1.1 Sebastiano del Piombo, Morte di Adone (ca. 1512). Florence, Galleria degli Uffizi. Image © Wikimedia Commons (Galleria degli Uffizi) 10
2.1 Palma il Vecchio, Bathing Nymphs (ca. 1525/1528). Kunsthistorisches Museum Wien, Gemäldegalerie. Image © KHM-Museumsverband 16
2.2 Bartolommeo di Giovanni, Woodcut made for a lost Quattrocento edition of Giovanni Boccaccio’s Ninfale Fiesolano, in Virtue and Beauty. Leonardo’s Ginevra de’Benci and Renaissance Portraits of Women, exh. cat., National Gallery of Art Washington (Princeton – Oxford: 2001) 54 25
2.3 Antoine Watteau, Das Firmenschild des Kunsthändlers Gersaint (L’Enseigne) (1720). GK I 1200/1201. Image © Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Jörg P. Anders 48
3.1 Nicolaus Reusner, Picta poesis Ovidiana (Frankfurt a.M., Sigmund Feyerabend: 1580), “De Hermaphrodito”, fol. 43v; copy of the Jesuit college of Munich, Bayerische Staatsbibliothek Res/ A.lat.a 1327; urn:nbn:de:bvb:12-bsb00027986-7 66
3.2 Barthélemy Aneau, Picta poesis (1552), emblem 32. Regensburg, Staatliche Bibliothek 999/Lat.rec.362, urn:nbn:de:bvb:12-bsb11103825-2 67
3.3 Nicolaus Reusner, Emblemata (1581), III, 25, p. 136. BSB urn:nbn:de:bvb:12-bsb00087671-2 73
3.4 Laurentius Phries, Traktat der Wildbeder Natuer (Strasbourg: 1519), title page. BSB, urn:nbn:de:bvb:12-bsb10164505-6 75
3.5 Author’s portrait of Nicolaus Reusner, 1580, woodcut. BSB, urn:nbn:de:bvb:12-bsb00087671-2 77
3.6 Magdalena van de Passe, Salmacis and Hermaphroditus. Engraving (1623) after a painting by Jacob Pynas, 20,3 × 22,7 cm. Public domain. Wikimedia commons 80
3.7 Salmacis and Hermaphroditus, manuscript illumination, from: Pierre Besuire (Petrus Berchorius), Ovidius Moralizatus, French translation from the Latin original, manuscript made in Brugge, ca. 1470–1480. Paris, Bibliothèque nationale de France, MS. Français 137, fol. 49r. Gallica.bnf.fr/Bibliothèque nationale de France, Département des manuscrits, Français 137, fol. 49r 83
3.8A Salmacis and Hermaphroditus, manuscript illumination, made by an anonymous French painter, ca. 1330, from: Chrétien Legouais, Ovide Moralisé, Paris, Bibliothèque de l’Arsenal, MS. 5069 réserve, fol. 47r. Gallica.bnf.fr./Bibliothèque nationale de France, Bibliothèque de l’Arsenal, MS. 5069 réserve, fol. 47r 84
3.8B Salmacis and Hermaphroditus, manuscript illumination, ca. 1410, from: Epistre de Orthea a Hector, Harley 4431, fol. 132v. Attributed to the Master of the Cité des Dames and workshop and to the Master of the Duke of Bedford. Public domain, link http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=22613 85
3.9 Jan Gossaert, Salmacis and Hermaphroditus, ca. 1517. Oil on panel, 32,5 × 21 cm. Museum Boijmans Van Beuningen, Rotterdam / Photographer: Studio Tromp, Rotterdam 87
3.10A Francesco Albani, Salmacis and Hermaphroditus, ca. 1645. Oil on canvas, 184 × 213 cm. Turino, Galleria Sabauda, inv. no. 498 (Palace of La Venaria Reale, I quadri del re) https://commons.wikimedia.org/wiki/File:Francesco_Albani_-_Salmaci_e_Ermafrodito.jpg 89
3.10B Francesco Albani, Salmacis and Hermaphroditus, ca. 1645–1650. Oil on canvas, 60 × 74 cm. Turino, Galleria Sabauda 89
3.11 Francesco Albani, Apollo and Daphne, ca. 1615–1620. Oil on copper mounted on panel, 17,5 × 35 cm. Paris, Louvre. Wikimedia commons 92
3.12A Scarsellino, Salmacis and Hermaphroditus, between 1580 and 1595. Oil on panel, 41,5 × 56 cm. Rome, Galleria Borghese. Wikimedia public domain 93
