FIGURES

in Baroque
Freier Zugang

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Illustrations

Dates of works of art refer to year of completion; some are approximate.

Fig. 1

Pieter de Hooch, Courtyard of a House in Delft, 1658. National Gallery, London. https://commons.wikimedia.org/wiki/File:Pieter_de_Hooch_-_The_Courtyard_of_a_House_in_Delft.jpg; last modified May 9, 2018, 10:52.

Fig. 2

Peter Paul Rubens, The Elevation of the Cross, 1610. Cathedral of Our Lady, Antwerp. https://commons.wikimedia.org/wiki/File:Peter_Paul_Rubens_-_Raising_of_the_Cross_-_1610.jpg; last modified October 2, 2017, 08:47.

Fig. 3

Parmigianino, Madonna dal Collo Lungo, 1540. Uffizi Gallery, Florence. https://commons.wikimedia.org/wiki/File:Parmigianino_-_Madonna_dal_collo_lungo_-_Google_Art_Project.jpg; last modified December 20, 2017, 20:35.

Fig. 4

Leonardo da Vinci, Vitruvian Man, 1490. Gallerie dell’Accademia, Venice. https://commons.wikimedia.org/w/index.php?search=da+vinci+vitruve&title=Special%3ASearch&go=Go#/media/File:Da_Vinci_Vitruve_Luc_Viatour.jpg; last modified September 30, 2018, 13:50.

Fig. 5

Cesare Cesariano, Vitruvian Man, 1521. In: Vitruvius Pollio, Di Lucio Vitruuio Pollione De architectura libri dece : traducti de latino in vulgare, affigurati, cõmentati, & con mirando ordine insigniti [da Cæsare Cæsariano] ([Como] G. da Põte, [1521]), Book Three, Chapter One, leaf [50]. Scan: https://archive.org/details/gri_33125008262210. Cropped and with minor edits.

Fig. 6

Donato Bramante, Plan of St. Peter’s Basilica, Rome, 1505. In: Marcel Reymond, Bramante et l’architecture italienne au XVIe siècle (Paris: H. Laurens, 1914), 21, plate 4. Scan: https://archive.org/details/bramanteetlarchi00reym_0.

Fig. 7

Donato Bramante, Tempietto, Rome, 1502. Plan https://commons.wikimedia.org/wiki/File:Tempietto_-_Houtsnede_door_Palladio_2.jpeg; last modified December 8, 2017, 23:53.

Fig. 8

Sebastiano Serlio, Plan of Bramante’s Dome, 1540. In: Il terzo libro di Sabastiano Serlio bolognese, nel qual si figurano, e descriuono le antiquita di Roma e le altre che sono in Italia, e fuori d’Italia ([Venice]: Francesco Marcolino da Forli, 1540), xxxix. https://commons.wikimedia.org/wiki/File:Plan_of_Bramante%27s_dome,_from_Serlio_(Character_of_Renaissance_Architecture).png; last modified November 27, 2016, 21:54.

Fig. 9

Sebastiano Serlio, Plan for a Temple, 1551. In: Qvinto libro d’architettvra di Sabastiano Serlio Bolognese, nel qvale si tratta di diverse forme de tempii sacri secondo il costvme christiano, & al modo antico (Venice: Pietro Nicolini da Sabbio/Melchiorre Sessa, 1551), leaf 5. Scan: https://archive.org/details/quintolibrodarch00serl.

Fig. 10

Leon Battista Alberti, San Sebastiano, Mantua, 1460. Façade. Photograph: Christoph Becker. Creative Commons License CC BY-SA 4.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:San_Sebastiano,_Mantua,_Front_Facade.jpg; last modified February 15, 2018, 16:38.

Fig. 11

Leon Battista Alberti, San Sebastiano, Mantua, 1460. Plan. In: J.B.L.G. Seroux d’Agincourt, Storia dell’arte col mezzo dei monumenti dalla sua decadenza nel IV secolo fino al suo risorgimento nel XVI, Vol. 2: Contenente le Tavole d’ Architettura, trans. A. Rivelanti and Girolamo Carattoni, (Milan: R. Fanfani, 1825), Plate 52. Scan: https://archive.org/details/gri_33125008647485.

