Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-24T21:34:01.856Z Has data issue: false hasContentIssue false
  • English
  • Français

The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France

Published online by Cambridge University Press:  20 November 2018

Jessica Goethals
Jessica Goethals*
Affiliation:
University of Alabama
Get access Rights & Permissions [Opens in a new window]

Abstract

Equestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.

Type
Research Article
Information
Renaissance Quarterly , Volume 70 , Issue 4 , Winter 2017 , pp. 1397 - 1448
Copyright
Copyright © 2017 Renaissance Society of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bibliography

Biblioteca Apostolica Vaticana (BAV), Archivio Barberini, Indice 1, 1088. “Sonetto stampato di Margherita Costa all’ecc. principe di Palestrina per la festa a cavallo fatta da S. E. alla maestà di Cristina Regina di Svezia.”Google Scholar
BAV, Barberini Latine (Barb. Lat.) 4059, fols. 131v–137v. “L’Orfeo / Personaggi dell’opera.”Google Scholar
BAV, Barb. Lat. 4913, fols. 103–122r. Ragguaglio della festa de’ caroselli fata dal sig.re principe di Palestrina alla regina di Svezia.Google Scholar
BAV, Chigi I.VII.273, fols. 125r–126r. Letter and poem from Margherita Costa to Mario Chigi, May 4, 1657.Google Scholar
BAV, Urbinates Latini (Urb. Lat.) 1681, Racconto istorico del trionfo in Vaticano di Christina Regina di Svetia alla Santità di N. Sig.re Alessandro PP VII, Roma.Google Scholar
Biblioteca Nazionale Centrale di Firenze (BNCF), Florence, MS II.II.371. Costa, Margherita. “Festa reale per ballo de’ cavalli.” 1640.Google Scholar
Ademollo, Alessandro. I primi fasti della musica italiana a Parigi (1645–1662). Milan, 1884.Google Scholar
Ariew, Roger. “Theory of Comets at Paris during the Seventeenth Century.” Journal of the History of Ideas 53.3 (1992): 355–72.CrossRefGoogle Scholar
Arlía, C. “Un bandito e una cortigiana letterati.” Il bibliofilo 2 (1881): 164–66.Google Scholar
Bacherini, Maria Adelaide Bartoli. “Per un regale evento”: Spettacoli nuziali e opera in musica alla corte dei Medici. Florence: Biblioteca Nazionale Centrale di Firenze, 2000.Google Scholar
Baldinucci, Filippo. Notizie de’ professori del disegno da Cimabue in qua. Florence, 1681.Google Scholar
Bardi, Ferdinando de’. Descrizione delle feste fatte in Firenze per le reali nozze de’ serenissimi sposi Ferdinando II, Gran Duca di Toscana, e Vittoria, Principessa d’Urbino. Florence, 1637.Google Scholar
Barker, Sheila. “House Left, House Right: A Florentine Account of Marie de Medici’s 1615 Ballet de Madame.” The Court Historian: The International Journal of Court Studies 20.2 (2015): 137–65.Google Scholar
Barry, Jean-Claude. “Les airs relevés et leur histoire.” In Les arts de l’équitation dans l’Europe de la Renaissance: VIe colloque de l’Ercole nationale d’équitation au château d’Oiron (4 et 5 octobre 2002), ed. Patrice and Monique Chatenet Franchet d’Espèrey, 183–96. Arles: Actes Sud, 2009.Google Scholar
Baudi di Vesme, Alessandro, and Massar, Phyllis D.. Stefano della Bella: Catalogue raisonné. 2 vols. New York: Collectors Editions, 1971.Google Scholar
Baumgartner, Frederic J. “Sunspots or Sun’s Planets: Jean Tarde and the Sunspot Controversy of the Early Seventeenth Century.” Journal for the History of Astronomy 18.1 (1987): 44–54.CrossRefGoogle Scholar
Béhar, Pierre, and Helen Watanabe-O’Kelly, eds. Spectacvlvm Evropaevm: Theatre and Spectacle in Europe (Histoire du spectacle en Europe, 1580–1750). Wiesbaden: Harrassowitz Verlag, 1999.Google Scholar
Biagioli, Mario. Galileo, Courtier: The Practice of Science in the Culture of Absolutism. Chicago: University of Chicago Press, 1993.CrossRefGoogle Scholar
Bianchi, Dante. “Una cortigiana rimatrice del Seicento: Margherita Costa.” Rassegna critica della letteratura italiana 29 (1924): 1–31, 187–203; 30 (1925): 158–211.Google Scholar
Bianconi, Lorenzo, and Walker, Thomas. “Dalla Finta pazza alla Veremonda: Storie di Febiarmonici.” Rivista italiana di musicologia 10 (1975): 379–454.Google Scholar
Bjurström, Per. Feast and Theatre in Queen Christina’s Rome. Stockholm: Nationalmusei, 1966.Google Scholar
Blumenthal, Arthur R. Theater Art of the Medici. Hanover, NH: University Press of New England, 1980.Google Scholar
Buelow, George. A History of Baroque Music. Bloomington: Indiana University Press, 2004.Google Scholar
Carandini, Silvia. Teatro e spettacolo nel Seicento. Rome: Laterza, 1997.Google Scholar
Carter, Tim. “A Florentine Wedding of 1608.” Acta Musicologica 55.1 (1983): 89–107.CrossRefGoogle Scholar
Cope, Jackson. “Bernini and Roman Commedie Ridicolose.” PMLA 102.2 (1987): 177–86.Google Scholar
Coppola, Giovanni Carlo. Le nozze degli dei, favola rappresentata in Firenze nelle reali nozze de’ Serenissimi Gran duchi di Toschana, Ferdinando II e Vittoria, Principessa d’Vrbino. Florence, 1637.Google Scholar
Costa, Margherita. Istoria del viaggio d’Alemagna del serenissimo Gran Duca di Toscana Ferdinando Secondo. Venice, [1628–30?].Google Scholar
Costa, Margherita. La chitarra. Frankfurt 1638a.Google Scholar
Costa, Margherita. Il violino. Frankfurt, 1638b.Google Scholar
Costa, Margherita. Lettere amorose. Venice, 1639a.Google Scholar
Costa, Margherita. Lo stipo. Venice, 1639b.Google Scholar
