overo dell’istromento musico perfetto lib. III (Naples: Vitali, 1618), p. 77, <https://mdz-nbn-resolving.de/details:bsb10162265> (accessed on 17 July 2024).
Stringed Keyboard Instruments at the Courts of the Austrian Habsburgs in the Sixteenth Century – the ‘Italian Perspective’
Fig. 1: Spinettino (Italy, second half of the 16th century), Kunsthistorisches Museum, Vienna [KHM], Inv. no. SAM 121, <http://www.khm.at/de/object/84815/> (accessed on 27 August 2024).
Sofonisba Anguissola at the Keyboard: Performance of Transgressive Musical Knowledge and Artistic Skill*
Fig. 1: Sofonisba Anguissola, Autoritratto alla spinetta (1554/55), oil on canvas, Naples, Museo di Capodimonte, Inv. no. Q358, <https://commons.wikimedia.org/wiki/File:Autoritratto_alla_spinetta,_Sofonisba_Anguissola_001.JPG?uselang=it> (accessed on 24 August 2024).
Fig. 2: Sofonisba Anguissola, Self-Portrait (c. 1556), oil (?) on parchment, 8.3 x 6.4 cm, Museum of Fine Arts, Boston, Inv. no. 60.155, <https://collections.mfa.org/objects/33656> (accessed on 24 August 2024).
Fig. 3: Sofonisba Anguissola, Self-Portrait (1554), 19.5 x 14.5 cm, Kunst-historisches Museum Wien, Gemäldegalerie, Inv. no. 285, <http://www.khm.at/de/object/66/> (accessed on 24 August 2024).
Fig. 4: Sofonisba Anguissola, Self-Portrait at the Easel (c. 1556), oil on canvas, 65.5 x 59 cm, Muzeum-Zamek, Łańcucie.
Fig. 5: Sofonisba Anguissola, Autoritratto alla spinetta (c. 1559), 81 x 63 cm, Althorp, Earl of Spencer Collection, CC0 1.0, Wikimedia Commons, photo: Bibliothèque Nationale de France (accessed on 26 August 2024).
Fig. 6: Virginal / arpicordo of Eleanora della Rovere (Italy, 1540), Metropolitan Museum of Art, New York, Acc. no. 53.6a, b, <https://www.metmuseum.org/art/collection/search/503043> (accessed on 26 August 2024).
Appearance and Prestige: Phenomena of Keyboard Instrument Decoration in the Sixteenth Century
Fig. 1: Master of the Female Half-Lengths, Lady Playing a Clavichord, 1530, oil/wood, 44 x 31 cm, National Museum in Poznan, FR 442 / Mo 115; <https://commons.wikimedia.org/wiki/File:Master_of_Fem ale_Half_Lengths_Lady.jpg> (accessed on 4 August 2025).
Fig. 2: Catharina van Hemessen, Girl at the Virginal, 1548, oil/wood, 30.5 x 24.3 cm, Wallraf-Richartz-Museum, Cologne, WRM 0654; <https://commons.wikimedia.org/wiki/Category:Young_woman_playing_a_virginal_by_Catharina_van_Hemessen?uselang=de> (accessed on 4 March 2025).
Fig. 3: Frans Floris, Portrait of the Family van Berchem, 1561, oil/wood, 130 x 227 cm, Stadsmuseum Lier, 0052; <https://commons.wikimedia.org/wiki/File:Frans_Floris_002.jpg> (accessed on 4 March 2025).
Fig. 4: Marten de Vos, Apollo and the Muses, c.1570 (?), oil/wood, 44.5 x 63.5 cm, Royal Museums of Fine Arts of Belgium, 3882; <https://de.wikipedia.org/wiki/Datei:Apollo_and_the_Muses_by_Marten_de_Vos_(1570).jpg> (accessed on 4 March 2025).
Fig. 5: Lavinia Fontana, Self-Portrait at the Clavichord with a Servant, 1577, oil/canvas, 27 x 23.8 cm, Accademia Nazionale di San Luca, Rome, 743; <https://commons.wikimedia.org/wiki/File:Lavinia_Fontana_-_Self-Portrait_at_the_Spinet_-_WGA07985.jpg> (accessed on 4 March 2025).
