Illustrations
1 Cornelis Galle after Andries Pauwels, Impresa of Ercole Tasso: Itala sum, quiesce, in Sylvestro Pietrasanta, S.J., De symbolis heroicis libri ix (Nine Books of Heroic Symbols) (Antwerp, Ex officina Plantiniana Balthasaris Moreti: 1634), 318. Stuart A. Rose Manuscript, Archives, and Rare Book Library 5
1.1 Anonymous Ghent Master, historiated initial in the Catholicon in opusculis sancti Augustini (c. 1481–1484). Parchment, 51 × 34.3 cm. Brussels, Royal Library, ms. 9121, fol. 67r. Image © KBR 17
1.2 Anonymous North Netherlandish Master, Triptych of the Last Supper with Carthusians in Prayer (c. 1520–1521). Oil on panel, 149.5 × 96.5 cm (centre panel) and 149.5 cm × 39 cm (wings). Utrecht, Centraal Museum, inv. no. 31199. Image © Centraal Museum, Utrecht 19
1.3 Jean de Beaumetz, The Crucifixion with a Carthusian Monk in Prayer (c. 1389–1395). Oil on panel, 63.5 × 52.5 cm. Cleveland, The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1964.454. Image © The Cleveland Museum of Art 21
1.4 Attributed to the Master of the Brunswick Diptych, Diptych of the Virgin and Child with St. Anne and a Monk in Prayer with St. Barbara (c. 1475–1500). Oil on panel, 35 × 23 cm (each wing). Braunschweig, Herzog Anton Ulrich-Museum, inv. no. 13. Image © Herzog Anton Ulrich-Museum, Braunschweig 26
1.5 Petrus Christus, The Exeter Madonna (c. 1450). Oil on panel, 19.5 × 14 cm. Berlin, Staatliche Museen zu Berlin, Gemäldegalerie, inv. no. 523B. Image © bpk, Berlin 31
2.1 Theodoor, Cornelis, and/or Jan Galle, “Genealogiae designatio” (Specification of Genealogy), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 42
2.2 Theodoor, Cornelis, and/or Jan Galle, “Cum beatissima Virgine desponsatio” (Betrothal to the Most Blessed Virgin), 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), ca. 1601–1633. Engraving, 87 × 63 mm. Antwerp, Plantin Moretus Museum, MPM R 35 43
2.3 Theodoor, Cornelis, and/or Jan Galle, “Virginis sponsae Annunciatio” (Annunciation of the Virgin Bride), 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), ca. 1601–1633. Engraving, 87 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 44
2.4 Theodoor, Cornelis, and/or Jan Galle, “Sanctissimae Virginis sponsae visitatio” (Visitation of the Most Holy Virgin Bride), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 45
2.5 Theodoor, Cornelis, and/or Jan Galle, “De coniuge, dolorosa suspicio” (Doleful Suspicion of the Spouse), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 46
2.6 Theodoor, Cornelis, and/or Jan Galle, “Incarnationis revelatio” ([Angelic] Revelation of the Incarnation), 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), ca. 1601–1633. Engraving, 87 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 47
2.7 Theodoor, Cornelis, and/or Jan Galle, “In Bethleem profectio” (Departure for Bethlehem), 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), ca. 1601–1633. Engraving, 87 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 48
2.8 Theodoor, Cornelis, and/or Jan Galle, “Hospitii perquisitio” (Search for Lodging), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 49
2.9 Theodoor, Cornelis, and/or Jan Galle, “Sponsae Virginis parturitio” (Parturition of the Virgin Bride), 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), ca. 1601–1633. Engraving, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 50
2.10 Theodoor, Cornelis, and/or Jan Galle, “Angelorum et pastorum exultatio” (Exultation of the Angels and Shepherds), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 51
2.11 Theodoor, Cornelis, and/or Jan Galle, “Pueri Iesu circuncisio” (Circumcision of the Boy Jesus), 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), ca. 1601–1633. Engraving, 90 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 52
2.12 Theodoor, Cornelis, and/or Jan Galle, “Magorum adoratio” (Adoration of the Magi), 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), ca. 1601–1633. Engraving, 90 × 52 mm. Antwerp, Plantin Moretus Museum, MPM R 35 53
2.13 Theodoor, Cornelis, and/or Jan Galle, “Pueri Iesu oblatio” (Presentation of Jesus [in the Temple]), 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), ca. 1601–1633. Engraving, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 54
2.14 Theodoor, Cornelis, and/or Jan Galle, “De fuga in Aegyptum admonitio” ([Angelic] Admonition to Flee into Egypt), 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), ca. 1601–1633. Engraving, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 55
2.15 Theodoor, Cornelis, and/or Jan Galle, “In Aegyptum transmigratio” (Flight into Egypt), 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), ca. 1601–1633. Engraving, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 56
2.16 Theodoor, Cornelis, and/or Jan Galle, Theodoor, Cornelis, and/or Jan Galle, “Nocturna hospitatio” (Nocturnal Lodging), 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), ca. 1601–1633. Engraving, 88 × 54 mm. Antwerp, Plantin Moretus Museum, MPM R 35 57
2.17 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, 91 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35 87
2.18 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 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, 91 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 88
2.19 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, 91 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 89
2.20 Antoon II Wierix, “Dum scrutaris in lucernis” (Whilst [Christ] searches by lamplight), 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, 90 × 58 mm. Antwerp, Plantin Moretus Museum, MPM R 35 90
2.21 Antoon II Wierix, “O beatam cordis aedem” (O blessed dwelling-place of the 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, 90 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 91
2.22 Antoon II Wierix, “Bone Iesu, fontes fluant” (O blessed Jesus, let the fountains flow), 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, 91 × 55 mm. Antwerp, Plantin Moretus Museum, MPM R 35 92
2.23 Antoon II Wierix, “Eia Iesu tibi notum cor” (Ah, Jesus, the heart if fully known to you), 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, 91 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 93
2.24 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, 92 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35 94