Costa, Margherita. Flora feconda, poema. Florence, 1640a.Google Scholar
Costa, Margherita. La flora feconda, drama. Florence, 1640b.Google Scholar
Costa, Margherita. La selva di cipressi. Florence, 1640c.Google Scholar
Costa, Margherita. Li buffoni, comedia ridicola. Florence, 1641.Google Scholar
Costa, Margherita. Cecilia martire, poema sacro. Rome, 1644.Google Scholar
Costa, Margherita. Festa reale per balleto a cavallo. Paris, 1647a.Google Scholar
Costa, Margherita. La selva di Diana. Paris, 1647b.Google Scholar
Costa, Margherita. La tromba di Parnaso. Paris, 1647c.Google Scholar
Costa, Margherita. Gl’amori della luna. Venice, 1654.Google Scholar
Costa, Margherita. All’altezza serenissima di Ferdinando Secondo Gran Duca di Toscana nel giorno della sua nascita. Florence, 1655.Google Scholar
Costa, Margherita. Scielta di lettere amorose di Ferrante Pallavicino, Luca Alserino, Margarita Costa Romana, Gerolamo Parabosco. Venice, 1656.Google Scholar
Costa, Margherita. “Li buffoni.” In Commedie dell’arte, ed. Siro Ferrone, 2:234–359. Milan: Giuli Einaudi editore, 1986.Google Scholar
Costa, Margherita. Voice of a Virtuosa and Courtesan: Selected Poems of Margherita Costa. Ed. Natalia Costa-Zalessow. Trans. Joan Borrelli. New York: Bordighera Press, 2015.Google Scholar
Costa-Zalessow, Natalia. “Margherita Costa.” In Seventeenth-Century Italian Poets and Dramatists (Dictionary of Literary Biography), ed. Albert N. Mancini and Glen Palen Pierce, 113–18. Detroit: Gale Cengage Learning, 2008.Google Scholar
Cox, Virginia. Women’s Writing in Italy, 1400–1650. Baltimore: Johns Hopkins University Press, 2008.Google Scholar
Crescimbeni, Giovanni Mario. Comentari intorno alla sua istoria della volgar poesia. 4 vols. Rome, 1702–11.Google Scholar
Cusick, Suzanne. Francesca Caccini at the Medici Court: Music and the Circulation of Power. Chicago: University of Chicago Press, 2009.CrossRefGoogle Scholar
Decroisette, Françoise. “Les Fêtes du mariage de Cosme III avec Marguerite Louise d’Orléans à Florence, 1661.” In Les Fêtes de la Renaissance, ed. Jean Jacquot and Elie Konigson, 3:421–36. Paris: CNRS, 1975.Google Scholar
Decroisette, Françoise. “L’Armida trionfante di Ferdinando Saracinelli (1637): La vittoria dello spettacolo totale.” In L’arme e gli amori; Ariosto, Tasso, and Guarini in Late Renaissance Florence: Acts of an International Conference, Florence, Villa I Tatti, June 27–29, 2001, ed. Massimiliano Rossi and Fiorella Gioffredi Superbi, 285–96. Florence: Olschki, 2001.Google Scholar
Delbrück, Hans. The Dawn of Modern Warfare. Trans. Walter J. Renfroe Jr. Lincoln: University of Nebraska Press, 1985.Google Scholar
Dizionario biografico degli italiani. Rome, 1960–present: http://www.treccani.it/biografico/.Google Scholar
Favaro, Antonio. La libreria di Galileo Galilei descritta ed illustrata. Rome: Tipografia delle matematiche e fisiche, 1887. Extract from the Bullettino di bibliografia e di storia delle scienze matematiche e fisiche 19 (1886): 219–94.Google Scholar
Fiaschi, Cesare. Trattato dell’imbrigliare, maneggiare, et ferrare cavalli. Bologna, 1556.Google Scholar
Finocchiaro, Maurice A. Retrying Galileo, 1633–1992. Berkeley: University of California Press, 2005.CrossRefGoogle Scholar
Franceschi, Lorenzo. Ballo e giostra de’ venti nelle nozze del serenissimo prinicipe e della serenissima principessa di Toscana, arciduchessa d’Austria. Florence, 1608.Google Scholar
Franchet d’Espèrey, Patrice. “L’équitation italienne, sa transmission et son évolution en France au temps de la Renaissance.” In Les arts de l’équitation dans l’Europe de la Renaissance. VIe colloque de l’Ercole nationale d’equitation au château d’Oiron (4 et 5 octobre 2002), ed. Patrice Franchet d’Espèrey and Monique Chatenet, 158–82. Arles: Actes Sud, 2009.Google Scholar
Franchet d’Espèrey, Patrice. “The Ballet d’Antoine de Pluvinel and the Maneige Royal.” In Dynastic Marriages 1612/1615: A Celebration of the Habsburg and Bourbon Unions, ed. Margaret M. McGowan, 115–36. Farnham: Ashgate, 2013.Google Scholar
Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.Google Scholar
Fratarcangeli, Margherita. “‘La perfettione del cavallo’: Trattatistica e letteratura ad uso e consumo di uno status symbol.” In Dal cavallo alle scuderie: Visioni iconografiche e architettoniche, ed. Margherita Fratarcangeli, 21–35. Rome: Campisano Editore, 2014.Google Scholar
Galilei, Galileo. Dialogo di Galileo Galilei … dove ne i congressi di quattro giornate si discorre sopra i due massimi sistemi del mondo tolemaico, e copernicano. Florence, 1632.Google Scholar
Galilei, Galileo. Opere di Galileo Galilei. 2 vols. Bologna, 1656.Google Scholar
Galilei, Galileo. Le opere di Galileo Galilei. Ed. Antonio Favaro. 20 vols. Florence, 1890–1909.Google Scholar
Galilei, Galileo. Sidereus Nuncius, or the Sidereal Messenger. Trans. Albert Van Helden. Chicago: University of Chicago Press, 1989.CrossRefGoogle Scholar
Galilei, Galileo, and Scheiner, Christoph. On Sunspots. Ed. and trans. Eileen Reeves and Albert Van Helden. Chicago: University of Chicago Press, 2010.CrossRefGoogle Scholar
Ghisi, Federico. “Ballet Entertainments in Pitti Palace, Florence, 1608–1625.” Musical Quarterly 35 (1949): 421–36.CrossRefGoogle Scholar
Ghisi, Federico. “‘Il mondo festeggiante’: Balletto a cavallo in Boboli.” In Scritti in onore di Luigi Ronga, ed. Riccardo Bacchelli, 233–42. Milan: R. Ricciardi, 1973.Google Scholar