Fig. 12

Leon Battista Alberti, Sant’Andrea, Mantua, 1471. Façade. Photograph: David Bramhall. Creative Commons License CC BY-NC-ND 2.0. Cropped and with minor edits. flickr.com/photos/bramhall/27676705240/in/album-72157670348510035.

Fig. 13

Leon Battista Alberti, Santa Maria Novella, Florence, 1470. Façade. Photograph: Amada44. Creative Commons License CC BY 3.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:Santa_Maria_Novella_(Florence)_-_0844.jpg; last modified August 20, 2018, 10:06.

Fig. 14

Francesco Borromini and Bernardo Castelli Borromini, San Carlo alle Quattro Fontane, Rome, 1665–1677. Façade. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 15

Francesco Borromini and Bernardo Castelli Borromini, San Carlo alle Quattro Fontane, Rome, 1665–1677. Façade detail. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 16

Francesco Borromini and Bernardo Castelli Borromini, San Carlo alle Quattro Fontane, Rome, 1665–1677. Roof detail. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 17

Gian Lorenzo Bernini, Sant’Andrea al Quirinale, Rome, 1661–1676. Façade. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 18

Gian Lorenzo Bernini, Sant’Andrea al Quirinale, Rome, 1661. Detail: Dome and side chapel. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 19

Gian Lorenzo Bernini, Sant’Andrea al Quirinale, Rome, 1661. Detail: Dome from entrance. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 20

Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1641. Detail: Dome from floor. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 21

Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1641. Detail: Dome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 22

Francesco Borromini, San Carlo alle Quattro Fontane, Rome, 1641. Detail: Barberini Chapel ceiling. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 23

Lorenzo Nuvolone, Plan of Sant’Andrea al Quirinale, 1683. In: Giovanni Giacomo de Rossi, Vestigum templi s. andreae [Insignium Romae templorum prospectus exteriores interioresque a celebrioribus architectis inventi : nunc tandem suis cum plantis ac mensuris a Io. Iacobo de Rubeis Romano suis typis in lucem editi ad aedem Pacis : cum privilegio Summi Pontificis, anno MDCLXXXIIII] (Rome, 1684), plate 25. Digital image courtesy of Getty’s Open Content Program. http://www.getty.edu/collection/GRI/download/grioc0001830-D.jpg.

Fig. 24

Carlo Maderno, Francesco Borromini, Gian Lorenzo Bernini, Staircase, Palazzo Barberini, Rome, 1634. Photograph: Livioandronico2013. Creative Commons License CC BY-SA 4.0. https://commons.wikimedia.org/w/index.php?curid=43031330; last modified June 20, 2017, 18:01.

Fig. 25

Sebastiano Giannini, Plan of San Carlo alle Quattro Fontane, 1730. Archive, Santa Maria in Vallicella, Rome. Photograph: User:Fb78. Creative Commons License CC BY-SA 3.0. Cropped and edited. https://commons.wikimedia.org/wiki/File:Borromini_Drawing_03.jpg; last modified January 15, 2015, 21:54.

Fig. 26

Lorenzo Ghiberti, Cain and Abel, 1452. Gates of Paradise, Baptistery of San Giovanni, Florence. Photograph: Sailko. Creative Commons License CC BY 3.0. Cropped. https://commons.wikimedia.org/wiki/File:Lorenzo_ghiberti,_porta_del_paradiso,_1425-52,_02_caino_e_abele.JPG; last modified May 24, 2018, 20:21.

Fig. 27

Alessandro Algardi, Meeting of Leo I and Attila, 1653. St. Peter’s Basilica, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 28

Michelangelo Buonarroti, David, 1504. Accademia, Florence. Photograph: Olivier Bruchez. Creative Commons License CC BY-SA 2.0. flickr.com/photos/bruchez/17788449825/in/album-72157653634148736/.

