Virgilius Bononiensis, Bird’s-eye View of Antwerp from the East, 1565, printed by Gillis Coppens van Diest, hand-colored woodcut, Antwerp, Museum Plantin-Moretus (photo: Museum Plantin-Moretus) Endpaper
1.1 Frans Floris, Fall of the Rebel Angels, 1554, oil on panel, 308 × 220 cm, Antwerp, Royal Museum of Fine Arts (photo: Royal Museum for Fine Arts Antwerp © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 2
1.2 Quentin Metsys, Lamentation Altar (Saint John Altar), c. 1511, oil on panel, 260 × 273 cm, Antwerp, Royal Museum of Fine Arts (photo ©
1.3 Michelangelo (Michelangelo Buonarroti), The Last Judgment, 1536–41, fresco, Rome, Sistine Chapel (photo: Scala Florence) 4
1.4 Giovanni and Bernardino da Asola, Fall of the Rebel Angels, 1526, oil on canvas, 363 × 184 cm, Venice, Museo Correr (formerly Chiesa di San Michele) (photo: Fondazione Zeri) 5
1.5 Marcantonio Raimondi after Michelangelo, The Climber, c. 1508, engraving, 193 × 131 mm, Manchester, The John Rylands Library, The University of Manchester, Spencer 8050, fol. 62r (photo: The University of Manchester) 8
1.6 Albrecht Dürer, The Woman Clothed with the Sun, and the Seven-Headed Dragon from The Apocalypse, 1497, woodcut, 395 × 285 mm, Manchester, The Whitworth Art Gallery, P. 3068, Gift of George Thomas Clough in 1921 (photo: The University of Manchester) 9
1.7 Pieter Bruegel the Elder, Fall of the Rebel Angels, 1562, oil on panel, 117 × 162 cm, Brussels, Musées royaux des Beaux-Arts de Belgique (photo ©
1.8 Hendrik van Steenwijk, Interior of Onze-Lieve-Vrouwe, c. 1620, oil on panel, 116 × 158 cm, ex col. Hermann Emden, Hamburg, current location unknown (photo: sales catalog, Lepke, Berlin, 3 May 1910, no. 33) 16
1.9 Frans Floris, Head of a Man with a Sword, c. 1554, oil on panel, 47 × 36.5 cm, Kassel, Staatliche Gemäldegalerie Alte Meister, inv. GK1038 (photo: Museumslandschaft Hessen Kassel) 16
1.10 Nicolas Béatrizet (?) after Raphael, Saint Michael and the Dragon, c. 1540, engraving, 250 × 185 mm, London, British Museum, Department of Drawings and Prints, 1925,1215.113 (photo: Trustees of the British Museum) 18
1.11 Detail of fig. 1.1 22
1.12 Floris’s signature on Fall of the Rebel Angels, detail of fig. 1.1 22
1.13 Detail of fig. 1.1 23
1.14 Detail of fig. 1.1 26
1.15 Henri Leys, Frans Floris Prepares Himself for the Festival of the Guild of Saint Luke, 1853, oil on canvas, 66 × 90 cm, London, The Wallace Collection (photo: The Wallace Collection) 33
2.1 Giulio Bonasone after Frans Floris (?), Frans Floris, c. 1555, engraving, 181 × 130 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1955-476 (photo: Rijksmuseum) 36
2.2 Jan Symons, Frans Floris, aged 32, 1552, lead, diam. 76.5 mm, inscribed FRANCISCVS FLORIS PICTOR AE.XXXII 1552, Antwerp, Oudheidkundige Musea, Vleeshuis, inv. AA 0051 (photo © Museum aan de Stroom, Antwerp) 37
2.3 Reverse of fig. 2.2, depicting a lamp, owl, and distaff (photo © Museum aan de Stroom, Antwerp) 37
2.4 Johannes Wierix, Frans Floris, 1572, engraving, 220 × 133 mm, from: Pictorum aliquot celebrium Germaniae Inferioris effigies (Antwerp: Aux Quatre Vents, 1572), plate 22, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-67.056 (photo: Rijksmuseum) 37
2.5 Pieter van der Borcht, The Antwerp Beurs, founded 1531, c. 1565, etching, 236 × 325 mm, Antwerp, Stedelijke Prentenkabinet, pk.op.11554 | iii/B.338 (photo: Stedelijk Prentenkabinet) 43
2.6 Pieter Coecke van Aelst, The Last Supper, 1531, oil on panel, 75 × 82 cm, Brussels, Musées royaux des Beaux-Arts (photo ©
2.7 Raphael, Blinding of Elymas (The Conversion of the Proconsul), c. 1515, gouache on paper mounted on canvas, 340 × 450 cm, London, Victoria and Albert Museum, on loan from the collection of Her Majesty the Queen (photo: Victoria and Albert Museum, London) 45
2.8 Frans Floris (?), Lambert Lombard, c. 1555, oil on panel, 77 × 64 cm, Liège, Musée de l’art wallon (photo ©
2.9 Lambert Suavius (?), Lambert Lombard, frontispiece to: Dominicus Lampsonius, Lamberti Lombardi … Vita… (Bruges: Hubert Goltzius, 1565), Cambridge, Houghton Library, Harvard College Library (photo: Harvard College Library) 50
2.10 Jan van Scorel, Presentation in the Temple, c. 1530, oil on panel, 117 × 85 cm, Vienna, Kunsthistorisches Museum, inv. 6161 (photo:
2.11 Jan de Beer, Adoration of the Magi, c. 1520, oil on panel, central panel: 156 × 123 cm, wings: 156 × 58 cm, Milan, Pinacoteca Brera (photo: ArtStor) 52
2.12 Jan Gossaert, Neptune and Amphitrite, 1516, oil on panel, 188 × 124 cm, Berlin, Gemäldegalerie (photo: Preussischer Kulturbesitz) 53
2.13 Jan Gossaert, The Spinario, boots, helmets, and lions’ heads, 1509, pen and brown ink, 260 × 202 mm, Leiden, Prentenkabinet der Rijksuniversiteit, inv. pk-t-aw-1041 (photo: Leiden University Library) 54
2.14 Francesco Salviati, The Visitation, 1538, fresco, Rome, Oratory of San Giovanni Decollato (photo: Art Resource) 57
2.15 Agostino Veneziano, The Academy of Baccio Bandinelli, 1531, engraving, 275 × 300 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-36.663 (photo: Rijksmuseum) 58
2.16 Enea Vico after Baccio Bandinelli, The Academy of Baccio Bandinelli, c. 1545, engraving, 307 × 475 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-38.316 (photo: Rijksmuseum) 59
2.17 Lambert Lombard, Hercules and the Nemean Lion, after a sarcophagus in the Savelli collection, 1538, pen and brown ink, 338 × 205 mm, Liège, Cabinet des Estampes, Album d’Arenberg, no. N. 217 (photo ©
2.18 Lambert Lombard, Three Nude Men after Antonio Pollaiuolo and Baccio Bandinelli, Rome, 1538, pen and brown ink, 289 × 425 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-t-1957-190 (photo: Rijksmuseum) 60
2.19 Lambert Lombard, The Family of “Master” Lambert Lombard, inscribed: la famille de maistre lambert, c. 1550, pen and brown ink with brown wash, 146 × 178 mm, London, British Museum, Department of Drawings and Prints, 1953,0103.3 (photo: Trustees of the British Museum) 63
2.20 Lambert Lombard, Fifteen Figures from the Church at Schwarzrheindorf, 1557, inscribed Lambertus Lombard/ fecit 1557 and conato da la manier/ che restasse in ger/ mania dal tempo/ di goti se ne vede/ in part abonne et/ innanzi bonne dentro/ … abadia … villich, pen and brown ink with brown wash over black chalk, 210 × 295 mm, Rome, Istituto Nazionale per la Grafica (photo: courtesy of the Ministero dei Beni e le Attività Culturali e del Turismo) 65
2.21 Lambert Lombard, The Raising of Lazarus, 1544, pen and brown ink, 276 × 379 mm, Düsseldorf, Kunstmuseum der Stadt (photo: Kunstmuseum der Stadt) 67
2.22 Veit Stoss, The Raising of Lazarus, c. 1500, engraving, 223 × 215 mm, London, British Museum, Department of Drawings and Prints, 1925,0406.78 (photo: Trustees of the British Museum) 67
2.23 Lambert Lombard and assistants, Augustus and the Tiburtine Sibyl, c. 1547, mixed media on canvas, 145 × 180 cm, Stokrooie, Église Saint-Armand, painted for the Abbey of Herkenrode in Kuringen (photo ©
3.1 Hermanus Posthumus, Tempus Edax Rerum, 1536, oil on canvas, 96 × 114.5 cm, Vienna, Liechtenstein Museum (photo: Erich Lessing/Art Resource,
3.2 Polidoro da Caravaggio, Façade of Palazzo Ricci, Rome, c. 1525, fresco (photo: Conway Library, The Courtauld Institute of Art, London) 75
3.3 Unknown artists after Frans Floris, River God Tiber Seen from the Front (p. 47 in the lost Album Dansaert), c. 1544, red chalk, dimensions unrecorded, formerly in Brussels (photo: Dansaert-Bautier 1911, 321, fig. 2) 78
3.4 Unknown artists after Frans Floris, River God Tiber seen from the Back (p. 47 in the lost Album Dansaert), c. 1544, red chalk, dimensions unrecorded, formerly in Brussels (photo: Biblioteca Nazionale Centrale di Firenze) 78
3.5 Frans Floris, Cybele from Palazzo Venezia and a Sarcophagus with Pentheus and the Maenads, c. 1544, pen and brown ink with brown wash, 191 × 235 mm, Bruges, Steinmetzkabinet, O.1788.II (photo ©
3.6 Frans Floris, Study of Ceres and Proserpina from a Puteal in the Albani Collection, with Fortuna and a Barbarian’s Sandal from the Cesi or De Nigris Collection, c. 1544, pen and brown ink with brown wash, 192 × 262 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, F 11791 (photo: Bibliothèque royale de Belgique) 80
3.7 Frans Floris, Leonhard Thurneysser zum Thurn, c. 1569, oil on panel, 45 × 38 cm, Basel, Kunstmuseum (photo: Hans Hinz/
3.8 Federico Zuccaro, Taddeo Zuccaro Drawing After the Antique and the Frescoes of Polidoro da Caravaggio, c. 1595, pen and brown ink, brush with brown wash, over black chalk and touches of red chalk, 422 × 175 mm, Los Angeles, J. Paul Getty Museum, 99.