Ghislanzoni, Alberto. Luigi Rossi: Biografia e analisi delle opere. Rome: Bocca, 1954.Google Scholar
Glixon, Beth L., and Glixon, Jonathan E.. Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford: Oxford University Press, 2006.CrossRefGoogle Scholar
Goethals, Jessica. “The Bizarre Muse: The Literary Persona of Margherita Costa.” Early Modern Women: An Interdisciplinary Journal. Special issue: Games, Play, and Performance 12.1 (2017): 48–72.CrossRefGoogle Scholar
Grisone, Federico. Gli ordini di cavalcare. Naples, 1550.Google Scholar
Hammond, Frederick. The Ruined Bridge: Studies in Barberini Patronage of Music and Spectacle 1631–1679. Sterling Heights, MI: Harmonie Park Press, 2010.Google Scholar
Harness, Kelley. “Habsburgs, Heretics, and Horses: Equestrian Ballets and Other Staged Battles in Florence during the First Decade of the Thirty Years War.” In L’arme e gli amori; Ariosto, Tasso, and Guarini in Late Renaissance Florence. Acts of an International Conference, Florence, Villa I Tatti, June 27–29, 2001, ed. Massimiliano Rossi and Fiorella Gioffredi Superbi, 255–83. Florence: Olschki, 2001.Google Scholar
Harness, Kelley. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago: University of Chicago Press, 2006.Google Scholar
Harness, Kelley. “Pageantry.” In The Routledge Companion to Music and Visual Culture, ed. Tim Shephard and Anne Leonard, 314–20. New York: Routledge, 2014.Google Scholar
Harness, Kelley. “‘Nata à maneggi & essercizii grandi’: Archduchess Maria Magdalena and Equestrian Entertainments in Florence, 1608–1625.” In La liberazione di Ruggiero dall’isola d’Alcina: Räume und Inszenierungen in Francesca Caccinis Ballettoper (Florenz, 1625), ed. Christine Fischer, 89–108. Zurich: Chronos, 2015.Google Scholar
Heilbron, J. L. Galileo. Oxford: Oxford University Press, 2010.Google Scholar
Henke, Robert. Performance and Literature in the Commedia dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar
Johnson, Charles. Stefano della Bella, Baroque Printmaker: The I. Webb Surratt, Jr. Print Collection. Richmond: Marsh Art Gallery, University of Richmond Museums, 2001.Google Scholar
Johnson, Victoria, Jane F. Fulcher, and Thomas Ertman, eds. Opera and Society in Italy and France from Monteverdi to Bourdieu. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Kaborycha, Lisa. A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650. Oxford: Oxford University Press, 2015.Google Scholar
Katritzky, M. A. Women, Medicine, and Theatre, 1500–1700: Literary Mountebanks and Performing Quacks. Farnham: Ashgate, 2007.Google Scholar
Langedijk, Karla. The Portraits of the Medici, 15th–18th Centuries. 3 vols. Florence: Studio per Edizioni Scelte, 1981–87.Google Scholar
LeGuin, Elisabeth. “Man and Horse in Harmony.” In The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, 175–95. New York: Palgrave Macmillan, 2005.CrossRefGoogle Scholar
Lewis, John Michael. Galileo in France: French Reactions to the Theories and Trial of Galileo. New York: Peter Lang, 2006.Google Scholar
Liedtke, Walter A. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York: Abaris Books, 1989.Google Scholar
Lyden, Émile Mignot de. Le théâtre d’autrefois et d’aujourd’hui: Cantatrices et comédiens 1532–1882. Paris, 1882.Google Scholar
Mamone, Sara. Serenissimi fratelli principi impresari. Notizie di spettacolo nei carteggi medicei. Carteggi di Giovan Carlo de’ Medici e di Desiderio Montemagni suo segretario (1628–1664). Florence: Le lettere, 2003.Google Scholar
Marcigliano, Alessandro. “Cavallerie a Ferrara: 1561–1570.” In Italian Renaissance Festivals and Their European Influence, ed. J. R. Mulryne and Margaret Shewring, 197–22. Lewington, NY: Edwin Mellen Press, 1992.Google Scholar
Marinella, Lucrezia. Exhortations to Women and to Others If They Please. Trans. Laura Benedetti. Toronto: Iter Inc. and the Centre for Reformation and Renaissance Studies, 2012.Google Scholar
Mariti, Luciano. Commedia ridicolosa: Comici di professione, dilettanti, editoria teatrale nel Seicento. Storia e testi. Rome: Bulzoni, 1979.Google Scholar
Massar, Phyllis D. “Presenting Stefano della Bella.” Metropolitan Museum of Art Bulletin 27.3 (1968): 159–76.CrossRefGoogle Scholar
Massar, Phyllis D.. Presenting Stefano della Bella, Seventeenth-Century Printmaker. New York: Metropolitan Museum of Art, 1971.Google Scholar
Massar, Phyllis D.. “Valerio Spada, Seventeenth-Century Florentine Calligrapher and Draughtsman.” Master Drawings 19.3 (1981): 251–75, 319–44.Google Scholar
Masson, Georgina. “Papal Gifts and Roman Entertainments in Honour of Queen Christina’s Arrival.” In Queen Christina of Sweden: Documents and Studies, ed. Magnus von Platen, 244–61. Stockholm: Norstedt and Söner, 1966.Google Scholar
McGowan, Margaret M. L’art du ballet de cour en France, 1581–1643. Paris: Centre National de la Recherche Scientifique, 1963.Google Scholar
Megale, Teresa. “La commedia decifrata: Metamorfosi e rispecchiamenti in Li buffoni di Margherita Costa.” Il castello di Elsinore 1.2 (1988): 64–76.Google Scholar
Megale, Teresa. “Il principe e la cantante: Riflessi impresariali di una protezione.” Medioevo e Rinascimento 6 (1992): 211–33.Google Scholar