2.25 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, 91 × 54 mm. Antwerp, Plantin Moretus Museum, MPM R 35 95
2.26 Antoon II Wierix, “Sume Iesu penicilla” (Jesus, take up 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, 91 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 96
2.27 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, 90 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35. 97
2.28 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, 90 × 58 mm. Antwerp, Plantin Moretus Museum, MPM R 35. 98
2.29 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, 91 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35 99
2.30 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, 91 × 58 mm. Antwerp, Plantin Moretus Museum, MPM R 35 100
2.31 Antoon II Wierix, “Frustra Boreas minatur” (In vain, Boreas threatens), 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, 91 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35 101
2.32 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, 91 × 57 mm. Antwerp, Plantin Moretus Museum, MPM R 35 102
2.33 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, 91 × 56 mm. Antwerp, Plantin Moretus Museum, MPM R 35 103
2.34 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, 90 × 55 mm. Antwerp, Plantin Moretus Museum, MPM R 35 104
2.35 Theodoor Galle, 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, 101 × 60 mm. Antwerp, Plantin Moretus Museum, MPM R 35 127
2.36 Theodoor Galle, “Serenissimae Isabellae Clarae Eugeniae Hispaniarum Infanti” (To the most serene Infanta of the Spaniards, Isabella Clara Eugenia), 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, 93 × 59 mm. Antwerp, Plantin Moretus Museum, MPM R 35 128
2.37 Theodoor, Cornelis, and/or Jan Galle, “In caelis gloriosa sessio” (Glorious Seat in Heaven), 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, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 129
2.38 Theodoor, Cornelis, and/or Jan Galle, “Aegypti commoratio” (Sojourn in Egypt), 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, 88 × 58 mm. Antwerp, Plantin Moretus Museum, MPM R 35 130
2.39 Theodoor, Cornelis, and/or Jan Galle, “Pueri amorosa attrectatio” (Fond Touching of the Boy), 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, 90 × 58 mm. Antwerp, Plantin Moretus Museum, MPM R 35 131
2.40 Theodoor, Cornelis, and/or Jan Galle, “Fructuum refectio” (Refection of Fruits), 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, 88 × 52 mm. Antwerp, Plantin Moretus Museum, MPM R 35 132
2.41 Theodoor, Cornelis, and/or Jan Galle, “Pueri ad patriam sollicitatio” (Eagerness of the Boy for the Fatherland), 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, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 133
2.42 Theodoor, Cornelis, and/or Jan Galle, “Pueri Iesu inventio” (Discovery of the Boy Jesus), 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, 88 × 52 mm. Antwerp, Plantin Moretus Museum, MPM R 35 134
2.43 Theodoor, Cornelis, and/or Jan Galle, “Iesus matris deliciae, Iesus patris solatium” (Jesus, Delight of his Mother, Jesus, Comfort of his Father), 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, 89 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 135
2.44 Theodoor, Cornelis, and/or Jan Galle, “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, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 136
2.45 Theodoor, Cornelis, and/or Jan 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, 88 × 52 mm. Antwerp, Plantin Moretus Museum, MPM R 35 137
2.46 Theodoor, Cornelis, and/or Jan 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, 88 × 53 mm. Antwerp, Plantin Moretus Museum, MPM R 35 138
2.47 Front cover of 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), in-8vo. Stamped and gilt leather. Antwerp, Plantin Moretus Museum, MPM R 35 139
2.48 Back cover of 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), in-8vo. Stamped and gilt leather. Antwerp, Plantin Moretus Museum, MPM R 35 140
3.1 Theodore Galle, “Hortus Conclusus”, in Jan David, Pancarpium Marianum […] (Antwerp, Ex Officina Plantiniana, Apud Ioannem Moretum: 1607), plate no. 33. Intaglio. Museum Plantin-Moretus (Print Room collection), Antwerp – UNESCO, World Heritage, no. R.119 155
3.2 Jean de Loisy, “Hortus Conclusus”, in Jean Terrier, Portraicts des SS. Vertus de la Vierge Contemplées par Feue S.A.S.M. Isabelle Clere Eugenie Infante d’Espagne […] (Pin, France, Jean Vernier: 1635). Intaglio. Médiathèque de l’agglomération du Grand Dole: 17M/138 156
3.3 Anonymous, “Sancta Maria”, in Peter Stoergler, Asma Poeticum Litaniarum Lauretanarum […] (Linz, Typis Joannis Paltauff: 1636), plate no. 11. Intaglio. Österreichische Nationalbibliothek: 302276-A Alt Mag 161
3.4 Theodore Galle, “Navis Institoris”, in Jan David, Pancarpium Marianum […] (Antwerp, Ex Officina Plantiniana, Apud Ioannem Moretum: 1607), plate no. 10. Intaglio. Museum Plantin-Moretus (Print Room collection), Antwerp – UNESCO, World Heritage, no. R.119 163
3.5 Anonymous [Redelius?], “Sancta Maria”, in Isaac Oxoviensis, Elogia Mariana […] (Augsburg, Apud Joann. Philippum Steudnerum, Typis Antonii Nepperschmidii: 1700), [p. 5]. Intaglio. Herzog August Bibliothek Wolfenbüttel: Xb 2952, Image 96 167
3.6 Christoph Thomas Scheffler and Martin Engelbrecht, “Sancta Maria”, in Augustin Casimir Redelius, Elogia Mariana […] (Augsburg, Martin Engelbrecht: 1732), plate no. 12. Intaglio. Getty Research Institute, Los Angeles: 2865–175 168
3.7 Anonymous, “Mater Admirabilis”, in Peter Stoergler, Asma Poeticum Litaniarum Lauretanarum […] (Linz, Typis Joannis Paltauff: 1636), plate no. 21. Intaglio. Österreichische Nationalbibliothek: 302276-A Alt Mag 169
3.8 Anonymous [Redelius?], “Mater Admirabilis”, in Isaac Oxoviensis, Elogia Mariana […] (Augsburg, Apud Joann. Philippum Steudnerum, Typis Antonii Nepperschmidii: 1700), p. 105. Intaglio. Herzog August Bibliothek Wolfenbüttel: Xb 2952, Image 217 175
3.9 Christoph Thomas Scheffler and Martin Engelbrecht, “Mater Admirabilis”, in Augustin Casimir Redelius, Elogia Mariana […] (Augsburg, Martin Engelbrecht: 1732), plate no. 22. Intaglio. Getty Research Institute, Los Angeles: 2865–175 176
