Warrior, Courtier, Singer

WARRIOR, COURTIER, SINGER This page intentionally left blank Warrior, Courtier, Singer Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance

RICHARD WISTREICH Newcastle University, UK First published 2007 by Ashgate Publishing

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British Library Cataloguing in Publication Data Wistreich, Richard Warrior, courtier, singer : Giulio Cesare Brancaccio and the performance of identity in the late Renaissance 1. Brancaccio, Giulio Cesare, 1515–1586 2. Singers – Italy – Biography 3. Music – Italy – 16th century – History and criticism I. Title 782'.0092

Library of Congress Cataloging-in-Publication Data Wistreich, Richard. Warrior, courtier, singer : Giulio Cesare Brancaccio and the performance of identity in the late Renaissance / Richard Wistreich. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-7546-5414-8 (alk. paper) 1. Brancaccio, Giulio Cesare, 1515–1586. 2. Basses (Singers)—Italy—16th century— Biography. 3. Singing—Italy—History—16th century. I. Title.

ML420.B7713W57 2007 782.0092—dc22 [B] 2006032279 ISBN 978-0-7546-5414-8 (hbk) ISBN 978-1-3155-4765-7 (ebk) Contents

List of Figures and Table vii List of Music Examples ix Acknowledgements xi List of Abbreviations xiii

Introduction 1

PART ONE Identity of a Performer

1 Napolitano y de buena casta 9

2 Sieur Jule Brancasse, gentilhomme ordinaire de la Chambre du Roy 49

3 Il più veterano tra’ soldati 83

PART TWO Bass Song

4 Il basso del Brancazio 129

5 Per basso solo 159

6 Basso alla bastarda 193

PART THREE Performance of Identity

7 Poco preggio di soldato, ma anche di Corteggiano 221

8 Tra novelle sirene 239

9 Canti in dolce tenzon 253

Appendix 1 Giulio Cesare Brancaccio: Works 275 Appendix 2 Selected Documents 279

Bibliography 303 Index 323 This page intentionally left blank List of Figures and Table

Figures

4.1 Bassus part of Cipriano de Rore, ‘Alla dolc’ombra de le belle fronde’ (Prima parte) (1555) with diminutions by Giovanni della Casa, Il vero modo di diminuir (1584), Libro secondo, p. 39 149 4.2 Hermann Finck, Practica musica (1556), sig. Ttiij: diminutions of the fixed clausula for bass 150 4.3 Lodovico Zacconi, Prattica di musica, libro primo (1592), fols 73v–74v: bass cadence figures with sample diminutions 152 4.4 Pietro Cerone, El melopeo y maestro (1613), pp. 547–8: bass cadence figures with sample diminutions 156 5.1 Vincenzo Galilei, Fronimo dialogo (1584), pp. 17–19: opening section of ‘In exitu Israel de Aegypto’ arranged as a bass solo with lute intabulation 178 6.1 Giulio Caccini, Nuove musiche e nuova maniera di scriverle (1614): opening of ‘Io che l’età solea viver’ 200 6.2 Francesco Rognoni, Selva di varii passaggi (1620), part 2, p. 72: opening of ‘Sfogava con le stelle’ 216

Table

5.1 Sources of sixteenth-century Italian lute songs for solo bass 169 This page intentionally left blank List of Music Examples

4.1 Giovanni Camillo Maffei, Delle lettere (1562), pp. 42–57 (extract): diminutions of Francesco Layolle, ‘Lasciar il velo o per sol o per ombra’ (1546), bars 14–32 147

5.1 Bartolomeo Barbarino, ‘Ferma, ferma Caronte’ from Il secondo libro de madrigali (1607) with diminutions in the hand of Angelo Notari (London BL, Add. 34440, fols 63v–65r) 165

5.2 Final bars of Cipriano de Rore, ‘Anchor che col partire’ (1547) with diminutions from Giovanni Bassano, Motetti, madrigali et canzoni francese (1591) 189

6.1 Bartolomeo Barbarino, ‘Scioglio ardito nocchier vela d’argento’, from Il terzo libro de madrigali (Venice, 1613) 208

6.2 Bartolomeo Barbarino, ‘Quando i più gravi accenti’, from Madrigali di diversi autori posti in musica (Venice, 1606) 212 This page intentionally left blank Acknowledgements

