{"id":8562,"date":"2026-07-06T15:01:50","date_gmt":"2026-07-06T13:01:50","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8562"},"modified":"2026-07-06T15:44:31","modified_gmt":"2026-07-06T13:44:31","slug":"mdwp017-019","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp017-019\/","title":{"rendered":"List of Figures and Examples"},"content":{"rendered":"<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: inherit;\n  }<\/p>\n<p>table p {\n      margin: 0;\n    }\n  th, td {\n    padding: 8px;\n    text-align: left;\n    vertical-align: top;\n  }\n  thead tr {\n    background-color: #e0e0e0;\n }\n  th {\n    text-transform: none;\n  }<\/p>\n<p>td ol {\n  margin: 0 !important;\n  padding-left: 0; \n}<\/p>\n<p>td li {\n  margin: 0;\n}<\/p>\n<p>table.abbrev {\n    border-collapse: collapse;\n    margin-bottom: 1.5em;\nborder: none !important;\n}<\/p>\n<p>table.abbrev td {\n    vertical-align: top;\n    padding: 0.1em 0;\nborder: none !important;\n}<\/p>\n<p>table.abbrev td:first-child {\n    width: 10em;     \n    padding-right: 1.5em;\n    white-space: nowrap;\n}<\/p>\n<\/style>\n<p><\/head><\/p>\n<p>&nbsp;<br \/>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-018\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-020\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<h4>Further Notions of Notation<\/span>: Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca.&#160;1600<\/h4>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;1a\u2013d: 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).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) The passage for which Mencoboni used his nose in performance: Giovanni Maria Trabaci, \u2018Toccata Prima \u00e0 Quattro\u2019, mm.&#160;32\u201337, transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci<\/em> (Naples, 1615), facs. repr. (Florence, 1984), 82\u20134.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) Ascanio Mayone, \u2018Canzon Francese terza\u2019, mm.&#160;34\u201335, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples: Constantino Vitale, 1603), 22\u20136, &lt;<span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/501050<\/span>&gt; (accessed on 31&#160;Oct. 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">c) Giovanni de Macque, \u2018Partite sopra Ruggiero di Gio. Macque\u2019, mm.&#160;68\u201374, transcribed from GB-Lbl Add. 30491, fol.&#160;4<span class=\"Hochgestellt\">v<\/span>-6<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">d) Ascanio Mayone et al., \u2018lo mi son giovinetta del Ferabosco diminuito per sonare da Scipione Stella, Gio. Dom. Montella, Ascanio Mayone\u2019, mm.&#160;9\u201311, transcribed from Mayone, <em>Secondo libro di diversi capricci per sonare <\/em>(Naples: Giovanni Battista Gargano &amp; Lucretio Nucci, 1609), 68\u201378, &lt;<span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/462582<\/span>&gt; (accessed on 31&#160;Oct. 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;2a\u2013b: Two excerpts demonstrating the extent of alteration in elaborate intabulations.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) Anon. intabulation (bottom staves) of Alessandro Striggio\u2019s \u2018Nasce la pena mia\u2019 (top staves), mm.&#160;22\u201325, in: I-Fl Ms. Acquisti e Doni&#160;641, fol.&#160;25<span class=\"Hochgestellt\">v<\/span>\u201328<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) Anon. intabulation of Lassus\u2019 \u2018Susanne un jour\u2019 (<em>Susanna<\/em>), mm.&#160;34\u201336, in: I-TRmp [n.s.] (\u2018Feininger manuscript\u2019), fol.&#160;39<span class=\"Hochgestellt\">v<\/span>\u201344<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;3: Anon. intabulation, entitled \u2018Verso 6 tuono d. Trabace\u2019, of the \u2018Verso Nono, Sesto Tono\u2019, mm.&#160;1\u20138,from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), 69. Intabulation (bottom staves), transcribed from I-Nc Ms. Mus. st. 48, fol.&#160;33<span class=\"Hochgestellt\">v<\/span>. Red arrows show the contour of the original voice leading in instances in which the <em>intavolatura <\/em>obscures it. The upper staves are transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), facs. repr. (Florence, 1984), 69.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;4a\u2013d: Anon. intabulation of Frescobaldi\u2019s <em>Capriccio sopra un soggetto <\/em>(1624), transcribed from I-RAc MS Classense 545 (bottom staves), fol.&#160;27<span class=\"Hochgestellt\">r<\/span>\u201330<span class=\"Hochgestellt\">v<\/span>. Top staves transcribed from Frescobaldi, <em>II primo libro di capricci<\/em> [\u2026]<em> in partitura <\/em>(Rome: Luca Antonio Soldi, 1624), 69\u201377, &lt;<span class=\"Hyperlink\">https:\/\/www.museibologna.it\/musica\/viewschedatwbca\/&amp;path=\/images\/ripro\/gaspari\/_Z\/Z170\/<\/span>&gt; (accessed on 10&#160;Oct. 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) mm.&#160;14\u201315. The red box highlights the use of a tie to clarify voice leading, which is ordinarily hidden by <em>intavolatura <\/em>practice.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) mm.&#160;54\u201355. The bottom box highlights a large interval in one hand, wider than usually seen in <em>intavolatura<\/em> practice; arrows show the contour of the original voices. The upper boxes show notes removed from the tablature.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">c) mm.&#160;60\u201363. 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 <em>e<\/em><span class=\"ts_italic_Hochgestellt\">1<\/span> (red box) is the opening note of the <em>soggetto<\/em>, which is omitted in the intabulation.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">d) mm.&#160;38\u201344. 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 <em>intavolatura<\/em>, while the purple arrows highlight the \u2018fictitious\u2019 tablature parts. &#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;5a\u2013b: lntabulations by Bertoldo, of ricercars by Padovano.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) Bottom staves transcribed from Sperindio Bertoldo, <em>Ricercar del Primo Tuono<\/em>, mm.&#160;14\u201319,in: Bertoldo, <em>Toccate, ricercari et canzoni francese <\/em>(Venice, 1591), 15\u20139. Top staves transcribed from Annibale Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice, 1556).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) Bottom staves transcribed from Sperindio Bertoldo, <em>Ricercar del Terzo Tuono<\/em>, mm.&#160;12\u201313,in: Bertoldo, <em>Toccate, ricercari et canzoni francese <\/em>(Venice, 1591), 20\u20133. Top staves transcribed from Annibale Padovano, <em>Il primo libro de ricercari a quattro voci<\/em> (Venice, 1556).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;6: Giovanni de Macque, \u2018Capriccio di Gio. De Macque, sopra r\u00e8 f\u00e0 mi sol\u2019, mm.&#160;16\u201323, transcribed from Gb-LB Add 30491, fol.&#160;23<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex. 7a\u2013b: Detabulations of Macque\u2019s Capriccio from Ex. 6&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;7a: A literal detabulation of Macque\u2019s <em>Capriccio<\/em>, from Ex.