3.10 Anonymous, “Mater Salvatoris”, in Peter Stoergler, Asma Poeticum Litaniarum Lauretanarum […] (Linz, Typis Joannis Paltauff: 1636), plate no. 23. Intaglio. Österreichische Nationalbibliothek: 302276-A Alt Mag 178
3.11 Anonymous [Redelius?], “Mater Salvatoris”, in Isaac Oxoviensis, Elogia Mariana […] (Augsburg, Apud Joann. Philippum Steudnerum, Typis Antonii Nepperschmidii: 1700), p. 123. Intaglio. Herzog August Bibliothek Wolfenbüttel: Xb 2952, Image 238 183
3.12 Christoph Thomas Scheffler and Martin Engelbrecht, “Mater Salvatoris”, in Augustin Casimir Redelius, Elogia Mariana […] (Augsburg, Martin Engelbrecht: 1732), plate no. 24. Intaglio. Getty Research Institute, Los Angeles: 2865–175 184
4.1a Memling, The Last Judgement, middle part of triptych, 241 × 180.8 cm, wings 2 × 242 × 90 cm. Gdańsk, Muzeum Narodowe. Image © Muzeum Narodowe w Gdańsku 193
4.1b Detail of Fig. 4.1a 194
4.2 Egidius van Schoor, copperplate engraving in Marcin Hińcza’s Plęsy anjołów Jezusowi narodzonemu, naświętszego krzyża tańce (Kraków, Franciszek Cezary: 1638), title page. Image © Biblioteka Uniwersytecka w Warszawie 196
4.3 Lucas Emil Vorsterman, copperplate engraving in Cesare Baronius’s Generale kerckelycke historie Van de gheboorte onses H. Iesu Christi (Antwerp, Jan Cnobbaert: 1623), title page. Image © Maurits Sabbebibliotheek 197
4.4 Gijsbert van Veen, copperplate engraving in Otto van Veen’s Quinti Horatii Flacci Emblemata (Antwerp, Philippum Lisaert: 1612), p. 9 (recto). Image © Maurits Sabbebibliotheek 198
4.5 Bolswert Schelte Adamsz, The Nativity (Antwerp, ca. 1630–45). Copperplate engraving. Image © Biblioteka Naukowa PAU i PAN w Krakowie 198
4.6 Cornelis Galle, copperplate engraving in Benedictus von Haeften’s Regia via Crucis (Antwerp, Balthasar Moretus: 1635), title page. Image © Maurits Sabbebibliotheek 199
4.7 Anonymous engraver, copperplate engraving in Marcin Hińcza’s Chwała z Krzyża (Kraków, Andrzej Piotrkowczyk: 1641), title page. Image © Biblioteka Uniwersytetu Warszawskiego 201
4.8 Anonymous engraver, copperplate engraving in Marcin Hińcza’s Chwała z Krzyża (Kraków, Andrzej Piotrkowczyk: 1641), between pp. 602–603. Image © Biblioteka Uniwersytetu Warszawskiego 202
4.9 Anonymous engraver, copperplate engraving in Marcin Hińcza’s Chwała z Krzyża (Kraków, Andrzej Piotrkowczyk: 1641), between pp. 372–373. Image © Biblioteka Uniwersytetu Warszawskiego 203
4.10 Hieronymus Wierix, copperplate engraving in Jerónimo Nadal’s Adnotationes et meditationes in Evangelia (Antwerp, Martinus Nutius: 1595), between pp. 38–39. © Getty Research Institute 204
4.11 Anonymous engraver, copperplate engraving in Marcin Hińcza’s Chwała z Krzyża (Kraków, Andrzej Piotrkowczyk: 1641), between pp. 526–527. Image © Biblioteka Uniwersytetu Warszawskiego 205
4.12 Cornelis Galle, copperplate engraving to Benedictus von Haeften’s Regia via Crucis (Antwerp, Balthasar Moretus: 1635). Image © Getty Research Institute 206
4.13 Egidius van Schoor, copperplate engraving in M. Hińcza, Plęsy Jezusa z aniołami (Kraków, Franciszek Cezary: 1638), pp. between pp. 668–669. © Biblioteka Narodowa w Warszawie 209
4.14 M. Hińcza, Plęsy Jezusa z aniołami (Kraków, Franciszek Cezary: 1638), pp. 143, 155. © Biblioteka Narodowa w Warszawie 216
5.1 Gerard Mercator, Cartouche from Nova et aucta orbis terrae descriptio [New and Augmented Description of the World] (1569), in Meer S. de (ed.), Atlas van de Wereld: De wereldkaart van Gerard Mercator uit 1569 (Zutphen, Wallburg Pers: 2011) n.p. 232
5.2 Gerard Mercator, Nova et Aucta Orbis Terrae Descriptio ad Usum Navigantium Emendate Accommodata, 1569. Wikimedia, accessed 26 September 2018: https://upload.wikimedia.org/wikipedia/commons/4/4b/Mercator_1569_world_map_composite.jpg 238
5.3 Gerard Mercator, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595) title page. Staats- und Stadtbibliothek Augsburg 241
5.4 Gerard Mercator, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595) fol. 3/a2. Staats- und Stadtbibliothek Augsburg 243
5.5 Gerard Mercator, “Frisia occidentalis”, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). University Library Map Collection, Vrije Universiteit Amsterdam 245
5.6 Gerard Mercator, “Helvetia”, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). University Library Map Collection, Vrije Universiteit Amsterdam 246
5.7 Gerard Mercator, “Argow”, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). University Library Map Collection, Vrije Universiteit Amsterdam 248
5.8 Gerard Mercator, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595) fol. 9/b1. Staats- und Stadtbibliothek Augsburg 251
5.9 Rumold Mercator, “Orbis Terrae Compendiosa Descriptio”, in Gerard Mercator, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). Staats- und Stadtbibliothek Augsburg 252
5.10 Gerard Mercator, “Evropa”, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). Staats- und Stadtbibliothek Augsburg 253
5.11 Gerard Mercator, “Belgii”, Atlas sive Cosmographicæ Meditationes de Fabrica Mundi et Fabricati Figura (Duisburg: 1595). Staats- und Stadtbibliothek Augsburg 254
6.1 Anonymous, frontispiece of Mondino de’ Luzzi (Mundinus), Anathomia Mundini published by Martin Pollick van Mellerstadt (Leipzig, Martin Landsberg: 1493). Woodcut. Source: https://nl.pinterest.com/pin/551339179376115350/?lp=true 265
6.2 Anonymous, anatomy lesson, illustration from Johannes de Ketham’s Fasciculo de medicina, translation by Sebastiano Manilio of Fasciculus medicinae (Venice, Zuane & Gregorio di Gregorii: 1493/94) 64. Woodcut, 32 cm. (folio). Source: https://www.nlm.nih.gov/exhibition/historicalanatomies/ketham_home.html 267
6.3 Hugo da Carpi, title page of Jacopo Berengario da Carpi’s Isagogae breues,perlucidae ac uberrimae, in anatomiam humani corporis a communi medicorum academia usitatam (Bologna, Benedictus Hector: 1523). Woodcut. Detail, lower middle part of page. Source: https://commons.wikimedia.org/wiki/File:Isagogae_breves_in_anatomiam_humani_V00114_00000010.tif 267
6.4 Anonymous, title page of Jacopo Berengario da Carpi’s Anatomia Carpi. Isagoge breves, perlucide ac uberime, in anatomiam humani corporis, a, comuni medicorum academia, usitatam, a, Carpo in almo Bononiensi gymnasio ordinariam chirurgiae publicae docente, ad suorum scholasticorum preces in lucë date (Venice, Bernardinum De Vitalibus: 1535). Woodcut. National Library of Austria, Vienna. Source: http://digital.onb.ac.at/OnbViewer/viewer.faces?doc=ABO_%2BZ184496903 268