Fig. 6: Federico Zucchero, Man at the Claveçin, 1564, pencil, 15.4 x 22 cm, Louvre, Paris, 4576; <http://arts-graphiques.louvre.fr/detail/oeuvres/5/101833-Un-homme-debout-ecoutant-un-musicien-jouant-du-clavecin-max> (accessed on 27 February 2025).
Fig. 7: Wall frieze at the Casa Giorgione, 1504, Castelfranco Veneto (Photo: H. Pollerus).
Fig. 8: Sebastian Virdung, Musica getutscht und ausgezogen, [Basel] [Michael Furter] [1511] (vdm: 3); <http://resolver.staatsbibliothek-berlin.de/SBB0001444100000000> (accessed on 27 February 2025).
Fig. 9: Anon., People Dancing and Making Music, c. 1560–70, pen, brown ink and wash/paper, 17.2 x 29.5 cm, National Galleries of Scotland, D665; <https://www.nationalgalleries.org/art-and-artists/14199/study-lid-harpsichord-people-dancing-and-making-musicc> (accessed on 4 March 2025).
Fig. 10: Franciscus Bonafinis (?), Virginal, converted into a tangent piano, Metropolitan Museum of Art, New York, 89.4.2765; <http://metmuseum.org/art/collection/search/505225> (accessed on 27 February 2025).
Fig. 11: Girolamo Romanino, Pegasus and the Muses, 1540, oil/wood, 38 x 115.4 cm, National Gallery, London, NG3093; <https://www.nationalgallery.org.uk/paintings/possibly-by-girolamo-romanino-pegasus-and-the-muses> (accessed on 4 March 2025).
Fig. 12: Annibale (and Agostino?) Carracci, Silenus Gathering Grapes, part 1, 1597–1600, oil/wood, 54.5 x 88.5 cm, National Gallery London, NG93.1; <https://www.nationalgallery.org.uk/paintings/annibale-carracci-silenus-gathering-grapes – painting-group-info> (accessed on 4 March 2025).
Fig. 13: Annibale (and Agostino?) Carracci, Silenus Gathering Grapes, part 2, 1597–1600, oil/wood, 54.5 x 88.5 cm, National Gallery London, NG93.2; <https://www.nationalgallery.org.uk/paintings/annibale-carracci-young-satyr-gathering-grapes> (accessed on 4 March 2025).
Fig. 14: Annibale (and Agostino?) Carracci, Silenus Gathering Grapes, 1597–1600, photograph of its reworked state; <http://catalogo.fondazionezeri.unibo.it/scheda/fotografia/106921/National%20Gallery%252C%20London%25C2%25A0%25E2%2580%2594%25C2%25A0Carracci%20Annibale%20-%20sec.%20XVI%20XVII%20-%20Sileno%20coglie%20grappoli%20d%2527uva> (accessed on 4 March 2025).
Fig. 15: Hieronymus Francken II (?), Venetian Dancers with Commedia dell Arte Troupe, c. 1600, oil/wood, 41.2 x 64.7 cm, Suermondt-Ludwig-Museum Aachen, GK 159; <https://commons.wikimedia.org/wiki/File:Hieronymus_Francken_I_-_Carnival_in_Venice.jpg#file> (accessed on 4 March 2025).
Fig. 16: Bartholomäus Spranger, Contest between Apollo and Pan, c. 1587, oil/wood, 39.8 x 132.5 cm, Bayerische Staatsgemäldesammlungen (on permanent loan to the Germanisches Nationalmuseum Nuremberg, Gm 1100); <https://www.sammlung.pinakothek.de/en/artwork/jpxeyknxJ7> (accessed on 4 March 2025).
Fig. 17: Anon., Octavo Virginal, 1540, Venice, Metropolitan Museum of Art, New York, 53.6a,b; <https://www.metmuseum.org/art/collection/search/503043> (accessed on 4 March 2025).
Fig. 18: Anon., Virginal, 1595–1605, Augsburg?, Staatliches Institut für Musikforschung, Musikinstrumenten Museum Berlin, 2217; <https://smb.museum-digital.de/singleimage?resourcenr=582405> (accessed on 4 March 2025).
Fig. 19: Lorenz Stöer, Geometria et Perspectiva (Augsburg: Hans Rogel d. Ä., 1567) (VD16 S 9209), fol. [7r]; <https://mdz-nbn-resolving.de/details:bsb11216116> (accessed 4 March 2025).