Melzo, Lodovico. Regole militari del cavalier Melzo sopra il governo e servitio della cavalleria. Antwerp, 1611.Google Scholar
Ménestrier, Claude-François. Des représentations en musique anciennes et modernes. Paris, 1681.Google Scholar
Merrick, Jeffrey. “The Cardinal and the Queen: Sexual and Political Disorders in the Mazarinades.” French Historical Studies 18.3 (1994): 667–99.CrossRefGoogle Scholar
Monaldini, Sergio. L’orto dell’Esperidi: Musici, attori e artisti nel patrocinio della famiglia Bentivoglio (1646–1685). Lucca: Libreria Musicale Italiana, 2000.Google Scholar
Moniglia, Giovanni Andrea. Il mondo festeggiante: Balletto a cavallo fatto nel teatro congiunto al palazzo del serenissimo Gran Duca, per le reali nozze de’ serenissimi principi Cosimo Terzo di Toscana et Margherita Luisa d’Orleans. Florence, 1661.Google Scholar
Murata, Margaret. “Why the First Opera Given in Paris Wasn’t Roman.” Cambridge Opera Journal 7.2 (July 1995): 87–105.Google Scholar
Nagler, A. M. Theatre Festivals of the Medici, 1539–1637. New Haven: Yale University Press, 1964.Google Scholar
Nettl, Paul. “Equestrian Ballets of the Baroque Period.” Musical Quarterly 19.1 (1933): 74–83.CrossRefGoogle Scholar
Nordera, Marina. “Ballet de cour.” In The Cambridge Companion to Ballet, ed. Marion Kant, 20–31. Cambridge: Cambridge University Press, 2007.Google Scholar
Panizza, Letizia, and Sharon Wood, eds. A History of Women’s Writing in Italy. Cambridge: Cambridge University Press, 2000.Google Scholar
Panofsky, Erwin. “More on Galileo and the Arts.” Isis 47.2 (1956): 182–85.CrossRefGoogle Scholar
Pirrotta, Nino, and Povoledo, Elena. Music and Theater from Poliziano to Monteverdi. Trans. Karen Eales. Cambridge: Cambridge University Press, 1968.Google Scholar
Priorato, Galeazzo Gualdo. Historia della sacra real maestà di Christina Alessandra Regina di Svetia. Venice: 1656.Google Scholar
Prunières, Henry. L’opéra italien en France avant Lulli. Paris: Champion, 1913.Google Scholar
Ray, Meredith K. Margherita Sarrocchi’s Letters to Galileo: Astronomy, Astrology, and Poetics in Seventeenth-Century Italy. New York: Palgrave Macmillan, 2016.CrossRefGoogle Scholar
Reeves, Eileen. Evening News: Optics, Astronomy, and Journalism in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2014.CrossRefGoogle Scholar
Rinuccini, Camillo. Descrizione delle feste fatte nelle reali nozze de’ serenissimi prinicipi di Toscana Duca Cosimo de’ Medici e Maria Maddalena Arciduchessa d’Austria. Florence, 1608.Google Scholar
Robin, Diana. Publishing Women: Salons, the Presses, and the Counter-Reformation in Sixteenth Century Italy. Chicago: University of Chicago Press, 2007.Google Scholar
Rutgers, Jaco. “A Frontispiece for Galileo’s Opere: Pietro Anichini and Stefano della Bella.” Print Quarterly 29.1 (2012): 3–12.Google Scholar
Salvadori, Andrea. Guerra d’amore, festa del serenissimo Gran Duca di Toscana Cosimo Secondo. Florence, 1615.Google Scholar
Sanger, Alice E. Art, Gender, and Religious Devotion in Grand Duchal Tuscany. Farnham: Ashgate, 2014.Google Scholar
Schiesari, Juliana. “Pedagogy and the Art of Dressage in the Italian Renaissance.” In Animals and Early Modern Identity, ed. Pia F. Cuneo, 375–89. Farnham: Ashgate, 2014.Google Scholar
Strong, Roy. Art and Power: Renaissance Festivals, 1450–1650. Berkeley: University of California Press, 1984.Google Scholar
Tarabotti, Arcangela. Letters Familiar and Formal. Ed. and trans. Meredith K. Ray and Lynn Lara Westwater. Toronto: Iter Inc. and the Centre for Reformation and Renaissance Studies, 2012.Google Scholar
Tarde, Jean. Borbonia Sidera. Paris, 1620.Google Scholar
Tobey, Elizabeth M. “The Legacy of Federico Grisone.” In The Horse as Cultural Icon: The Real and the Symbolic Horse in the Early Modern World, ed. Peter Edwards, Karl A. E. Enenkel, and Elspeth Graham, 143–73. Leiden: Brill, 2012.Google Scholar
Tongiorgi Tomasi, Lucia. “La conquista del visibile. Rimeditando Panofsky, rileggendo Galilei.” Galilaeana 4 (2007): 5–46.Google Scholar
Treadwell, Nina. Music and Wonder at the Medici Court: The 1589 Interludes for “La Pellegrina.” Bloomington: Indiana University Press, 2008.Google Scholar
Treasure, Geoffrey. Mazarin: The Crisis of Absolutism in France. London: Routledge, 1995.Google Scholar
Tucker, Treva J. “Early Modern French Noble Identity and the Equestrian ‘Airs above the Ground.’” In The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, 273–309. New York: Palgrave Macmillan, 2005.CrossRefGoogle Scholar
van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005.Google Scholar
Villifranchi, Giovanni. Descrizione della barriera e della mascherata fatte in Firenze a’ XVII e a’ XIX di febbraio 1613. Florence, 1613.Google Scholar
Watanabe-O’Kelly, Helen. “The Equestrian Ballet in Seventeenth-Century Europe—Origin, Description, Development.” German Life and Letters 36.3 (1983): 198–212.CrossRefGoogle Scholar
Watanabe-O’Kelly, Helen. Triumphall Shews: Tournaments at German-Speaking Courts in Their European Context 1560–1730. Berlin: Mann, 1992.Google Scholar
Westwater, Lynn Lara. “A Cloistered Nun Abroad: Arcangela Tarabotti’s International Writing Career.” In Women’s Writing Back / Writing Women Back: Transnational Perspectives from the Late Middle Ages to the Dawn of the Modern Era, ed. Anke Gilleir, Alicia C. Montoya, and Suzan van Dijk, 283–307. Leiden: Brill, 2010.Google Scholar
