2.1 The heuristic zones 23
5.1 Adriaen Block, Kaart van Nieuw-Nederland, benevens een gedeelte van Nova Francia en Virginia (The first map of New Netherland [now New York State], between Virginia and New France), 1614. Drawing, 0.64 × 0.49 cm. The National Archives, The Hague, 4.VEL 4.VEL Inventaris van de verzameling buitenlandse kaarten Leupe, 1584–1865, 520. © The National Archives, The Hague 109
5.2 Israël Silvestre, Gezicht op de haven van Rouen (View on the Harbour of Rouen), ca. 1657. Print, 11.8 × 20 cm. © Rijksmuseum Amsterdam 115
5.3 Helen M. James – Jane E. Cook (illustr.), Plan of the Vieux-Marché and of the Marché aux Veaux. Print, 1899. From: Cook Th.A, The Story of Rouen (London: 1899) 209. © Project Gutenberg 115
5.4 Cornelis Anthonisz, Bird’s eye view of Amsterdam, 1544 [reprint published by Ian Iansz. 1557]. Print, 10.7 × 10.9 cm. Public domain. Wikimedia commons 117
5.5 Simon Fokke, after Izaak Jansz. de Wit, after Adriaen van Nieulandt, Koppermaandag met leprozenoptocht te Amsterdam, 1604 (Copper Monday with Leper Parade in Amsterdam, 1604), 1769. Print, 19 × 25.5 cm. © Rijksmuseum Amsterdam 119
5.6 Anonymous, Welvarende calvinistische familie (Prosperous Calvinist [?] Family), 1627. Oil on panel, 22 × 19.1 cm. © Rijksmuseum Amsterdam 120
5.7 City Archives Amsterdam, Notarial Records, arch. numb. 5075, inv. numb. 590, act numb. 196357, 13 June 1619. © City Archives Amsterdam 125
5.8 Archives of North-Holland, Notary Archives Haarlem 153, f. 55v–60v [notary Jacob Schoudt], here: 55v. © Archives of North-Holland 126
5.9 Journal des illustres religieuses de l’ordre de Sainte-Ursule, avec leurs maximes, pratiques spirituelles, vol. 3 (Bourg en Bresse, chez Ioseph Ravoux, Imprimeur & Libraire: 1686) 10 127
5.10 City Archives Amsterdam, Marriage Records, arch. numb. 5001, inv. numb. 668, f. 258 (fragment). © City Archives Amsterdam 130
5.11 City Archives Amsterdam, Criminal records of Amsterdam, 20 November to 2 December 1603. arch. numb. 5061, inv. numb. 282–1602 f. 159r–160v. © City Archives Amsterdam 131
7.1 Lehrbüchermeister, Siebenhirter Hours [approx. 1470]. National Library of Sweden, MS A 225 160
7.2 Rogier van der Weyden, “Altar of the Seven Sacraments” (before 1450), painting, Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium. Erich Lessing / Art Resource, NY 163
7.3 Adriaen Isenbrandt, “The Mass of Saint Gregory the Great” (c. 1510–1550), painting, 362 mm × 292 mm. J. Paul Getty Museum 170
9.1 The number of complaints received by decade 202
10.1 Anonymous, Map of Amsterdam, 1726–1750. Engraving. © Rijksmuseum Amsterdam, Obj. number: RP-P-AO-20-55-3 215
10.2 Romeyn de Hooghe, View of the Portuguese Synagogue in Amsterdam, Amsterdam, ca. 1695. Engraving. © Rijksmuseum Amsterdam, obj. number: RP-P-AO-24-26 218
10.3 Carel Frederik Bendorp after Jan Bulthuis, Ashkenazi (Hoogduitse) Synagogue in Amsterdam, Amsterdam, ca. 1790. Engraving. © Rijksmuseum Amsterdam, obj. number: BI-B-FM-116-7 219
10.4 Romeyn de Hooghe, House of David de Pinto on Sint-Antoniesbreestraat in Amsterdam, Amsterdam, ca. 1695. Engraving. © Rijksmuseum Amsterdam, obj. number: RP-P-AO-25-74-1 225
10.5 Michaël Green, House De Pinto – Front, Modern View, 2020. Photograph. © Michaël Green 228
10.6 Michaël Green, House De Pinto – Rear, Modern View, 2020. Photograph. © Michaël Green 229
10.7 Marriage registration of Moses Salomon Asser and Gracia van Emdben. Marriage Register, Archives number 5001, inventory number 732, p. 243 (the middle entry on the right). © City Archives Amsterdam 232
10.8 Jeremias Snoek after Gijsbertus Johannus van den Berg, Allegory of the National Assembly, 1796, Rotterdam, 1797. Print. © Rijksmuseum Amsterdam, obj. number: RP-P-OB-77.589 235
15.1 Theodoor, Cornelis, and/or Jan Galle, “Cum beatissima Virgine desponsatio” (Betrothal to the Most Blessed Virgin), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 8.7 × 6.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 336
15.2 Theodoor, Cornelis, and/or Jan Galle, “Hospitii perquisitio” (Search for Lodging), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 8.8 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 337
15.3 Theodoor, Cornelis, and/or Jan Galle, “Sponsae Virginis parturitio” (Parturition of the Virgin Bride), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 8.9 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 338
15.4 Theodoor, Cornelis, and/or Jan Galle, “In Aegyptum transmigratio” (Flight into Egypt), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 8.9 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 339
15.5 Theodoor, Cornelis, and/or Jan Galle, Theodoor, Cornelis, and/or Jan Galle, “Nocturna hospitatio” (Nocturnal Lodging), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 8.8 × 5.4 cm. Antwerp, Plantin Moretus Museum, MPM R 35 340
15.6 Antoon II Wierix, Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus) (Antwerp, Antoon II Wierix: before 1604), title-page. Engraving, 9.1 × 5.6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 341
15.7 Antoon II Wierix, “Fallax mundus ornat vultus” (The false world adorns her face), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virg inis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.7 cm. Antwerp, Plantin Moretus Museum, MPM R 35 342