3.9 Copy after Frans Floris, Two Studies after Michelangelo’s Sistine Ceiling: Abiud and Eliachim and the Ignudo to the right of the Sibyl of Cumae (Basel Sketchbook, fol. 7r), c. 1544, pen and brown ink over a preliminary drawing in red chalk, 220 × 295 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.10 Maarten van Heemskerck, Atrium of the Palazzo Medici Madama, c. 1535 (Sketchbook i, fol. 5r), pen and brown ink, 177 × 211 mm, Berlin, Kupferstichkabinett, inv. 79D2 5r (photo: Preussischer Kulturbesitz) 84
3.11 Dying Amazon, second-century Roman, marble, 125 cm, Naples, Museo Archeologico Nazionale, inv. 6012 (photo: Stendal, Winckelmann-Gesellschaft Fotoarchiv) 85
3.12 Frans Floris, Polyphemus and a Greek in Palazzo Barbaro, Dying Amazon at Palazzo Medici Madama, and Unidentified Antique and Non-Antique Figures (Basel Sketchbook, fol. 23v), c. 1544, pen and brown ink with brown wash, 216 × 292 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.13 Frans Floris, Four Standing Gods from the Altar Base of the Twelve Gods (Basel Sketchbook, fol. 24v), c. 1554, pen and brown ink with brown wash, 210 × 297 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.14 Tripod Altar Base of the Twelve Gods, showing the Graces, The Horaï (Seasons) and Fates, first half of the second century
3.15 Stephanus Pighius, Four Standing Gods from the Altar Base of the Twelve Gods, from Codex Pighianus, 1550–55, pen and brown ink, 290 × 430 mm, Berlin, Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, Manuscript Department, Ms. lat. fol. 61, fol. 311r (photo: Preussischer Kulturbesitz) 87
3.16 Frans Floris, Antique Trophies from the Reliefs on the Base of Trajan’s Column (Basel Sketchbook, fol. 8r), c. 1544, pen and brown ink with brown wash, 225 × 305 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.17 Frans Floris, Studies of Phaedra, a Hermaphrodite, and Unidentified Antiquities (Basel Sketchbook, fol. 29v), c. 1544, pen and brown ink with brown wash, 213 × 296 mm, Basel, Kunstmuseum, Kupferstichkabinett, inv.
3.18 Hermaphrodite, Hellenistic, second or third century
3.19 After Frans Floris, Three Dancing Nymphs or Horae from the Puteal in Casa Cesi (Basel Sketchbook, fol. 13v), c. 1544, pen and brown ink with brown wash, 238 × 221 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.20 Frans Floris, The Judgment of Paris, c. 1548, oil on panel, 120 × 159.5 cm, Kassel, Staatliche Gemäldegalerie Alte Meister, inv. GK1001 (photo: Museumslandschaft Hessen Kassel) 93
3.21 Frans Floris, Roma Victrix, Dacia, and a Frieze Depicting Hercules from the Villa Torolina Marble Crater (Basel Sketchbook, fol. 25v), c. 1544, pen and brown ink with brown wash, 204 × 298 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.22 Frans Floris, Frieze on the Medea Sarcophagus (Basel Sketchbook, fol. 18v), c. 1544, pen and brown ink with brown wash, 221 × 296 mm, Basel, Kunstmuseum, Kupferstichkabinett,
3.23 Frans Floris, Moses Receiving the Law after the fresco in the Loggia of Raphael, c. 1544, pen and brown ink with brown wash, 255 × 220 mm, Haarlem, Teylers Museum,
3.24 Frans Floris, Frieze on the West Side of the Arch of Constantine, c. 1544, pen and brown ink with gray wash over black chalk, 267 × 391 mm, Paris, Musée du Louvre, Département des arts graphiques, inv. 20.618 (photo ©
3.25 Joos Gietleughen after Frans Floris, The Hunts, 1555, chiaroscuro woodcut in six parts from three blocks each, 431 × 2625 mm as mounted together, Paris, Bibliothèque nationale de France, AA6 rés, formerly Cc-6-fol (photo: Bibliothèque national de France) 102
3.26 Frans Floris, Rape of the Sabine Women, after a fresco by Polidoro da Caravaggio on Palazzo Ricci, c. 1544, pen and brown ink with brown wash over black chalk, 117 × 210 mm, St. Petersburg, State Hermitage Museum, inv. no.
3.27 Recto: Frans Floris, Studies after Giulio Romano and Polidoro da Caravaggio, c. 1544, pen and brown ink, 220 × 318 mm, Paris, École nationale supérieure des Beaux-Arts, inv. M. 2171 recto (photo © Beaux-Arts de Paris, Dist.
3.28 Verso of figure 3.27: Frans Floris, Sacrifice of a Bull after Giulio Romano and Scene of Ancient Sacrifice after Polidoro da Caravaggio, 1544, pen and brown ink, 220 × 318 mm, Paris, École nationale supérieure des Beaux-Arts, inv. M. 2171 verso (photo © Beaux-Arts de Paris, Dist.
3.29 Detail in reverse from: Cherubino Alberti after Polidoro da Caravaggio, Triumph of Aemelius Paulus, from the Piazza Madama, 1628, engraving, 169 × 410 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-ob-34.041 (photo: Rijksmuseum) 105
3.30 Giulio Romano, Scene of Antique Sacrifice, 1527, fresco, Mantua, Palazzo Te, Camera dei Venti (photo: Kunsthistorisches Institut in Florenze – Max-Planck-Institut) 105
3.31 Frans Floris (?), Five Caesars, after Baldassare Peruzzi’s fresco on Palazzo Buzi, Rome, c. 1544, pen and brown ink with brown wash, 173 × 319 mm, Oxford, Christ Church College Picture Gallery, inv. no. 1536 (photo: Christ Church College) 105
3.32 Frans Floris (?), Mucius Scaevola Crossing the Tiber, c. 1545, pen and brown ink with brown wash, 136 × 204 cm, Paris, Musée du Louvre, inv. no. 6250 (photo ©
3.33 I. Lorenziani after Polidoro da Caravaggio, Mucius Scaevola Crossing the Tiber, c. 1650, Rome, Gabinetto Nazionale, FC76214, st. vol. 47 H11 Rome, Istituto Nazionale per la Grafica (photo: courtesy of the Ministero dei Beni e le Attività Culturali e del Turismo) 106
3.34 Philips Galle after Frans Floris, Mucius Scaevola before Porsenna, 1563, engraving, 319 × 416 mm, Haarlem, Noord-Hollands Archief / Voorhelm Schneevoogt, inv. 53008293 (photo: Noord-Hollands Archief) 106
3.35 Recto: Frans Floris (?) Study After Polidoro da Caravaggio, c. 1545, pen and brown ink with gray and brown wash, 163 × 206 mm, Paris, Musée du Louvre, Département des arts graphiques, inv. No. 10517 (Photo ©
3.36 Verso of 3.35: Frans Floris (?) Study After Polidoro da Caravaggio’s Façade on Palazzo Gaddi (Photo ©
3.37 Michiel Coxcie, Saint Barbara Presenting Cardinal Enckenvoirt to the Trinity, 1532, fresco, Rome, Santa Maria dell’Anima, Santa Barbara Chapel (photo: author) 108
3.38 Perino del Vaga, Alexander Cutting the Gordian Knot, c. 1545, fresco, Rome, Castel Sant’Angelo, Sala Paolina (Sala del Consiglio) (photo: Scala Florence Ministero dei Beni e le Attività Culturali e del Turismo) 110
3.39 Francesco Salviati, Allegory of Peace Burning the Arms, c. 1545, fresco, Florence, Sala dell’Udienza of the Palazzo Vecchio (photo: Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze) 111
3.40 Cornelis Cort after Frans Floris, Hercules and the Pygmies, 1562, engraving, 325 × 465 mm, Stanford, Calif., Kirk Edward Long Collection (photo: Kirk Edward Long Collection) 113
3.41 Giorgio Vasari and Workshop, Paul iii Surveying the Plans of Saint Peter’s Basilica, 1546, fresco, Rome, Cancelleria, Sala dei Cento Giorni (photo: Wikimedia Commons) 113
3.42 Giulio Romano, Battle of the Horatii and the Curiatti, 1524–34, fresco, Mantua, Palazzo Te, Camera dei Venti (photo: Kunsthistorisches Institut in Florenze – Max-Planck-Institut) 116
3.43 Cornelis Cort after Frans Floris, The Battle of the Horatii and the Curiatti, c. 1560, engraving, 316 × 414 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-2001-150 (photo: Rijksmuseum) 117
3.44 Perino del Vaga, Neptune Calming the Seas, pen in brown and gray inks with gray wash and white heightening, Paris, Musée du Louvre, Département des arts graphiques, inv. 636 (photo: Musée du Louvre, Dist.
3.45 Perino del Vaga, Fall of the Giants, 1531–33, fresco, Genoa, Palazzo del Principe (photo: Getty Images / Hulton Fine Art / Mondadori Portfolio) 118
4.1 Anon. woodcutter after Pieter Coecke van Aelst, The Triumphal Arch of the Genoese Nation, 1550, woodcut, 22.6 × 20.5 cm (page), from: Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e] (Antwerp: Pieter Coecke van Aelst, 1550), 43, New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 122
4.2 Frans Floris, Holy Family with Saint John the Baptist, 1546, oil on panel, 101.5 × 80 cm, Switzerland, private coll. (photo: RKDimages) 124
4.3 Detail of 4.2 with artist’s signature and date 124
4.4 Raphael Workshop (Giovan Francesco Penni?), Madonna del Divino Amore, c. 1516–18, oil on panel, 140 × 109 cm, Naples, Museo Capodimonte, inv. 146 (photo: by courtesy of the Ministero dei beni e delle attività culturali e del turismo) 125
4.5 Frans Floris, Holy Family with Saints Elizabeth, Anne, and John, c. 1550, oil on panel, 95 × 90 cm, Munich, Alte Pinakothek, inv. 1945 (photo: Blauel/Gnamm/
4.6 Frans Floris, The Judgment of Solomon, c. 1546, oil on canvas, 123 × 208 cm, Antwerp, Royal Museum of Fine Arts, inv. 1959 (photo ©
4.7 Cornelis Cort after Frans Floris, The Return of Jacob to Canaan, 1563, engraving, 132 × 218 mm (plate cut), Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1878-a-781 (photo: Rijksmuseum) 128
4.8 François Frans or Guido Andries (?) after Enea Vico after Francesco Salviati, The Conversion of Saint Paul, 1547, 98 faience tiles, 96.5 × 193.5 cm, Antwerp, Vleeshuis Museum, inv.