&#160;6. Due to the conventions of intavolatura, the two <em>soggetti<\/em> appear to be in separate voices; in detabulating, I have made sure that a given instance of a <em>soggetto<\/em> remained in the same voice. Apart from that concession, I have transcribed the parts literally from the tablature.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;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).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;8a\u2013b: Trabaci, \u2018Capriccio sopra la, fa, sol, la\u2019, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), 63\u20136. 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.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) mm.&#160;20\u201326&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) mm.&#160;53\u201355&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex. 9a\u2013c: Mayone, Toccatas&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;9a: Ascanio Mayone, \u2018Toccata terza\u2019, mm.&#160;67\u201373, transcribed from Mayone, <em>Secondo libro di diversi capricci per sonare<\/em> (Naples, 1609), facs. repr. (Florence, 1984), 99\u2013110. 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 <em>intavolatura<\/em>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;9b: Anon., [Toccata], mm.&#160;4\u20138, in: I-TRmp [n.s.], fol.&#160;45<span class=\"Hochgestellt\">v<\/span>-46<span class=\"Hochgestellt\">r<\/span>. Transcribed from Italian keyboard <em>intavolatura<\/em>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;9c: Ascanio Mayone, \u2018Toccata prima\u2019, mm.&#160;20\u201324, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 39\u201343. Transcribed into modern keyboard notation from open score.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;9d: Anon., \u2018Toccata piena\u2019, mm.&#160;17\u201320, in: I-TRmp [n.s.], fol.&#160;11<span class=\"Hochgestellt\">v<\/span>-13<span class=\"Hochgestellt\">r<\/span>. Transcribed from Italian keyboard <em>intavolatura<\/em>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;10: Broken-chord figuration in Giovanni Maria Trabaci, \u2018lo mi son giovinetto\u2019, mm.&#160;13\u201314, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), 117\u201322.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;11a\u2013c: A common falling-third diminution figure seen in ltalian intabulations and arrangements ca.&#160;1600. Also, see previous example.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) Ascanio Mayone, \u2018Ancidetemi pur\u2019, mm.&#160;14\u201315, transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 31\u20138.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) Anon., \u2018Nasce la pena mia\u2019, m.&#160;34, transcribed from I-FI Ms. Acquisti e Doni 641, fol.&#160;25<span class=\"Hochgestellt\">v<\/span>\u201328<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">c) Anon., \u2018Susanna\u2019, m.&#160;39, transcribed from I-TRmp [n.s.], fol.&#160;39<span class=\"Hochgestellt\">v<\/span>\u201344<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;12a\u2013b: Giovanni Maria Trabaci, \u2018lo mi son giovinetto\u2019, transcribed from Trabaci, <em>Ricercate canzone francese capricci <\/em>[\u2026]<em> libro primo<\/em> (Naples, 1603), facs. repr. (Florence, 1984), 63\u20136.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">a) mm.&#160;6\u20137&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">b) mm.&#160;41\u201346&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;13a: Ascanio Mayone, \u2018Ancidetemi pur\u2019, mm.&#160;5\u20136, (bottom staves), transcribed from Mayone, <em>Primo libro di diversi capricci per sonare<\/em> (Naples, 1603), 31\u20138. Colored rectangles show the rearrangement of material between parts.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;13b: Giovanni Maria Trabaci, \u2018Ancidetemi pur, Per l\u2019Arpa\u2019, mm.&#160;10\u201312, (bottom staves), transcribed from Trabaci, <em>Il secondo libro de ricercate, &amp; altri varij capricci <\/em>(Naples, 1615), facs. repr. (Florence, 1984), 126\u2013132.&#160;&#160;<\/p>\n<h4>Hacking the System II<\/span>: Notational Conventions in Early Sixteenth Century Printed Italian Keyboard <span class=\"bold_italic\">Intavolature<\/span><\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Girolamo Diruta, <em>Il Transilvano <\/em>(Venezia, 1593), fol.&#160;5<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Andrea Antico, \u2018Hor chel ciel e la terra B[artolomeo]. T[romboncino].\u2019, <em>Frottole intabulate da sonare organi libro primo<\/em> (Rome: Andrea Antico, 1517), fol.&#160;36<span class=\"Hochgestellt\">v<\/span>. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: Andrea Antico, \u2018Che debbio fare B[artolomeo]. T[romboncino].\u2019 <em>Frottole intabulate da sonare organi libro primo <\/em>(Rome, 1517), fol.&#160;12<span class=\"Hochgestellt\">r<\/span>. Collection of the National Museum of the Czech Republic, National Museum Library, Nostic gg 19.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;1: \u2018Che debbio far B[artolomeo]. T[romboncino].\u2019 Score of the choir-book version from <em>Frottole libro septimo<\/em> (Venice: Ottavio Petrucci, 1507), fol.&#160;13<span class=\"Hochgestellt\">v<\/span>\u201314<span class=\"Hochgestellt\">r<\/span> (RISM 1507\u00b3) and the intabulation from <em>Frottole intabulate da sonare organi libro primo <\/em>(Rome, 1517), fol.&#160;12<span class=\"Hochgestellt\">r<\/span> (see Fig.&#160;3).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;[Aiii<span class=\"Hochgestellt\">v<\/span>].&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;Aii<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;2: Standard <em>cantizans<\/em> cadence figurations in the 1523 print&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: Marcoantonio da Bologna, \u2018Recercare primo\u2019, <em>Recerchari motetti canzoni<\/em> [\u2026] <em>libro primo<\/em> (Venezia, 1523), fol.&#160;B<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: Girolamo Cavazzoni, \u2018Recercar IIII\u2019, <em>Intavolatura cioe recercari canzoni himni magnificat<\/em> (Venice, 1543), [D ii<span class=\"Hochgestellt\">v<\/span>]. Museo internazionale e biblioteca della musica di Bologna S411.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: Girolamo Cavazzoni, \u2018Credo cardinalis\u2019, <em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em> (Venice, [154?]), fol. C<span class=\"Hochgestellt\">r<\/span>. Museo internazionale e biblioteca della musica di Bologna, S411.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;9: Girolamo Cavazzoni , \u2018Missa Dominicalis Chirie primus\u2019, <em>Intabulatura dorgano, cioe misse himni magnificat <\/em>[\u2026] <em>libro secondo<\/em> (Venice, [154?]), fol. D<span class=\"Hochgestellt\">r<\/span>. Museo internazionale e biblioteca della musica di Bologna S411.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;10: Jacques Buus, \u2018Recercar primo\u2019, <em>Intabolatura d\u2019organo di recerari di M. Giaques Buus<\/em> (Venice, 1549), fol.&#160;Aii<span class=\"Hochgestellt\">r<\/span>. Library of the Brussels Conservatories, B-Bc 26.671.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;3: Jacques Buus, \u2018Recercar primo\u2019: comparison of the partbook version and the <em>intavolatura<\/em>, mm.&#160;6\u201317.