Fig. 20: Anon., The Glass Virginal,c. 1600, Victoria and Albert Museum, 402-1872; <https://collections.vam.ac.uk/item/O58892/the-glass-virginal-virginal-unknown/> (accessed on 4 March 2025).
Fig. 21: Ioannes Ruckers, Double Virginal, c. 1600, Comune di Milano – Museo degli Strumenti Musicali, 595; <https://g.co/arts/Z5DcBk9cxxgFDrDCA> (accessed on 4 March 2025).
Fig. 22: Hans Ruckers the Elder, Double Virginal, 1581, Metropolitan Museum of Art New York, 29.90; <https://www.metmuseum.org/art/collection/search/503676> (accessed on 4 March 2025).
Fig. 23: Marten van der Biest, Double Virginal, 1580, Germanisches Nationalmuseum Nuremberg; <http://objektkatalog.gnm.de/objekt/MI85> (accessed on 4 March 2025).
Fig. 24: Johannes Grouwels, Virginal, c. 1580, Musical Instrument Museum, Brussels, 2929; <https://carmentis.be/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=106117&viewType=detailView> (accessed 4 March 2025).
Fig. 25: Lodewjk Theewes, Claviorgan, 1579, Victoria and Albert Museum, 125EE-1890; <https://collections.vam.ac.uk/item/O60635/the-theewes-claviorgan-claviorgan-theewes-lodewyk/ – image 1> (accessed on 4 March 2025).
Fig. 26: Lodewjk Theewes, Claviorgan, 1579, Victoria and Albert Museum, 125EE-1890, lid; <https://collections.vam.ac.uk/item/O60635/the-theewes-claviorgan-claviorgan-theewes-lodewyk/ – image 2> (accessed on 4 March 2025).
Fig. 27: Virgil Solis, Playing Cards, Nuremberg c. 1550, etching/paper, 9.3 x 6 cm, British Museum London, 1854, 1113.207; <https://www.britishmuseum.org/collection/object/P_1854-1113-207> (accessed on 4 March 2025).
Fig. 28: Vito Trasuntino, Harpsichord, 1560, Berlin Musical Instrument Museum, 806 (Photo: H. Pollerus).
Fig. 29: Francesco de Portalupi, Virginal, 1523, Musée de la Musique Paris, E.3/C.313; <https://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0130476> (accessed 4 March 2025).
Fig. 30: Benedetto Floriani, Virginal, 1571, Grassi Museum, Leipzig, 33 (Photo: H. Pollerus).
Fig. 31: Giovanni Antonio Baffo, Harpsichord, 1574, Victoria and Albert Museum, 6007:1 to 3-1859; <https://collections.vam.ac.uk/item/O58982/baffo-harpsichord-harpsichord-baffo-giovanni-antonio/?carousel-image=2006AY2277> (accessed on 4 March 2025).
Fig. 32: Anon., Virginal, 1540, Metropolitan Museum of Art, New York, 53.6a,b; <https://www.metmuseum.org/art/collection/search/503043> (accessed on 4 March 2025).
Fig. 33: Anon., Virginal, 16th century, Musée de la Musique, Paris, E.4; <https://mimo-international.com/media/CM/IMAGE/CMIM000030589.jpg?_ga=2.265543375.1395436086.1658768689-146864436.1616342545> (accessed 4 March 2025).
Fig. 34: Ioannes Ruckers, Virginal, 1598, Musée de la Musique, Paris, E.979.2.6; <https://commons.wikimedia.org/wiki/File:VirginalRuckers.JPG> (accessed on 4 March 2025).
Fig. 35: Lodewijk Theewes, Virginal, c. 1570, National Museums of Scotland, Edinburgh; currently at Saint Cecilia’s Hall, Edinburgh, 4336; <https://collections.ed.ac.uk/stcecilias/record/96086> (accessed on 4 March 2025).
Fig. 36: Jost Karest, Virginal, 1548, Musical Instrument Museum, Brussels, 1587; <https://www.carmentis.be:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=106055&viewType=detailView> (accessed 4 March 2025).
Fig. 37: Anon., Virginal, 1568, Victoria and Albert Museum, 447:1-1896; <https://collections.vam.ac.uk/item/O368610/virginals-unknown/> (accessed on 4 March 2025).
Fig. 38: Giovanni Francesco Antegnati (?), Virginal, c. 1550, Victoria and Albert Museum, 490:1 to 3-1899; <https://collections.vam.ac.uk/item/O58893/virginal-antegnati-giovanni-francesco/> (accessed on 4 March 2025).