Wootton, David. Galileo: Watcher of the Skies. New Haven: Yale University Press, 2010.Google Scholar
Zaslaw, Neal. “The First Opera in Paris: A Study in the Politics of Art.” In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hadju Heyer, 7–23. Cambridge: Cambridge University Press, 1989.Google Scholar
Biblioteca Apostolica Vaticana (BAV), Archivio Barberini, Indice 1, 1088. “Sonetto stampato di Margherita Costa all’ecc. principe di Palestrina per la festa a cavallo fatta da S. E. alla maestà di Cristina Regina di Svezia.”Google Scholar
BAV, Barberini Latine (Barb. Lat.) 4059, fols. 131v–137v. “L’Orfeo / Personaggi dell’opera.”Google Scholar
BAV, Barb. Lat. 4913, fols. 103–122r. Ragguaglio della festa de’ caroselli fata dal sig.re principe di Palestrina alla regina di Svezia.Google Scholar
BAV, Chigi I.VII.273, fols. 125r–126r. Letter and poem from Margherita Costa to Mario Chigi, May 4, 1657.Google Scholar
BAV, Urbinates Latini (Urb. Lat.) 1681, Racconto istorico del trionfo in Vaticano di Christina Regina di Svetia alla Santità di N. Sig.re Alessandro PP VII, Roma.Google Scholar
Biblioteca Nazionale Centrale di Firenze (BNCF), Florence, MS II.II.371. Costa, Margherita. “Festa reale per ballo de’ cavalli.” 1640.Google Scholar
Ademollo, Alessandro. I primi fasti della musica italiana a Parigi (1645–1662). Milan, 1884.Google Scholar
Ariew, Roger. “Theory of Comets at Paris during the Seventeenth Century.” Journal of the History of Ideas 53.3 (1992): 355–72.CrossRefGoogle Scholar
Arlía, C. “Un bandito e una cortigiana letterati.” Il bibliofilo 2 (1881): 164–66.Google Scholar
Bacherini, Maria Adelaide Bartoli. “Per un regale evento”: Spettacoli nuziali e opera in musica alla corte dei Medici. Florence: Biblioteca Nazionale Centrale di Firenze, 2000.Google Scholar
Baldinucci, Filippo. Notizie de’ professori del disegno da Cimabue in qua. Florence, 1681.Google Scholar
Bardi, Ferdinando de’. Descrizione delle feste fatte in Firenze per le reali nozze de’ serenissimi sposi Ferdinando II, Gran Duca di Toscana, e Vittoria, Principessa d’Urbino. Florence, 1637.Google Scholar
Barker, Sheila. “House Left, House Right: A Florentine Account of Marie de Medici’s 1615 Ballet de Madame.” The Court Historian: The International Journal of Court Studies 20.2 (2015): 137–65.Google Scholar
Barry, Jean-Claude. “Les airs relevés et leur histoire.” In Les arts de l’équitation dans l’Europe de la Renaissance: VIe colloque de l’Ercole nationale d’équitation au château d’Oiron (4 et 5 octobre 2002), ed. Patrice and Monique Chatenet Franchet d’Espèrey, 183–96. Arles: Actes Sud, 2009.Google Scholar
Baudi di Vesme, Alessandro, and Massar, Phyllis D.. Stefano della Bella: Catalogue raisonné. 2 vols. New York: Collectors Editions, 1971.Google Scholar
Baumgartner, Frederic J. “Sunspots or Sun’s Planets: Jean Tarde and the Sunspot Controversy of the Early Seventeenth Century.” Journal for the History of Astronomy 18.1 (1987): 44–54.CrossRefGoogle Scholar
Béhar, Pierre, and Helen Watanabe-O’Kelly, eds. Spectacvlvm Evropaevm: Theatre and Spectacle in Europe (Histoire du spectacle en Europe, 1580–1750). Wiesbaden: Harrassowitz Verlag, 1999.Google Scholar
Biagioli, Mario. Galileo, Courtier: The Practice of Science in the Culture of Absolutism. Chicago: University of Chicago Press, 1993.CrossRefGoogle Scholar
Bianchi, Dante. “Una cortigiana rimatrice del Seicento: Margherita Costa.” Rassegna critica della letteratura italiana 29 (1924): 1–31, 187–203; 30 (1925): 158–211.Google Scholar
Bianconi, Lorenzo, and Walker, Thomas. “Dalla Finta pazza alla Veremonda: Storie di Febiarmonici.” Rivista italiana di musicologia 10 (1975): 379–454.Google Scholar
Bjurström, Per. Feast and Theatre in Queen Christina’s Rome. Stockholm: Nationalmusei, 1966.Google Scholar
Blumenthal, Arthur R. Theater Art of the Medici. Hanover, NH: University Press of New England, 1980.Google Scholar
Buelow, George. A History of Baroque Music. Bloomington: Indiana University Press, 2004.Google Scholar
Carandini, Silvia. Teatro e spettacolo nel Seicento. Rome: Laterza, 1997.Google Scholar
Carter, Tim. “A Florentine Wedding of 1608.” Acta Musicologica 55.1 (1983): 89–107.CrossRefGoogle Scholar
Cope, Jackson. “Bernini and Roman Commedie Ridicolose.” PMLA 102.2 (1987): 177–86.Google Scholar
Coppola, Giovanni Carlo. Le nozze degli dei, favola rappresentata in Firenze nelle reali nozze de’ Serenissimi Gran duchi di Toschana, Ferdinando II e Vittoria, Principessa d’Vrbino. Florence, 1637.Google Scholar
Costa, Margherita. Istoria del viaggio d’Alemagna del serenissimo Gran Duca di Toscana Ferdinando Secondo. Venice, [1628–30?].Google Scholar
Costa, Margherita. La chitarra. Frankfurt 1638a.Google Scholar
Costa, Margherita. Il violino. Frankfurt, 1638b.Google Scholar
Costa, Margherita. Lettere amorose. Venice, 1639a.Google Scholar
Costa, Margherita. Lo stipo. Venice, 1639b.Google Scholar
Costa, Margherita. Flora feconda, poema. Florence, 1640a.Google Scholar
Costa, Margherita. La flora feconda, drama. Florence, 1640b.Google Scholar
Costa, Margherita. La selva di cipressi. Florence, 1640c.Google Scholar
Costa, Margherita. Li buffoni, comedia ridicola. Florence, 1641.Google Scholar
Costa, Margherita. Cecilia martire, poema sacro. Rome, 1644.Google Scholar