&#160;&#160;<\/p>\n<h4>The Rhetoric of Invertible Counterpoint<\/span> in the Sixteenth Century: Between Keyboard Pedagogy and Performance Practice<\/h4>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;1: Theme from Johann Sebastian Bach, <em>Toccata<\/em> (BWV 913).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;2: Adriano Banchieri, \u2018Sonata ottava, in aria francese\u2019 from <em>L\u2019Organo suonarino<\/em> (Venice, 1605), 36\u20137.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;3: Invertible counterpoint in the two cadences (Banchieri, \u2018Sonata ottava in aria francese\u2019), bb.&#160;5 and 9.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Frontispiece of Hernando de Cabez\u00f3n, <em>Obras de m\u00fasica<\/em> (Madrid, 1578).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;4: Antonio de Cabez\u00f3n, First \u2018Duo\u2019 from <em>Obras de m\u00fasica<\/em> (Madrid, 1578), fol.&#160;1<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Diego Ortiz, <em>Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones \/ El primo libro<\/em> [\u2026] <em>nel qual si tratta delle glosse sopra le cadenze &amp; altre sorte de punti in la musica del violone<\/em> (Rome: Valerio &amp; Luigi Dorico, 1553), table of contents, fol&#160;4<span class=\"Hochgestellt\">r<\/span>, &lt;http:\/\/bdh-rd.bne.es\/viewer.vm?id=0000037748&gt; (accessed on 17 July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;5: \u2018Duo\u2019 from Tom\u00e1s de Santa Mar\u00eda,<em> Libro llamado arte de ta\u00f1er fantas\u00eda<\/em>, i, fol.&#160;54<span class=\"Hochgestellt\">v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;6: Antonio de Cabez\u00f3n, \u2018Fabordon del primer tono\u2019 from <em>Obras de m\u00fasica<\/em> (Madrid, 1578), fol.&#160;13<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;7: Antonio de Cabez\u00f3n, \u2018Fabordon del primer tono\u2019 [\u2018Glosado con el contrabaxo\u2019] from <em>Obras de m\u00fasica<\/em> (Madrid, 1578), fols.&#160;13<span class=\"Hochgestellt\">r-v<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;8: Andrea Gabrieli, \u2018Canzon ariosa\u2019, bb.&#160;1\u201310, from <em>Il terzo libro de ricercari<\/em> (Venice: Angelo Gardano, 1596) fol.&#160;30<span class=\"Hochgestellt\">r-v <\/span>(author\u2019s transcription), &lt;https:\/\/doi.org\/10.3931\/e-rara-55399&gt; (accessed on 27&#160;August 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;9: Andrea Gabrieli, \u2018Ricercare del quinto tono\u2019, bb.&#160;1\u201316, from <em>Ricercari di Andrea Gabrieli<\/em> [\u2026] <em>libro secondo<\/em> (Venice: Angelo Gardano, 1595), fol.&#160;17<span class=\"Hochgestellt\">v<\/span> (author\u2019s transcription), &lt;https:\/\/doi.org\/10.3931\/e-rara-56111&gt; (accessed on 17&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;10: Antonio Valente, \u2018Verso primo sopra dell\u2019Ut\u2019, bb.&#160;1\u20138, from <em>Versi spirituali sopra tutte le note <\/em>(Naples, 1580), 1.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;11: Antonio Valente,\u2018Verso sesto sopra il Re\u2019, bb.&#160;1\u20135, from <em>Versi spirituali sopra tutte le note<\/em> (Naples, 1580), 30.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;12: Antonio Valente, \u2018Verso quarto sopra il Re\u2019, bb.&#160;1\u201313, from <em>Versi spirituali sopra tutte le note <\/em>(Naples, 1580), 23.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;13: Adriano Willaert, \u2018Ricercare&#160;I\u2019 from <em>Musica nova<\/em> (Venice, 1540) \/ <em>Musicque de joye<\/em> (Lyon, [1544]), bb.&#160;1\u201310.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;14&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;15: \u2018Accadenzie di Gabriel Fattorini\u2019 from Diruta, <em>Seconda parte del Transilvano<\/em> (Venice, 1609), lib.&#160;ii, p.&#160;19.&#160;&#160;<\/p>\n<h4>Why Should One Build an Archicembalo?<\/span> An Attempt at a Response According to Nicola Vicentino<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Reconstruction of Vicentino\u2019s <em>arciorgano<\/em> by \u2018Studio31\u2019 and Bernhard Fleig, Basel 2016 (Photo: Susanna Drescher).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Reconstruction of the <em>clavemusicum omnitonum<\/em> by \u2018Studio31\u2019 and Markus Krebs, Schaffhausen 2016 (Photo: Susanna Drescher).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: Portrait of Nicola Vicentino dei Vicentini at the age of 44; frontispiece of Vicentino, <em>L\u2019antica musica<\/em>, fol.&#160;[A1<span class=\"Hochgestellt\">v<\/span>].&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Titlepage of Vicentino, <em>L\u2019antica musica<\/em>, fol.&#160;[A1<span class=\"Hochgestellt\">r<\/span>].&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: CAD drawing of the assembled woodcuts for the keyboard of the <em>archicembalo<\/em> from the appendix of Vicentino, <em>L\u2019antica musica<\/em> by \u2018Vicentino21\u2019 (Jacqueline Benzinger, Architekturb\u00fcro Werner Keller).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: \u2018arbore delle proportoni &amp; delle diuisioni\u2019 in Vicentino, <em>L\u2019antica musica<\/em>, I.42 (fol.&#160;26<span class=\"Hochgestellt\">v<\/span>).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: \u2018tutte le consonanze di B fa b mi quinto discendenti con tutte le sue propinque &amp; propinquissime, &amp; il simile di B mi quinto ascendente per una Ottaua\u2019, in Vicentino, <em>L\u2019antica musica<\/em>, V.38 (fol. 118<span class=\"Hochgestellt\">v<\/span>) in the edition of <em>Vicentino21<\/em>: a) digital representation of the original music example and b) transcription in modern notation and clefs with c) video of the presentation on the <em>arciorgano<\/em> (Johannes Keller \u2013 Vicentino21).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: Advertising sheet of the <em>arciorgano<\/em>, Venice 1561 (Museo internazionale e biblioteca della musica di Bologna, C.32).&#160;&#160;<\/p>\n<h4>Alessandro Fabri and his Pupils<\/span>: Protagonists of the Art of the \u2018Zimbararo\u2019 in Naples<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Alessandro Fabri, <em>Rectangular Spinet<\/em> (Naples, 1598), Tagliavini Collection, Bologna (Photo: Catalina Vicens, @Museo di San Colombano \u2013 Collezione Tagliavini, Genus Bononiae).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Church of Monteoliveto, <em>Organ<\/em>, prospect of the facade, 1607, Naples (Photo: F.&#160;Nocerino).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: ASN, Notai del Cinquecento, scheda 437 (notaio Lutio Capezzuto), protocollo 24, 10&#160;febbraio 1609, fol&#160;102<span class=\"Hochgestellt\">v<\/span>\u2013104<span class=\"Hochgestellt\">r<\/span>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Persons in Fabri\u2019s workshop. Image: Francesco Nocerino.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Construction diagram of the <em>Sambuca lincea<\/em>; Fabio Colonna, <em>La sambuca lincea, overo dell\u2019istromento musico perfetto lib. III<\/em> (Naples: Vitali, 1618), p.&#160;77, &lt;https:\/\/mdz-nbn-resolving.de\/details:bsb10162265&gt; (accessed on 17&#160;July 2024).