Fig. 6.1 (p.120) Andrea Verrocchio "Bust of a Lady". In Museo Nazionale

("Bargello"), Florence. Fig. 6.2 (p.121) Lorenzo Bernini, portrait bust of Constance Buonarelli. In Museo Nazionale ("Bargello"), Florence.

Fig. 6.3 (p.123) Baroque wind instruments in "Musée instrumentale du Conservatoire de Paris", now "Cité de la Musique". Picture published in Larousse "La Musique", Vol. 1 (1965).

Fig. 6.4 (p.126) Albrecht Dürer, Engraving from "Unterweisung der Messung" (Nürnberg 1525). Reproduced in E.H. Gombrich, "Art and Illusion" (Phaidon 1960, London). Original to the photograph in New York Public Library Print Collection.

Fig. 6.5 (p.128) Central panel "Adoration of the Lamb" from Hubert and Jan van Eyck, the "Ghent Altar", 1420. Reproduced in D. Hockney, "Secret Knowledge".

Fig. 6.6 (p.129) Left: Detail from a portrait of J.-B.A. Forqueray by J.-M. Frédou. Painting "in private possession". Reproduced in Pierre Jaquier, "A Rediscovery of a portrait of J.B. Forqueray", Proceedings of the Viola da Gamba symposium Utrecht 1991 (STIMU, Utrecht). Right: "Cordier" from the collections of "Musée des arts decoratifs", Paris.

Fig. 6.7 (p.130) Full portrait of J.B.A. Forqueray by J.-M. Frédou around 1737.

Fig. 6.8 (p.131) Michelangelo da Caravaggio, "The Lute Player". In the Hermitage, S:t Petersburg. Reproduced in Goldberg Magazine Vol. 1:1.

Fig. 6.9 (p.134) Base Viol by Martin Voigt, Hamburg. In Victoria and Albert Museum, London. Published in one of their catalogues.

Fig. 6.10 (p.135) Beginning of "La Régente", Pièces de violes by Antoine Forqueray. Original published in Paris 1747. From a facsimile edition, "performer's facsimiles", 1985 in the author's possession.

Fig. 6.11 (p.137) "Loves Galliard" by Captain Tobias Hume, "The first part of airs" printed 1605 in London. From a modern facsimile edition in the possession of the author.

Fig. 6.12 (p.138) Beginning of sonata XI from the "Rosary" or "Mystery" sonatas by H.I.F. von Biber. Original in Bayerische Staatsbibliothek, München. Picture scanned form facsimile score.

Fig. 6.13 (p.142) Harpsichord from Sperrhake factory, Passau. Publicity photo, reproduced in W.J. Zuckermann, "The Modern Harpsichord" (Peter Owen, London 1970).

Fig. 6.14 (p.143) Publicity photo of a copy of a Taskin harpsichord built by Hubbard & Dowd, reproduced in W.J. Zuckermann, "The Modern Harpsichord" (Peter Owen, London 1970).

Fig. 6.15 (p.146) Left: Delft porcelain violin in Rijksmuseum, Amsterdam. Right: Experimental violin, probably 19th Century, from the collections of the museum of musical instruments, Stockholm.

Fig. 6.16 (p.147) Interior of a Luthérie, illustration from Diderot, D'Alambert, "Encyclopédie...". Scanned from a facsimile edition of the "Recueil de planches sur les sciences, les arts libéraux, et les arts méchaniques/Lut-hérie" by "Inter-livres.

Fig. 6.17 (p.149) Picture of Arnold Dolmetsch and his family in Heslemere, published in H. Haskell, "The Early Music Revival - A History" (Thames & Hudson 1988).

Fig. 6.18 (p.151) "La Primavera" by Sandro Botticelli, in Galleria delle Uffici, Florence.

Fig. 6.19 (p.153) Engraving by Albrecht Dürer, "Melancholia". One original in the Royal Library, Stockholm.

Fig. 6.20 (p.154) M.C. Escher drawing published in Bruno Ernst, "Der Zauberspiegel des M.C. Escher" (TACO, Berlin 1986).

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