3.12B Salmacis and Hermaphroditus. Woodcut by Pieter van der Borcht to Ovid, Metamorphoses, argumentis brevioribus ex Luctatio grammatico collectis expositae, una cum vivis singularum Transformationum iconibus in aes incisis (Antwerp, Joannes Moretus: 1591) 93
3.13A Luigi Bridi, copperplate etching (1840) of Albani’s smaller Salmacis-painting in the Galleria Sabauda, 24 × 30 cm 94
3.13B Francesco Albani, Salmacis and Hermaphroditus. Etching by Colinet of Albani’s oval oil painting, owned by Philippe II, duke of Orléans (Paris, Palais Royale), now apparently lost. From: Galerie du Palais royal, gravée d’après les Tableaux des differentes Ecoles qui la composent: avec un abrégé de la vie des peintres et une description historique de chaque tableau, par Mr. l’abbé de Fontenai, Dediée à S. A. S. Monseigneur le duc d’Orléans, premier prince du sang, par Jacques Couché, 3 vols. (Paris, Jacques Couché: 1786–1808) 94
3.14 Louis Finson of Brugge, Salmacis and Hermaphroditus, ca. 1600. Oil on panel, 50,5 × 71 cm. Auctioned 2013 95
3.15A Paulus Moreelse, Personification of Lascivia, signed and dated 1627. Oil on canvas, 100,4 × 82,2 cm. Cambridge, Fitzwilliam Museum. Wikimedia commons 96
3.15B Detail of Fig. 3.15A, the “painting in the painting”: Salmacis and Hermaphroditus 97
3.16 Moses van Uyttenbroeck, Salmacis and Hermaphroditus, 1627. Oil on panel, 43 × 66 cm. The Hague, Mauritshuis 98
3.17 Johann Wilhelm Baur, Salmacis and Hermaphroditus (made ca. 1639). Etching 13,2 × 20,7 cm. No. 40 of Baur’s Metamorphoses illustrations, Ovids Verwandlungen in 150 Kupfern dargestellt (Vienna: 1639), fol. 38r, BSB urn:nbn:de:bvb:12-bsb10872073-4 100
3.18 Michel de Marolles, Salmacis and Hermaphroditus. Etching taken from: idem, Tableaux du temple des muses tirez du cabinet de feu Mr Favereau, et gravez en tailles-douces par les meilleurs maistres de son temps pour représenter les vertus et les vices, sur les plus illustres fables de l’antiquité, avec les descriptions, remarques et annotations (Paris: 1663) 244 101
3.19 Paolo de Matteis, Salmacis and Hermaphroditus. Engraving after a painting by Paolo de Matteis (died 1728). Oil on canvas, ca. 162 × 212 cm, engraved by Antoine Louis Romanet (1742–1810), after a design by Antoine Borel (1743–1810), Paris [1786–1808], 15,7 × 20,6 cm. From: Galerie du Palais royal, gravée d’après les Tableaux des differentes Ecoles qui la composent: avec un abrégé de la vie des peintres et une description historique de chaque tableau, par Mr. l’abbé de Fontenai Dediée à S. A. S. Monseigneur le duc d’Orléans, premier prince du sang, par Jacques Couché, 3 vols. (Paris, Jacques Couché: 1786–1808) 102
3.20A Bartholomäus Spranger, Salmacis and Hermaphroditus, made 1580–1582 for the Kunstkammer of Emperor Rudolph II. Oil on canvas, 110 × 81 cm. Vienna, Kunsthistorisches Museum 106
3.20B Giambologna, Bathing Venus, ca. 1573. Marble statue, 130 cm. Florence, Boboli Gardens, Grotta del Buontalenti. Wikimedia commons 107
3.21A Paulus Moreelse, Personification of Lascivia, signed and dated 1627. Oil on canvas, 100,4 × 82,2 cm. Cambridge, Fitzwilliam Museum. Wikimedia commons 111
3.21B Detail of Fig. 3.21A (rotated 90° counterclockwise). Wikimedia commons 113
3.22 Abraham Janssens van Nuyssen I, Personification of Lascivia, ca. 1618. Oil on canvas, 118,2 × 98,4 cm. Auctioned at Christie’s in 2011. Wikimedia commons 114