&#160;&#160;<\/p>\n<h4>Stringed Keyboard Instruments at the Courts of the Austrian Habsburgs<\/span> in the Sixteenth Century \u2013 the \u2018Italian Perspective\u2019<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig. 1: <em>Spinettino<\/em> (Italy, second half of the 16th century), Kunsthistorisches Museum, Vienna [KHM], Inv.&#160;no.&#160;SAM 121, &lt;<span class=\"Hyperlink\">http:\/\/www.khm.at\/de\/object\/84815\/<\/span>&gt; (accessed on 27&#160;August 2024).&#160;&#160;<\/p>\n<h4>Sofonisba Anguissola at the Keyboard<\/span>: Performance of Transgressive Musical Knowledge and Artistic Skill*<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Sofonisba Anguissola, <em>Autoritratto alla spinetta<\/em> (1554\/55), oil on canvas, Naples, Museo di Capodimonte, Inv.&#160;no.&#160;Q358, &lt;<span class=\"Hyperlink\">https:\/\/commons.wikimedia.org\/wiki\/File:Autoritratto_alla_spinetta,_Sofonisba_Anguissola_001.JPG?uselang=it<\/span>&gt; (accessed on 24&#160;August 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Sofonisba Anguissola, <em>Self-Portrait<\/em> (c.&#160;1556), oil (?) on parchment, 8.3 x 6.4&#160;cm, Museum of Fine Arts, Boston, Inv.&#160;no.&#160;60.155, &lt;<span class=\"Hyperlink\">https:\/\/collections.mfa.org\/objects\/33656<\/span>&gt; (accessed on 24&#160;August 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: Sofonisba Anguissola, <em>Self-Portrait<\/em> (1554), 19.5 x 14.5&#160;cm, Kunst&#173;&#173;-historisches Museum Wien, Gem\u00e4lde&#173;&#173;&#173;&#173;&#173;galerie, Inv.&#160;no.&#160;285, &lt;<span class=\"Hyperlink\">http:\/\/www.khm.at\/de\/object\/66\/<\/span>&gt; (ac&#173;ces&#173;&#173;&#173;sed on 24&#160;August 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Sofonisba Anguissola, <em>Self-Portrait at the Easel<\/em> (c.&#160;1556), oil on canvas, 65.5 x 59&#160;cm, Muzeum-Zamek, \u0141a\u0144cucie.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Sofonisba Anguissola, <em>Autoritratto alla spinetta<\/em> (c.&#160;1559), 81 x 63&#160;cm, Althorp, Earl of Spencer Collection, CC0 1.0, <span class=\"Hyperlink\">Wikimedia Commons<\/span>, photo: Biblioth\u00e8que Nationale de France (accessed on 26&#160;August 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: Virginal \/ arpicordo of Eleanora della Rovere (Italy, 1540), Metropolitan Museum of Art, New York, Acc.&#160;no.&#160;53.6a, b, &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503043&gt; (ac&#173;cessed on 26&#160;August 2024).&#160;&#160;<\/p>\n<h4>Appearance and Prestige<\/span>: Phenomena of Keyboard Instrument Decoration in the Sixteenth Century<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Master of the Female Half-Lengths, <em>Lady Playing a Clavichord<\/em>, 1530, oil\/wood, 44 x 31&#160;cm, National Museum in Poznan, FR 442 \/ Mo 115; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Master_of_Fem ale_Half_Lengths_Lady.jpg&gt; (accessed on 4&#160;August 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Catharina van Hemessen, <em>Girl at the Virginal, <\/em>1548, oil\/wood, 30.5 x 24.3&#160;cm, Wallraf-Richartz-Museum, Cologne, WRM 0654; &lt;https:\/\/commons.wikimedia.org\/wiki\/Category:Young_woman_playing_a_virginal_by_Catharina_van_Hemessen?uselang=de&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: Frans Floris, <em>Portrait of the Family van Berchem<\/em>, 1561, oil\/wood, 130 x 227&#160;cm, Stadsmuseum Lier, 0052; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Frans_Floris_002.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Marten de Vos, <em>Apollo and the Muses,<\/em> c.1570 (?), oil\/wood, 44.5 x 63.5&#160;cm, Royal Museums of Fine Arts of Belgium, 3882; &lt;https:\/\/de.wikipedia.org\/wiki\/Datei:Apollo_and_the_Muses_by_Marten_de_Vos_(1570).jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Lavinia Fontana, <em>Self-Portrait at the Clavichord with a Servant<\/em>, 1577, oil\/canvas, 27 x 23.8&#160;cm, Accademia Nazionale di San Luca, Rome, 743; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Lavinia_Fontana_-_Self-Portrait_at_the_Spinet_-_WGA07985.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: Federico Zucchero, <em>Man at the Clave\u00e7in<\/em>, 1564, pencil, 15.4 x 22&#160;cm, Louvre, Paris, 4576; &lt;http:\/\/arts-graphiques.louvre.fr\/detail\/oeuvres\/5\/101833-Un-homme-debout-ecoutant-un-musicien-jouant-du-clavecin-max&gt; (accessed on 27&#160;February 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: Wall frieze at the Casa Giorgione, 1504, Castelfranco Veneto (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: Sebastian Virdung, <em>Musica getutscht und ausgezogen<\/em>, [Basel] [Michael Furter] [1511] (vdm: 3); &lt;http:\/\/resolver.staatsbibliothek-berlin.de\/SBB0001444100000000&gt; (accessed on 27&#160;February 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;9: Anon., <em>People Dancing and Making Music, <\/em>c.&#160;1560\u201370, pen, brown ink and wash\/paper, 17.2 x 29.5&#160;cm, National Galleries of Scotland, D665; &lt;https:\/\/www.nationalgalleries.org\/art-and-artists\/14199\/study-lid-harpsichord-people-dancing-and-making-musicc&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;10: Franciscus Bonafinis (?), <em>Virginal<\/em>, converted into a tangent piano, Metropolitan Museum of Art, New York, 89.4.2765; &lt;http:\/\/metmuseum.org\/art\/collection\/search\/505225&gt; (accessed on 27&#160;February 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;11: Girolamo Romanino, <em>Pegasus and the Muses<\/em>, 1540, oil\/wood, 38 x 115.4&#160;cm, National Gallery, London, NG3093; &lt;https:\/\/www.nationalgallery.org.uk\/paintings\/possibly-by-girolamo-romanino-pegasus-and-the-muses&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;12: Annibale (and Agostino?) Carracci, <em>Silenus Gathering Grapes<\/em>, part 1, 1597\u20131600, oil\/wood, 54.5 x 88.5&#160;cm, National Gallery London, NG93.1; &lt;https:\/\/www.nationalgallery.org.uk\/paintings\/annibale-carracci-silenus-gathering-grapes &#8211; painting-group-info&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;13: Annibale (and Agostino?) Carracci, <em>Silenus Gathering Grapes<\/em>, part 2, 1597\u20131600, oil\/wood, 54.5 x 88.5&#160;cm, National Gallery London, NG93.2; &lt;https:\/\/www.nationalgallery.org.uk\/paintings\/annibale-carracci-young-satyr-gathering-grapes&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;14: Annibale (and Agostino?) Carracci, <em>Silenus Gathering Grapes<\/em>, 1597\u20131600, photograph of its reworked state; &lt;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&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;15: Hieronymus Francken&#160;II (?), <em>Venetian Dancers with Commedia dell Arte Troupe,<\/em> c.&#160;1600, oil\/wood, 41.2 x 64.7&#160;cm, Suermondt-Ludwig-Museum Aachen, GK 159; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Hieronymus_Francken_I_-_Carnival_in_Venice.jpg#file&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;16: Bartholom\u00e4us Spranger, <em>Contest between Apollo and Pan,<\/em> c.