Fig. 29

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 30

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Left view. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 31

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Rear view. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 32

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Right view. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 33

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Detail: Head. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 34

Gian Lorenzo Bernini, Apollo and Daphne, 1625. Galleria Borghese, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 35

Gian Lorenzo Bernini, Apollo and Daphne, 1625. Galleria Borghese, Rome. Detail: Daphne’s hands. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 36

Gian Lorenzo Bernini, Apollo and Daphne, 1625. Galleria Borghese, Rome. Detail: Daphne’s feet. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 37

Gian Lorenzo Bernini, Pluto and Proserpina, 1622. Galleria Borghese, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 38

Gian Lorenzo Bernini, Pluto and Proserpina, 1622. Galleria Borghese, Rome. Detail. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 39

Raphael Sanzio, The School of Athens, 1511. Stanza della Segnatura, Vatican. https://commons.wikimedia.org/wiki/File:%22The_School_of_Athens%22_by_Raffaello_Sanzio_da_Urbino.jpg; last modified September 12, 2018. 03:02.

Fig. 40

Peter Paul Rubens, The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de’ Medici, 1625. Louvre, Paris. Photograph: Gandalf’s Gallery. Creative Commons License CC BY-NC-SA 2.0. https://www.flickr.com/photos/gandalfsgallery/11868295076.

Fig. 41

Michelangelo Merisi da Caravaggio, Conversion of St. Paul on the Way to Damascus, 1601. Cerasi Chapel, Santa Maria del Popolo, Rome. https://commons.wikimedia.org/wiki/File:Conversion_on_the_Way_to_Damascus-Caravaggio_(c.1600-1).jpg; last modified November 28, 2018, 20:32.

Fig. 42

Michelangelo Merisi da Caravaggio, The Taking of Christ, 1602. National Gallery of Ireland, Dublin. https://commons.wikimedia.org/wiki/File:The_Taking_of_Christ-Caravaggio_(c.1602).jpg; last modified April 11, 2018, 06:29.

Fig. 43

Annibale Carracci, The Loves of the Gods: Polyphemus and Galatea, 1608. Ceiling, Farnese Gallery, Farnese Palace, Rome. Detail: South Side. https://it.wikipedia.org/wiki/File:Annibale_Carracci,_Farnese_Ceiling_(South_Side).png; last modified March 29, 2018, 11:56.

Fig. 44

Pietro da Cortona, Allegory of Divine Providence and Barberini Power, 1639. Barberini Palace, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 45

Andrea Pozzo, Apotheosis of St. Ignatius, 1694. Sant’Ignazio, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 46

Baciccio (Giovanni Battista Gaulli), Triumph of the Sacred Name of Jesus, 1679. Il Gesù, Rome. Photograph: LivioAndronico. Creative Commons License CC BY-SA 4.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:Triumph_of_the_Name_of_Jesus.jpg; last modified June 3, 2018, 05:33.

Fig. 47

Peter Paul Rubens, The Meeting of Abraham and Melchizedek, 1626. National Gallery of Art, Washington, DC. Open Access image courtesy National Gallery of Art, Washington.

Fig. 48

Diego Velázquez, Las Meninas, 1656. Prado, Madrid. https://commons.wikimedia.org/wiki/File:Las_Meninas_01.jpg; last modified September 12, 2018, 05:46.

Fig. 49

Peter Paul Rubens, The Drunken Silenus, 1625. Alte Pinakothek, Munich. Photograph: bkp Bildagentur / Alte Pinakothek, Munich / Art Resource, NY.

Fig. 50

Michelangelo Buonarroti, A Children’s Bacchanal, 1533. Royal Collection Trust. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2018. https://www.royalcollection.org.uk/sites/default/files/collection-online/8/3/714747-1507728140.jpg.

Fig. 51

Francesco Fracanzano, The Drunken Silenus, 1640. Harvard Art Museums, Cambridge, Massachusetts. Harvard Art Museums / Fogg Museum, Gift of Ralph Isham, 1932.70. Photograph: Imaging Department © President and Fellows of Harvard College.