6.5 Studio of Titian, title page from Andreas Vesalius’s De humani corporis fabrica Libri septem (Basel, Johannes Oporinus: 1543). Woodcut, 43 cm. (folio). Center for the History of Medicine and Public Health, New York. Source: https://nyamcenterforhistory.org/tag/art-and-the-body-vesalius-500/page/2/ 270
6.6 Anonymous, title page from Andreas Vesalius’s De humani corporis fabrica Libri septem (Basel, Johannes Oporinus: 1555). Woodcut, 43 cm. (folio). Center for the History of Medicine and Public Health, New York. Source: https://nyamcenterforhistory.org/tag/art-and-the-body-vesalius-500/page/2/ 272
6.7 Lazarus de Soardi, illustration from Plautus, Comoediae XX (Venice, Lazarus Soardus: 1511). Woodcut. Source: https://www.mpiwg-berlin.mpg.de/resrep00_01/Jahresbericht_2_3_section.html 273
6.8 Anonymous, title page of Isbrand van Diemerbroeck’s Anatome corporis humani (Lyon, Jean Antoine Huguetan: 1679). Universidad Complutense de Madrid (Google digitized). Source: https://catalog.hathitrust.org/Record/009304148 278
6.9 Printer’s device of Jean Antoine Huguetan (1619–1681). Engraving. Source: http://pitts.emory.edu/dia/image_details.cfm?ID=122092 278
6.10 Willem Isaacsz Swanenburch, the anatomical theatre of Leiden University (Vera anatomiae Lugduno-Batavae cum sceletis et reliquis quae ibi extant delineatio – title on object), after Jan Cornelisz. van ’t Woudt (Andries Clouck: 1610). Engraving, 33 × 39.4 cm. Rijksmuseum, Amsterdam. Source: http://hdl.handle.net/10934/RM0001.COLLECT.181659 279
6.11 Bartholomeus Willemsz Dolendo (possibly), theatrum anatomicum of the Academy in Leiden (Amphitheatrum Anatomicum Luduno Batavorum – title on object), after Jan Cornelisz. van ’t Woudt (Jacob Marcus: 1609). Engraving, 46 × 55.3 cm. Rijksmuseum, Amsterdam. Source: http://hdl.handle.net/10934/RM0001.COLLECT.381385 280
7.1 Ambrogio Lorenzetti, “City Under the Rule of Good Government”, part of Allegory of Good and Bad Government, fresco, 1338–1339, Sala de’ Nove (executive council chamber), Palazzo Pubblico, Siena. Image: Scala/Art Resource, NY 288
7.2 Ambrogio Lorenzetti, “City Under the Rule of Good Government”, detail of the goldsmith’s shop, part of Allegory of Good and Bad Government, fresco, 1338–1339, Sala de’ Nove (executive council chamber), Palazzo Pubblico, Siena. Image: Scala/Art Resource, NY 289
7.3 Ambrogio Lorenzetti, “City Under the Rule of Good Government”, detail of the shoe maker’s shop, part of Allegory of Good and Bad Government, fresco, 1338–1339, Sala de’ Nove (executive council chamber), Palazzo Pubblico, Siena. Image: Scala/Art Resource, NY 291
8.1 Wenzel Jamnitzer, Silver Writing Box, closed (ca. 1560–1570). Silver, 6 × 22.7 × 10.2 cm. Vienna, Kunsthistorisches Museum (inv. no. KK 1155). Image © 319
8.2 Wenzel Jamnitzer, Silver Writing Box, open (ca. 1560–1570). Silver, 6 × 22.7 × 10.2 cm. Vienna, Kunsthistorisches Museum (inv. no. KK 1155). Image © 319
8.3 Anon. (engraver), “Design for a Book Wheel”, in Agostino Ramelli, Le Diverse et artificiose machine (Paris, A. Ramelli: 1588), Chapter CLXXXVIII, p. 317. Chicago, Newberry Library (Call number: Wing folio ZP 539 .R143). Image © Newberry Library 321
9.1 Master of Balaam, St. Eligius in his Workshop, ca. 1450, engraving. Amsterdam: Rijksmuseum 332
9.2 Hendrick L. de Weyck, Frontispiece Simplex effigatio omnis generis quadrupedium, 1626, engraving. Amsterdam: Rijksmuseum 337
9.3 Jean Toutin, “A Goldsmith working at a furnace with his apprentice” from a series of seven Blackwork ornaments, 1619, engraving. Amsterdam: Rijksmuseum 339
9.4 Monogrammist AB, A Goldsmith’s Workshop, 1610, punch engraving. Amsterdam: Rijksmuseum 340
9.5 Virgil Solis, Orpheus Taming the Animals, 1524–1562?, engraving/etching. Amsterdam: Rijksmuseum 341
9.6 Virgil Solis, Thirteen Wild Animals, mid sixteenth century, engraving Vienna: Albertina 341
9.7 Albrecht Dürer, The Draftsman drawing a Lute, 1525, woodcut. Dresden: Staatliche Kunstsammlungen 342
9.8 Jost Amman, Portrait of Wenzel Jamnitzer, ca. 1561–1591, engraving. Amsterdam: Rijksmuseum 343
9.9 Anonymous German, A Goldsmith’s Workshop, ca. 1540–1580, punched engraving. London: British Museum 345
9.10 Pieter van der Heyden after Hieronymus Bosch, Shrove Tuesday, 1561, engraving. Amsterdam: Rijksmuseum 347
9.11 Master of the Vitae Imperatorum, Nero, illuminated manuscript page, fol. 113r, 1433. Princeton University Library, Kane 44 349
9.12 Jean Cossin after Francois Roupert, “Acanthus Ornament attended by musicians”, 1668, engraving. The Wallach Division of Art, Prints and Photographs, NYPL 350
9.13 Heinrich Aldegrever, Eight Putti Making Music and Fighting around a Well, 1539, engraving. London: British Museum 353
9.14 Israel van Meckenem, Ornamental Engraving with Morris Dancers, ca. 1480, engraving. New York: The Met Museum 354
9.15 Jost Amman after Wenzel Jamnitzer, Allegory of Air, 1568, etching. London: British Museum 356
9.16 Isaac Briot after Pierre Delabarre, Plate 2 from Liure de Toutes Sortes de Feuilles, 1636, etching and engraving. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs. The New York Public Library 358
9.17 Attributed to Erhard Schön, Devil playing the Bagpipes, ca. 1530, hand-colored woodcut. London: british Museum 359
9.18 Christoph Jamnitzer, “Three Consoles” from the Neuw Grotteßkenbuch, 1610, engraving. Amsterdam: Rijksmuseum 360
9.19 Anonymous German, (printmaker), “Two Musicians plate 5 in Godfridt Müller (publisher) Schnacken Buchlein, Ander Teil, ca. 1625, etching. Braunschweig: Herzog Anton-Ulrich Museum 362
9.20 Balthazar Moncornet after François Lefebure, after Jacques Callot, “Medallion with floral motifs alongside figures after Callot” from Livre de Fleurs & de feullies pour servir a l’art d’orfeverie, 1635, engraving. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs. The New York Public Library 363
9.21 Lucas Kilian, Newes Gradesca Büchlein, plate 1 1607, etching. Amsterdam: Rijksmuseum 365
9.22 Jean Toutin, “Jewelry Design with a Lion’s Head” from a series of seven blackwork ornaments, 1619, black work engraving. Washington D.C.: The National Gallery of Art 366
9.23 Jacques de Gheyn II, A Veiled Woman with Two Musicians playing a Gridiron and Bellows, 1595/96, engraving. Vienna: MAK 368