4.9 Frans Floris, The Continence of Scipio, c. 1546, oil on panel, 77.5 × 190.5 cm, Barcelona, Interpreta Cultural (photo: Christie’s London) 130
4.10 Frans Floris, Mars and Venus Surprised by Vulcan, 1547, oil on panel, 150 × 198 cm, formerly Berlin, Staatliche Museen, destroyed in Second World War (photo: Preussischer Kulturbesitz) 134
4.11 Jan Massys, Venus of Cythera, 1561, oil on panel, 133 × 156 cm, Stockholm, Nationalmuseet, inv. 507 (photo: Nationalmuseet) 134
4.12 Frans Floris, Santa Margherita Triptych, 1547 (?), oil on panel, center: 193 × 155 cm, wings: 193 × 64 cm, current location unknown (photo: Elena Parma Armani) 136
4.13 Hiernonymus Cock, Second View from the Ruins of the Baths of Diocletian, 1550, etching, 217 × 300 mm, from Praecipua Aliquot Romanae Antiquitatis Ruinarum Monimenta (Antwerp: Hieronymus Cock, 1551), Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1882-a-6454 (photo: Rijksmuseum) 136
4.14 Transcription of the inscription on the Santa Margherita Triptych (fig. 4.12) from G. J. Hoogewerff, Nederlandsche schilders in Italie in de XVIe eeuw (Utrecht: A. Oosthoek, 1912), fig. 27 136
4.15 Anon. artist, Salle de Bal with the Fêtes Staged at Binche for the Visit of Charles V and Philip II, 1549, wash on paper, 398 × 379 mm, Brussels, Bibliothéque royale de Belgique, Cabinet des Estampes, F 12930, plano C (photo: Bibliothéque royale de Belgique) 139
4.16 Anon. woodcutter after Pieter Coecke van Aelst, Stage of the Mint, woodcut, 22.6 × 20.5 cm (sheet), from Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e], (Antwerp: Pieter Coecke van Aelst, 1550), 93, New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 140
4.17 Anon. woodcutter after Pieter Coecke van Aelst, Stage of The Coronation of the Prince, woodcut, 22.6 × 20.5 cm (sheet), from: Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e] (Antwerp: Pieter Coecke van Aelst, 1550), 100, New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 140
4.18 Philipps Galle, Cornelis Grapheus, 1572, engraving, 174 × 117 mm, from Virorum doctorum effigies, C4, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1906-670 (photo: Rijksmuseum) 140
4.19 Johannes Wierix, Pieter Coecke van Aelst, from: Pictorum aliquot celebrium Germaniae Inferioris effigies (Antwerp: Aux Quatre Vents, 1572), 16, engraving, 208 × 121 mm, London, British Museum, Department of Drawings and Prints, 1873,0809.965 (Photo: Trustees of the British Museum) 141
4.20 Anon. woodcutter after Pieter Coecke van Aelst, frontispiece to Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e], woodcut, 22.6 × 20.5 cm (sheet), (Antwerp: Pieter Coecke van Aelst, 1550), New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 142
4.21 Anon. woodcutter after Pieter Coecke van Aelst, Arch of the Florentine Nation, woodcut, 22.6 × 20.5 cm (sheet), from: Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e] (Antwerp: Pieter Coecke van Aelst, 1550), 57, New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 143
4.22 Anon. woodcutter after Pieter Coecke van Aelst, Cross-Section of the Genoese Arch, woodcut, 22.6 × 20.5 cm (sheet), from: Cornelis Grapheus, Le triomphe d’Anvers faict en la susception du Prince Philips, Prince d’Espaign[e] (Antwerp: Pieter Coecke van Aelst, 1550), 43, New York, The Metropolitan Museum of Art, Rogers Fund, 1920 (20.43) (photo: The Metropolitan Museum of Art) 144
4.23 Perino del Vaga, Design for a Triumphal Arch for the Entry of Charles V into Genoa, 1533, pen and brown ink with brown wash, 429 × 303 mm, London, Courtauld Institute, inv. no. D.1984.AB.21 (photo: The Samuel Courtauld Trust, The Courtauld Gallery, London) 146
4.24 Detail of fig. 4.1 showing the upper registers 148
4.25 Frans Floris, Victory Surrounded by Prisoners and Trophies of War (Victoria), 1552, etching, 316 × 437 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1884-a-7841 (photo: Rijksmuseum) 150
4.26 Balthasar Bos after Frans Floris, The Giants Storm Olympus, 1558, engraving, 442 × 439 mm, London, British Museum, Department of Drawings and Prints, 1968,1214.8 (photo: Trustees of the British Museum) 152
4.27 Jan van Stalburch after Frans Floris, Apollo and the Muses, 1555, etching and engraving, 310 × 425 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1982-183 (photo: Rijksmuseum) 153
4.28 Frans Huys after Frans Floris, Apollo and the Muses, 1565, engraving, 320 × 425 mm, London, British Museum, Department of Drawings and Prints, 1950,0520.423 (photo: Trustees of the British Museum) 154
4.29 Jost Amman after Frans Floris, Victory Surrounded by Prisoners and Trophies of War (Victoria), c. 1566, woodcut, 103 × 108 mm, Berlin, Kupferstichkabinett, inv. No. 560–7 (photo: Staatliche Museen) 155
4.30 Anon. woodcutter, Triumphal Arch of the Genoese Nation, frontispiece to Stephano Ambrosio Schiappalaria, Vita di Iulio Cesare, 1578, Brussels, Bibliothèque royale de Belgique, Rés ii 2.732 B (photo: Bibliothèque royale de Belgique) 157
5.1 Monogrammist IvH after Frans Floris, Grammar, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91548 (photo: Bibliothèque royale de Belgique) 164
5.2 Monogrammist IvH after Frans Floris, Dialectic, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91547 (photo: Bibliothèque royale de Belgique) 164
5.3 Monogrammist IvH after Frans Floris, Rhetoric, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91546 (photo: Bibliothèque royale de Belgique) 164
5.4 Monogrammist IvH after Frans Floris, Arithmetic, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91545 (photo: Bibliothèque royale de Belgique) 164
5.5 Monogrammist IvH after Frans Floris, Music, 1551, from Standing Liberal Arts, etching, 308 × 203 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91544 (photo: Bibliothèque royale de Belgique) 164
5.6 Monogrammist IvH after Frans Floris, Geometry, from Standing Liberal Arts, 1551, etching, 302 × 203 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91543 (photo: Bibliothèque royale de Belgique) 164
5.7 Monogrammist IvH after Frans Floris, Astronomy, from Standing Liberal Arts, 1551, etching, 301 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91542 (photo: Bibliothèque royale de Belgique) 164
5.8 Monogrammist IvH after Frans Floris, Minerva, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91541 (photo: Bibliothèque royale de Belgique) 164
5.9 Monogrammist IvH after Frans Floris, Apollo, from Standing Liberal Arts, 1551, etching, 296 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91540 (photo: Bibliothèque royale de Belgique) 164
5.10 Monogrammist IvH after Frans Floris, Industry, from Standing Liberal Arts, 1551, etching, 308 × 202 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 91539 (photo: Bibliothèque royale de Belgique) 164
5.11 Frans Floris, Saint Luke Painting the Virgin, 1556, oil on panel, originally 130 × 197 cm, now 214 × 197 cm. Antwerp, Royal Museum of Fine Arts, inv. 114 (photo © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 166
5.12 After Frans Floris, Saint Luke Painting the Virgin, c. 1563, oil on panel, 150 × 94 cm, Ghent, Cathedral of Saint-Bavon (photo ©
5.13 Frans Floris, Saint Luke Painting the Virgin, c. 1556, pen and brown ink with brown wash over black chalk, 191 × 232 mm, Göttingen, Kunstsammlung der Universität, Graphische Sammlung, Sammlung Uffenbach, inv. H 254 (photo: Bildarchiv Foto Marburg) 168
5.14 Maarten van Heemskerck, Saint Luke Painting the Virgin in the Sassi Courtyard, Rome, 1550–53, oil on panel, 206 × 144 cm, Rennes, Musée des Beaux-Arts (photo: Musée des Beaux-Arts) 171
5.15 Frans Pourbus the Elder, Christ Among the Doctors, central panel of the Altar of Viglius van Aytta, 1571, oil on panel, 216 × 183 cm, Ghent, Cathedral of Saint-Bavon, inv. 440 (photo ©
5.16 Lucas d’Heere, Solomon and the Queen of Sheba, 1559, oil on panel, 183 × 260 mm, Ghent, Cathedral of Saint-Bavon (photo ©
5.17 Maarten van Cleve after Frans Floris, Arachne, preparatory drawing for Textile Production, c. 1565, pen and brown ink with blue wash, 189 × 251 mm, Berlin, Staatliche Museen zu Berlin, Kupferstichkabinett (photo: Preussischer Kulturbesitz) 183
5.18 Frans Floris, Banquet of the Gods, 1550, oil on panel, 150 × 198 cm, Antwerp, Royal Museum of Fine Arts, inv. 956 (photo © www.lukasweb.be – Art in Flanders vzw, photo Dominique Provost) 186
5.19 Frans Floris, Cain Killing Abel, c. 1556, oil on panel, 107 × 138 cm, present location unknown, ex coll. Jesuit College of Onze-Lieve-Vrouw, Antwerp (photo ©
5.20 Anon. etcher after Frans Floris, Hercules Conquering Achelous, 1550, etching, 275 × 210 mm, London, British Museum, Department of Drawings and Prints, 1950,0520.432 (photo: Trustees of the British Museum) 193
5.21 Frans Floris, Martyrdom of Saint John the Evangelist, c. 1547, pen and brown ink with red-brown wash, 233 × 305 mm, Brussels, Musées royaux des Beaux Arts de Belgique, collection de Grez, inv. 3940 (photo: © Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo: J. Geleyns – Ro scan) 198
5.22 Frans Floris, Martyrdom of Saint John the Baptist, c. 1547, pen and brown ink with gray wash, 237 × 259 mm, Dresden, Kupferstichkabinett der Staatichen Kunstsammlungen, inv. C 842 (photo: Staatliche Kunstsammlungen Dresden) 199
5.23 Frans Floris, The Blessing of Jacob, c. 1552, pen and brown ink with blue wash, 185 × 280 mm, Dresden, Kupferstichkabinett der Staatlichen Kunstsammlungen, inv. C 845 (photo: Staatliche Kunstsammlungen Dresden) 200
5.24 Frans Floris, Awakening of the Arts, 1559, pen and brown ink with brown wash, 239 × 324 mm, Stockholm, Nationalmuseum, inv. 1789/1863 (photo: Roland Nilsson, Nationalmuseum, Stockholm) 201
5.25 Frans Floris, Crucifixion, 1553, pen and brown ink with brown wash, squared for transfer, 463 × 341 mm, Prague, Národní Galerie, inv. K. 31816 (photo: Narodni Galerie) 202
5.26 Frans Floris, Abduction of Proserpina, c. 1564, pen and brown ink with blue wash and white heightening on gray-brown paper, 284 × 195 mm, London, British Museum, Department of Drawings and Prints, 1922,0627.1 (photo: Trustees of the British Museum) 203
5.27 Frans Floris, Joseph and his Brothers, c. 1555, pen and brown ink, brush and blue wash with white heightening over faded blue-green prepared paper, 293 × 280 mm, Munich, Staatliche Graphische Sammlung, inv. 7008 (photo: Staatliche Graphische Sammlung München) 204
5.28 Frans Floris, Joseph in Prison, c. 1555, pen and brown ink, brush and blue wash with white heightening over blue-green prepared paper, with subsequent drawing in pen and ink by another hand, 272 × 277 mm, Brussels, Musées royaux des Beaux Arts de Belgique, collection de Grez, inv. 3699 (photo: © Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo: J. Geleyns – Ro scan) 205
5.29 Frans Floris, Envy (Invidia), c. 1565, pen and brush in brown with white heightening on prepared blue paper, 225 × 160 mm, Paris, Musée du Louvre, Départment des arts graphiques, inv. 20626 recto (photo: Musée du Louvre, Dist.