&#160;1587, oil\/wood, 39.8 x 132.5&#160;cm, Bayerische Staatsgem\u00e4ldesammlungen (on permanent loan to the Germanisches Nationalmuseum Nuremberg, Gm 1100); &lt;https:\/\/www.sammlung.pinakothek.de\/en\/artwork\/jpxeyknxJ7&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;17: Anon., <em>Octavo Virginal<\/em>, 1540, Venice, Metropolitan Museum of Art, New York, 53.6a,b; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503043&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;18: Anon., <em>Virginal<\/em>, 1595\u20131605, Augsburg?, Staatliches Institut f\u00fcr Musikforschung, Musikinstrumenten Museum Berlin, 2217; &lt;https:\/\/smb.museum-digital.de\/singleimage?resourcenr=582405&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;19: Lorenz St\u00f6er, <em>Geometria et Perspectiva<\/em> (Augsburg: Hans Rogel d.&#160;\u00c4., 1567) (VD16 S&#160;9209), fol.&#160;[7<span class=\"Hochgestellt\">r<\/span>]; &lt;https:\/\/mdz-nbn-resolving.de\/details:bsb11216116&gt; (accessed 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;20: Anon., <em>The Glass Virginal<\/em>,c.&#160;1600, Victoria and Albert Museum, 402-1872; &lt;https:\/\/collections.vam.ac.uk\/item\/O58892\/the-glass-virginal-virginal-unknown\/&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;21: Ioannes Ruckers, <em>Double Virginal<\/em>, c.&#160;1600, Comune di Milano \u2013 Museo degli Strumenti Musicali, 595; &lt;https:\/\/g.co\/arts\/Z5DcBk9cxxgFDrDCA&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;22: Hans Ruckers the Elder, <em>Double Virginal<\/em>, 1581, Metropolitan Museum of Art New York, 29.90; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503676&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;23: Marten van der Biest, <em>Double Virginal<\/em>, 1580, Germanisches Nationalmuseum Nuremberg; &lt;http:\/\/objektkatalog.gnm.de\/objekt\/MI85&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;24: Johannes Grouwels, <em>Virginal<\/em>, c.&#160;1580, Musical Instrument Museum, Brussels, 2929; &lt;https:\/\/carmentis.be\/eMP\/eMuseumPlus?service=ExternalInterface&amp;module=collection&amp;objectId=106117&amp;viewType=detailView&gt; (accessed 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;25: Lodewjk Theewes, <em>Claviorgan<\/em>, 1579, Victoria and Albert Museum, 125EE-1890; &lt;https:\/\/collections.vam.ac.uk\/item\/O60635\/the-theewes-claviorgan-claviorgan-theewes-lodewyk\/ \u2013 image&#160;1&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;26: Lodewjk Theewes, <em>Claviorgan<\/em>, 1579, Victoria and Albert Museum, 125EE-1890, lid; &lt;https:\/\/collections.vam.ac.uk\/item\/O60635\/the-theewes-claviorgan-claviorgan-theewes-lodewyk\/ \u2013 image&#160;2&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;27: Virgil Solis, <em>Playing Cards<\/em>, Nuremberg c.&#160;1550, etching\/paper, 9.3 x 6&#160;cm, British Museum London, 1854, 1113.207; &lt;https:\/\/www.britishmuseum.org\/collection\/object\/P_1854-1113-207&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;28: Vito Trasuntino, <em>Harpsichord<\/em>, 1560, Berlin Musical Instrument Museum, 806 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;29: Francesco de Portalupi, <em>Virginal<\/em>, 1523, Mus\u00e9e de la Musique Paris, E.3\/C.313; &lt;https:\/\/collectionsdumusee.philharmoniedeparis.fr\/doc\/MUSEE\/0130476&gt; (accessed 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;30: Benedetto Floriani, <em>Virginal<\/em>, 1571, Grassi Museum, Leipzig, 33 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;31: Giovanni Antonio Baffo, <em>Harpsichord<\/em>, 1574, Victoria and Albert Museum, 6007:1 to 3-1859; &lt;https:\/\/collections.vam.ac.uk\/item\/O58982\/baffo-harpsichord-harpsichord-baffo-giovanni-antonio\/?carousel-image=2006AY2277&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;32: Anon., <em>Virginal<\/em>, 1540, Metropolitan Museum of Art, New York, 53.6a,b; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503043&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;33: Anon., <em>Virginal<\/em>, 16th century, Mus\u00e9e de la Musique, Paris, E.4; &lt;https:\/\/mimo-international.com\/media\/CM\/IMAGE\/CMIM000030589.jpg?_ga=2.265543375.1395436086.1658768689-146864436.1616342545&gt; (accessed 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;34: Ioannes Ruckers, <em>Virginal<\/em>, 1598, Mus\u00e9e de la Musique, Paris, E.979.2.6; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:VirginalRuckers.JPG&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;35: Lodewijk Theewes, <em>Virginal<\/em>, c.&#160;1570, National Museums of Scotland, Edinburgh; currently at Saint Cecilia\u2019s Hall, Edinburgh, 4336; &lt;https:\/\/collections.ed.ac.uk\/stcecilias\/record\/96086&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;36: Jost Karest, <em>Virginal<\/em>, 1548, Musical Instrument Museum, Brussels, 1587; &lt;https:\/\/www.carmentis.be:443\/eMP\/eMuseumPlus?service=ExternalInterface&amp;module=collection&amp;objectId=106055&amp;viewType=detailView&gt; (accessed 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;37: Anon., <em>Virginal<\/em>, 1568, Victoria and Albert Museum, 447:1-1896; &lt;https:\/\/collections.vam.ac.uk\/item\/O368610\/virginals-unknown\/&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;38: Giovanni Francesco Antegnati (?), <em>Virginal<\/em>, c.&#160;1550, Victoria and Albert Museum, 490:1 to 3-1899; &lt;https:\/\/collections.vam.ac.uk\/item\/O58893\/virginal-antegnati-giovanni-francesco\/&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;39: Jacopo Robusti Tintoretto, <em>The Contest between the Muses and Pierides<\/em>, c.&#160;1555, oil\/wood, 46 x 91&#160;cm, Museo di Castelvecchio Verona, Pallucchini-Rossi Cat. 102; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Jacopo_tintoretto,_contesa_tra_le_muse_e_le_pieridi.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;40: Albrecht D\u00fcrer after Andrea Mantegna, <em>Bacchanal with Silenius, <\/em>1494, pen\/paper, 29.8 x 43.3&#160;cm, Albertina Museum, Vienna, 3060; &lt;https:\/\/sammlungenonline.albertina.at\/?query=search=\/record\/objectnumbersearch=[3060]&amp;showtype=record&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;41: Annibale Carracci, <em>The Drunken Silenus. Design for the \u2018Tazza Farnese\u2019<\/em>, 1599\u20131600, ink, washed\/paper, 25.6 x 25.5&#160;cm, Metropolitan Museum of Art, New York, 1972.133.4; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/338417&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;42: Annibale Carracci, <em>Triumphal Procession of Bacchus and Ariadne<\/em>, ceiling fresco of the Galleria Farnese, c.&#160;1600, Rome; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Rome_Palazzo_Farnese_ceiling_Carracci_frescos_04.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;43: Annibale Carracci, <em>Two Young Satyrs Picking Grapes<\/em>, c.