Costa, Margherita. Festa reale per balleto a cavallo. Paris, 1647a.Google Scholar
Costa, Margherita. La selva di Diana. Paris, 1647b.Google Scholar
Costa, Margherita. La tromba di Parnaso. Paris, 1647c.Google Scholar
Costa, Margherita. Gl’amori della luna. Venice, 1654.Google Scholar
Costa, Margherita. All’altezza serenissima di Ferdinando Secondo Gran Duca di Toscana nel giorno della sua nascita. Florence, 1655.Google Scholar
Costa, Margherita. Scielta di lettere amorose di Ferrante Pallavicino, Luca Alserino, Margarita Costa Romana, Gerolamo Parabosco. Venice, 1656.Google Scholar
Costa, Margherita. “Li buffoni.” In Commedie dell’arte, ed. Siro Ferrone, 2:234–359. Milan: Giuli Einaudi editore, 1986.Google Scholar
Costa, Margherita. Voice of a Virtuosa and Courtesan: Selected Poems of Margherita Costa. Ed. Natalia Costa-Zalessow. Trans. Joan Borrelli. New York: Bordighera Press, 2015.Google Scholar
Costa-Zalessow, Natalia. “Margherita Costa.” In Seventeenth-Century Italian Poets and Dramatists (Dictionary of Literary Biography), ed. Albert N. Mancini and Glen Palen Pierce, 113–18. Detroit: Gale Cengage Learning, 2008.Google Scholar
Cox, Virginia. Women’s Writing in Italy, 1400–1650. Baltimore: Johns Hopkins University Press, 2008.Google Scholar
Crescimbeni, Giovanni Mario. Comentari intorno alla sua istoria della volgar poesia. 4 vols. Rome, 1702–11.Google Scholar
Cusick, Suzanne. Francesca Caccini at the Medici Court: Music and the Circulation of Power. Chicago: University of Chicago Press, 2009.CrossRefGoogle Scholar
Decroisette, Françoise. “Les Fêtes du mariage de Cosme III avec Marguerite Louise d’Orléans à Florence, 1661.” In Les Fêtes de la Renaissance, ed. Jean Jacquot and Elie Konigson, 3:421–36. Paris: CNRS, 1975.Google Scholar
Decroisette, Françoise. “L’Armida trionfante di Ferdinando Saracinelli (1637): La vittoria dello spettacolo totale.” In L’arme e gli amori; Ariosto, Tasso, and Guarini in Late Renaissance Florence: Acts of an International Conference, Florence, Villa I Tatti, June 27–29, 2001, ed. Massimiliano Rossi and Fiorella Gioffredi Superbi, 285–96. Florence: Olschki, 2001.Google Scholar
Delbrück, Hans. The Dawn of Modern Warfare. Trans. Walter J. Renfroe Jr. Lincoln: University of Nebraska Press, 1985.Google Scholar
Dizionario biografico degli italiani. Rome, 1960–present: http://www.treccani.it/biografico/.Google Scholar
Favaro, Antonio. La libreria di Galileo Galilei descritta ed illustrata. Rome: Tipografia delle matematiche e fisiche, 1887. Extract from the Bullettino di bibliografia e di storia delle scienze matematiche e fisiche 19 (1886): 219–94.Google Scholar
Fiaschi, Cesare. Trattato dell’imbrigliare, maneggiare, et ferrare cavalli. Bologna, 1556.Google Scholar
Finocchiaro, Maurice A. Retrying Galileo, 1633–1992. Berkeley: University of California Press, 2005.CrossRefGoogle Scholar
Franceschi, Lorenzo. Ballo e giostra de’ venti nelle nozze del serenissimo prinicipe e della serenissima principessa di Toscana, arciduchessa d’Austria. Florence, 1608.Google Scholar
Franchet d’Espèrey, Patrice. “L’équitation italienne, sa transmission et son évolution en France au temps de la Renaissance.” In Les arts de l’équitation dans l’Europe de la Renaissance. VIe colloque de l’Ercole nationale d’equitation au château d’Oiron (4 et 5 octobre 2002), ed. Patrice Franchet d’Espèrey and Monique Chatenet, 158–82. Arles: Actes Sud, 2009.Google Scholar
Franchet d’Espèrey, Patrice. “The Ballet d’Antoine de Pluvinel and the Maneige Royal.” In Dynastic Marriages 1612/1615: A Celebration of the Habsburg and Bourbon Unions, ed. Margaret M. McGowan, 115–36. Farnham: Ashgate, 2013.Google Scholar
Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.Google Scholar
Fratarcangeli, Margherita. “‘La perfettione del cavallo’: Trattatistica e letteratura ad uso e consumo di uno status symbol.” In Dal cavallo alle scuderie: Visioni iconografiche e architettoniche, ed. Margherita Fratarcangeli, 21–35. Rome: Campisano Editore, 2014.Google Scholar
Galilei, Galileo. Dialogo di Galileo Galilei … dove ne i congressi di quattro giornate si discorre sopra i due massimi sistemi del mondo tolemaico, e copernicano. Florence, 1632.Google Scholar
Galilei, Galileo. Opere di Galileo Galilei. 2 vols. Bologna, 1656.Google Scholar
Galilei, Galileo. Le opere di Galileo Galilei. Ed. Antonio Favaro. 20 vols. Florence, 1890–1909.Google Scholar
Galilei, Galileo. Sidereus Nuncius, or the Sidereal Messenger. Trans. Albert Van Helden. Chicago: University of Chicago Press, 1989.CrossRefGoogle Scholar
Galilei, Galileo, and Scheiner, Christoph. On Sunspots. Ed. and trans. Eileen Reeves and Albert Van Helden. Chicago: University of Chicago Press, 2010.CrossRefGoogle Scholar
Ghisi, Federico. “Ballet Entertainments in Pitti Palace, Florence, 1608–1625.” Musical Quarterly 35 (1949): 421–36.CrossRefGoogle Scholar
Ghisi, Federico. “‘Il mondo festeggiante’: Balletto a cavallo in Boboli.” In Scritti in onore di Luigi Ronga, ed. Riccardo Bacchelli, 233–42. Milan: R. Ricciardi, 1973.Google Scholar
Ghislanzoni, Alberto. Luigi Rossi: Biografia e analisi delle opere. Rome: Bocca, 1954.Google Scholar
Glixon, Beth L., and Glixon, Jonathan E.. Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford: Oxford University Press, 2006.CrossRefGoogle Scholar