5.30 Frans Floris, Four Studies for the Suicide of Lucretia (verso of Envy), c. 1565, black chalk, 225 × 160 mm, Paris, Musée du Louvre, Départment des arts graphiques, inv. 20626 verso (photo: Musée du Louvre, Dist.
5.31 Frans Floris, Mucius Scaevola before Porsenna, c. 1560, red chalk, 442 × 556 mm, Vienna, Graphische Sammlung Albertina, inv. 15.121 (photo: Graphische Sammlung Albertina) 208
5.32 Frans Floris, Shooting at Father’s Corpse, c. 1558, black chalk, 311 × 415 mm, reduced and reattached at center, Munich, Staatliche Graphische Sammlung, inv. 990 (photo: Staatliche Graphische Sammlung München) 208
5.33 Balthasar Bos, Shooting at Father’s Corpse, 1558, engraving, 379 × 447 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-bi-2755 (photo: Rijksmuseum) 209
5.34 Frans Floris, Shooting at Father’s Corpse, c. 1560, pen and brown ink with brown wash over black chalk, 285 × 415 mm, Berlin, Kupferstichkabinett der Staatlichen Museen, inv. 13204 (photo: Preussischer Kulturbesitz) 209
5.35 Frans Floris, The Fall of Phaeton, c. 1555, pen and brown ink with brown wash, 236 × 222 mm, Paris, Musée du Louvre, département des arts graphiques, inv. 21.075 (photo:
5.36 Frans Floris, The Fall of Phaeton, c. 1555, pen and brown ink with blue wash over red chalk, 206 × 306 mm, Dresden, Kupferstichkabinett der Staatlichen Kunstsammlungen, inv. C 587 (photo: Staatliche Kunstsammlungen Dresden) 211
5.37 Frans Floris, The Fall of Phaeton, c. 1555, pen and brush with brown ink over black chalk, 130 × 108 mm oval, Bowdoin College Art Museum, Bequest of the Honorable James Bowdoin iii, 1811.108 (photo: Bowdoin College) 212
5.38 Frans Floris, Phaeton Receiving the Chariot from his Father Apollo, c. 1555, pen and brush with brown ink, brown wash, and white heightening, 190 × 312 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. F 3094 (photo: Bibliothèque royale de Belgique) 213
5.39 Joos Gietleughen, David Plays the Harp Before Saul, 1555, chiaroscuro woodcut from four blocks, 336 × 482 mm, London, British Museum, Department of Drawings and Prints, 1852,0612.11 (photo: Trustees of The British Museum) 214
6.1 Frans Floris, Head of a Woman, c. 1556, oil on panel, 41.9 × 30.5 cm, Oberlin, Allen Memorial Art Museum, Gift of Dr. Richard W. Levy, 1972.79 (photo: Allen Memorial Art Museum) 220
6.2 Frans Floris, Head of a Woman with a Diadem, c. 1560, oil on panel, 40 × 32.5 cm, France, private coll., ex coll. The Marquess of Bath, Longleat (photo: RKDimages) 221
6.3 Frans Floris, Head of a Man with a Helmet (Mars?), c. 1560, oil on panel, dimensions unrecorded, present location unknown (photo: Warburg Institute, London) [note to self: also appears in Venus Mars and Cupid and in Adam and Eve] 221
6.4 Frans Floris, Head of a Sea Goddess, c. 1561, oil on panel, approx. 45 × 28.5 cm, present location unknown (photo: Warburg Institute, London) 222
6.5 Follower of Frans Floris, Head of a Sea Goddess, c. 1561, oil on panel, 53 × 45 cm, Berlin, Gemäldegalerie, inv. 1955 (photo: bpk / Gemäldegalerie,
6.6 Frans Floris, Head of a Bearded Man, c. 1560, oil on panel, 46.5 × 33.6 cm, Chicago, Art Institute of Chicago, Gift of Alfred and Isabel Bader, 1990.557 (photo: Art Institute of Chicago) 224
6.7 Frans Floris, Head of a Sea God, c. 1561, oil on panel, 47 × 33 cm, Staatsgalerie Stuttgart, inv. L 802 (photo © Staatsgalerie Stuttgart) 225
6.8 Frans Floris, Head of a Man in Profile, c. 1559, oil on panel, 46.5 × 33 cm, Schipluiden, private coll. (photo: RKDimages) 227
6.9 Frans Floris, Head of a Man, c. 1555, oil on panel, 43 × 30 cm, Berlin/Ravensburg, coll. Günther Grzimek (photo: RKDimages) 228
6.10 Frans Floris, Head of a Woman, c. 1560, oil on panel, 46.5 × 32.5 cm, Heino, Museum de Fundatie (photo: Museum de Fundatie) 229
6.11 Frans Floris, Head of a Roman Emperor, c. 1555, oil on panel, 39 × 37.5 cm, Antwerp, Royal Museum of Fine Arts (photo © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 230
6.12 Frans Floris, Head of a Woman, c. 1560, oil on panel, 46 × 33 cm, Prague, Národní Galerie (photo: Národní Galerie) 232
6.13 Francesco Salviati, Charity, c. 1545, 156 × 122 cm, Florence, Galeria degli Uffizi, inv. 2157 (Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze) 233
6.14 Frans Floris, Head of a Man, Possibly Bramante, c. 1561, oil on panel, 44.5 × 32 cm, present location unknown (photo: Warburg Institute, London) 233
6.15 Frans Floris, Head of a Man, Possibly Emperor Vitellius, c. 1555, oil on panel, 45 × 35 cm, formerly in Dresden, Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister, inv. 131266, destroyed in Second World War (photo: Staatliche Kunstsammlungen Dresden) 234
6.16 Hubert Goltzius and Joos Gietleughen, Emperor Vitellius, from Hubert Goltzius, Vivae omnium fere imperatorum imagines (Antwerp: Coppens van Diest, 1557), no. 9, New York, Metropolitan Museum of Art, Gift of Mortimer L. Schiff, 1918 (18.57.9) (photo: Metropolitan Museum of Art) 234
6.17 Joos Gietleughen after Frans Floris, Head of a Dryad, c. 1555, chiaroscuro woodcut from four blocks, 348 × 250 mm, Paris, Bibliothèque nationale de France, Cabinet de Estampes, Cc-100a rés. fol., formerly Cc-6-fol. (photo: Bibliothèque nationale de France) 235
6.18 Follower or Frans Floris (?), Head of a Woman, c. 1560, oil on paper, 172 × 153 mm, Dresden, Kupferstichkabinett, inv. 1967–52 (photo: Staatliche Kunstsammlungen Dresden) 236
6.19 Frans Floris, Head of a Woman, c. 1560, oil on paper mounted on panel, 29.4 × 33.3 cm, New York, private coll. (photo: author) 236
6.20 Frans Floris (?), Penitent Mary Magdalene, c. 1560, oil on panel, 47 × 30 cm, Dijon, Musée Magnin, inv. 1938 F 194 (photo ©
6.21 Frans Floris, Minerva, c. 1566, oil on panel, 41.5 × 31.5 cm, London, The Weiss Gallery (photo: The Weiss Gallery) 240
6.22 Leonardo da Vinci, Head of a Woman (La Scapigliata), c. 1508, oil on canvas, 24.7 × 21.0 cm, Parma, Galleria Nazionale (photo: ArtStore) 242
6.23 Domenico Beccafumi, Head of a man with Curly Hair (Preparatory Study of the Head of Genucius Cippus), 1530–35, tempera on card, incised, 276 × 205 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, RP-T-1954-38 (photo: Rijksmuseum) 242
6.24 Frans Floris, Woman with a Dog, 1558, oil on panel, 110 × 85 cm, Caen, Musée des Beaux-Arts (photo: Musée des Beaux-Arts de Caen / Martine Seyve Photographe) 244
6.25 Frans Floris, The Falconer, 1558, oil on panel, 110 × 85 cm, Brunswick, Herzog-Anton-Ulrich-Museum, inv. 39 (photo © bpk / Jochen Remmer) 245
6.26 Hans Holbein the Younger, Robert Cheseman, 1533, oil on panel, 59 × 63 cm, The Hague, The Mauritshuis, inv. (photo: Mauritshuis) 248
6.27 Frans Floris, Portrait of a Man, Possibly Hieronymus Cock, 1555, oil on panel, 71 × 55 cm, Madrid, Museo Nacional del Prado, inv. 1516 (photo © Museo Nacional del Prado) 249
6.28 Frans Floris, Portrait of a Woman, Possibly Volcxken Diericx, 1555, oil on panel, 72 × 56 cm, Madrid, Museo Nacional del Prado, inv. 1517 (photo © Museo Nacional del Prado) 250
6.29 Johannes Wierix, Hieronymus Cock, c. 1570, engraving, 203 × 121 mm, from: Pictorum aliquot celebrium Germaniae Inferioris effigies (Antwerp: Aux Quatre Vents, 1572), pl. 23, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-ob-67.042 (photo: Rijksmuseum) 250
6.30 Frans Floris, Portrait of Heinrich Sudermann, c. 1565, oil on panel, 73 × 54.5 cm, Dresden, Staatliche Gemäldegalerie, inv. 848 (photo: Staatliche Kunstsammlungen Dresden) 252
6.31 Frans Floris, Portrait of a Boy, c. 1565, oil on panel, reduced to 35.7 × 27.2 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv.
6.32 Frans Floris, Family Portrait (The Van Berchem Family?), 1561, oil on panel, 130 × 225 cm, Lier, Museum Wuyts-van Campen-Caroly, inv. 52 (photo ©
6.33 Maarten van Heemskerck, Pieter Jan Foppenszoon and his Family, c. 1530, oil on panel, 118.7 × 140.2 cm, Kassel, Staatliche Gemäldegalerie Alte Meister, inv.