&#160;1597\u20131600, pen and chalk\/paper, 23 x 39.9&#160;cm, St\u00e4del Museum, Frankfurt, 4272; &lt;https:\/\/www.staedelmuseum.de\/go\/ds\/4272z&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;44: Annibale Carracci, <em>Marsyas and Olympus<\/em>, 1597\u20131600, oil\/wood, 34.4 x 84.2&#160;cm, National Gallery, London, NG94; &lt;https:\/\/www.nationalgallery.org.uk\/paintings\/annibale-carracci-&#173;marsyas-&#173;and-olympus&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;45: Annibale Carracci, <em>Flute-Playing Cupid and Silenus in an Arcadian landscape<\/em>, c. 1597\u20131600, pen and chalk washed\/paper, 10.8 x 23.6&#160;cm, St\u00e4del Museum Frankfurt, 642; &lt;https:\/\/www.staedelmuseum.de\/go\/ds\/462z&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;46: Annibale Carracci, <em>Bacchus, <\/em>chalk\/paper, Royal Collection, Windsor, RCIN 901784; &lt;https:\/\/www.rct.uk\/collection\/search#\/8\/collection\/901784&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;47: Annibale Carracci, <em>Seated Silen, <\/em>1595\/99, pierre noir\/paper, 27.3 x 23.5&#160;cm, Louvre, Paris, 7338r; &lt;http:\/\/arts-graphiques.louvre.fr\/detail\/oeuvres\/3\/4256-Silene-assis-max&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;48: Ancient copy after Heliodorus, <em>Pan and Daphnis<\/em>, c.&#160;100&#160;BC, marble, National Archaeological Museum, Naples, 6329; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Ott\u016fv_slovn%C3%ADk_nau\u010dn\u00fd_-_obr\u00e1zek_\u010d._2999.JPG&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;49: Dioskourides, <em>Apollo, Marsyas and Olympus, <\/em>1st century BC, carnelian, 4 x 3.4&#160;cm, National Archaeological Museum, Naples, 26051; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Seal_of_Nero.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;50: School of Girolamo Romano, <em>Pan and Daphnis<\/em>, c.&#160;1500\u201350, oil\/wood, 24.8 x 18.7&#160;cm, Old Masters Picture Gallery, Dresden, 104; &lt;https:\/\/skd-online-collection.skd.museum\/Details\/Index\/295152&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;51: Sandro Botticelli, <em>Idealised Portrait of a Lady (Portrait of Simonetta Vespucci as Nymph), <\/em>1480\u201385, mixed technique\/wood, 81.3 x 54&#160;cm, St\u00e4del Museum, Frankfurt, 936; &lt;https:\/\/staedelmuseum.de\/go\/ds\/936&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;52: Angelo Bronzino, <em>The Flaying of Marsyas, <\/em>1531\/32 (?), oil\/canvas (transferred from panel), 48 x 119&#160;cm, Hermitage Museum, St. Petersburg, 250; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Angelo_Bronzino_-_Sfida_tra_apollo_e_marsia.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;53: Giulio Sanuto after Angelo Bronzino, <em>Apollo and Marsyas<\/em>, 1562, copperplate engraving, 51.5 x 125&#160;cm, Rijksmuseum, Amsterdam, RP-P-1999-115; &lt;<span class=\"Hyperlink\">https:\/\/id.rijksmuseum.nl\/200483956<\/span>&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;54: Angelo Bronzino, <em>Midas<\/em>, red chalk study, 25.4 x 18&#160;cm, Louvre, Paris, 5923v; &lt;http:\/\/arts-graphiques.louvre.fr\/detail\/oeuvres\/8\/233759-Etude-pour-le-roi-Midas-max&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;55: Angelo Bronzino, <em>Marsyas<\/em>, red chalk study, 25.4 x 18&#160;cm, Louvre, Paris, 5923r; &lt;http:\/\/arts-graphiques.louvre.fr\/detail\/oeuvres\/7\/8299-Jeune-homme-nu-assis-jouant-de-la-flute-de-Pan-et-etude-dun-genou-max&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;56: Angelo Bronzino (?), <em>The Contest between Apollo and Marsyas<\/em>, 1531\/32 (?), oil\/wood, 82 x 122.5&#160;cm, private collection, New York; &lt;http:\/\/www.iconos.it\/le-metamorfosi-di-ovidio\/libro-vi\/apollo-e-marsia\/immagini\/43-apollo-e-marsia\/&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;57: Angelo Bronzino (?), <em>The Contest between Apollo  and Marsyas, <\/em>1531\/32 (?), oil\/canvas, 82.5 x 127&#160;cm, Collezione Giorgio Baratti; &lt;https:\/\/&#173;artrabbit.com\/events\/timelessness-rose-king-galleries&gt; (ac&#173;&#173;cessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;58: Marcantonio Raimondi, <em>The Apollo Belvedere<\/em>, 1510\u201327, copperplate engraving, 29.1 x 16.2&#160;cm, Metropolitan Museum of Art, New York, 49.97.114; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/342605&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;59: Dominicus Pisaurensis, <em>Virginal<\/em> 1566, Germanisches Nationalmuseum, Nuremberg, MIR 1086 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;60: Raphael, <em>Parnassus, Stanze del Vaticano, <\/em>1511, fresco, Rome; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Parnaso_02.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;61: Marcantonio Raimondi after Raphael, <em>Parnassus<\/em>, 1517\u201320, copperplate engraving, 34.4 x 46.4&#160;cm, Rijksmuseum, Amsterdam, RP-P-OB-12.130; &lt;https:\/\/id.rijksmuseum.nl\/200123922&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;62: Giovanni Baffo, <em>Harpsichord<\/em>, 1574, Victoria and Albert Museum, 6007-1859; &lt;https:\/\/collections.vam.ac.uk\/item\/O58982\/baffo-harpsichord-harpsichord-baffo-giovanni-antonio\/?carousel-image=2009BY8531&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;63: Giorgio Ghisi after Luca Penni, <em>Apollo and the Muses<\/em>, c.&#160;1557, copperplate engraving, 33 x 41.5&#160;cm, Metropolitan Museum of Art, New York, 49.95.11; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/367534&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;64: Hans Ruckers, <em>Virginal<\/em>, 1583, Mus\u00e9e de la Musique, Paris, E.986.12; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Virginale_%28Mus\u00e9e_de_la_musique,_Philharmonie_de_Paris%29_%2816147420450%29.jpg&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;65: Bruneto Veronensis, <em>Virginal<\/em>, 1564, Germanisches Nationalmuseum, Nuremberg, MIR 1082; &lt;http:\/\/objektkatalog.gnm.de\/objekt\/MIR1082&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;66: Donatus de Undeis, <em>Virginal<\/em>, 1590, Germanisches Nationalmuseum, Nuremberg, MIR 1087; &lt;http:\/\/objektkatalog.gnm.de\/objekt\/MIR1087&gt; (accessed on 4&#160;March 2025).)&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;67: Anon., <em>Clavichord<\/em>, 16th century, Mus\u00e9e de la Musique, Paris, E.2111; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Clavicorde_L\u00e9pante.JPG&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;68: Anon., <em>The Battle of Lepanto<\/em>, late 16th century, oil\/canvas, 127 x 232.4&#160;cm, National Maritime Museum, London, BHC0261; &lt;https:\/\/www.rmg.co.uk\/collections\/objects\/rmgc-object-11753&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;69: Alessandro Fabri, <em>Rectangular Spinet<\/em> (Naples, 1598), Tagliavini Collection, Bologna (Photo: Catalina Vicens, @Museo di San Colombano \u2013 Collezione Tagliavini, Genus Bononiae)&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;70: Joseph Salodiensis, <em>Harpsichord<\/em>, 1559\/80, Kunsthistorisches Museum, Vienna, SAM 630 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;71: Joseph Salodiensis, <em>Harpsichord<\/em>, front cover, 1559\/80, Kunsthistorisches Museum, Vienna, SAM 630 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;72: Titian, <em>Sacred and Profane Love, <\/em>1515, oil\/canvas, 118 x 278&#160;cm, Galleria Borghese, Rome, 147; &lt;https:\/\/commons.wikimedia.org\/wiki\/File:Tizian_029.jpg?uselang=de&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;73: Jan Sadeler&#160;I after Dirck Barendsz, <em>Mankind before the Flood, <\/em>1581\u20135, coloured copperplate engraving, 34.7 x 44.7&#160;cm, The British Museum, London; &lt;https:\/\/www.britishmuseum.org\/collection\/object\/P_D-5-61&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;74: Tintoretto, <em>Music-Making Women<\/em>, after 1566, oil\/canvas, 142 x 214&#160;cm, Old Masters Picture Gallery, Dresden, 265; &lt;<span class=\"Hyperlink\">https:\/\/www.skd.museum\/programm\/alle-macht-der-imagination-tschechische-saison-in-dresden\/boehmische-spuren-in-der-gemaeldegalerie-alte-meister\/#c32896<\/span>&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;75: Lodewijk Grouwels, <em>Double Virginal<\/em>, 1600, Metropolitan Museum of Art, New York, 89.4.1196; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/501767&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;76: Anon., <em>Harpsichord<\/em>, c.