This book started life as a doctoral dissertation. During the years in which I was at work on it and then in the succeeding time in which I considerably extended the research, I have been helped by very many people, with contributions ranging from the small, but vital, item of information through to acts of quite extraordinary generosity in sharing, or, rather, donating pieces of raw material as they found them in the course of their own work. I have lost count of the number of times I have opened an e-mail sent by one scholar or another, which begins ‘I was recently working in the archives in Vienna / Paris / Naples / Parma / Rome, etc., and guess who I happened to stumble upon?’ to be followed by some nugget relating to the ubiquitous and incontinently peripatetic subject of this study. I am deeply grateful to them all and also to those others who have offered help with questions ranging from subtleties of Spanish and French diplomatic correspondence to the protocols of duelling or the tuning of lutes, and most importantly perhaps, in matters of translation. Documentary finds which I have been able to make use of are acknowledged individually where they occur in the text, but I wish here to list those who have helped me in many ways, both great and small. I was very lucky to have a number of colleagues prepared to help unstintingly with some of the really knotty problems of translation that so often benefit from the pooling of ideas: for Italian, I had (principally) Andrew dell’Antonio, Tim Carter, Ronald Martinez and Dario Tessicini; for Spanish, John Griffiths and Jack Weiner; for Latin, Leofranc Holford-Strevens; and for French, Jeanice Brooks, with many more interventions from others. Final responsibility for the translations (with their remaining imperfections), is, needless to say, mine. My two publisher’s readers, Donna Cardamone-Jackson and Iain Fenlon, were both very generous, offering help and suggestions beyond the call of duty, including reading substantial portions of the book while it was being prepared for publication. Others whom I am happy to thank for generous help are Marco Bizzarini, Philippe Canguilhem, Harris Crist, Flora Dennis, Andrée Desautels, Dinko Fabris, Philip Ford, Johann Haas, Elizabeth Kenny, Rachel Laurence, Daniel Leech-Wilkinson, Robert Lindell, David Loades, Anthony Newcomb, Emilio Presedo, Manuel Salamanca López, John Robinson and Laurie Stras. The Music Department of Royal Holloway College awarded me a Research Studentship in Early Music and the Staatliche Hochschule für Musik in Trossingen gave me a semester’s sabbatical leave to enable me to continue research and to give me time for writing up my doctoral thesis; I am grateful to both institutions for their crucial support. To have Bonnie Blackburn as copy-editor is an extraordinary privilege and she provided expert advice and many suggestions, often saving me from infelicities; only she knows just how much I owe to her great experience and keen eye for detail. Heidi May and Sarah Charters at Ashgate have been supportive and helpful at every step of the way. xii Warrior, Courtier, Singer Research has taken place in a number of archives and libraries and I wish to thank the staff of the following institutions: Bologna, Civico Museo Bibliografico Musicale; Cambridge, University Library; Chicago, Newberry Library; London, British Library (Rare Books and Music Reading Room); Library of the Warburg Institute; Royal Holloway College (Music Library); Milan, Biblioteca Ambrosiana; Modena, Archivio di Stato and Biblioteca Estense; Naples, Archivio di Stato; Newcastle University, Robinson Library; Paris, Bibliothèque nationale de France and Bibliothèque de l’Arsenal; Stuttgart, Württembergische Staatsbibliothek; Trossingen, Staatliche Hochschule für Musik; Valladolid, Archivo General de Simancas; Venice, Biblioteca Correr and Biblioteca Marciana; Vienna, Haus- Hof- und Staatsarchiv; Washington, DC, Folger Shakespeare Library. I especially wish to thank Kathryn Bosi of the Morrill Music Library at the Villa I Tatti in Florence, who tracked down microfilms of Giulio Cesare Brancaccio’s manuscripts at a time when the Biblioteca Ambrosiana in Milan was closed for a number of years. Tim Carter gave me continual encouragement and support over many years. It was his idea in the first place that I should try to overcome my misgivings about undertaking doctoral research alongside all my other activities and who then accompanied and supported my efforts with patience, rigour, humour and a great deal of practical help, including detailed advice about almost every aspect of the research process. For this I will always be in his debt. Above all, I wish to thank Felicity Laurence, whose wisdom, advice and unstinting support at every possible level of this enterprise can never be adequately quantified, let alone repaid. Without her, this work would never have been started and certainly not finished, and it is to her that it is therefore dedicated. List of Abbreviations