Fig. 39: Jacopo Robusti Tintoretto, The Contest between the Muses and Pierides, c. 1555, oil/wood, 46 x 91 cm, Museo di Castelvecchio Verona, Pallucchini-Rossi Cat. 102; <https://commons.wikimedia.org/wiki/File:Jacopo_tintoretto,_contesa_tra_le_muse_e_le_pieridi.jpg> (accessed on 4 March 2025).
Fig. 40: Albrecht Dürer after Andrea Mantegna, Bacchanal with Silenius, 1494, pen/paper, 29.8 x 43.3 cm, Albertina Museum, Vienna, 3060; <https://sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[3060]&showtype=record> (accessed on 4 March 2025).
Fig. 41: Annibale Carracci, The Drunken Silenus. Design for the ‘Tazza Farnese’, 1599–1600, ink, washed/paper, 25.6 x 25.5 cm, Metropolitan Museum of Art, New York, 1972.133.4; <https://www.metmuseum.org/art/collection/search/338417> (accessed on 4 March 2025).
Fig. 42: Annibale Carracci, Triumphal Procession of Bacchus and Ariadne, ceiling fresco of the Galleria Farnese, c. 1600, Rome; <https://commons.wikimedia.org/wiki/File:Rome_Palazzo_Farnese_ceiling_Carracci_frescos_04.jpg> (accessed on 4 March 2025).
Fig. 43: Annibale Carracci, Two Young Satyrs Picking Grapes, c. 1597–1600, pen and chalk/paper, 23 x 39.9 cm, Städel Museum, Frankfurt, 4272; <https://www.staedelmuseum.de/go/ds/4272z> (accessed on 4 March 2025).
Fig. 44: Annibale Carracci, Marsyas and Olympus, 1597–1600, oil/wood, 34.4 x 84.2 cm, National Gallery, London, NG94; <https://www.nationalgallery.org.uk/paintings/annibale-carracci-marsyas-and-olympus> (accessed on 4 March 2025).
Fig. 45: Annibale Carracci, Flute-Playing Cupid and Silenus in an Arcadian landscape, c. 1597–1600, pen and chalk washed/paper, 10.8 x 23.6 cm, Städel Museum Frankfurt, 642; <https://www.staedelmuseum.de/go/ds/462z> (accessed on 4 March 2025).
Fig. 46: Annibale Carracci, Bacchus, chalk/paper, Royal Collection, Windsor, RCIN 901784; <https://www.rct.uk/collection/search#/8/collection/901784> (accessed on 4 March 2025).
Fig. 47: Annibale Carracci, Seated Silen, 1595/99, pierre noir/paper, 27.3 x 23.5 cm, Louvre, Paris, 7338r; <http://arts-graphiques.louvre.fr/detail/oeuvres/3/4256-Silene-assis-max> (accessed on 4 March 2025).
Fig. 48: Ancient copy after Heliodorus, Pan and Daphnis, c. 100 BC, marble, National Archaeological Museum, Naples, 6329; <https://commons.wikimedia.org/wiki/File:Ottův_slovn%C3%ADk_naučný_-_obrázek_č._2999.JPG> (accessed on 4 March 2025).
Fig. 49: Dioskourides, Apollo, Marsyas and Olympus, 1st century BC, carnelian, 4 x 3.4 cm, National Archaeological Museum, Naples, 26051; <https://commons.wikimedia.org/wiki/File:Seal_of_Nero.jpg> (accessed on 4 March 2025).
Fig. 50: School of Girolamo Romano, Pan and Daphnis, c. 1500–50, oil/wood, 24.8 x 18.7 cm, Old Masters Picture Gallery, Dresden, 104; <https://skd-online-collection.skd.museum/Details/Index/295152> (accessed on 4 March 2025).
Fig. 51: Sandro Botticelli, Idealised Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph), 1480–85, mixed technique/wood, 81.3 x 54 cm, Städel Museum, Frankfurt, 936; <https://staedelmuseum.de/go/ds/936> (accessed on 4 March 2025).
Fig. 52: Angelo Bronzino, The Flaying of Marsyas, 1531/32 (?), oil/canvas (transferred from panel), 48 x 119 cm, Hermitage Museum, St. Petersburg, 250; <https://commons.wikimedia.org/wiki/File:Angelo_Bronzino_-_Sfida_tra_apollo_e_marsia.jpg> (accessed on 4 March 2025).