&#160;1540, Museum f\u00fcr Kunst und Gewerbe Hamburg, 2000.501, in: Andreas Beurmann, <em>Historische Tasteninstrumente <\/em>(Munich, 2000), p.&#160;xx.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;77: Anon., <em>Harpsichord<\/em>, rose, c.&#160;1540, Museum f\u00fcr Kunst und Gewerbe Hamburg, 2000.501, in: Andreas Beurmann, <em>Historische Tasteninstrumente <\/em>(Munich, 2000), p.&#160;xx.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;78: Hans Ruckers, <em>Double Virginal<\/em>, 1581, Metropolitan Museum of Art, New York, 29.90; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503676&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;79: Hans Ruckers, <em>Virginal<\/em>, 1583, Mus\u00e9e de la Musique Paris, E.986.1.2; &lt;https:\/\/mimo-international.com\/media\/CM\/IMAGE\/CMIM000023490.jpg?_ga=2.221891676.552757129.1659460502-146864436.1616342545&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;80: Anon., <em>Virginal<\/em>, 17th century, Musical Instrument Museum, Brussels, 1579, in: Heidelinde Pollerus, <em>Tasteninstrumente als kunsthistorische Objekte<\/em> (Graz\/Vienna, 2018), 190.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;81: Dominicus Pisaurensis, <em>Harpsichord<\/em>, rose, 1533, Grassi-Museum Leipzig, 67 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;82: Cath\u00e9drale Notre-Dame d\u2019Amiens, 13th century, from: Georg Streng, <em>Das Rosettenmotiv in der Kunst- und Kulturgeschichte <\/em>(Munich, 1918), 47.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;83: Peter Paul Rubens and Jan Brueghel the Elder, <em>Madonna and Child in a Wreath of Flowers<\/em>, c.1618, oil\/wood, 185 x 209.8&#160;cm, Alte Pinakothek, Munich, 331; &lt;https:\/\/www.sammlung.pinakothek.de\/de\/artwork\/QrLW9oV4NO&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;84: Hans Ruckers, <em>Combination Instrument<\/em>, 1594, Kunst&#173;&#173;ge&#173;&#173;werbemu&#173;seum Berlin (K\u00f6penick), K&#160;6439 &#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">(Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;85: Ioannes Ruckers, <em>Harpsichord<\/em>, 1639, Victoria and Albert Museum, 1739\u20131869; &lt;https:\/\/collections.vam.ac.uk\/item\/O169594\/harpsichord-ruckers-&#173;ioannes\/?carousel-image=2017JX0134&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;86: Anon., <em>Virginal<\/em>, c.&#160;1580, Beurmann Collection, Museum f\u00fcr Kunst und Gewerbe Hamburg, 2000.504 (Photo: H.&#160;Pollerus).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;87: Dominicus Pisaurensis, <em>Clavichord<\/em>, 16th century, Mus\u00e9e de la Musique, Paris, E.1608\/C.1485; &lt;https:\/\/collectionsdumusee.philharmoniedeparis.fr\/collectionsdumusee\/doc\/MUSEE\/0157969\/clavicorde&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;88: Hans Ruckers, <em>Double Virginal<\/em>, 1581, Metropolitan Museum of Art, New York, 29.90; &lt;https:\/\/www.metmuseum.org\/art\/collection\/search\/503676&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;89: Hans Ruckers, <em>Virginal<\/em>, 1583, Mus\u00e9e de la Musique, Paris, E.986.1.2; &lt;https:\/\/collectionsdumusee.philharmoniedeparis.fr\/collectionsdumusee\/doc\/MUSEE\/0130260\/virginale-a-la-quinte&gt; (accessed on 4&#160;March 2025).&#160;&#160;<\/p>\n<h4><span class=\"Kopfzeile\">Bassi ostinati<\/span><span class=\"Kopfzeile\"> and Ornamental Formulas<\/span> in the <span class=\"bold_italic\">Intabolatura nova di varie sorte de balli<\/span>, Venice 1551 (I-Bc R.178), and in Similar Contemporary Sources for the Lute<\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Title-page of the <em>Intabolatura nova<\/em> (Venice, 1551) (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: \u2018Pa\u00df\u2019e mezzo nuovo\u2019 from the <em>Intabolatura nova<\/em> (Venice, 1551), fols. 1<span class=\"Hochgestellt\">v<\/span>-2<span class=\"Hochgestellt\">r<\/span> (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: <em>Tavola delli balli <\/em>of the <em>Intabolatura nova<\/em> (Venice, 1551), fol.&#160;25<span class=\"Hochgestellt\">v<\/span> (\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: <em>Tavola di balli<\/em> in: I-Vnm, Ms. it. Cl. IV, n. 1227 (coll. 11699), fol.&#160;1<span class=\"Hochgestellt\">r<\/span> and fol.&#160;1<span class=\"Hochgestellt\">v<\/span> (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Recurring figurations type A.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: Recurring figurations type B.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: Ascending passages, as they appear in <em>Pa\u00df\u2019e mezo antico primo<\/em> and <em>secondo<\/em>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: Descending passages, as they appear in <em>Pa\u00df\u2019e mezo antico terzo<\/em>.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;9: \u2018Clausulas en G sol re ut\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;14<span class=\"Hochgestellt\">v<\/span> (line 4) (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;10: \u2018Mezzo Groppo\u2019 from <em>Breve et facile maniera d\u2019esercitarsi<\/em> by Giovanni Luca Conforti (Rome [1593]), fol.&#160;25<span class=\"Hochgestellt\">r <\/span>(\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;11: \u2018Clausulas en B fa <span class=\"Symbol\">\u266e<\/span> mi\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;8<span class=\"Hochgestellt\">v<\/span> (last line).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;12: Table of dances of the <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546), p.&#160;[33].&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;13: Table from the <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546), p.&#160;29 (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;14: Table from the <em>Intabolatura de lauto<\/em> by Antonio Rotta (Venice, 1546), fol.&#160;52<span class=\"Hochgestellt\">v <\/span>(\u00a9 Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;15: Bass of the \u2018Recercada ottava\u2019 from <em>Tratado de glosas <\/em>by Diego Ortiz (Rome, 1553), fol.&#160;59<span class=\"Hochgestellt\">v<\/span> (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;16: \u2018La cara cossa\u2019, in: I-Vnm Ms. it. Cl. IV, n. 1227 (coll. 11699), fol.&#160;7<span class=\"Hochgestellt\">r-v<\/span> (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;17: \u2018La cara cossa\u2019, in: <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546), p.&#160;14 (su concessione del Ministero della Cultura \u2013 Biblioteca Nazionale Marciana. Divieto di riproduzione).