3.23 Louis Finson of Brugge, Salmacis and Hermaphroditus, ca. 1600. Oil on panel, 50,5 × 71 cm. Auctioned 2013 116
3.24 Louis Finson of Brugge (?), Judith and Holofernes, Collezione Intesa Sanpaolo 117
3.25 Jan Gossaert, Venus and Cupido, 1521. Oil on panel, 32 × 24 cm. Brussels, Museum voor Schone Kunsten. Public domain. Wikimedia commons 119
3.26A Jan Gossaert, Adam and Eve, ca. 1510. Oil on panel, 56,5 × 37 cm. Madrid, Museo Thyssen-Bornemisza 122
3.26B Jan Gossaert, Salmacis and Hermaphroditus, ca. 1517. Oil on panel, 32,5 × 21 cm. Museum Boijmans Van Beuningen, Rotterdam / Photographer: Studio Tromp, Rotterdam 123
3.27 Jan Gossaert, Adam and Eve, ca. 1525. Oil on panel, 172,2 × 115,8 cm. Berlin, Staatliche Museen, Gemäldegalerie 124
3.28A Ludovico Carracci, Salmacis and Hermaphroditus, 1615. Oil on canvas, 114,3 × 151,8 cm. Private collection. Wikimedia commons 133
3.28B Francesco Albani, Salmacis and Hermaphroditus, ca. 1620–1625. Oil on panel, 14 × 31 cm. Paris, Louvre. Wikimedia commons 133
3.28BB Francesco Albani, Salmacis and Hermaphroditus. Etching and engraving after Albani’s oil painting [Fig. 28B], 8 × 17,4 cm, made between 1804 and 1815 by Antoine Michel Filhol (etching) and Claude Niquet (engraving) after a drawing by Antoine Patrice Guyot 134
3.28C Workshop of Francesco Albani, Salmacis and Hermaphroditus, early 17th century. Oil on canvas, 62,2 × 76,2 cm. Peyton Wright Gallery. Wikimedia commons 134
3.28D Samuel of Hoogstraten, Salmacis and Hermaphroditus, ca. 1670–1676. Oil on canvas, 95,7 × 75,7 cm. The Leiden Collection 136
3.28E Daniel Vertangen (ca. 1600–ca. 1683), Salmacis and Hermaphroditus. Oil on panel, 22 × 29,5 cm. Auctioned in 2014. Private Collection, present whereabouts unknown 139
3.28F Bernard Picart and his workshop (1708), Salmacis and Hermaphroditus. Etching and engraving made after a drawing by Bernard Picart, 13,8 × 14,7 cm. Amsterdam, Rijksmuseum. Public domain 139
3.29 Francesco Albani, Salmacis and Hermaphroditus, ca. 1645–1650. Oil on canvas, 60 × 74 cm. Turino, Galleria Sabauda 140
4.1 Ariadne, previously known as the Cleopatra fountain (found in 1512). Rome, Vatican Museum. Image © Alinari; MacDougall E.B., “The Sleeping Nymph: Origins of a Humanist Fountain Type”, The Art Bulletin 57, 3 (1975) 357–365, here 360, fig. 4 151
4.2 Francisco de Holanda, Drawing of the so-called Cleopatra Fountain at the Belvedere (1539). Madrid, Escorial. Image © Escorial Ms. A/E ij 8, Fol. 8; MacDougall, “The Sleeping Nymph” 360, fig. 1 152
4.3 Relief with Sleeping Nymph in the Garden of Angelo Colocci (before 1515). In Boissard Jean Jacques, Romanae Urbis Topographiae, 3 vols. (Frankfurt, Theodor de Bry: 1597–1602). Image © Rome, Bibliotheca Hertziana; Pataki Z.A., “Wechselbeziehungen zwischen Bild und Text am Beispiel von Lucas Cranachs ruhender Quellnymphe”, in Weber W. (ed.), Wissenswelten. Perspektiven der neuzeitlichen Informationskultur (Augsburg: 2003) 115–133, here 122, fig. 5 154
4.4 Francesco Colonna, Nymph Spring from the Hypnerotomachia Poliphili, fol. D. 8 (Venice: 1499). Woodcut. Image © Pataki, “Wechselbeziehungen zwischen Bild und Text” 118, fig. 3 156
4.5 Giorgione, Sleeping Venus (ca. 1508/10). Oil on canvas, 108,5 × 175 cm. Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister. Image © Bildarchiv Foto Marburg; Pataki, “Wechselbeziehungen zwischen Bild und Text” 118, fig. 2 159