6.34 Cornelis Cort after Frans Floris, Taste, 1561, engraving, 204 × 266 mm, Cambridge, Mass., Harvard Art Museums/Fogg Museum, Gift of Robert Bradford Wheaton and Barbara Ketcham Wheaton in honor of Mrs. Arthur K. Solomon, M25937 (photo: Imaging Department © President and Fellows of Harvard College) 257
6.35 Detail of 6.32 258
6.36 Detail of 6.32 259
6.37 Detail of 6.32 261
7.1 Pieter van der Heyden after Frans Floris, The Raising of the Brazen Serpent, 1555, engraving from two plates, left: 585 × 447 mm, right: 585 × 454 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 89196 (photo: Bibliothèque royale de Belgique) 264
7.2 Joos van Cleve, Holy Family, c. 1512, oil on panel, 42.5 × 31.8 cm, New York, Metropolitan Museum of Art, The Friedsam Collection, Bequest of Michael Friedsam, 1931 (inv. 32.100.57) (photo: metmuseum.org) 266
7.3 Dirck Volckertsz. Coornhert after Frans Floris, The Judgment of Solomon, 1556, engraving and etching, 318 × 412 mm, Antwerp, Stedelijke Prentenkabinet, IV/C.140, inv. 20495 (photo: Stedelijke Prentenkabinet) 268
7.4 Dirck Volckertsz. Coornhert after Frans Floris, Solomon and the Queen of Sheba, 1557, engraving and etching, 375 × 540 mm, London, British Museum, Department of Drawings and Prints, 1950,0520.429 (photo: Trustees of the British Museum) 268
7.5 Philips Galle after Frans Floris, Solomon Anointed King by Nathan, c. 1558, engraving, 310 × 410 mm, Haarlem, Noord-Hollands Archief / Voorhelm Schneevoogt, inv. 53008049 (photo: Noord-Hollands Archief) 269
7.6 Philips Galle after Frans Floris, Building the Temple of Solomon, 1558, engraving, 340 × 418 mm, Rotterdam, Museum Boijmans-van Beunigen, inv. L 1964/48 (photo: Museum Boijmans-van Beunigen) 269
7.7 Dirck Volckertsz. Coornhert after Maarten van Heemskerck, Solomon and the Queen of Sheba, 1549, engraving and etching, 260 × 380 mm, New York, Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, inv. 49.95.112 (photo: Metropolitan Museum of Art) 270
7.8 Philips Galle after Frans Floris, Tabula Cebetis, 1561, engraving from two plates: left: 455 × 300 mm; right: 445 × 299 mm, London, British Museum, Department of Drawings and Prints, 1950,0520.442 (photo: Trustees of the British Museum) 271
7.9 Frans Floris, Christ Carrying the Cross, with Mary and Simon of Cyrene, c. 1555, oil on panel, 114 × 81 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv. F.7 (photo:
7.10 Frans Floris, Head of Christ, 1553–54, oil on panel, 48 × 34 cm, Schwerin, Staatliches Museum, inv. 1098 (photo: Staatliches Museum) 279
7.11 Master of the Karlsruhe Passion, Christ Mocked on the Way to Calvary, c. 1440, oil on panel, 68 × 46 cm, Cologne, Wallraf-Richartz Museum, inv. 585 (photo © Rheinisches Bildarchiv, Sabrina Walz) 280
7.12 Follower of Hieronymus Bosch, Christ Mocked on the Way to Calvary, c. 1515, oil on panel, 74 × 81 cm; Ghent, Museum of Fine Arts (photo ©
7.13 Lambert Lombard after Hieronymus Bosch, Christ Carrying the Cross, 1556, pen and brown ink, 268 × 424 mm, Paris, Fondation Custodia, Frits Lugt Collection, inv. 3949 (photo: Fondation Custodia, Collection Frits Lugt, Paris) 281
7.14 Frans Floris, Christ Carrying the Cross, c. 1560, oil on panel, 74.5 × 47 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv. 9881 (
7.15 Johannes or Lucas van Doetecom after Frans Floris, The Resurrection, 1557, etching and engraving from two plates: upper half: 330 × 445 mm, lower half: 315 × 443 mm, Chicago, Art Institute of Chicago, inv. 1965.798 (photo: Art Institute of Chicago) 286
7.16 Marcello Venusti after Michelangelo, The Resurrection, c. 1550, oil on panel, 61.7 × 40.5 cm, Cambridge, Mass., Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.125 (photo: Imaging Department (c) President and Fellows of Harvard College) 286
7.17 Anthonis Mor van Dashorst, Antoine Perrenot de Granvelle, 1549, oil on panel, 107 × 82 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv. 1035 (
7.18 Balthasar Bos after Frans Floris, The Sacrifice of Noah, 1555, engraving from two plates: left: 602 × 431 mm, right: 601 × 453 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, inv. S V 89193 (photo: Bibliothèque royale de Belgique) 288
7.19 Michelangelo, Saint Bartholomew, from The Last Judgment 288
7.20 Frans Floris, Crucifixion, c. 1554, oil on panel, 130 × 105 cm, Wiesbaden, Städtisches Museum, Gemäldegalerie (photo: Städtisches Museum) 290
7.21 Michelangelo, Crucifix, c. 1538, black chalk, 368 × 268 mm, London: British Museum, Department of Drawings and Prints, 1895,0915.504 (photo: Trustees of the British Museum) 293
7.22 Lambert Lombard, Christ on the Cross, c. 1538, pen and brown ink, 380 × 233 mm, Berlin: Kupferstichkabinett (photo: Preussischer Kulturbesitz) 293
7.23 Lucas Cranach, Crucifixion, 1509, woodcut, 246 × 169 mm, London, British Museum, Department of Drawings and Prints, 1920,1009.11 (photo: Trustees of the British Museum) 296
7.24 Willem Key, Pietà, c. 1550, oil on panel, 112 × 103 cm, Munich, Alte Pinakothek (photo: Scala Images) 297
7.25 Cornelis Bos after Frans Floris, The Entombment, 1554, engraving, 382 × 288 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, F27757 (photo: Bibliothèque royale de Belgique) 299
7.26 Daniele da Volterra, Deposition, c. 1541, fresco, Rome, Santa Trinità dei Monti (photo: Getty Images, De Agostini Picture Library) 300
7.27 Agnolo Bronzino, Lamentation, c. 1545, oil on panel, 268 × 173 cm, Besançon, Musée des Beaux-Arts (photo: Wikicommons Media) 300
7.28 Detail of fig. 7.20 301
7.29 Frans Floris, Lot and his Daughters, 1553, oil on panel, 102 × 175 cm, Saint Petersburg, The State Hermitage Museum, inv. 4659 (photo: Print Collector, Hulton Archive / Getty Images) 302
7.30 Frans Floris, Lot and his Daughters, c. 1560, pen and brown ink with brown wash and white heightening, 185 × 282 mm, Vienna, Graphische Sammlung Albertina, inv. 7860 (photo: Graphische Sammlung Albertina) 303
7.31 Philips Galle after Frans Floris, Lot and his Daughters, 1558, engraving, 270 × 393 mm, Amsterdam, Rijksmuseum, Rijksprenten Cabinet rp-p-ob-5924 (photo: Rijksmusem) 303
7.32 Cornelis Cort after Frans Floris, Lot and his Daughters, 1560, engraving, 256 × 337 mm, Coburg, Veste Coburg, VII.438.115 (photo: Veste Coburg) 304
7.33 Frans Floris, Lamentation, c. 1554, oil on panel, 155 × 214 cm, Meaux, Musée Bossuet (photo: Musée Bossuet) 306
7.34 Jacopo Pontormo, Deposition, 1528, oil and tempera on panel, 313 × 192 cm, Florence, Santa Felicità, Capponi Chapel (photo: Scala) 307
7.35 Frans Floris, Holy Family, 1552, oil on panel, 108 × 140 cm, Kromeriz, Obrazarna Zamek, inv. 309 (photo: Kusak/
7.36 Frans Floris, Holy Family, c. 1553, oil on panel, 132 × 165 cm, Douai, Musée de la Chartreuse (photo ©
7.37 Frans Floris, Holy Family with Saint Anne, c. 1555, oil on panel, 172 cm. × 142 cm, Belgium, private coll. (photo: author) 309
7.38 Frans Floris, Holy Kinship, 1554, oil on panel, 165 × 135 cm, Paris, Musée du Louvre, on deposit at Hazebrouck, Musée d’ Hazebrouck,
7.39 Frans Floris, Holy Kinship, c. 1560, pen, black ink, black wash, white heightening on brown prepared paper, 252 × 317 mm, New York, Morgan Library, iii, 190 (photo: Morgan Library). 310
7.40 Lucas Cranach, Holy Family, c. 1508, woodcut, 225 × 325 mm, London, British Museum, Department of Drawings and Prints, 1895,0122.248 (photo: Trustees of the British Museum) 310
7.41 Cornelis Cort after Frans Floris, Holy Family at a Table with Elizabeth and John the Baptist, c. 1560, engraving, 206 × 275 mm, Amsterdam, Rijksmuseum, rp-p-ob-66.872 (photo: Rijksmuseum) 311
7.42 Frans Floris, Crucifixion Altarpiece (interior), 1554, oil on panel, 295 × 186 cm, Arnstadt, Oberkirche, formerly Delft, Nieuwe Kerk (Church of Saint Ursula) (photo: Ev. luth. Kirchengemeinde Arnstadt / Andreas Hirsch) 312
7.43 Frans Floris, Crucifixion Altarpiece (exterior wings), Moses Striking the Rock and Raising of the Brazen Serpent, 1554, oil on panel, 268 × 76 cm each, Arnstadt, Oberekirche, formerly Delft, Nieuwe Kerk (Church of Saint Ursula) (photo: Ev. luth. Kirchengemeinde Arnstadt / Claudia Krottasch) 313
7.44 Maarten van Heemskerck, Raising of the Brazen Serpent, 1551, oil on panel, transferred to canvas, 237 × 187 cm, Haarlem, Frans Hals Museum / De Hallen Haarlem, inv. os I-139 (photo: Tom Haartsen) 313
7.45 Frans Floris, Triptych of the Seven Effusions of the Blood of Christ (interior), c. 1556, oil on panel, 280 × 208 cm, Zoutleeuw (Léau), Church of Saint-Léonard, Chapel of the Holy Sacrament (photo:
7.46 Frans Floris, Triptych of the Seven Effusions of the Blood of Christ, (exterior), The Rasing of Lazarus, c. 1556, oil on panel, 280 × 208 cm, Zoutleeuw (Léau), Church of Saint-Léonard, Chapel of the Holy Sacrament (photo:
7.47 Pieter Aertsen, Triptych of the Seven Joys of the Virgin, 1554, oil on panel, center: 175 × 140 cm, wings: 175 × 65 cm, Zoutleeuw (Léau), Church of Saint-Léonard, Chapel of Saint Erasmus (photo ©
7.48 Pieter Aertsen, Triptych of the Seven Sorrows of the Virgin, c. 1554, oil on panel, center: 210 × 185 cm, wings: 210 × 85 cm, Zoutleeuw (Léau), Church of Saint-Léonard, Chapel of Saint Hubert (photo ©
7.49 Cornelis Floris, Sacrament Tower, 1552, alabaster, 1600 cm high, Zoutleeuw (Léau), Church of Saint-Léonard (photo ©