Fig. 53: Giulio Sanuto after Angelo Bronzino, Apollo and Marsyas, 1562, copperplate engraving, 51.5 x 125 cm, Rijksmuseum, Amsterdam, RP-P-1999-115; <https://id.rijksmuseum.nl/200483956> (accessed on 4 March 2025).
Fig. 54: Angelo Bronzino, Midas, red chalk study, 25.4 x 18 cm, Louvre, Paris, 5923v; <http://arts-graphiques.louvre.fr/detail/oeuvres/8/233759-Etude-pour-le-roi-Midas-max> (accessed on 4 March 2025).
Fig. 55: Angelo Bronzino, Marsyas, red chalk study, 25.4 x 18 cm, Louvre, Paris, 5923r; <http://arts-graphiques.louvre.fr/detail/oeuvres/7/8299-Jeune-homme-nu-assis-jouant-de-la-flute-de-Pan-et-etude-dun-genou-max> (accessed on 4 March 2025).
Fig. 56: Angelo Bronzino (?), The Contest between Apollo and Marsyas, 1531/32 (?), oil/wood, 82 x 122.5 cm, private collection, New York; <http://www.iconos.it/le-metamorfosi-di-ovidio/libro-vi/apollo-e-marsia/immagini/43-apollo-e-marsia/> (accessed on 4 March 2025).
Fig. 57: Angelo Bronzino (?), The Contest between Apollo and Marsyas, 1531/32 (?), oil/canvas, 82.5 x 127 cm, Collezione Giorgio Baratti; <https://artrabbit.com/events/timelessness-rose-king-galleries> (accessed on 4 March 2025).
Fig. 58: Marcantonio Raimondi, The Apollo Belvedere, 1510–27, copperplate engraving, 29.1 x 16.2 cm, Metropolitan Museum of Art, New York, 49.97.114; <https://www.metmuseum.org/art/collection/search/342605> (accessed on 4 March 2025).
Fig. 59: Dominicus Pisaurensis, Virginal 1566, Germanisches Nationalmuseum, Nuremberg, MIR 1086 (Photo: H. Pollerus).
Fig. 60: Raphael, Parnassus, Stanze del Vaticano, 1511, fresco, Rome; <https://commons.wikimedia.org/wiki/File:Parnaso_02.jpg> (accessed on 4 March 2025).
Fig. 61: Marcantonio Raimondi after Raphael, Parnassus, 1517–20, copperplate engraving, 34.4 x 46.4 cm, Rijksmuseum, Amsterdam, RP-P-OB-12.130; <https://id.rijksmuseum.nl/200123922> (accessed on 4 March 2025).
Fig. 62: Giovanni Baffo, Harpsichord, 1574, Victoria and Albert Museum, 6007-1859; <https://collections.vam.ac.uk/item/O58982/baffo-harpsichord-harpsichord-baffo-giovanni-antonio/?carousel-image=2009BY8531> (accessed on 4 March 2025).
Fig. 63: Giorgio Ghisi after Luca Penni, Apollo and the Muses, c. 1557, copperplate engraving, 33 x 41.5 cm, Metropolitan Museum of Art, New York, 49.95.11; <https://www.metmuseum.org/art/collection/search/367534> (accessed on 4 March 2025).
Fig. 64: Hans Ruckers, Virginal, 1583, Musée de la Musique, Paris, E.986.12; <https://commons.wikimedia.org/wiki/File:Virginale_%28Musée_de_la_musique,_Philharmonie_de_Paris%29_%2816147420450%29.jpg> (accessed on 4 March 2025).
Fig. 65: Bruneto Veronensis, Virginal, 1564, Germanisches Nationalmuseum, Nuremberg, MIR 1082; <http://objektkatalog.gnm.de/objekt/MIR1082> (accessed on 4 March 2025).
Fig. 66: Donatus de Undeis, Virginal, 1590, Germanisches Nationalmuseum, Nuremberg, MIR 1087; <http://objektkatalog.gnm.de/objekt/MIR1087> (accessed on 4 March 2025).)
Fig. 67: Anon., Clavichord, 16th century, Musée de la Musique, Paris, E.2111; <https://commons.wikimedia.org/wiki/File:Clavicorde_Lépante.JPG> (accessed on 4 March 2025).