4.6 Lucas Cranach the Elder, Sleeping Nymph at the Spring (ca. 1518). Oil on canvas, 59 × 92 cm. Leipzig, Museum der Bildenden Künste. Image © Leipzig, Museum der Bildende Künste; Pataki, “Wechselbeziehungen zwischen Bild und Text” 117, fig. 1 160
4.7 Albrecht Dürer, Drawing of a Sleeping Nymph at a Spring (1514). Vienna, Kunsthistorisches Museum, Kunstkammer, inv. no. 5127, fol. 35, no. L 415. Image © Vienna, Kunsthistorisches Museum; Pataki, “Wechselbeziehungen zwischen Bild und Text” 120, fig. 4 162
4.8 Michelangelo, Night (ca. 1520–1536). Marble, 155 × 150 cm. Florence, San Lorenzo, Medici Chapel. Image © Alinari; Barkan L., “The Beholder’s Tale: Ancient Sculpture, Renaissance Narratives”, Representations 44 (1993) 133–166, here 149: fig. 4 163
4.9 Vicino Orsini, Sacro Bosco with sleeping nymph (ca. 1552–1580). Bomarzo, Sacro Bosco. Image © Barbara Baert 167
5.1 Domenico Ghirlandaio, Birth of St. John the Baptist (1485–1490). Fresco painting. Florence, Santa Maria Novella, Tornabuoni Chapel. Detail. Image © Gabinetto Fotografico, Gallerie degli Uffizi 179
5.2 Right End of a Dionysian Sarcophagus (ca. 140–160 AD). Bas-relief, 38,5 × 44,5 cm. Woburn Abbey Collection. Image © Woburn Abbey Collection 181
5.3 Domenico Ghirlandaio, Birth of the Virgin (1485–1490). Fresco painting. Florence, Santa Maria Novella, Tornabuoni Chapel. Detail. Image © Gabinetto Fotografico, Gallerie degli Uffizi 183
5.4 Battista Foggini, Dovizia (1720–1722). Statue in pietra serena, copy. Florence, Piazza della Repubblica. Image © Kunsthistorisches Institut in Florenz – Max-Planck Institut 186
5.5 Della Robbia Workshop, Dovizia (ca. 1500). Glazed terracotta. Berlin, Bode Museum. Image © Kunsthistorisches Insitut in Florenz – Max-Planck Institut 186
6.1 Sandro Botticelli, La Primavera (ca. 1482). Tempera on panel. Florence, Galleria degli Uffizi. Image © Wikimedia Commons (Galleria degli Uffizi) 217
9.1 Title pages to Georg Philipp Harsdörffer – Sigmund Gottlieb Staden, Ein Geistliches Waldgedicht. Seelewig: a. Conversational game; b. Musical score, both in Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, IV. Teil, Deutsche Neudrucke. Reihe Barock 16 (Nuremberg, Wolfgang Endter: 1644; reprint Tübingen: 1968) 33 and 489; c. Libretto Wolfenbüttel, Ein Geistliches Wald-Gedicht etc. Dessen Titel heist Selewig (Wolfenbüttel, Johann and Heinrich Stern: 1654) 267
9.2 Title page to [Georg Philipp Harsdörffer – Johann Klaj], Pegnesisches Schaefergedicht, ed. K. Garber (Nuremberg, Wolfgang Endter: 1644–1645; reprint, Tübingen: 1966) 270
9.3 Copper engraving to the prologue of Georg Philipp Harsdörffer – Sigmund Gottlieb Staden, Die Tugendsterne, in Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, V. Teil, Deutsche Neudrucke, Reihe Barock 17 (Nuremberg, Wolfgang Endter: 1645; reprint Tübingen: 1969) 282 274
9.4 Copper engraving to Georg Philipp Harsdörffer – Sigmund Gottlieb Staden, Ein Geistliches Waldgedicht. Seelewig, in Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, IV. Teil, Deutsche Neudrucke, Reihe Barock 16 (Nuremberg, Wolfgang Endter: 1644; reprint, Tübingen: 1968) 82 279
9.5 Georg Philipp Harsdörffer – Sigmund Gottlieb Staden, Ein Geistliches Waldgedicht. Seelewig, in Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, IV. Teil, Deutsche Neudrucke, Reihe Barock 16 (Nuremberg, Wolfgang Endter: 1644; reprint, Tübingen: 1968) 52–53 282