9.24 Anonymous German (printmaker), “Bull teaching music to a goat” plate 3 in Godfridt Müller (publisher) Schnacken Büchlein, Erster Teil, 1625, etching. Berlin: Kunstbibliothek 369
9.25 Christoph Jamnitzer, “Der Fadeskisch Radesco Baum” in Christoph Jamnitzer, Der Neuw Grotteßken Buch, Nuremberg, 1610, etching. Amsterdam: Rijksmuseum 371
9.26 Johann Theodor de Bry after Hans Kellerthaler, Cat Concert, 1596. engraving. Amsterdam, Rijksmuseum 373
9.27 Anonymous German (printmaker), “Animals playing music on an organ and pipe” plate 2 in Godfridt Müller (publisher) Schnacken Büchlein, Erster Teil, 1625, etching. Braunschweig: Anton Ulrich Museum 374
9.28 Christoph Jamnitzer, “Der Schackenmarkt” in Christoph Jamnitzer, Der Neuw Grotteßken Buch, Nuremberg, 1610, etching. Amsterdam: Rijksmuseum 376
10.1 Anonymous, The Duke of Alba Making Love to the Whore of Babylon (1572). Engraving, 18,5 mm × 13,5 cm. Amsterdam, Rijksprentenkabinet (RP-P-OB-79.011) 384
10.2 Peter Paul Rubens, Portrait Bust of Seneca (c. 1613–1616). Oil on panel, 65 × 50 cm. Antwerp, Museum Plantin-Moretus (Inv. no. MPM.V.IV.057) 392
10.3 Peter Paul Rubens, Saint Peter (c. 1611). Oil on panel, 107 × 82 cm. Madrid, Museo del Prado (Inv. no. P001646) 393
11.1 Bernard Picart, Portrait of Roger de Piles, 1709, etching and engraving, 288 mm × 203 mm. © Rijksmuseum, Amsterdam 398
11.2 Roger de Piles, Abrégé de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Traité du peintre parfait, de la connoissance des desseins, & de l’utilité des estampes, Paris, Franc̜ois Muguet: 1699, title page. Bibliothèque nationale de France, département Littérature et art (V-23908). © Bibliothèque nationale de France 399
11.3 Roger de Piles, Abrégé de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Traité du peintre parfait, de la connoissance des desseins, & de l’utilité des estampes, Paris, Franc̜ois Muguet: 1699, page 10. Bibliothèque nationale de France, département Littérature et art (V-23908). © Bibliothèque nationale de France 402
11.4 Roger de Piles, Abrégé de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Traité du peintre parfait, de la connoissance des desseins, & de l’utilité des estampes, Paris, Franc̜ois Muguet: 1699, page 11. Bibliothèque nationale de France, département Littérature et art (V-23908). c Bibliothèque nationale de France 403
11.5 Roger de Piles, Cours de peinture par principes, Paris, J. Estienne: 1708, title page. Bibliothèque nationale de France, département Réserve des livres rares (V-23913). © Bibliothèque nationale de France 405
11.6 Roger de Piles, Cours de peinture par principes, Paris, J. Estienne: 1708, Balance des Peintres. Bibliothèque nationale de France, département Réserve des livres rares (V-23913). © Paris, Bibliothèque nationale de France 416
11.7 Jonathan Richardson, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture; II. Of the Hand of the Master; and III. Whether ’tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it, both by Mr. Richardson, London, W. Churchill: 1719. © J. Paul Getty Trust 420
12.1 Raphael, Transfiguration (ca. 1516–1520). Oil on panel, 404 × 278 cm. Vatican Museums, Rome 431
12.2 Detail of Fig. 12.1: presentation of the possessed boy to the disciples 437
12.3 After Raphael, Modello for the Transfiguration (ca. 1516–1517). Pen and brown wash with white heightening, 40.2 × 27.2 cm. Albertina, Vienna, inv. 193 441
12.4 After Gian Francesco Penni, after Raphael, Modello for the Transfiguration (after 1516). Pen and brown ink, wash, and black chalk, 41.3 × 27.4 cm. Musée du Louvre, Département des arts graphiques, Paris, inv. 3954 442
12.5 Raphael, The Vision of Ezekiel (ca. 1518). Oil on panel, 40 × 30 cm. Galleria Palatina, Palazzo Pitti, Florence 444
12.6 Raphael, Preparatory drawing for the upper part of the Transfiguration (ca. 1518–1519). Red chalk over stylus, 24.6 × 35 cm. Chatsworth (Derbyshire), Trustees of the Chatsworth Settlement, inv. 904 447
12.7 Author of the Floreffe Bible, Full-page miniature in two registers of the Transfiguration and the Last Supper (ca. 1156). London, British Library, Add MS 17738, f4r 450
12.8 Sebastiano del Piombo, Transfiguration (1516–1524). Fresco. Borgherini Chapel, San Pietro in Montorio, Rome 451
12.9 Sebastiano del Piombo, Flagellation (1516–1524). Mural painting in oil and fresco. Borgherini Chapel, San Pietro in Montorio, Rome 451
12.10 Raphael, Study for the Resurrection of Christ. Pen and brown ink. Musée Bonnat, Bayonne, inv. 683 452
12.11 Leonardo da Vinci, Adoration (1481–1482). Tempera mixed with oil on panel, 246 × 243 cm. Galleria degli Uffizi, Florence 453
12.12 Detail of Fig. 12.1: apostles 455
13.1 Rembrandt, The Entombment, state I (c. 1654). Etching and drypoint on paper, 211 × 160 mm. New York, Metropolitan Museum of Art, 20.46.17 461
13.2 Rembrandt, The Entombment, state II (c. 1654). Etching and drypoint with burin on paper, 210 × 160 mm. New York, Metropolitan Museum of Art, 23.51.7 462
13.3 Rembrandt, The Entombment (1636–1639). Oil on canvas, 689 × 925 mm. Munich, Alte Pinakothek, Inv. No. 396 465
13.4 Rembrandt, The Entombment (c. 1640–1641). Pen and brown ink on paper, 156 × 201 mm. Amsterdam, Rijksmuseum, RP-T-1930–28(R) 466
13.5 Rembrandt, The Entombment (1657–1658). Ink, wash and body color on paper, 181 × 284 mm. Haarlem, Teylers Museum 467
13.6 Rembrandt, The Entombment, state I (c. 1654). Etching and drypoint on paper, 211 × 160 mm. New York, Metropolitan Museum of Art, 20.46.17. Detail of lower left corner 469
13.7 Rembrandt, The Entombment, state II (c. 1654). Etching and drypoint with burin on paper, 210 × 160 mm. Detail of lower left corner. New York, Metropolitan Museum of Art, 23.51.7. 470
13.8 Rembrandt, The Entombment, state II (c. 1654). Etching and drypoint with burin, printed with surface tone on paper, 210 × 159 mm. Amsterdam, Rijksmuseum, RP-P-OB-153 471
13.9 Rembrandt, The Entombment, state II (c. 1654). Etching and drypoint with burin, printed with surface tone on vellum, 205 × 158 mm. Amsterdam, Rijksmuseum, RP-P-OB-152 472
13.10 Rembrandt, The Entombment, state III (c. 1654). Etching and drypoint with burin on paper, 212 × 161 mm. Amsterdam, Rijksmuseum, RP-P-OB-155 474
13.11 Rembrandt, The Entombment, state IV (c. 1654). Etching and drypoint with burin on paper, 209 × 159 mm. Washington, DC, National Gallery of Art, Rosenwald Collection, 1943.3.7163 475