Fig. 52

Francesco Fracanzano, The Drunken Silenus, 1640, Harvard Art Museums, Cambridge, Massachusetts. Detail. Harvard Art Museums / Fogg Museum, Gift of Ralph Isham, 1932.70. Photograph: Imaging Department © President and Fellows of Harvard College.

Fig. 53

Giovanni Bellini, San Zaccaria Altarpiece, 1505. San Zaccaria, Venice. Detail. Photograph: Steven Zucker. Creative Commons License CC BY-NC-SA 2.0. https://www.flickr.com/photos/profzucker/8718164547.

Fig. 54

Leonardo da Vinci, The Virgin of the Rocks, 1508. National Gallery, London. Detail. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci_-_Vergine_delle_Rocce_(National_Gallery_London).jpg; last modified April 28, 2017, 07:21.

Fig. 55

Raphael Sanzio, Madonna with the Fish, 1514. Prado, Madrid. Detail. https://commons.wikimedia.org/wiki/File:Raffaello_Sanzio_-_Sacra_Famiglia_con_Rafael,_Tobia_e_San_Girolamo,_o_Vergine_del_pesce.jpg; last modified March 24, 2018, 15:29.

Fig. 56

Pieter de Hooch, Courtyard of a House in Delft, 1658. National Gallery, London. https://commons.wikimedia.org/wiki/File:Pieter_de_Hooch_-_The_Courtyard_of_a_House_in_Delft.jpg; last modified May 9, 2018, 10:52.

Fig. 57

Pieter de Hooch, Courtyard of a House in Delft, 1658. National Gallery, London. Detail. https://commons.wikimedia.org/wiki/File:Pieter_de_Hooch_-_The_Courtyard_of_a_House_in_Delft.jpg; last modified May 9, 2018, 10:52.

Fig. 58

Pieter de Hooch, Courtyard with an Arbor, 1658. Private Collection (Unknown). https://commons.wikimedia.org/wiki/File:Pieter_de_Hooch_024.jpg; last modified March 23, 2018, 22:48.

Fig. 59

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Detail: Head. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 60

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Detail: Sling. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 61

Gian Lorenzo Bernini, Cornaro Chapel, 1652. Santa Maria della Vittoria, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 62

Gian Lorenzo Bernini, Cornaro Chapel, 1652. Santa Maria della Vittoria, Rome. Detail: Right-hand relief of members of the Cornaro family. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Fig. 63

Gian Lorenzo Bernini, The Ecstasy of St. Teresa, 1652. Cornaro Chapel, Santa Maria della Vittoria, Rome. Photograph: Alvesgaspar. Creative Commons License CC BY-SA 4.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:Ecstasy_of_Saint_Teresa_September_2015-2a.jpg; last modified December 18, 2016, 20:22.

Fig. 64

Giovanni Baglione, The Emperor Leo the Armenian Assassinated in the Presence of his Mother, 1611. Entrance Arch, Borghese (Pauline) Chapel, Santa Maria Maggiore, Rome. Photograph: Alinari, c. 1920–1930. Archivi Alinari, Florence.

Fig. 65

Michelangelo Merisi da Caravaggio, The Calling of St. Matthew, 1600. Contarelli Chapel, San Luigi dei Francesi, Rome. https://commons.wikimedia.org/wiki/File:The_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg; last modified December 28, 2016, 13:07.

Fig. 66

Gian Lorenzo Bernini, The Ecstasy of St. Teresa, 1652. Cornaro Chapel, Santa Maria della Vittoria, Rome. Photograph: Alvesgaspar. Creative Commons License CC BY-SA 4.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:Ecstasy_of_Saint_Teresa_September_2015-2a.jpg; last modified December 18, 2016, 20:22.