15.8 Antoon II Wierix, “Ultro cordis portam pultat” ([Christ] knocks at the door of the [shuttered] heart), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.7 cm. Antwerp, Plantin Moretus Museum, MPM R 35 343
15.9 Antoon II Wierix, “Quis hic vultum non serenet?” (Whose face does he not make serene?), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.2 × 5.6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 344
15.10 Antoon II Wierix, “Sunt auscultent qui Platoni” (These are they who give ear to Plato), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.4 cm. Antwerp, Plantin Moretus Museum, MPM R 35 345
15.11 Antoon II Wierix, “Sume Iesu penicilla” (Jesus, grab hold of the little brushes), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.7 cm. Antwerp, Plantin Moretus Museum, MPM R 35 346
15.12 Antoon II Wierix, “Bone Iesu conde crucem” (Good Jesus, fashion the cross), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.0 × 5.6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 347
15.13 Antoon II Wierix, “Euge puer, rosis pinge” (Bravo, boy, embroider with roses), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.0 × 5.8 cm. Antwerp, Plantin Moretus Museum, MPM R 35 348
15.14 Antoon II Wierix, “Cor exulta, quid moraris?” (Rejoice, heart, why do you delay?), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 349
15.15 Antoon II Wierix, “Pulsa chordas, sonet chelys” (Pluck the strings, let the lyre sound), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.8 cm. Antwerp, Plantin Moretus Museum, MPM R 35 350
15.16 Antoon II Wierix, “Sat est, Iesu, vulnerasti” (Enough now, Jesus, you have wounded it), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.7 cm. Antwerp, Plantin Moretus Museum, MPM R 35 351
15.17 Antoon II Wierix, “En armatas flammis tendit Iesus manus” (Behold, Jesus extends his hands armed with flames), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.1 × 5.6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 352
15.18 Antoon II Wierix, “O beata sors amoris!” (O blessed condition of love), from Cor Iesu amanti sacrum (Heart of Jesus Sacred to the Loving Votary or, alternatively, Heart Sacred to the Loving Votary of Jesus), in Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses), ca. 1601–1633. Engraving, 9.0 × 5.5 cm. Antwerp, Plantin Moretus Museum, MPM R 35 353
15.19 Theodoor Galle, Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 10.1 × 6 cm. Antwerp, Plantin Moretus Museum, MPM R 35 354
15.20 Theodoor Galle, “Serenissimae Isabellae Clarae Eugeniae Hispaniarum Infanti” (To the most serene Infanta of the Spaniards, Isabella Clara Eugenia), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 9.3 × 5.9 cm. Antwerp, Plantin Moretus Museum, MPM R 35 355
15.21 Theodoor Galle, “In caelis gloriosa sessio” (Glorious Seat in Heaven), from Vita S. Joseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 8.9 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 356
15.22 “Pueri ad Joseph subiectio” (Subjection of the Boy to Joseph). from Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 8.8 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 357
15.23 Theodoor Galle, “Corporalis pia refectio” (Pious Bodily Refection), from Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 8.8 × 5.2 cm. Antwerp, Plantin Moretus Museum, MPM R 35 358
15.24 Theodoor Galle, “Sollicita manuum operatio” (Precise Labor of the Hands), from Vita S. Ioseph beatissimae Virginis sponsi patriarcharum maximi iconibus delineata ac versiculis ornata (Life of St. Joseph, Husband of the Most Blessed Virgin, Greatest of the Patriarchs, Portrayed in Images and Ornamented with Verses) (Antwerp, Theodoor Galle: ca. 1601–1633). Engraving, 8.8 × 5.3 cm. Antwerp, Plantin Moretus Museum, MPM R 35 359
16.1 Gianlorenzo Bernini, The niche of the Cornaro Chapel with the Transverberation of St. Teresa, Santa Maria della Vittoria, Rome, 1647–1652. Public Domain, Wikipedia Commons 373
18.1 a–b Francesco Maria Emanuele e Gaetani, Marchese di Villabianca, Pianta geometrica e novella secondo lo stato presente della città di Palermo capitale del Regno di Sicilia coll’antico Palermo giacente in essa e co’ sobborghi, molo e campagna, Biblioteca Regionale Palermo, 1777. In the detail: Palazzo Papè is in red, the Cathedral in green 404
18.2 The piano nobile in 2001. Manipulation of drawing provided by Giuseppe Barresi. The main dwelling. In yellow the anterooms, in light red the bedroom area with the bed alcove and the chapel, in light blue the backrooms 408
18.3 The piano nobile in 2001. Manipulation of drawing provided by Giuseppe Barresi. The new apartment is highlighted with colours: in yellow the anterooms, in light red the bedroom area, in red the chapel, in light blue the backrooms, in green the library. The red arrows indicate connections present in Giuseppe’s time 409
18.4 Overlapping corridors (section). Manipulation of drawing provided by Giuseppe Barresi. The nuns’ corridor is in red, the passage in connection to the courtyard is in green, the passage leading to the litterino delli musici in yellow, and the prince’s passetto in blue 413
18.5 The three arched windows of the two superimposed litterini from the church. Photograph by Giuseppe Barresi (ca. 1999) 414
18.6 The three arched windows of the litterino on the piano nobile from inside the new apartment. Photograph by Giuseppe Barresi (ca. 1999) 414
18.7 The windows of the passetto onto the nave. Photograph by Giuseppe Barresi (ca. 1999) 415