9.6–7 Copper engravings to Georg Philipp Harsdörffer – Sigmund Gottlieb Staden, Ein Geistliches Waldgedicht. Seelewig, in Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, IV. Teil, Deutsche Neudrucke, Reihe Barock 16 (Nuremberg, Wolfgang Endter: 1644; reprint, Tübingen: 1968) 122, 66 283, 287
9.8 a. Emblemata of the Pegnitz Flower Society, in Johann Herdegen, Historische Nachricht von deß löblichen Hirten- und Blumen-Ordens an der Pegnitz etc. (Nuremberg, Christoph Riegel: 1744), partly ed. Mannack E., Die Pegnitz-Schäfer. Nürnberger Barockdichtung (Stuttgart: 1968) 13; b. Title illustration to Sigmund von Birken, Fortsetzung Der Pegnitz-Schäferey, ed. K. Garber (Nuremberg, Wolfgang Endter: 1644f.; reprint, Tübingen: 1966) 293
9.9 Initial copper engraving to Georg Philipp Harsdörffer, Frauenzimmer Gesprächspiele, ed. I. Böttcher, I. Teil, Deutsche Neudrucke, Reihe Barock 13 (Nuremberg, Wolfgang Endter: 21644; reprint, Tübingen: 1969) 299
10.1 Entrance hall of the Nymphaeum. Lainate, Villa Visconti Borromeo Litta 311
10.2 After the design and drawings by Francesco Brambilla, Venus and Cupid Framed by Allegories of the Seasons (1587–1589). Stucco.
10.3 Camillo Procaccini, Grotesques (1587–1589). Mosaic made of painted pebbles. Lainate, Villa Visconti Borromeo Litta, gallery hall of the Nymphaeum 312
10.4 Part of the gallery hall of the Nymphaeum. Lainate, Villa Visconti Borromeo Litta 312
10.5 Antonio Prestinari (attr.) after the design of Francesco Brambilla (attr.), Bathing Nymph (ca. 1589). White marble. Lainate, Villa Visconti Borromeo Litta, Grottos of the Nymphaeum 313
10.6 Antonio Prestinari (attr.) after the design of Francesco Brambilla (attr.), Bathing Nymph (ca. 1589). White marble. Lainate, Villa Visconti Borromeo Litta, Grottos of the Nymphaeum. Detail. Image © Archivio Isal, fotografia studio BAMSphoto Rodella 314
10.7 Antonio Prestinari (attr.) after the design of Francesco Brambilla (attr.), Bathing Nymph (ca. 1589). White marble. Lainate, Villa Visconti Borromeo Litta, Grottos of the Nymphaeum. Image © Mira Becker-Sawatzky 315
10.8 Giulio Cesare Procaccini after the design of Francesco Brambilla, Bathing Nymph (1588–1589). White marble. Lainate, Villa Visconti Borromeo Litta, Grottos of the Nymphaeum 316
10.9 Giulio Cesare Procaccini after the design of Francesco Brambilla, Bathing Nymph (1588–1589). White marble. Lainate, Villa Visconti Borromeo Litta, Grottos of the Nymphaeum 316
10.10 Gian Pietro Rizzi (called Giampietrino), Venus and Cupid (ca. 1530–1535). Oil on panel, 112 × 60 cm. Milan, private collection 320
10.11 Giovanni Bologna (Giambologna), Venus Emerging from her Bath. White marble. Florence, Giardino di Boboli, Grotta del Buontalenti 320
10.12 Antonio Allegri da Correggio (il Correggio), Lunette with the Three Graces (1519). Fresco. Parma, Convent of San Paolo 323
10.13 Camillo or Carlo Antonio Procaccini (attr.), Galatea Framed by Grotesque Ornaments (1590–1595). Fresco. Lainate, Villa Visconti Borromeo Litta, stateroom. Detail 332
10.14 Camillo or Carlo Antonio Procaccini (attr.), Galatea Framed by Grotesque Ornaments (1590–1595). Fresco. Lainate, Villa Visconti Borromeo Litta, stateroom 332
11.1 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Image © Eva-Bettina Krems 338
11.2 Diana and Actaeon. Fountain. Caserta, Reggia di Caserta. Image © Eva-Bettina Krems 339
11.3 Palace and garden. Segovia, La Granja de San Ildefonso. Image © Eva-Bettina Krems 340
11.4 Reggia di Caserta. Palace. Segovia. Image © Bildarchiv Foto Marburg 340
11.5 Nymph. Versailles, Garden, Parterre d’Eau. Image © Bildarchiv Foto Marburg 341