13.12 Rembrandt, Saint Jerome in Dark Study (1642). Etching on paper, 152 × 174 mm. Amsterdam, Rijksmuseum, RP-P-OB-187 478
13.13 Rembrandt, Flight into Egypt: A Night Piece, state I (1651). Etching printed with plate tone on paper, 127 × 110 mm. New York, Metropolitan Museum of Art, 41.1.52 479
13.14 Rembrandt, The Three Crosses, state III (1653). Drypoint on paper, 389 × 456 mm. New York, Metropolitan Museum, 41.1.32 481
13.15 Rembrandt, The Three Crosses, state IV (1653). Drypoint on Japanese paper, 375 × 450 mm. Amsterdam, Rijksmuseum, RP-P-1962–40 482
13.16 Rembrandt, Aristotle Contemplating the Bust of Homer (1653). Oil on canvas, 1,435 × 1,365 mm. New York, Metropolitan Museum, 61.198 488
14.1 Claude Mellan after Nicolas Poussin, Frontispiece of the Biblia Sacra (Paris, Imprimerie Royale, 1642), burin, 41,5 × 26,2 cm, Paris, Bibliothèque nationale de France, bibliothèque de l’Arsenal 495
14.2 Nicolas Poussin, Flight into Egypt, ca. 1657–1658, oil on canvas, 97 × 133 cm, Lyon, Musée des Beaux-Arts 500
14.3 Herri met de Bles, Flight into Egypt, oil on panel, 24,5 × 33 cm, Barcelona, Museu Nacional d’Arte de Catalunya 503
14.4 Francesco Bartoli, Antique Landscape, pen, watercolour, coloured pencil, Windsor, Eton College Library 505
14.5 Toussaint Largeot, Flight into Egypt, 1666, Grenoble, Chapel of Sainte-Marie-d’en-haut, Musée Dauphinois 508
15.1 Pierre Mignard, Francoise d’Aubigné, Marquise de Maintenon as Saint Frances of Rome (1694). Oil on canvas, 128 × 97 cm. Versailles, Châteaux de Versailles et de Trianon. Photo © RMN-Grand Palais / Jean-Marc Manaï 515
15.2 Pierre Mignard, Francoise d’Aubigné, Marquise de Maintenon as Saint Frances of Rome (1694). Oil on canvas, 128 × 97 cm. Detail, Book of Hours. Châteaux de Versailles et de Trianon. Photo © RMN-Grand Palais / Jean-Marc Manaï 516
15.3 Jean-Louis Roullet (engraver) after a lost painting by Pierre Mignard, Louis XIV as commander in chief (c. 1694). Engraving, 66,0 × 52,5 cm. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020 517
15.4 Adam or Nicolas Perelle (engraver and designer), perspective view of La maison Royale de Saint-Cyr (c. 1690). Engraving, 24,5 × 35,5 cm. Plate 154 from Jean Mariette, Veuës des plus beaux endroits de Versailles, Recueil de gravures de la collection de Grossœuvre 140, Versailles, Châteaux de Versailles et de Trianon. Photo © RMN-Grand Palais / Christophe Fouin 521
15.5 Pierre Simon (engraver) after François Andriot (designer), portrait of Paul Godet des Marais, bishop of Chartres (1708). Etching and engraving, 46,2 × 38,4 cm. Image © Trustees of the British Museum 524
15.6 Raphael Sadeler, St Frances of Rome (1610). Engraving, 7,5 × 5,5 cm. From Aegidius Albertinus, Himmlisch Frawenzimmer, Darinn das Leben vier-und-fünffzig der allerheiligisten Junckfrawen und Frawen […], (Munich: Raphael Sadeler, 1621), p. 389. Private collection © Author 527
15.7 Pierre Mignard, self-portrait of the painter in his studio (c. 1690). Oil on canvas, 235 × 188 cm. Paris, Musée du Louvre. Photo © RMN-Grand Palais / Franck Raux 531
16.1 Gilles Corrozet, “Secret est à louer,” in Hecatomgraphie (Paris: Denys Janot, 1540 and 1543) 553
16.2 Pieter Apian, detail of similitude of geography and topography in Cosmographia (Paris: Vivant Gaultherot, 1551) 555
16.3 Abraham Ortelius, world map in Theatre de l’univers (Antwerp: Plantin 1581) 558
16.4 Christophe Tassin, introductory map in Cartes generales et particulieres de toutes les costes de France (Paris: Melchior Tavernier, 1634) 559
16.5 Christophe Tassin, introductory map, detail of cartouche 560
16.6 Christophe Tassin, Cartes generales et particulieres, title-page and cartouche, first section 564
16.7 Christophe Tassin, Cartes generales et particulieres, title-page and cartouche, second section 564
16.8 Christophe Tassin, Plans et profils de toutes les principalles Villes et lieux considerables de France (Paris, 1636) title-page 566
16.9 Christophe Tassin, Plans et profils, map of France 567
16.10 Christophe Tassin, Plans et profils, map of the Boulogne 567
16.11 Nicolas Sanson, “Carte des rivières de la France curieusement recherchée” (1641) 568
17.1 Melchior Lorck, Self-Portrait in Antique Style, 1575, later used as title page, from Wolgerissene und geschnittene Figuren zu Ross und zu Fuß […] (Hamburg, Gundermann: 1646). Image courtesy of Herzog August Bibliothek, Wolfenbüttel 573
17.2 Andrea Alciato, title page, Emblematum Liber (Augsburg, Steyner: 28 February 1531) book, Stirling Maxwell Collection, SM 18, Glasgow University Library. Image courtesy of Emblematica Online, Glasgow University 574
17.3 Melchior Lorck, Maulwurf vor Flusslandschaft [Mole in front of a riverscape] Engraving, c. 7 x 10.6 cm. Photo courtesy of Kunsthandlung Rumbler, Frankfurt 578
17.4 Melchior Lorck, Kranich in Rollwerkkartusche [Crane in a decorative cartouche], Engraving, 5.7 × 4.3 cm. Image courtesy of Museumsberg Flensburg 581
17.5 Alciato, “Qui alta contemplantur cadere” (Those who contemplate the heights come to grief), Emblematum Liber (Augsburg, Steyner: 28 February 1531) sig. Eiiv. book, Stirling Maxwell Collection, SM 18, Glasgow University Library. Image courtesy of Emblematica Online, Glasgow University 583
17.6 Georg Rem and Peter Isselburg, “Pro grege” (For the people), Emblem 21, Emblemata Politica […] (Nürnberg, [n.p.]: 1617). Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 585
17.7 Claude Paradin, “Candor illaesus” (Brightness that cannot be harmed), Deuises heroíques[…] (Lyon, Jean de Tournes: 1551) 41. Image courtesy of Emblematica Online, Glasgow University 587
17.8 Claude Paradin, “Monstrant regibus astra viam” (The star shows kings the way to follow), Deuises heroíques (Lyon, Jean de Tournes: 1551) 16. Image courtesy of Emblematica Online, Glasgow University 587
17.9 Claude Paradin, “Hoc Caesar me donavit” [Caesar has rewarded me with this], Deuises heroíques, (Lyon, Jean de Tournes: 1551) 239. Image courtesy of Emblematica Online, Glasgow University 588
17.10 Ioan Sambucus, “In labore fructus” (Labor brings fruit), Emblemata, cum aliquot nummis antiqui operis […] (Antwerp, Plantin: 1564) 200. Image courtesy of Emblematica Online, Glasgow University 590