Fig. 68: Anon., The Battle of Lepanto, late 16th century, oil/canvas, 127 x 232.4 cm, National Maritime Museum, London, BHC0261; <https://www.rmg.co.uk/collections/objects/rmgc-object-11753> (accessed on 4 March 2025).
Fig. 69: Alessandro Fabri, Rectangular Spinet (Naples, 1598), Tagliavini Collection, Bologna (Photo: Catalina Vicens, @Museo di San Colombano – Collezione Tagliavini, Genus Bononiae)
Fig. 70: Joseph Salodiensis, Harpsichord, 1559/80, Kunsthistorisches Museum, Vienna, SAM 630 (Photo: H. Pollerus).
Fig. 71: Joseph Salodiensis, Harpsichord, front cover, 1559/80, Kunsthistorisches Museum, Vienna, SAM 630 (Photo: H. Pollerus).
Fig. 72: Titian, Sacred and Profane Love, 1515, oil/canvas, 118 x 278 cm, Galleria Borghese, Rome, 147; <https://commons.wikimedia.org/wiki/File:Tizian_029.jpg?uselang=de> (accessed on 4 March 2025).
Fig. 73: Jan Sadeler I after Dirck Barendsz, Mankind before the Flood, 1581–5, coloured copperplate engraving, 34.7 x 44.7 cm, The British Museum, London; <https://www.britishmuseum.org/collection/object/P_D-5-61> (accessed on 4 March 2025).
Fig. 74: Tintoretto, Music-Making Women, after 1566, oil/canvas, 142 x 214 cm, Old Masters Picture Gallery, Dresden, 265; <https://www.skd.museum/programm/alle-macht-der-imagination-tschechische-saison-in-dresden/boehmische-spuren-in-der-gemaeldegalerie-alte-meister/#c32896> (accessed on 4 March 2025).
Fig. 75: Lodewijk Grouwels, Double Virginal, 1600, Metropolitan Museum of Art, New York, 89.4.1196; <https://www.metmuseum.org/art/collection/search/501767> (accessed on 4 March 2025).
Fig. 76: Anon., Harpsichord, c. 1540, Museum für Kunst und Gewerbe Hamburg, 2000.501, in: Andreas Beurmann, Historische Tasteninstrumente (Munich, 2000), p. xx.
Fig. 77: Anon., Harpsichord, rose, c. 1540, Museum für Kunst und Gewerbe Hamburg, 2000.501, in: Andreas Beurmann, Historische Tasteninstrumente (Munich, 2000), p. xx.
Fig. 78: Hans Ruckers, Double Virginal, 1581, Metropolitan Museum of Art, New York, 29.90; <https://www.metmuseum.org/art/collection/search/503676> (accessed on 4 March 2025).
Fig. 79: Hans Ruckers, Virginal, 1583, Musée de la Musique Paris, E.986.1.2; <https://mimo-international.com/media/CM/IMAGE/CMIM000023490.jpg?_ga=2.221891676.552757129.1659460502-146864436.1616342545> (accessed on 4 March 2025).
Fig. 80: Anon., Virginal, 17th century, Musical Instrument Museum, Brussels, 1579, in: Heidelinde Pollerus, Tasteninstrumente als kunsthistorische Objekte (Graz/Vienna, 2018), 190.
Fig. 81: Dominicus Pisaurensis, Harpsichord, rose, 1533, Grassi-Museum Leipzig, 67 (Photo: H. Pollerus).
Fig. 82: Cathédrale Notre-Dame d’Amiens, 13th century, from: Georg Streng, Das Rosettenmotiv in der Kunst- und Kulturgeschichte (Munich, 1918), 47.
Fig. 83: Peter Paul Rubens and Jan Brueghel the Elder, Madonna and Child in a Wreath of Flowers, c.1618, oil/wood, 185 x 209.8 cm, Alte Pinakothek, Munich, 331; <https://www.sammlung.pinakothek.de/de/artwork/QrLW9oV4NO> (accessed on 4 March 2025).
Fig. 84: Hans Ruckers, Combination Instrument, 1594, Kunstgewerbemuseum Berlin (Köpenick), K 6439
(Photo: H. Pollerus).
Fig. 85: Ioannes Ruckers, Harpsichord, 1639, Victoria and Albert Museum, 1739–1869; <https://collections.vam.ac.uk/item/O169594/harpsichord-ruckers-ioannes/?carousel-image=2017JX0134> (accessed on 4 March 2025).