Goethals, Jessica. “The Bizarre Muse: The Literary Persona of Margherita Costa.” Early Modern Women: An Interdisciplinary Journal. Special issue: Games, Play, and Performance 12.1 (2017): 48–72.CrossRefGoogle Scholar
Grisone, Federico. Gli ordini di cavalcare. Naples, 1550.Google Scholar
Hammond, Frederick. The Ruined Bridge: Studies in Barberini Patronage of Music and Spectacle 1631–1679. Sterling Heights, MI: Harmonie Park Press, 2010.Google Scholar
Harness, Kelley. “Habsburgs, Heretics, and Horses: Equestrian Ballets and Other Staged Battles in Florence during the First Decade of the Thirty Years War.” In L’arme e gli amori; Ariosto, Tasso, and Guarini in Late Renaissance Florence. Acts of an International Conference, Florence, Villa I Tatti, June 27–29, 2001, ed. Massimiliano Rossi and Fiorella Gioffredi Superbi, 255–83. Florence: Olschki, 2001.Google Scholar
Harness, Kelley. Echoes of Women’s Voices: Music, Art, and Female Patronage in Early Modern Florence. Chicago: University of Chicago Press, 2006.Google Scholar
Harness, Kelley. “Pageantry.” In The Routledge Companion to Music and Visual Culture, ed. Tim Shephard and Anne Leonard, 314–20. New York: Routledge, 2014.Google Scholar
Harness, Kelley. “‘Nata à maneggi & essercizii grandi’: Archduchess Maria Magdalena and Equestrian Entertainments in Florence, 1608–1625.” In La liberazione di Ruggiero dall’isola d’Alcina: Räume und Inszenierungen in Francesca Caccinis Ballettoper (Florenz, 1625), ed. Christine Fischer, 89–108. Zurich: Chronos, 2015.Google Scholar
Heilbron, J. L. Galileo. Oxford: Oxford University Press, 2010.Google Scholar
Henke, Robert. Performance and Literature in the Commedia dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar
Johnson, Charles. Stefano della Bella, Baroque Printmaker: The I. Webb Surratt, Jr. Print Collection. Richmond: Marsh Art Gallery, University of Richmond Museums, 2001.Google Scholar
Johnson, Victoria, Jane F. Fulcher, and Thomas Ertman, eds. Opera and Society in Italy and France from Monteverdi to Bourdieu. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Kaborycha, Lisa. A Corresponding Renaissance: Letters Written by Italian Women, 1375–1650. Oxford: Oxford University Press, 2015.Google Scholar
Katritzky, M. A. Women, Medicine, and Theatre, 1500–1700: Literary Mountebanks and Performing Quacks. Farnham: Ashgate, 2007.Google Scholar
Langedijk, Karla. The Portraits of the Medici, 15th–18th Centuries. 3 vols. Florence: Studio per Edizioni Scelte, 1981–87.Google Scholar
LeGuin, Elisabeth. “Man and Horse in Harmony.” In The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, 175–95. New York: Palgrave Macmillan, 2005.CrossRefGoogle Scholar
Lewis, John Michael. Galileo in France: French Reactions to the Theories and Trial of Galileo. New York: Peter Lang, 2006.Google Scholar
Liedtke, Walter A. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York: Abaris Books, 1989.Google Scholar
Lyden, Émile Mignot de. Le théâtre d’autrefois et d’aujourd’hui: Cantatrices et comédiens 1532–1882. Paris, 1882.Google Scholar
Mamone, Sara. Serenissimi fratelli principi impresari. Notizie di spettacolo nei carteggi medicei. Carteggi di Giovan Carlo de’ Medici e di Desiderio Montemagni suo segretario (1628–1664). Florence: Le lettere, 2003.Google Scholar
Marcigliano, Alessandro. “Cavallerie a Ferrara: 1561–1570.” In Italian Renaissance Festivals and Their European Influence, ed. J. R. Mulryne and Margaret Shewring, 197–22. Lewington, NY: Edwin Mellen Press, 1992.Google Scholar
Marinella, Lucrezia. Exhortations to Women and to Others If They Please. Trans. Laura Benedetti. Toronto: Iter Inc. and the Centre for Reformation and Renaissance Studies, 2012.Google Scholar
Mariti, Luciano. Commedia ridicolosa: Comici di professione, dilettanti, editoria teatrale nel Seicento. Storia e testi. Rome: Bulzoni, 1979.Google Scholar
Massar, Phyllis D. “Presenting Stefano della Bella.” Metropolitan Museum of Art Bulletin 27.3 (1968): 159–76.CrossRefGoogle Scholar
Massar, Phyllis D.. Presenting Stefano della Bella, Seventeenth-Century Printmaker. New York: Metropolitan Museum of Art, 1971.Google Scholar
Massar, Phyllis D.. “Valerio Spada, Seventeenth-Century Florentine Calligrapher and Draughtsman.” Master Drawings 19.3 (1981): 251–75, 319–44.Google Scholar
Masson, Georgina. “Papal Gifts and Roman Entertainments in Honour of Queen Christina’s Arrival.” In Queen Christina of Sweden: Documents and Studies, ed. Magnus von Platen, 244–61. Stockholm: Norstedt and Söner, 1966.Google Scholar
McGowan, Margaret M. L’art du ballet de cour en France, 1581–1643. Paris: Centre National de la Recherche Scientifique, 1963.Google Scholar
Megale, Teresa. “La commedia decifrata: Metamorfosi e rispecchiamenti in Li buffoni di Margherita Costa.” Il castello di Elsinore 1.2 (1988): 64–76.Google Scholar
Megale, Teresa. “Il principe e la cantante: Riflessi impresariali di una protezione.” Medioevo e Rinascimento 6 (1992): 211–33.Google Scholar
Melzo, Lodovico. Regole militari del cavalier Melzo sopra il governo e servitio della cavalleria. Antwerp, 1611.Google Scholar
Ménestrier, Claude-François. Des représentations en musique anciennes et modernes. Paris, 1681.Google Scholar
Merrick, Jeffrey. “The Cardinal and the Queen: Sexual and Political Disorders in the Mazarinades.” French Historical Studies 18.3 (1994): 667–99.CrossRefGoogle Scholar