Fig. 67

Peter Paul Rubens, Venus and Adonis, 1614. Hermitage Museum, St. Petersburg. https://commons.wikimedia.org/wiki/File:Peter_Paul_Rubens_-_Venus_and_Adonis_-_WGA20288.jpg; last modified April 16, 2018, 14:56.

Fig. 68

Giuseppe Arcimboldo, Spring, 1563. Real Academia de Bellas Artes de San Fernando, Madrid. https://commons.wikimedia.org/wiki/File:Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project.jpg; last modified March 27, 2018, 19:04.

Fig. 69

Anonymous, A Poet’s Dream Realized, 1654. In: Charles Sorel, Le berger extravagant [1627], trans. John Davies: The Extravagant Shepherd: or, The History of the Shepherd Lysis, an Anti-Romance (Covent-Garden [London]: T. Newcomb, 1654), plate opposite page 23. Source: Folger Shakespeare Library. Creative Commons License CC BY-SA 4.0. https://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~865444~157201:-Berger-extravagant--English--The-e#.

Fig. 70

Gerrit van Honthorst, The Denial of St. Peter, 1623. Minneapolis Institute of Art. https://commons.wikimedia.org/wiki/File:Gerrit_van_Honthorst_-_The_Denial_of_St._Peter_-_71.78_-_Minneapolis_Institute_of_Arts.jpg; last modified April 7, 2018, 22:54.

Fig. 71

Hans Jakob Christoffel von Grimmelshausen, Frontispiece, Der Abentheurliche Simplicissimus Teutsch, 1669 [recte 1668]. Scan: Badische Landesbibliothek, Karlsruhe. Creative Commons License CC BY-SA 3.0 DE. Cropped and with minor edits. https://digital.blb-karlsruhe.de/blbihd/content/pageview/64232.

Fig. 72

Hans Jakob Christoffel von Grimmelshausen, Title Page, Der Abentheurliche Simplicissimus Teutsch, 1669 [recte 1668]. Scan: Badische Landesbibliothek, Karlsruhe. Creative Commons License CC BY-SA 3.0 DE. Cropped and with minor edits. https://digital.blb-karlsruhe.de/blbihd/content/pageview/64230.

Fig. 73

Hans Jakob Christoffel von Grimmelshausen, Title Page, Der Abentheurliche Simplicissimus Teutsch, 1669 [recte 1668]. Detail: Type Font Anomalies. Scan: Badische Landesbibliothek, Karlsruhe. Creative Commons License CC BY-SA 3.0 DE. Edit and compilation: Peter J. Burgard. https://digital.blb-karlsruhe.de/blbihd/content/pageview/64230.

Color Plates

Plate 1

Pieter de Hooch, Courtyard of a House in Delft, 1658. National Gallery, London. https://commons.wikimedia.org/wiki/File:Pieter_de_Hooch_-_The_Courtyard_of_a_House_in_Delft.jpg.

Plate 2

Gian Lorenzo Bernini, David, 1624. Galleria Borghese, Rome. Detail: Head. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Plate 3

Raphael Sanzio, The School of Athens, 1511. Stanza della Segnatura, Vatican. https://commons.wikimedia.org/wiki/File:%22The_School_of_Athens%22_by_Raffaello_Sanzio_da_Urbino.jpg.

Plate 4

Peter Paul Rubens, The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de’ Medici, 1625. Louvre, Paris. Photograph: Gandalf’s Gallery. Creative Commons License CC BY-NC-SA 2.0. https://www.flickr.com/photos/gandalfsgallery/11868295076.

Plate 5

Michelangelo Merisi da Caravaggio, Conversion of St. Paul on the Way to Damascus, 1601. Cerasi Chapel, Santa Maria del Popolo, Rome. https://commons.wikimedia.org/wiki/File:Conversion_on_the_Way_to_Damascus-Caravaggio_(c.1600-1).jpg.

Plate 6

Michelangelo Merisi da Caravaggio, The Taking of Christ, 1602. National Gallery of Ireland, Dublin. https://commons.wikimedia.org/wiki/File:The_Taking_of_Christ-Caravaggio_(c.1602).jpg.