Fig. 86: Anon., Virginal, c. 1580, Beurmann Collection, Museum für Kunst und Gewerbe Hamburg, 2000.504 (Photo: H. Pollerus).
Fig. 87: Dominicus Pisaurensis, Clavichord, 16th century, Musée de la Musique, Paris, E.1608/C.1485; <https://collectionsdumusee.philharmoniedeparis.fr/collectionsdumusee/doc/MUSEE/0157969/clavicorde> (accessed on 4 March 2025).
Fig. 88: Hans Ruckers, Double Virginal, 1581, Metropolitan Museum of Art, New York, 29.90; <https://www.metmuseum.org/art/collection/search/503676> (accessed on 4 March 2025).
Fig. 89: Hans Ruckers, Virginal, 1583, Musée de la Musique, Paris, E.986.1.2; <https://collectionsdumusee.philharmoniedeparis.fr/collectionsdumusee/doc/MUSEE/0130260/virginale-a-la-quinte> (accessed on 4 March 2025).
Bassi ostinati and Ornamental Formulas in the Intabolatura nova di varie sorte de balli, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute
Fig. 1: Title-page of the Intabolatura nova (Venice, 1551) (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 2: ‘Paß’e mezzo nuovo’ from the Intabolatura nova (Venice, 1551), fols. 1v-2r (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 3: Tavola delli balli of the Intabolatura nova (Venice, 1551), fol. 25v (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 4: Tavola di balli in: I-Vnm, Ms. it. Cl. IV, n. 1227 (coll. 11699), fol. 1r and fol. 1v (su concessione del Ministero della Cultura – Biblioteca Nazionale Marciana. Divieto di riproduzione).
Fig. 5: Recurring figurations type A.
Fig. 6: Recurring figurations type B.
Fig. 7: Ascending passages, as they appear in Paß’e mezo antico primo and secondo.
Fig. 8: Descending passages, as they appear in Paß’e mezo antico terzo.
Fig. 9: ‘Clausulas en G sol re ut’ from Tratado de glosas by Diego Ortiz (Rome, 1553), fol. 14v (line 4) (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 10: ‘Mezzo Groppo’ from Breve et facile maniera d’esercitarsi by Giovanni Luca Conforti (Rome [1593]), fol. 25r (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 11: ‘Clausulas en B fa ♮ mi’ from Tratado de glosas by Diego Ortiz (Rome, 1553), fol. 8v (last line).
Fig. 12: Table of dances of the Intabolatura by Iulio Abondante (Venice, 1546), p. [33].
Fig. 13: Table from the Intabolatura de lauto by Dominico Bianchini (Venice, 1546), p. 29 (su concessione del Ministero della Cultura – Biblioteca Nazionale Marciana. Divieto di riproduzione).
Fig. 14: Table from the Intabolatura de lauto by Antonio Rotta (Venice, 1546), fol. 52v (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 15: Bass of the ‘Recercada ottava’ from Tratado de glosas by Diego Ortiz (Rome, 1553), fol. 59v (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
Fig. 16: ‘La cara cossa’, in: I-Vnm Ms. it. Cl. IV, n. 1227 (coll. 11699), fol. 7r-v (su concessione del Ministero della Cultura – Biblioteca Nazionale Marciana. Divieto di riproduzione).
Fig. 17: ‘La cara cossa’, in: Intabolatura de lauto by Dominico Bianchini (Venice, 1546), p. 14 (su concessione del Ministero della Cultura – Biblioteca Nazionale Marciana. Divieto di riproduzione).
Fig. 18: ‘Gagliarda La chara cossa’, in: Intabolatura by Iulio Abondante (Venice, 1546), p. 13.
Ex. 1: ‘La cara cossa’, in: Intabolatura de lauto by Dominico Bianchini (Venice, 1546). Transcription: Vania dal Maso.
Ex. 2: ‘Gagliarda La chara cossa’, in: Intabolatura by Iulio Abondante (Venice, 1546). Transcription: Vania dal Maso.
Fig. 19: ‘Gamba gagliarda’, in: Intabolatura nova (Venice 1551), fols. 6v-7r (© Museo internazionale e biblioteca della musica di Bologna, <http://www.museibologna.it/musica>).