17.11 Hadrianus Junius, “Eruditionis decor concordia, merces gloria” (The charm of learning is harmony, its reward is glory), Emblem 21, Emblemata (Antwerp, Plantin: 1565) 27. Image courtesy of Emblematica Online, Glasgow University 590
17.12 Melchior Lorck, Tortoise and Separate View of a Walled, Coastal Town in the Veneto. Charcoal, heightened with creamy-white bodycolor, on Venetian blue paper. 189 mm × 208 mm. © The Trustees of the British Museum 593
17.13 Aldo Manuzio, printer’s mark (anchor and dolphin). Wikicommons 595
17.14 Andrea Alciato, “Maturandum”, Emblemata … (Leiden, Plantin: 1591) 37. Image courtesy of Emblematica Online, Glasgow University 601
17.15 Andrea Alciato, “Maturandum”, Emblematum Liber (Augsburg, Steyner: 28 February 1531) sig. C7r. Image courtesy of Emblematica Online, Glasgow University 601
17.16 Andrzej Maksymilian Fredro, “Festina lente”, Peristromata regum symbolis expressa […] (Danzig, Förster: 1660) 370. Image courtesy of Emblematica Online, Duke University 602
17.17 Daniel de la Fueille, “Festina lente”, Devises et Emblemes […] (Augsburg, Kroniger & Göbel: 1695) 13.5. Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 602
17.18 Otto Vaenius, “Festina Lente”, Emblemata aliquot selectiora amatoria. (Amsterdam, Jansson: 1618) 32. Image courtesy of Emblematica Online, Utrecht University 603
17.19 Otto Vaenius – Marin le Roy Sieur de Gomberville – Marin le Roy, “Festina Lente”, La doctrine des moeurs[…] (Paris, Louys Seuestre: 1646) 24. Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 603
17.20 Daniel de la Fueille, “Festina lente” (Ivy), Devises et Emblemes […] (Augsburg, Kroniger & Göbel: 1695) 28.15. Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 604
17.21 Daniel de la Fueille, “Festina lente” (Remora), Devises et Emblemes […] (Augsburg, Kroniger & Göbel: 1695) 36.7. Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 604
17.22 Gabriele Simeoni, “Festina lenta”, Le sententiose imprese, et dialogo […] (Lyon, Roviglio: 1560) 11. Image courtesy of Emblematica Online, Getty Research Institute 605
17.23 Georg Rem and Peter Isselburg, “Festina Lente”, Emblem 21, Emblemata Politica […] (Nurnberg, [n.p.]: 1617). Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 606
17.24 Camillo Camilli’s tortoise emblem for Antonio Beffa de’Negrini, “Vt tollar Humo” Imprese illustri di diuersi, coi discorsi [...] (Venice, Ziletti: 1586) 13. (Venice, Ziletti: 1586) 13. Image courtesy of Emblematica Online, University of Illinois at Urbana-Champaign 607
17.25 Aldo Manuzio, anchor and dolphin signet on Venetian blue paper, from Libri de re rustica. M. Catonis lib. I. M. Terentii Varronis lib. III. L. Iunii Moderati Columellae lib. XII. Eiusdem De arboribus liber separatus ab alijs, quare autem id factum fuerit ostenditur in epistola ad lectorem. Palladii lib. XIIII. De duobus di. (Venice, In aedibus Aldi, et Andreae soceri: 1514). © The Morgan Library & Museum. PML 79276. Bequest Bühler 611
18.1 Corrozet Gilles, Hécatomgraphie (Paris, Denis Janot: 1540), emblem 20. University of Glasgow Library 618
19.1 Master WR, “Physiognomy and Chiromancy,” illumination, in Benedictus Rughalm, Liber Quodlibetarius, fols. 80v–81r. Erlangen, Universitätsbibliothek Erlangen-Nuremberg (inv. no. Ms. B 200). Image © Universitätsbibliothek Erlangen-Nuremberg 636
19.2 Hans Burgkmair, “self-portrait”, woodcut, in Cocles, In diesem biechlin wirt erfunden von Complexion der menschen (Augsburg, Schönsperger: 1515) ca. 14 × 19 cm. Munich, Bayerische Staatsbibliothek (inv. no. Res. 4 Anthr. 8). Image © Bayerische Staatsbibliothek München 639
19.3 Hans Wechtlin, “types of noses and mouths”, woodcut, in Johannes Indagine, Die Kunst der Chiromantzey […] Physiognomey […] Natürlichen Astrologey […] Complexion eines yegklichen menschens […] (Strasbourg, Johannes Schott: 1523), 31r. Bethesda, MD, National Library of Medicine (inv. no. WZ 240 138G 1523). Image © National Library of Medicine 640
19.4 Anon., “pair of foreheads”, woodcut, in Bartolomeo Cocles, Ein kurtzer Bericht der gantzen Phisionomey unnd Ciromancy (Strasbourg, Johannes Albrecht: 1534). Wolfenbüttel, Herzog August Bibliothek (inv. no. A.565.2 Quod (1)). Image © Herzog August Bibliothek 644
19.5 Anon., “sets of foreheads”, woodcut, in Bartolomeo Cocles, Physiognomiae et Chiromantiae Compendium (Strasbourg, Johannes Albertus: 1536) Bethesda, MD, National Library of Medicine (inv. no. WZ 240 A717pL 1534). Image © National Library of Medicine 645
19.6 Anon., “sets of foreheads”, woodcut, in Bartolomeo Cocles, Phisionomi und Chiromanci. Eyn news Complexion buchlein (Strasbourg, Jacob Cammerlander: 1540), 3v. Wolfenbüttel, Herzog August Bibliothek (inv. no. N97.4 Helm (7)). Image © Herzog August Bibliothek 646
19.7 Anon., “assorted heads”, woodcut, in Bartolomeo Cocles, Phisionomi und Chiromanci. Eyn news Complexion buchlein (Strasbourg, Jacob Cammerlander: 1540), 76r. Wolfenbüttel, Herzog August Bibliothek (inv. no. N97.4 Helm (7)). Image © Herzog August Bibliothek 647
19.8 Master WR, “section devoted to Physiognomy”, illumination, in Benedictus Rughalm, Liber Quodlibetarius, fols. 79v–80r. Erlangen, Universitätsbibliothek Erlangen-Nuremberg (inv. no. Ms. B 200). Image © Universitätsbibliothek Erlangen-Nuremberg 649
19.9 Anon., “types of foreheads”, in Tadeáš Hájek, Thaddaei Hagecii ab Hagek doctoris medici Aphorismorum metoposcopicorum libellus vnus (Frankfurt, Andreas Wechel: 1584), 72–73. London, Wellcome Library (shelfmark 3042/A) Image © Internet Archive 653
19.10 Anon., “drawings of foreheads”, pen and ink, in Achillini and Cocles, De chiromantie principiis (Bologna, Hieronymus de Benedictis: 1523). Bethesda, MD, National Library of Medicine (inv. no. WZ 240 C666c 1523) Image © National Library of Medicine 653
19.11 Anon., “criminal heads,” woodcut, in Thomas Deloney, A Most Joyfull Songe (London, Richard Jones: 1586), STC 6557.6. (reproduced by kind permission of The Society of Antiquaries of London) Image © ProQuest commons as a part of Early English Books Online 655
20.1 The Red Hall. Gdańsk, Main Town Hall. Image © Muzeum Gdańska 664
20.2 Isaak van den Blocke, “Bildschema der Deckenkomposition” (1604–1608), Gdańsk, Main Town Hall, Red Hall. Image © Agencja Reklamowo-Wydawnicza A. Grzegorczyk 666
20.3 Isaak van den Blocke, Ceiling programme (1604–1608). View from the mayor’s seat 667