7.50 Frans Floris, Triptych of the Baptism of Christ: Baptism of Christ (center), left: The Preaching of Saint John the Baptist, right: Temptation of Christ, c. 1557, oil on panel, central panel, 268.5 × 215 cm, both wings 284.5 × 101 cm, Zoutleeuw, Church of Saint-Léonard (photo ©
7.51 Frans Floris, Triptych of the Baptism of Christ, exterior, The Vision of St Hubert, c. 1557, oil on panel, 284.5 × 101 cm, Zoutleeuw, Church of Saint-Léonard (photo ©
7.52 Frans Floris, Triptych of the Repentant Sinners: Christ with the Publican and Mary Magdalene (center), left: Return of the Prodigal Son, right: Parable of the Unforgiving Servant, 1566–69, oil on panel, central panel: 193 × 145 cm, wings each: 202 × 70.5 cm, Zoutleeuw, Church of Saint-Léonard (photo ©
7.53 Frans Floris Triptych of the Repentant Sinners, exterior showing two scenes from the Life of James the Greater from the Legenda Aurea, left: Saint James the Greater Baptizes Josias and at right: the Martyrdom of Josias and Saint James the Greater, 1566–69, oil on panel, each 202 × 70.5 cm, Zoutleeuw, Church of Saint-Léonard (photo ©
7.54 Johannes Sadeler after Frans Floris, Christ on the Cross Lamented by Mary Magdalene, c. 1590, engraving, 216 × 148 mm, Antwerp, Stedelijke Prentenkabinet, inv. 9602 (photo: Stedelijke Prentenkabinet) 324
8.1 Cornelis Cort after Frans Floris, Hercules Preventing the Centaurs from Abducting Hippodamia, from The Labors of Hercules, 1563, engraving, 224 × 286 mm, Zurich, Eidgenössische Technische Hochschule, Graphische Sammlung, D.1030.1 (photo:
8.2 Cornelis Cort after Frans Floris, Hercules Slaying the Nemean Lion, from The Labors of Hercules, 1563, engraving, 225 × 287 mm, Zurich, Eidgenössische Technische Hochschule, Graphische Sammlung, D.1030.2 (photo:
8.3 Cornelis Cort after Frans Floris, Hercules Casting Cerberus into Chains, from The Labors of Hercules, 1563, engraving, 225 × 285 mm, Zurich, Eidgenössische Technische Hochschule, Graphische Sammlung, D.1030.3 (photo:
8.4 Cornelis Cort after Frans Floris, Slaying the Dragon Ladon, from The Labors of Hercules, 1563, engraving, 225 × 285 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.4 (photo:
8.5 Cornelis Cort after Frans Floris, Hercules Defeating the Hydra of Lerna, from The Labors of Hercules, 1563, engraving, 224 × 283 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.5 (photo:
8.6 Cornelis Cort after Frans Floris, Hercules Struggling with Achelous in the Form of a Bull, from The Labors of Hercules, 1563, engraving, 222 × 285 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.6 (photo:
8.7 Cornelis Cort after Frans Floris, Hercules Feeding Diomedes to his own Mares and Hercules Slaying Cacus, from The Labors of Hercules, 1563, engraving, 222 × 285 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.7 (photo:
8.8 Cornelis Cort after Frans Floris, Hercules Slaying Geryon and Hercules Capturing the Caledonia Boar, from The Labors of Hercules, 1563, engraving, 222 × 285 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.8 (photo:
8.9 Cornelis Cort after Frans Floris, Hercules Defeating Antaeus, from The Labors of Hercules, 1563, engraving, 228 × 283 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.9 (photo:
8.10 Cornelis Cort after Frans Floris, Hercules Supporting the World on Behalf of Atlas, from The Labors of Hercules, 1563, engraving, 224 × 283 mm, Zurich, Eidgenössische Technische Hochschule, D.1030.10 (photo:
8.11 Cornelis Cort after Frans Floris, Grammar, from The Liberal Arts, 1565, engraving, 227 × 280 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-11744 (photo: Rijksmuseum) 330
8.12 Cornelis Cort after Frans Floris, Arithmetic, from The Liberal Arts, 1565, engraving, 227 × 281 mm, Amsterdam, Rijksmusem, Rijksprentenkabinet, rp-p-a-1887-11745 (photo: Rijksmuseum) 330
8.13 Cornelis Cort after Frans Floris, Dialectic, from The Liberal Arts, 1565, engraving, 229 × 284 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-11743 (photo: Rijksmuseum) 330
8.14 Cornelis Cort after Frans Floris, Rhetoric, from The Liberal Arts, 1565, engraving, 224 × 280 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-1176 (photo: Rijksmuseum) 330
8.15 Cornelis Cort after Frans Floris, Music, from The Liberal Arts, 1565, engraving, 228 × 284 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-11747 (photo: Rijksmuseum) 330
8.16 Cornelis Cort after Frans Floris, Geometry, from The Liberal Arts, 1565, engraving, 227 × 280 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-11748 (photo: Rijksmuseum) 330
8.17 Cornelis Cort after Frans Floris, Astronomy, from The Liberal Arts, 1565, engraving, 226 × 278 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-a-1887-11749 (photo: Rijksmuseum) 330
8.18 Leone and Pompeo Leoni, Charles V and the Fury (with armor removed), c. 1555, bronze, 251 × 143 × 130 cm, Madrid, Museo Nacional del Prado, inv. E00273 (photo: Museo Nacional del Prado / Art Resource,
8.19 Frans Floris, Hercules Defeating Antaeus, 1555, oil on canvas, 195 × 125 cm, Brussels, private coll. (photo: Warburg Institute, London) 336
8.20 Frans Floris, Arithmetic, 1557, oil on canvas, 151.5 × 224 cm, Abu Dhabi, Louvre Abu Dhabi (photo: Courtesy Richard Feigen Galleries, New York) 340
8.21 Frans Floris, Music, 1557, oil on canvas, 151.2 × 174 cm (originally 122 × 174 cm), Genoa, private coll. (photo: Leemage/ Hulton Fine Art Collection, Getty Images) 341
8.22 Frans Floris, Geometry, 1557, oil on canvas, 150.5 × 173 cm; originally 125 × 173 cm, Genoa, private coll. (photo: Leemage/ Hulton Fine Art Collection, Getty Images) 341
8.23 Frans Floris, Astronomy (Astrology), 1557, oil on canvas, 151 × 174.3 cm, originally 121 × 174.3 cm, Genoa, private coll (Leemage/ Hulton Fine Art Collection, Getty Images) 342
8.24 Gérard Mercator, Celestial Sphere and Terrestrial Sphere, 1541, engraving mounted on globes (photo: author) 342
8.25 Lucas van Leyden, The Poet Virgil Suspended in a Basket, 1525, engraving, 245 × 186 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-1721 (photo: Rijksmuseum) 343
8.26 Frans Floris, Awakening of the Arts, c. 1559, oil on canvas, 157 × 238 cm, Ponce, Puerto Rico, Museo de Arte, inv. 62.0336 (photo: Museo de Arte, Ponce) 344
8.27 Detail of 8.29, Discantus-Tenor parts of the chanson ‘Le cruel Mars’345
8.28 Ariadne (Cleopatra), Roman copy of lost Greek original, Rome, Vatican, Cortile del Belvedere (photo: Warburg Institute, London) 346
8.29 Maarten van Heemskerck, Self-Portrait before the Colosseum, 1553, oil on canvas, 42.2 × 54 cm, Cambridge, Fitzwilliam Museum (photo: Fitzwilliam Museum, Cambridge) 348
8.30 Jupiter of Versailles, second-century, marble, Paris, Musée du Louvre, inv.
8.31 Balthasar Bos after Frans Floris, Awakening of the Arts, 1563, engraving, 425 × 579 mm, Paris, Bibliothèque nationale de France, Cabinet des Estampes, Cc-6-fol. (photo: Bibliothèque nationale de France) 349
8.32 Frans Floris, Banquet of the Gods, c. 1557, oil on panel, 116.5 × 165.5 cm, Graz, Alte Galerie, Universalmuseum Joanneum, inv. 57 (photo: Universalmuseum Joanneum) 350
8.33 Frans Floris, Banquet of the Sea Gods, 1561, oil on canvas, 126 × 226 cm, Stockholm, Nationalmuseum, inv. 430 (photo: Nationalmuseum) 351
8.34 Frans Floris, The Judgment of Paris, c. 1559, oil on panel, 135 × 188 cm; St. Petersburg, State Hermitage Museum, inv. 6093 (photo: Getty Images / Hulton Archive / Print Collector) 351
8.35 Raphael and workshop, Wedding Feast of Cupid and Psyche, c. 1518, fresco, Rome, Farnesina (Villa Chigi), Loggia di Psyche (photo: Scala Florence) 357
8.36 Baldassare Peruzzi, Labors of Hercules: Hercules Feeding Diomedes to his own Mares, Hercules and Antaeus, Hercules Defeating the Hydra of Lerna, c. 1511, Rome, Farnesina (Villa Chigi), Sala del Fregio (photo: Biblioteca Berenson) 357
8.37 Jacques Jonghelinck, Mercury, from The Seven Planets, c. 1565, bronze sculpture, 200 cm, Madrid, Palacio Real (photo: Patrimonio Nacional) 360
8.38 Jacques Jonghelinck, Bacchus, c. 1565, bronze sculpture, Madrid, Palacio Real (photo: Patrimonio Nacional) 360
8.39 Jacques Jonghelinck (?), Study for the Statue of Diana and Diana Preparing for the Hunt, c. 1570, pen and brown ink with brown and blue wash, 345 × 212 mm, New York, Metropolitan Museum of Art, Frits and Rita Markus Fund, 2014 (2014.669) (photo: Metropolitan Museum of Art) 360
8.40 Pieter Bruegel the Elder, The Harvesters (July–August), 1565, oil on panel, 116 × 160 cm, New York, Metropolitan Museum of Art, Rogers Fund, 1919 (19.164) (photo: Metropolitan Museum of Art) 362
8.41 Frans Floris, Summer, 1564, oil on canvas mounted on panel, 115.5 × 134 cm, Stockholm, Hallwylska Museet, inv. B 157 (photo: Hallwylska Museet) 365
8.42 Frans Floris, Head of a Flute Player, c. 1557, oil on panel, 46.5 × 33 cm, present location unknown (photo: RKDImages) 373
8.43 Pieter Bruegel the Elder, The Tower of Babel, 1563, oil on panel, 114 × 155 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv. 1026 (photo:
9.1 Frans Floris, Allegory of the Trinity, 1562, oil on panel, 165 × 230 cm, Paris, Musée du Louvre, inv. 20746 (photo ©
9.2 Copy after Frans Floris, Self-Portrait, c. 1562, oil on panel, 46 × 38.5 cm, Vienna, Kunsthistorisches Museum, Gemäldegalerie, inv.