Plate 7

Annibale Carracci, The Loves of the Gods: Polyphemus and Galatea, 1608. Ceiling, Farnese Gallery, Farnese Palace, Rome. Detail: South Side. https://it.wikipedia.org/wiki/File:Annibale_Carracci,_Farnese_Ceiling_(South_Side).png.

Plate 8

Pietro da Cortona, Allegory of Divine Providence and Barberini Power, 1639. Barberini Palace, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Plate 9

Andrea Pozzo, Apotheosis of St. Ignatius, 1694. Sant’Ignazio, Rome. Photograph: Peter J. Burgard. Creative Commons License CC BY-NC-SA 4.0.

Plate 10

Baciccio (Giovanni Battista Gaulli), Triumph of the Sacred Name of Jesus, 1679. Il Gesù, Rome. Photograph: LivioAndronico. Creative Commons License CC BY-SA 4.0. Cropped and with minor edits. https://commons.wikimedia.org/wiki/File:Triumph_of_the_Name_of_Jesus.jpg.

Plate 11

Peter Paul Rubens, The Meeting of Abraham and Melchizedek, 1626. National Gallery of Art, Washington, DC. Open Access image courtesy National Gallery of Art, Washington.

Plate 12

Diego Velázquez, Las Meninas, 1656. Prado, Madrid. https://commons.wikimedia.org/wiki/File:Las_Meninas_01.jpg.

Plate 13

Peter Paul Rubens, The Drunken Silenus, 1625. Alte Pinakothek, Munich. Photograph: bkp Bildagentur / Alte Pinakothek, Munich / Art Resource, NY.

Plate 14

Francesco Fracanzano, The Drunken Silenus, 1640. Harvard Art Museums, Cambridge, Massachusetts. Harvard Art Museums / Fogg Museum, Gift of Ralph Isham, 1932.70. Photograph: Imaging Department © President and Fellows of Harvard College.

Plate 15

Giovanni Bellini, San Zaccaria Altarpiece, 1505. San Zaccaria, Venice. Detail. Photograph: Steven Zucker. Creative Commons License CC BY-NC-SA 2.0. https://www.flickr.com/photos/profzucker/8718164547.

Plate 16

Leonardo da Vinci, The Virgin of the Rocks, 1508. National Gallery, London. Detail. https://commons.wikimedia.org/wiki/File:Leonardo_da_Vinci_-_Vergine_delle_Rocce_(National_Gallery_London).jpg.

Plate 17

Raphael Sanzio, Madonna with the Fish, 1514. Prado, Madrid. Detail https://commons.wikimedia.org/wiki/File:Raffaello_Sanzio_-_Sacra_Famiglia_con_Rafael,_Tobia_e_San_Girolamo,_o_Vergine_del_pesce.jpg.

Plate 18

Michelangelo Merisi da Caravaggio, The Calling of St. Matthew, 1600. Contarelli Chapel, San Luigi dei Francesi, Rome. https://commons.wikimedia.org/wiki/File:The_Calling_of_Saint_Matthew-Caravaggo_(1599-1600).jpg.

Plate 19

Hans Jakob Christoffel von Grimmelshausen, Frontispiece, Der Abentheurliche Simplicissimus Teutsch, 1669 [recte 1668]. Scan: Badische Landesbibliothek, Karlsruhe. Creative Commons License CC BY-SA 3.0 DE. Cropped and with minor edits. https://digital.blb-karlsruhe.de/blbihd/content/pageview/64232.

Plate 20

Hans Jakob Christoffel von Grimmelshausen, Title Page, Der Abentheurliche Simplicissimus Teutsch, 1669 [recte 1668]. Scan: Badische Landesbibliothek, Karlsruhe. Creative Commons License CC BY-SA 3.0 DE. Cropped and with minor edits. https://digital.blb-karlsruhe.de/blbihd/content/pageview/64230.

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Baroque

Figures of Excess in Seventeenth-Century European Art and German Literature