A Glimpse into the World of Antonio Valente, cieco Napoletano
Fig. 1: Antonio Valente, Intavolatura de cimbalo (Naples, 1576), frontispiece.
Fig. 2: Giulio Cesare Capaccio, Il Forastiero (Naples, 1634), frontispiece.
Fig. 3: Carlo Celano, Notitie del bello, dell’antico e del curioso della città di Napoli (Naples: Giacomo Raillard, 1692),frontispiece.
Fig. 4: Antonio Valente, Intavolatura de cimbalo (Naples, 1576), from the preface by Frat’Alberto Mazza, p. iii.
Fig. 5: Antonio Valente, Intavolatura de cimbalo (Naples, 1576), ‘La Romanesca con cinque mutanze’, p. 85 [75].
Fig. 6: Virginale Rucellai, rosetta (Photo: P. Erdas).
Fig. 7: Virginale Rucellai, ivory decoration (Photo: P. Erdas).
Fig. 8: Cembalo Sansevero, nameboard recto (Photo: P. Erdas).
Fig. 9: Cembalo Sansevero, nameboard verso (Photo: P. Erdas).
Andrea Gabrieli and the Venetian colorito
Fig. 1: Jean-Paul Sartre, ‘Le séquestré de Venise’, in: Situations IV (Paris, 1964), 291.
Fig. 2: Jacopo Tintoretto or Domenico Tintoretto, Apollo and the Muses (c. 1580), Indianapolis Museum of Art, Indiana, Inv. no. 2014.82, <https://collections.discovernewfields.org/art/artwork/76671> (accessed on 20 July 2024).
Fig. 3aand b: Paolo Veronese, Costume Studies for Sophocles’ ‘Oedipus Tyrannus’ (recto and verso) (c. 1584–85), J. Paul Getty Museum, Los Angeles, Inv. no. 91.GG.3, <https://www.getty.edu/art/collection/object/103R50> (accessed on 20 July 2024).
Fig. 4: Jacopo or Domenico Tintoretto, Female Concert (after 1566), Gemäldegalerie Alte Meister, Dresden, Inv. no. 265, <https://www.skd.museum/programm/alle-macht-der-imagination-tschechische-saison-in-dresden/boehmische-spuren-in-der-gemaeldegalerie-alte-meister/#c32896> (accessed on 20 July 2024).
Fig. 5: ‘Quando lieta ver noi’, in: Andrea Gabrieli, Il primo libro de madrigali a cinque voci (Venice: Angelo Gardano, 1566), canto partbook, p. 8, <https://books.google.at/books?id=N5h_MW-Ri7wC&printsec=frontcover&hl=de – v=onepage&q&f=false> (accessed on 20 July 2024).
Fig. 6: Marietta Robusti, La Tintoretta, Self-Portrait (c. 1578), Corridoio Vasariano, Galleria degli Uffizi, Florence, Inv. no. 1890n.1898, <https://www.uffizi.it/opere/autoritratto-con-madrigale-marietta-robusti> (accessed on 20 July 2024).
Fig. 7: Jacopo or Domenico Tintoretto, Susanna bathing / Susanna and the Elders (c. 1555/56), Kunsthistorisches Museum, Vienna, Inv. no. Gemäldegalerie 1530, <http://www.khm.at/de/object/1564/> (accessed on 20 July 2024).
Fig. 8: Paolo Veronese, Susanna and the Elders, Musée du Louvre, Paris, Inv. no. INV 137 MR 388, <https://collections.louvre.fr/ark:/53355/cl010061271> (accessed on 20 July 2024).
Fig. 9: ‘Toccata seconda’, in: Claudio Merulo, Toccate d’intavolatura d’organo […] libro primo (Rome: Simone Verovio, 1598), pp. 4–6, <https://mdz-nbn-resolving.de/details:bsb00094272> (accessed on 20 July 2024).
Fig. 10 ‘[Intonazione] Quarto Tono’,in: Andrea Gabrieli, Intoniationi d’organo […] libro primo (Venice: Antonio Gardano, 1593), fol 13v–15r, <https://doi.org/10.3931/e-rara-102883>(accessed on 20 July 2024).
Fig. 11: Paolo Veronese, Lucretia (c. 1582/83), Kunsthistorisches Museum, Vienna, Inv. no. Gemäldegalerie 1561, <http://www.khm.at/en/object/389/> (accessed on 20 July 2024).