9.3 Circle of Frans Floris, Allegory of the Trinity, c. 1562, pen and brown ink with, brown wash over black chalk, 177 × 275/278 mm, Dresden, Kupferstichkabinett, Staatliche Kunstsammlungen, inv. C7869 (photo: Staatliche Kunstsammlungen Dresden) 385
9.4 Titian, Paul III with his Grandsons, 1546, oil on canvas, 210 × 174 cm, Naples, Museo Capodimonte (photo: Getty Images, De Agostini Picture Library / G Nimatallah) 386
9.5 Frans Floris, Margaret of Parma, c. 1562, oil on panel, 80 × 67 cm, present location unknown (photo: Warburg Institute, London) 387
9.6 Anthonis Mor, Margaret of Parma, 1562, Berlin, Gemäldegalerie (photo © bpk / Gemäldegalerie,
9.7 Frans Floris, Last Judgment, 1565, oil on canvas, 164 × 225 cm, Vienna, Kunsthistorisches Museum, inv.
9.8 Frans Floris, Last Judgment Triptych, 1566, oil on panel, central panel: 273 × 222 cm; wings: 278 × 106 cm, Brussels, Musées royaux des Beaux-Arts de Belgique, inv. 174 (photo ©
9.9 Abraham de Bruyn after Frans Floris, Christ Before the High Council, etching from two plates: left: 435 × 310 mm, right: 450 × 309 mm, Vienna, Graphische Sammlung Albertina,
9.10 Masaccio (Tommaso di Ser Giovanni di Simone), The Trinity, c. 1527, fresco, Florence, Santa Maria Novella (photo: Wikimedia Commons) 394
9.11 Albrecht Dürer, Adoration of the Trinity (Landauer Altar), 1511, oil on panel, 135 × 123 cm, Vienna, Kunsthistorisches Museum (photo:
9.12 Albrecht Dürer, The Trinity (Gnadenstuhl in the Clouds), 1511, woodcut, 398 × 286 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-ob-1462 (photo: Rijksmuseum) 396
9.13 Lucas Cranach, Gnadenstuhl, from: Adam von Fulda, Ein ser andechtig Cristenlich Buchlein aus hailigen schriften vnd Lerern von Adam von Fulda…, (Wittenberg: Symphorian Reinhart, 1512), woodcut, 112 × 76 mm, London, British Museum, Department of Drawings and Prints, 1909,0612.16 (photo: Trustees of the British Museum) 398
9.14 Jost de Negker after Hans Burgkmair, Reichsadler, 1510, woodcut, 285 × 400 mm, present location unknown (photo: Warburg Institute, London) 400
9.15 Christophe van Sichem after Johannes Woudanus, Portrait of Hendrick Niclaes, 1606, engraving, 163 × 119 mm, from: Het tooneel der hooft-ketteren bestaande in verscheyde afbeeltsels van valsche propheten, naackt-loopers, geest-dryvers, sectarisen en duyvels- konstenaren (Middelburgh: Wilhelmus Goeree, 1677), plate 6 (photo: The New York Public Library, Astor, Lenox and Tilden Foundations) 404
9.16 Anon. woodcutter, frontispiece to: Galina unicium piae sollicitudinis…, (Amsterdam: Franciscus Birckman, 1529), woodcut, 59 × 58 mm, Antwerp: Museum Plantin-Moretus (photo: Antwerp, Museum Plantin-Moretus,
9.17 Giulio Romano, Madonna and Child with Saint Joseph (Pala Fuggar), oil on panel, 264 × 200 cm, Rome, Santa Maria dell’Anima (photo: Getty Images, De Agostini Picture Library / V. Pirozzi) 407
9.18 Anon. woodcutter, The Blazon of the (Olijftak) Olive Branch Rhetoricians’ Chamber, woodcut from Spelen van sinne (Antwerp: Sylvius, 1562), 217 × 153 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv.
9.19 Frans Floris, Allegory of Peace and Justice, c. 1560, oil on canvas, 103 × 134 cm, with 5 cm added at top, Moscow, Pushkin Museum, inv. 1155 (photo: Pushkin Museum) 411
9.20 Frans Floris, Portrait of the Knaap of the Olive-Branch Rhetoricians’ Guild, c. 1565, oil on panel, 63.5 × 49 cm, Vienna, Kunsthistorisches Musem, inv.
9.21 Formerly attributed to Frans Floris, Juerken, fool of the Antwerp Chamber of Rhetoric De Violieren, 1561, pen and ink with watercolor, 289 × 179 mm, Brussels, Bibliothèque royale de Belgique,
10.1 Frans Francken the Younger, Art Gallery, 1618–19, Antwerp, Royal Museum of Fine Arts, inv. 816 (photo © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 419
10.2 Detail of 10.1, showing the so-called Const-Boeck of Frans Francken, a miniature of Simon Bening and a portrait medal of the Archduke Albert and Archduchess Isabella 420
10.3 Léon Davent after Primaticcio, Venus and Cupid, 1540–56, etching, 226 × 170 mm, trimmed, New York, The Metropolitan Museum of Art, The Elisha Whittlesey Collection, The Elisha Whittlesey Fund, 1949 (49.97.552) (photo: The Metropolitan Museum of Art) 420
10.4 Frans Floris, Hercules Strangling the Serpents, c. 1553, brush and brown wash over pen and black ink with white heightening on blue paper, 174 × 331 mm, Milan, Biblioteca Ambrosiana, 407 (photo: De Agostini Picture Library / M. Ranzani © Veneranda Biblioteca Ambrosiana – Milano / Bridgeman Images) 421
10.5 Frans Floris, Bacchus and Ariadne, c. 1565, pen and brown ink on blue paper with brown wash, 150 × 280 mm, Courtauld Institute of Art, D.152.
10.6 Frans Floris, Mars, Venus, and Cupid Surprised by the Gods, c. 1562, oil on panel, 93 × 115.5 cm, cut at lower right, Sibiu, Muzeul Brukenthal, inv. 1241 (photo: Muzeul Brukenthal) 424
10.7 Maarten van Heemskerck, Mars, Venus, and Cupid Surprised by the Gods, c. 1540, oil on panel, 96 × 99 cm (reduced at bottom), Vienna, Kunsthistorisches Museum inv. 6396 (Photo: Kunsthistorisches Museum) 425
10.8 Frans Floris, Adam and Eve, c. 1560, oil on panel, 176 × 144 cm, Florence, Galleria Pitti, coll. Feroni, inv. 1082 (photo: Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze) 426
10.9 Frans Floris, Adam and Eve, c. 1560, oil on panel, 186 × 152 cm, Cognac, Musée municipal, inv. 896.01 (photo: Collection des Musées de Cognac) 427
10.10 Frans Floris, Adam and Eve with Cain and Abel, c. 1563, oil on panel, 205 × 161 cm, Antwerp, Royal Museum of Fine Arts, inv. 5137 (photo © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 428
10.11 Frans Floris, Adam and Eve Lament the Death of Abel, c. 1561, oil on panel, 163 × 212 cm, Antwerp, Royal Museum of Fine Arts, inv. 5138 (photo © www.lukasweb.be – Art in Flanders vzw, photo Hugo Maertens) 429
10.12 Frans Floris, Adam and Eve Lament the Death of Abel, c. 1561, oil on panel, 108 × 168 cm, Kassel, Staatliche Gemäldegalerie Alte Meister, inv. GK1001 (photo: Museumslandschaft Hessen Kassel) 429
10.13 Hieronymus ii Francken, The Picture Gallery of Jan Snellinck, 1621, oil on panel, 94 × 125 cm, Brussels, Musées royaux des Beaux-Arts de Belgique, inv. 90 (photo ©
10.14 Johannes Wierix after Frans Floris, Adam and Eve, c. 1575, engraving, 444 × 327 mm, Coburg, Veste Coburg, vii.171.86 (photo: Veste Coburg) 431
10.15 Frans Floris, Charity, c. 1560, oil on panel, 156 × 107 cm, St. Petersburg, State Hermitage Museum, inv. 3302 (photo: Print Collector / Getty Images) 431
10.16 Frans Floris, Suicide of Lucretia, c. 1565, oil on panel, 125 × 94 cm, Rotterdam, Museum Boijmans-van Beuningen, inv. 1940 (photo: Museum Boijmans Van Beuningen, Rotterdam / Studio Tromp, Rotterdam) 432
10.17 Frans Floris, Venus in Vulcan’s Forge, c. 1564, oil on panel, 150 × 198 cm, Berlin, Gemäldegalerie (photo © bpk / Gemäldegalerie,
10.18 Léon Davent after Luca Penni, Venus and Cupid in the Vulcan’s Forge, c. 1546, etching, 321 × 447 mm, New York, The Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1932 (32.92.3) (photo: The Metropolitan Museum of Art) 434
10.19 Titian, Sisyphus, 1548–49, oil on canvas, 237 × 216 cm, Madrid, Museo del Prado (photo: © Museo Nacional del Prado) 436
10.20 Frans Floris, Diana (detail), c. 1553, oil on panel, 42 × 33 cm, present location unknown (photo: Warburg Institute, London) 438
10.21 Detail of 10.25 438
10.22 Frans Floris, Diana and her Nymphs Surprised by Actaeon, c. 1565, oil on panel, 170 × 257 cm, present location unknown, ex coll. Lord Middleton, Wollaton Hall, Nottingham (photo: Warburg Institute, London) 439
10.23 Frans Menton after Frans Floris, Diana and her Nymphs Surprised by Actaeon, c. 1566, engraving, 220 × 290 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1883-A-7322 (photo: Rijksmuseum) 439
10.24 Frans Floris, Diana and her Nymphs Surprised by Actaeon, c. 1565, pen and brush in brown with oil and white heightening on parchment on panel, 415 × 585 mm, Oxford, Christ Church Picture Gallery (photo: Christ Church College Oxford) 440
10.25 Titian, Diana and Actaeon, 1556–59, oil on canvas, 184.5 × 202.2 cm, London, National Gallery and Edinburgh, National Gallery of Scotland, inv. 6611 (photo: Google Art Project) 440
10.26 Titian, Diana and Callisto, 1556–59, oil on canvas, 187 × 204.5 cm, London, National Gallery and Edinburgh, National Gallery of Scotland, inv. 6616 (photo: National Gallery) 441
10.27 Anon. printmaker after Francesco Primaticcio, Venus Attired by the Three Graces, c. 1545, etching, 204 × 250 mm, London, British Museum, Department of Drawings and Prints, 1851,0208.162 (photo: Trustees of the British Museum) 441
10.28 Frans Menton after Frans Floris. Danaë and the Golden Rain, c. 1566, engraving, 214 × 264 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-68.203 (photo: Rijksmuseum) 443
10.29 Titian, Danaë and the Golden Rain, 1553–54, oil on canvas, 129 × 180 cm, Madrid, Museo Nacional del Prado (photo © Museo Nacional del Prado) 444
10.30 Michelangelo, Night, 1526–31, marble, 155 × 150 cm, Florence, San Lorenzo, Medici Chapel (photo: Artstor) (photo: Trustees of the British Museum) 444
10.31 Anon. engraver after Frans Floris, Venus Laments the Death of Adonis, c. 1569, engraving, 312 × 238 mm, Wolfegg, Fürstlich zu Waldburg-Wolf egg’sche Sammlung (photo: Fürstlich zu Waldburg-Wolf egg’sche Sammlung) 444
10.32 Abraham de Bruyn after Frans Floris, Venus Laments the Death of Adonis, 1569, engraving, 178 × 225 mm, London, British Museum, Department of Drawings and Prints, F,1.62 (photo: Trustees of the British Museum) 445
10.33 Tintoretto (Jacopo Robusti), Summer, c. 1555, oil on canvas, 105.7 × 193 cm, Washington, National Gallery of Art, Samuel H. Kress Collection, inv. 1961.9.90 (photo: National Gallery of Art) 449
10.34 Frans Floris, Susanna and the Elders, c. 1565, oil on panel, 148 × 208 cm, Florence, Galleria degli Uffizi, Ferroni Collection (photo: Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze) 450
10.35 Marcantonio Raimondi, Crouching Venus, 1510–27, engraving, 225 × 145 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-11.952 (photo: Rijksmuseum) 451
10.36 Tintoretto (Jacopo Robusti), Suzanna and the Elders, 1555–56, oil on canvas, 146 × 193.6 cm, Vienna, Kunsthistorisches Museum, inv. 1530 (photo:
10.37 Frans Floris, Venus and Cupid, c. 1569, oil on panel, 103 × 132 cm, Paris, Musée du Louvre, inv.
10.38 Frans Floris, Minerva Visiting the Muses, c. 1568, oil on panel, 173 × 224 cm, Condé sur l’Escaut, Hôtel de Ville (photo: Mairie de Condé sur l’Escaut) 453
10.39 Frans Floris, Touch, c. 1561, pen and brown ink with brown wash and white heightening on blue paper, incised, 204 × 268 mm, Budapest, Szépmüvészeti Múzeum, inv. 1333 (photo: Szépmüvészeti Múzeum) 456
10.40 Cornelis Cort after Frans Floris, Touch, 1561, engraving, 206 × 267 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1950-336 (photo: Rijksemuseum) 456
10.41 Cornelis Cort after Frans Floris, Autumnus, 1565, engraving, 284 × 216 mm (oval plate), Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1986-372 (photo: Rijksmuseum) 459
10.42 Cornelis Cort after Frans Floris, Cyparissus, 1565, engraving, 285 × 223 mm (oval plate), Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1986-373 (photo: Rijksmuseum) 459
10.43 Jan Harmensz Muller after Cornelis Cort after Frans Floris, Cyparissus, 1586, London, British Museum, Department of Drawings and Prints, 1862,1213.559 (photo: Trustees of the British Museum) 459
10.44 Cornelis Cort after Frans Floris, Pomona, 1564, engraving, 268 × 192 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, inv. rp-p-1986-366 (photo: Rijksmuseum) 460
10.45 Cornelis Cort after Frans Floris, Daphne, 1564, engraving, 270 × 192 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1986-370 (photo: Rijksmuseum) 460
10.46 Cornelis Cort after Frans Floris, Venus Instructs Cupid to Pierce Pluto’s Heart, from The History of Pluto and Proserpina, 1565, engraving, 263 × 205 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1983-9 (photo: Rijksmuseum) 462
10.47 Cornelis Cort after Frans Floris, The Abduction of Proserpina, from The History of Pluto and Proserpina, 1565, engraving, 263 × 195 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1983-10 (photo: Rijksmuseum) 462
10.48 Cornelis Cort after Frans Floris, The Metamorphosis of Cyane, from The History of Pluto and Proserpina, 1565, engraving, 263 × 200 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1983-11 (photo: Rijksmuseum) 462
10.49 Cornelis Cort after Frans Floris, Pluto Vanishes into the Underworld, from The History of Pluto and Proserpina, 1565, engraving 267 × 204 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1983-12 (photo: Rijksmuseum) 462
10.50 Frans Floris, The Metamorphosis of Cyane, 1565, pen and brown ink with blue wash and white heightening, varnished, 278 × 190 mm, Liverpool, Walker Art Gallery, Weld Collection (photo: Witt Library, Courtauld Institute of Art, London) 463
11.1 Jacques Van Croes, The House of Frans Floris, c. 1684, pen and brown ink with brown wash, 329 × 415 mm, Brussels, Bibliothèque royale de Belgique, Département des Manuscrits (photo: Bibliothèque royale de Belgique) 468
11.2 Attributed to Égide Linnig, La maison de Frans Floris, watercolor, 275 × 350 mm, preparatory drawing for the etching in: Jean-Théodore-Joseph Linnig and Frans Mertens, Album historique de la ville d’Anvers (Antwerp: Buschmann, 1868), pl. 35 468
11.3 Monogrammist
11.4 Monogrammist
11.5 Monogrammist
11.6 Monogrammist
11.7 Monogrammist
11.8 Monogrammist
11.9 Monogrammist
11.10 Monogrammist
11.11 Francisco de Hollanda, Hanging Garden of Cardinal Andrea della Valle, c. 1538, watercolor, 270 × 390 mm, El Escorial, Biblioteca Reale, inv. 28-1-20, vol. 54 (photo: Biblioteca Reale) 475
11.12 Melchisedech van Hooren, The City Hall of Antwerp, 1565, hand-colored etching, 110 × 273 mm, Vienna, Graphische Sammlung Albertina, inv. 1949/849, p. 3 (photo: Graphische Sammlung Albertina) 476
11.13 Maarten van Heemskerck, Palazzo Branconio dell’Aquila, c. 1535, red chalk, 122 × 201 mm, Berlin, Kupferstichkabinet, Staatliche Museen zu Berlin (photo: Christian Hülsen and Hermann Egger, Die römischen Skizzenbücher von Martin van Heemskerck (Berlin: Bard, 1913), 1: fol. 55v) 477
11.14 Giulio Romano, Fireplace from Villa Madama, c. 1538, carved alabaster, Rome, Villa Madama (photo: Christoph Frommel, “The Roman Works of Giulio,” in Giulio Romano (Cambridge: Cambridge University Press, 1998), fig. 64.) 479
11.15 Giorgio Vasari, Painting, 1542, fresco, Arezzo, Casa Vasari, Camera della Fame e delle Arti (photo: Biblioteca Berenson) 481
11.16 Giorgio Vasari, Poetry, 1542, fresco, Arezzo, Casa Vasari, Camera della Fame e delle Arti (photo: Biblioteca Berenson) 481
11.17 Philips Galle after Frans Floris, Textile Production (Arachne), 1574, engraving, 205 × 245 mm, after a preparatory drawing by Maarten van Celve, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1952-533 (photo: Rijksmuseum) 486
11.18 Albrecht Dürer, Melencholia I, 1514, engraving, 421 × 191 mm, New York, Metropolitan Museum of Art, 2004.446.1 (photo: Metropolitan Museum of Art) 487
11.19 Anon. woodcutter, Fame Enlightens the Arts of Sculpture, Architecture, and Painting in: Giorgio Vasari, Le vite de’ più eccellenti pittori scultori e architettori (Florence: Torrentius, 1550), endpiece (photo: The New York Public Library, Astor, Lenox and Tilden Foundations) 490
11.20 Hendrick Goltzius, Labor and Diligence, 1582, engraving, 195 × 140 mm, London, British Museum, Department of Drawings and Prints, 1854,0513.127 (photo: Trustees of the British Museum) 496
11.21 L. van Opstal, The House of Cornelis van Dalem, c. 1840, pen and brown ink, 240 × 180 mm, Antwerp, Museum Plantin-Moretus, Stedelijk Prentenkabinet (photo: Antwerp, Museum Plantin-Moretus,
11.22 Jan Leyniers of Brussels, Allegory of the Visual Arts from The Arts and Sciences, c. 1655, tapestry, Madrid, Banco Santander (photo: Grupo Banco Santander) 500
11.23 Anon. engraver (formerly attributed to Nicolas Béatrizet) after Michelangelo, Rape of Ganymede, c. 1550, engraving, 427 × 229 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1939-1532(photo: Rijksmuseum) 500
12.1 Frans Hogenberg, The Beeldenstorm of 20 August 1566, etching, 208 × 281 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-77.720 (photo: Rijksmuseum) 504
12.2 Maarten de Vos, Saint Paul Bitten by a Viper on the Island of Malta, c. 1567, oil on panel, 124 × 199 cm, Paris, Musée du Louvre (photo ©
12.3 Anon. engraver, The Iconoclasm of the Gueux, 1566, engraving, 117 × 220 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-76.780 /
12.4 Anon. engraver, The Duke of Alba Assisted by the Apocalyptic Monster with heads of Granvelle, de Guise, and Lorraine, c. 1572, engraving, 185 × 135 mm, Brussels, Bibliothèque royale de Belgique, Cabinet des Estampes, s. ii 26794 /
12.5 Frans Floris, Adoration of the Shepherds, 1568, oil on panel, 249 × 193 cm, Antwerp, Royal Museum of Fine Arts, inv. 113 (photo © www.lukasweb.be – Art in Flanders vzw, photo Dominique Provost) 523
12.6 Frans Floris, Adoration of the Shepherds, c. 1560, oil on panel, 130.5 × 159 cm, Prague, Národní Galerie, inv. 4906 (photo:
12.7 Anon. engraver, Our Lady on the Pole (Onze-Lieve-Vrouw-op-het-Stocxsken), c. 1570, engraving Antwerp, Ruusbroecgenootschap, prentencollectie, O.L.Vrouwekerk, 1 b (photo: Ruusbroecgenootschap Antwerpen) 526
12.8 Philips Galle after Frans Floris, Massacre of the Innocents, c. 1562, engraving, 328 × 415 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-1950-400 (photo: Rijksmuseum) 529
12.9 Anon. photographer, Soldiers of the 101st Airborne Division Loading a Truck with a Copy of Floris’s “Adam and Eve” from the Collection of Hermann Goering, photograph (photo © Granger Collection / Rue des Archives) 530
12.10 Peter Paul Rubens, Self-Portrait in a Circle of Friends in Mantua (Frans Pourbus, Caspar Schoppe, William Richardot, Philip Rubens, Peter Paul Rubens, and Justus Lipsius), 1602–06, oil on canvas, 77.5 × 161 cm, Cologne, Wallraf-Richartz Museum (photo © Rheinisches Bildarchiv / Sabrina Walz) 533
12.11 Jacobus Harrewijn after Jacques Van Croes, Views of the Rubenshuis, Antwerp (Parties de la Maison Hilwerue à Anvers), 1692, etching and engraving, 340 × 433 mm, Amsterdam, Rijksmuseum, Rijksprentenkabinet, rp-p-ob-55.445 (photo: Rijksmuseum) 535