Monaldini, Sergio. L’orto dell’Esperidi: Musici, attori e artisti nel patrocinio della famiglia Bentivoglio (1646–1685). Lucca: Libreria Musicale Italiana, 2000.Google Scholar
Moniglia, Giovanni Andrea. Il mondo festeggiante: Balletto a cavallo fatto nel teatro congiunto al palazzo del serenissimo Gran Duca, per le reali nozze de’ serenissimi principi Cosimo Terzo di Toscana et Margherita Luisa d’Orleans. Florence, 1661.Google Scholar
Murata, Margaret. “Why the First Opera Given in Paris Wasn’t Roman.” Cambridge Opera Journal 7.2 (July 1995): 87–105.Google Scholar
Nagler, A. M. Theatre Festivals of the Medici, 1539–1637. New Haven: Yale University Press, 1964.Google Scholar
Nettl, Paul. “Equestrian Ballets of the Baroque Period.” Musical Quarterly 19.1 (1933): 74–83.CrossRefGoogle Scholar
Nordera, Marina. “Ballet de cour.” In The Cambridge Companion to Ballet, ed. Marion Kant, 20–31. Cambridge: Cambridge University Press, 2007.Google Scholar
Panizza, Letizia, and Sharon Wood, eds. A History of Women’s Writing in Italy. Cambridge: Cambridge University Press, 2000.Google Scholar
Panofsky, Erwin. “More on Galileo and the Arts.” Isis 47.2 (1956): 182–85.CrossRefGoogle Scholar
Pirrotta, Nino, and Povoledo, Elena. Music and Theater from Poliziano to Monteverdi. Trans. Karen Eales. Cambridge: Cambridge University Press, 1968.Google Scholar
Priorato, Galeazzo Gualdo. Historia della sacra real maestà di Christina Alessandra Regina di Svetia. Venice: 1656.Google Scholar
Prunières, Henry. L’opéra italien en France avant Lulli. Paris: Champion, 1913.Google Scholar
Ray, Meredith K. Margherita Sarrocchi’s Letters to Galileo: Astronomy, Astrology, and Poetics in Seventeenth-Century Italy. New York: Palgrave Macmillan, 2016.CrossRefGoogle Scholar
Reeves, Eileen. Evening News: Optics, Astronomy, and Journalism in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2014.CrossRefGoogle Scholar
Rinuccini, Camillo. Descrizione delle feste fatte nelle reali nozze de’ serenissimi prinicipi di Toscana Duca Cosimo de’ Medici e Maria Maddalena Arciduchessa d’Austria. Florence, 1608.Google Scholar
Robin, Diana. Publishing Women: Salons, the Presses, and the Counter-Reformation in Sixteenth Century Italy. Chicago: University of Chicago Press, 2007.Google Scholar
Rutgers, Jaco. “A Frontispiece for Galileo’s Opere: Pietro Anichini and Stefano della Bella.” Print Quarterly 29.1 (2012): 3–12.Google Scholar
Salvadori, Andrea. Guerra d’amore, festa del serenissimo Gran Duca di Toscana Cosimo Secondo. Florence, 1615.Google Scholar
Sanger, Alice E. Art, Gender, and Religious Devotion in Grand Duchal Tuscany. Farnham: Ashgate, 2014.Google Scholar
Schiesari, Juliana. “Pedagogy and the Art of Dressage in the Italian Renaissance.” In Animals and Early Modern Identity, ed. Pia F. Cuneo, 375–89. Farnham: Ashgate, 2014.Google Scholar
Strong, Roy. Art and Power: Renaissance Festivals, 1450–1650. Berkeley: University of California Press, 1984.Google Scholar
Tarabotti, Arcangela. Letters Familiar and Formal. Ed. and trans. Meredith K. Ray and Lynn Lara Westwater. Toronto: Iter Inc. and the Centre for Reformation and Renaissance Studies, 2012.Google Scholar
Tarde, Jean. Borbonia Sidera. Paris, 1620.Google Scholar
Tobey, Elizabeth M. “The Legacy of Federico Grisone.” In The Horse as Cultural Icon: The Real and the Symbolic Horse in the Early Modern World, ed. Peter Edwards, Karl A. E. Enenkel, and Elspeth Graham, 143–73. Leiden: Brill, 2012.Google Scholar
Tongiorgi Tomasi, Lucia. “La conquista del visibile. Rimeditando Panofsky, rileggendo Galilei.” Galilaeana 4 (2007): 5–46.Google Scholar
Treadwell, Nina. Music and Wonder at the Medici Court: The 1589 Interludes for “La Pellegrina.” Bloomington: Indiana University Press, 2008.Google Scholar
Treasure, Geoffrey. Mazarin: The Crisis of Absolutism in France. London: Routledge, 1995.Google Scholar
Tucker, Treva J. “Early Modern French Noble Identity and the Equestrian ‘Airs above the Ground.’” In The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, 273–309. New York: Palgrave Macmillan, 2005.CrossRefGoogle Scholar
van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005.Google Scholar
Villifranchi, Giovanni. Descrizione della barriera e della mascherata fatte in Firenze a’ XVII e a’ XIX di febbraio 1613. Florence, 1613.Google Scholar
Watanabe-O’Kelly, Helen. “The Equestrian Ballet in Seventeenth-Century Europe—Origin, Description, Development.” German Life and Letters 36.3 (1983): 198–212.CrossRefGoogle Scholar
Watanabe-O’Kelly, Helen. Triumphall Shews: Tournaments at German-Speaking Courts in Their European Context 1560–1730. Berlin: Mann, 1992.Google Scholar
Westwater, Lynn Lara. “A Cloistered Nun Abroad: Arcangela Tarabotti’s International Writing Career.” In Women’s Writing Back / Writing Women Back: Transnational Perspectives from the Late Middle Ages to the Dawn of the Modern Era, ed. Anke Gilleir, Alicia C. Montoya, and Suzan van Dijk, 283–307. Leiden: Brill, 2010.Google Scholar
Wootton, David. Galileo: Watcher of the Skies. New Haven: Yale University Press, 2010.Google Scholar
Zaslaw, Neal. “The First Opera in Paris: A Study in the Politics of Art.” In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hadju Heyer, 7–23. Cambridge: Cambridge University Press, 1989.Google Scholar