20.4 Isaak van den Blocke, The Fall of Jericho (1604–1608). Oil on canvas, 193 × 112 cm. Gdańsk, Main Town Hall, Red Hall. Top of the ceiling programme 668
20.5 Monika Biel, “Visualization of the Red Hall” (2018) 669
20.6 Isaak van den Blocke, Apotheosis of Gdańsk (1604–1608). Oil on canvas, 331 × 237 cm. Gdańsk, Main Town Hall, Red Hall. In the centre of the ceiling programme. Image © Agencja Reklamowo-Wydawnicza A. Grzegorczyk 671
20.7 Detail of Fig. 20.7: top 672
20.8 Isaak van den Blocke, Apotheosis of Gdańsk (1604–1608). Gdańsk, Main Town Hall, Red Hall. View from the mayor’s seat 673
20.9 Johann Carl Schultz, “RATHAUS / der Rechtstadt”, etching illustration to Johann Carl Schultz’s Danzig und seine Bauwerke in malerischen Original-Radirungen mit geometrischen Details und Text von Johann Carl Schultz, Prof. und Director an der Provinzial-Kunstschule in Danzig (Gdańsk: 1855) 10. Image © PAN Biblioteka Gdańska 675
21.1 Hand-written lottery slip, and ownership inscription on title page, from Innocenzio Ringhieri, Cento giuochi liberali et d’ingegno […] (Bologna, Anselmo Giaccarelli: 1551). Newberry Library, Chicago [Case V 16 .747] (images: author) 685
21.2 Wheel of Fortune and facing page with Kings David, Salomon, Turno, and Jubba, from Lorenzo Spirito, Libro delle Sorti (Perugia, Stephanus Arndes Gerardus Thomae, and Paulus Mechter: 1482) Stadtbibliothek Ulm (Schad 13 281) 1v–2. (images: Creative Commons) 688
21.3 Leone dice and Montone sphere pages, from Lorenzo Spirito, Libro delle sorti (Perugia, Stephanus Arndes, Gerardus Thomae, and Paulus Mechter: 1482). Stadtbibliothek Ulm (Schad 13 281) 11v and 18v. (images: Creative Commons) 688
21.4 Heinrich Vogtherr the Elder, front and back of Wheel of Fortune woodcut, with movable dial replaced by later engravings, from Pambst Paulus, Looßbuch zu ehren der römischen, vngerischen vnnd böhemischen Künigin (Strasbourg, Balthasar Beck: 1546) fol. 3r–v. Newberry Library, Chicago [Case folio BF1850 .P36 1546] (images: author) 691
21.5 Wheel of Fortune, from Laurens L’Esprit, Le passetemps de la fortvne des dez. Ingenieusement compilé par Maistre Laurens L’Esprit […] (Lyon, Par les heritiers de F. Didier, 1582) fol. A2r. Newberry Library, Chicago [Wing ZP 539 .D556] (image: author) 692
21.6 Wheel of Fortune title page, from Laurenzo del Spirito, T boec van der auōturenende van tijt cortīge, van versinnen (Antwerp, J. van Ghele: 1608) fol. Air. Newberry Library, Chicago [Wing ZP 646 .G345] (image: author) 693
21.7 Title page, from manuscript of Lorenzo Spirito, Libro delle sorte fatto per spasso (Italy, n.p.: ca. 1600s). Newberry Library, Chicago [VAULT Case MS 5A 27] np, (image: Newberry) 694
21.8 Kings page and Fleur-de-Lis dice page, from Laurens L’Esprit, Le passetemps de la fortvne des dez. Ingenieusement compilé par Maistre Laurens L’Esprit […] (Lyon, Par les heritiers de F. Didier: 1582) fols. A4v–B1r. Newberry Library, Chicago [Wing ZP 539 .D556] (image: author) 695
21.9 Sagitaire sphere and prophet Adam, from Laurens L’Esprit, Le passetemps de la fortvne des dez. Ingenieusement compilé par Maistre Laurens L’Esprit […] (Lyon, Par les heritiers de F. Didier: 1582) fols. F4v–G1r. Newberry Library, Chicago [Wing ZP 539 .D556] (image: author) 696
21.10 September and de Katte, dice pages, from Laurenzo del Spirito, T boec van der auōturenende van tijt cortīge, van versinnen (Antwerp, By J. van Ghele: 1608) fols. Avr-Aviv. Newberry Library, Chicago [Wing ZP 646 .G345] (image: author) 697
21.11 Heinrich Vogtherr the Elder, Kings Salathief and Zorobabel, dice pages, from Paulus Pambst, Loossbuch zu ehren der römischen, vngerischen vnnd böhemischen Künigin (Strassbourg, Balthasar Beck: 1546) fols. 42v–43r. Newberry Library, Chicago [Case folio BF1850 .P36] (image: author) 698
21.12 Question and Answer details, from manuscript of Lorenzo Spirito, Libro delle sorte fatto per spasso (Italy, n.p.: ca. 1600s) n.p. Newberry Library, Chicago [VAULT Case MS 5A 27] (images: Newberry) 700
21.13 Leone dice and Montone sphere pages, from manuscript of Lorenzo Spirito, Libro delle sorte fatto per spasso (Italy, n.p.: ca. 1600s) n.p. Newberry Library, Chicago [VAULT Case MS 5A 27] (images: Newberry) 700
21.14 Heinrich Vogtherr the Elder, title and dedication pages, from Paulus Pambst Loossbuch zu ehren der römischen, vngerischen vnnd böhemischen Künigin (Strassbourg, Balthasar Beck: 1546) fols. 1r & 2r. Newberry Library, Chicago [Case folio BF1850 .P36 1546] (images: author) 702
21.15 Heinrich Vogtherr the Elder, details of Wheel of Fortune (Fig. 21.4) and Aegidius Saedeler II, engraved title page, from Oswald Crollius, Osvaldi Crollii Veterani Hassi Basilica Chymica (Frankfurt, Ulrich Bollinger: 1609; reprint ed., 1611). Bayerisches Staatsbibliothek, Munich (4 Alch. 17) (images: author and Public Domain [Europeana Collections]) 703
21.16 Heinrich Vogtherr the Elder, Wheel of Fortune recto and verso dials, from Paulus Pambst, Loossbuch zu ehren der römischen, vngerischen vnnd böhemischen Künigin (Strassbourg, Balthasar Beck: 1546) fol. 3r–v. Bayerisches Staatsbibliothek, Munich (ESlg/2 Gymn. 31 m). Images © Public Domain (Europeana Collections) 704
21.17 Woodcut title page and verso with mercenary soldier volvelle, from Thuys d fortunē met het huys der doot (Rotterdam, By de weduwe ende de kinderen van Jan van Ghelen: 1610). Newberry Library, Chicago [Wing ZP 646 .G345] (images: author) 706
22.1 Unknown inventor, Untitled disentanglement problem also known as Solomon’s Seal. Reconstructed from the description in Luca Pacioli, De Viribus Quantitatis (ca. 1500). Nylon cord, brass rings, and pine, 3.81 × 8.80 × 1.8 cm (wood block). Image © the author 713
22.2 Unknown inventor, Untitled disentanglement problem also known as the Victoria puzzle. Reconstructed from the description in Luca Pacioli, De Viribus Quantitatis (ca. 1500). Nylon cord and cherry plywood, 1.0 × 3.6 × 19.0 cm (plywood). Image © the author 716
22.3 Unknown inventor, Untitled disentanglement problem also known as the Chinese Rings. Reconstructed from the description in Luca Pacioli, De Viribus Quantitatis (ca. 1500). Pine, penny nails, brass rings, copper rod, and a repurposed jigsaw handle, 1.8 × 10.9 × 4.3 cm (wood block); 2.3 × 26.0 × 2.3 cm (wire bar and handle). Image © the author 719