11.6 Jean Delagrive, Plan de Versailles, du petit parc, et de ses dependances où sont marqués les emplacemens de chaque maison de cette ville, les plans du Château, et des hôtels, et les distributions des jardins et bosquets (1746). Image © Bildarchiv Foto Marburg 342
11.7 Bassin d’Apollon. Versailles, Park. Image © Eva-Bettina Krems 343
11.8 Planta de los Jardines y Palacio del Real Sitio de San Ildefonso (1781). Biblioteca Digital de Castilla y León. Image © Bildarchiv Foto Marburg 344
11.9 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Detail. Image © Eva-Bettina Krems 345
11.10 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Detail. Image © Eva-Bettina Krems 347
11.11 François Girardon, Bains d’Apollon. Versailles. Image © Eva-Bettina Krems 350
11.12 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Detail. Image © Eva-Bettina Krems 351
11.13 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Detail: Nymph. Image © Eva-Bettina Krems 354
11.14 Garden and Cascade. Reggia di Caserta. Image © Eva-Bettina Krems 355
11.15 Diana and Actaeon. Fountain. Reggia di Caserta. Detail: Diana and her nymphs. Image © Eva-Bettina Krems 356
11.16 Diana and Actaeon. Fountain. Reggia di Caserta. Detail: Actaeon and his dogs. Image © Eva-Bettina Krems 357
11.17 Nymphenbad [Baths of the Nymphs]. Dresden. Image © Eva-Bettina Krems 359
11.18 Fountain of Fama. Segovia, La Granja de San Ildefonso. Image © Eva-Bettina Krems 361
11.19 Baths of Diana. Fountain. Segovia, La Granja de San Ildefonso. Detail: Nymphs. Image © Eva-Bettina Krems 362
11.20 Fernando Brambila, Fuente de los Baños de Diana, part of his Vistas de los Sitios Reales y Madrid (1830). Image © Bildarchiv Foto Marburg 363
11.21 Diana and Actaeon. Fountain. Reggia di Caserta. Detail: Diana and her nymphs. Image © Eva-Bettina Krems 365
11.22 Diana and Actaeon. Fountain. Reggia di Caserta. Detail: Actaeon and his dogs. Image © Eva-Bettina Krems 366
11.23 Bergpark with cascade and Hercules. Kassel-Wilhelmshöhe. Image © Bildarchiv Foto Marburg 366
11.24 Cascade with grotto. Reggia di Caserta. Image © Eva-Bettina Krems 367
12.1A–B Superius partbook from Susato, fol. xiiv–xiiir: Nimphes, nappés/Circumdederunt me, Nymphes des bois/Requiem. Copy at the British Library, Music Collections K.3.a.7. Image © Royal Holloway University Library 390, 391
13.1 Marco da Gagliano, La Flora (Florence, Zanobi Pignoni: 1628), Act IV, Scene 3, m. 151–233, ed. S. Court (Middleton: 2011) 112–115. Image © A-R Editions, Inc., Middleton, Wisconsin 2011 404
13.2 Domenico Mazzocchi, La catena d’Adone (Venice, Alessandro Vincenti: 1626), Act I, Scene 2, 13–16. Image © Museo internazionale e biblioteca della musica di Bologna 408
13.3a Claudio Monteverdi, “Madrigali guerrieri, et amorosi” (Venice, Alessandro Vincenti: 1638), beginning of Lamento della Ninfa, 54 416
13.3b Claudio Monteverdi, “Madrigali guerrieri, et amorosi” (Venice, Alessandro Vincenti: 1638), beginning of Lamento della Ninfa, 55 417
14.1 Manuscript map (17th century) of the waterways (Fossa Polesella and others) on the border between Ferrarese and Venetian territory. From: Patitucci Uggeri S., Carta Archeologica Medievale del Territorio Ferrarese, vol. 2: Le Vie d’Acque in Rapporto al Nodo Idroviario di Ferrara, Quaderni di Archeologia Medievale 5, 2 (Sesto Fiorentino: 2002) 41 433
14.2 Squacco Heron (Ardeola ralloides). Image © Fabian Fopp 437