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;18: \u2018Gagliarda La chara cossa\u2019, in: <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546), p.&#160;13.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;1: \u2018La cara cossa\u2019, in: <em>Intabolatura de lauto<\/em> by Dominico Bianchini (Venice, 1546). Transcription: Vania dal Maso.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Ex.&#160;2: \u2018Gagliarda La chara cossa\u2019, in: <em>Intabolatura<\/em> by Iulio Abondante (Venice, 1546). Transcription: Vania dal Maso.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;19: \u2018Gamba gagliarda\u2019, in: <em>Intabolatura nova<\/em> (Venice 1551), fols. 6<span class=\"Hochgestellt\">v<\/span>-7<span class=\"Hochgestellt\">r<\/span> (\u00a9&#160;Museo internazionale e biblioteca della musica di Bologna, &lt;http:\/\/www.museibologna.it\/musica&gt;).&#160;&#160;<\/p>\n<h4>A Glimpse into the World of Antonio Valente, <\/span><span class=\"Kopfzeile\">cieco Napoletano<\/span><\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), frontispiece.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Giulio Cesare Capaccio, <em>Il Forastiero<\/em> (Naples, 1634), frontispiece.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3: Carlo Celano, <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli <\/em>(Naples: Giacomo Raillard, 1692),frontispiece.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), from the preface by Frat\u2019Alberto Mazza, p.&#160;iii.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), \u2018La Romanesca con cinque mutanze\u2019, p.&#160;85 [75].&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: <em>Virginale Rucellai<\/em>, rosetta (Photo: P.&#160;Erdas).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: <em>Virginale Rucellai<\/em>, ivory decoration (Photo: P.&#160;Erdas).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: <em>Cembalo Sansevero<\/em>, nameboard <em>recto<\/em> (Photo: P.&#160;Erdas)<em>.<\/em>&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;9: <em>Cembalo Sansevero<\/em>, nameboard <em>verso <\/em>(Photo: P.&#160;Erdas)<em>.<\/em>&#160;&#160;<\/p>\n<h4>Andrea Gabrieli and the Venetian <\/span><span class=\"Kopfzeile\">colorito<\/span><\/h4>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;1: Jean-Paul Sartre, \u2018Le s\u00e9questr\u00e9 de Venise\u2019, in: <em>Situations IV <\/em>(Paris, 1964), 291.&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;2: Jacopo Tintoretto or Domenico Tintoretto, <em>Apollo and the Muses<\/em> (c.&#160;1580), Indianapolis Museum of Art, Indiana, Inv.&#160;no. 2014.82, &lt;<span class=\"Hyperlink\">https:\/\/collections.discovernewfields.org\/art\/artwork\/76671<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;3aand b: Paolo Veronese, <em>Costume Studies for Sophocles\u2019 \u2018Oedipus Tyrannus\u2019<\/em> (recto and verso) (c.&#160;1584\u201385), J.&#160;Paul Getty Museum, Los Angeles, Inv.&#160;no. 91.GG.3, &lt;<span class=\"Hyperlink\">https:\/\/www.getty.edu\/art\/collection\/object\/103R50<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;4: Jacopo or Domenico Tintoretto, <em>Female Concert <\/em>(after 1566), Gem\u00e4ldegalerie Alte Meister, Dresden, Inv.&#160;no. 265, &lt;<span class=\"Hyperlink\">https:\/\/www.skd.museum\/programm\/alle-macht-der-imagination-tschechische-saison-in-dresden\/boehmische-spuren-in-der-gemaeldegalerie-alte-meister\/&#173;&#173;#c32896<\/span>&gt; (acces&#173;sed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;5: \u2018Quando lieta ver noi\u2019, in: Andrea Gabrieli, <em>Il primo libro de madrigali a cinque voci<\/em> (Venice: Angelo Gardano, 1566), canto partbook, p.&#160;8, &lt;<span class=\"Hyperlink\">https:\/\/books.google.at\/books?id=N5h_MW-Ri7wC&amp;printsec=frontcover&amp;hl=de &#8211; v=onepage&amp;q&amp;f=false<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;6: Marietta Robusti, La Tintoretta, <em>Self-Portrait<\/em> (c.&#160;1578), Corridoio Vasariano, Galleria degli Uffizi, Florence, Inv.&#160;no.&#160;1890n.1898, &lt;<span class=\"Hyperlink\">https:\/\/www.uffizi.it\/opere\/autoritratto-con-&#173;madrigale-marietta-robusti<\/span>&gt; (ac&#173;ces&#173;sed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;7: Jacopo or Domenico Tintoretto, <em>Susanna bathing \/ Susanna and the Elders <\/em>(c.&#160;1555\/56), Kunsthistorisches Museum, Vienna, Inv.&#160;no. Gem\u00e4ldegalerie 1530, &lt;<span class=\"Hyperlink\">http:\/\/www.khm.at\/de\/object\/1564\/<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;8: Paolo Veronese, <em>Susanna and the Elders<\/em>, Mus\u00e9e du Louvre, Paris, Inv.&#160;no. INV 137 MR 388, &lt;<span class=\"Hyperlink\">https:\/\/collections.louvre.fr\/ark:\/53355\/cl010061271<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;9: \u2018Toccata seconda\u2019, in: Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Rome: Simone Verovio, 1598), pp.&#160;4\u20136, &lt;https:\/\/mdz-nbn-resolving.de\/details:bsb00094272&gt; (ac&#173;cessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;10 \u2018[Intonazione] Quarto Tono\u2019,in: Andrea Gabrieli, <em>Intoniationi d\u2019organo <\/em>[\u2026] <em>libro primo<\/em> (Venice: Antonio Gardano, 1593), fol&#160;13<span class=\"Hochgestellt\">v<\/span>\u201315<span class=\"Hochgestellt\">r<\/span>, &lt;<span class=\"Hyperlink\">https:\/\/doi.org\/10.3931\/e-rara-102883<\/span>&gt;(accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n<p class=\"Abbildungsverzeichnis\">Fig.&#160;11: Paolo Veronese, <em>Lucretia <\/em>(c.&#160;1582\/83), Kunsthistorisches Museum, Vienna, Inv.&#160;no. Gem\u00e4ldegalerie 1561, &lt;<span class=\"Hyperlink\">http:\/\/www.khm.at\/en\/object\/389\/<\/span>&gt; (accessed on 20&#160;July 2024).&#160;&#160;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Further Notions of Notation: Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca.&#160;1600 Ex.&#160;1a\u2013d: 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 &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8562","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>List of Figures and Examples &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"List of Figures and Examples &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"&nbsp; Further Notions of Notation: Performance Practice, Composition, and Notational Formats in Neapolitan Keyboard Music ca.&#160;1600 Ex.&#160;1a\u2013d: 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 &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-07-06T13:01:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-07-06T13:44:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"28 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"List of Figures and Examples\",\"datePublished\":\"2026-07-06T13:01:50+00:00\",\"dateModified\":\"2026-07-06T13:44:31+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\"},\"wordCount\":5553,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\",\"articleSection\":[\"Campagne, Grassl (eds.): Harpsichord in the Sixteenth Century II: Italy\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-019\/\",\"name\":\"List of Figures and Examples &#8211; 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