Library sigla

Brussels Brussels, Bibliothèque royale Albert Ier Florence AS Florence, Archivio di Stato Florence BN Florence, Biblioteca nazionale centrale London BL London, British Library Lucca Lucca, Biblioteca statale Madrid PR Madrid, Palacio Real, Biblioteca y Archivio Mantua AS Mantua, Archivio di Stato Milan BA Milan, Biblioteca Ambrosiana Modena AS Modena, Archivio di Stato Modena BE Modena, Biblioteca estense e universitaria Montreal Montreal, Conservatoire de Musique, Centre de Documentation Naples AS Naples, Archivio di Stato Paris BN Paris, Bibliothèque nationale de France Parma AS Parma, Archivio di Stato Simancas AG Simancas, Archivio general Vatican Rome, Biblioteca Apostolica Vaticana Venice BC Venice, Biblioteca Correr Vienna HHS Vienna, Haus-, Hof- und Staatsarchiv

General

New Grove II The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Stanley Sadie (29 vols, London and New York, 2001) This page intentionally left blank Introduction

This book about a Neapolitan warrior-courtier started, perhaps surprisingly, with my work as a singer of sixteenth- and seventeenth-century music. For a number of years I have been reading and performing those few songs specifically for a bass voice that occupy a small but persistent space among the many hundreds for soprano or tenor in printed volumes of monodies published in Italy and elsewhere in Europe between about 1600 and 1650. Just viewed on the page, these bass songs share a number of distinctive characteristics: although often extremely simple in terms of harmonic construction, they are striking for their depiction of ubiquitous roulades and cascades of very fast notes and other written-out decorations, as well as for their large voice ranges. Some of them look truly extraordinary in this respect, requiring two or, very occasionally, three different clefs in order to keep the pitches on the stave, and this physical stretch is often highlighted by sudden great leaps from high to low and back again, not necessarily for obvious text-related reasons. In sum, this notation describes a style of singing of impressive virtuosity, whose realization presupposes great flexibility and technical bravura. It is at first sight puzzling, then, that by comparison, virtually no printed or manuscript source of music for basses from before 1600 appears to demand remotely similar virtuosity. There are, as it happens, virtually no extant solo songs for bass from that earlier period, so we are dealing almost exclusively with bass parts in polyphonic music, liturgical and secular. Ranges seldom exceed the Renaissance norm of the span of the stave with a single clef and music for the lowest voice rarely has extended passages of sequentially adjacent pitches, let alone many small note values. Nevertheless, it seems reasonable to assume that the actual performance styles of bass singers – which the monody prints in some way represent – almost certainly did not suddenly start in 1600, even though earlier notation does not apparently either prescribe or describe them. If, instead of being a record of an apparently sudden ‘step change’ in vocal technique, the appearance of graphic representations of such a performance style around this time is rather a function of developments in print culture and technology,1 then it will be necessary to look beyond the notation to find out how basses used their voices in the performance of songs in the mid- to late sixteenth century. My initial project, then, was simply to look for Italian bass singers and find out more about their styles of singing in order to complement the practical research into appropriate vocal technique in which I am engaged as a performer. Very soon I found myself asking further, much wider-ranging questions. For example, why might such vocal virtuosity have been so prized and what were the cultural values of the societies and institutions that generated and supported this special kind of singing?

1 For stimulating discussion of these ideas, see Tim Carter, ‘Printing the New Music’, in Kate van Orden (ed.), Music and the Cultures of Print (New York, 2000), pp. 3–37. 2 Warrior, Courtier, Singer What were the contexts – physical, social and intellectual – that gave meaning to the performance acts of which this later notation is some sort of record? Of the Italian bass singers of the sixteenth century, none is more illustrious nor so intriguing a character than the Neapolitan Giulio Cesare Brancaccio, best known to historians of vocal music because of his brief membership of the famous ‘musica secreta’ of Duke Alfonso d’Este II in Ferrara in the early years of the 1580s. However, I was struck by the fact that although music historians are naturally interested in Brancaccio as a famous singer, this was of almost negligible interest to his two twentieth-century biographers, presumably because of the tiny role that music appeared to have played in his life as a soldier and courtier. It was these latter two interrelated identities, not his prowess as a singer, that made his ‘life’ interesting to a passionate and patriotic Neapolitan historian and worthy of an entry in a biographical dictionary of significant Italians.2 Brancaccio may have been a remarkable performer, whose singing attracted admiring comments from knowledgeable contemporaries, but his story hardly fits any conventional image of a famous musician.3 For a start, there are no specific pieces of music that we can say without doubt that he either composed or sang, nor did he ever refer to himself as ‘a musician’ – indeed he was outraged at any suggestion that he might be one. Of his written works, none is musical: all are, in fact, about military science. But the fact that my project looked so unpromising as a topic of music history only increased my curiosity and my sense of the inadequacy of many of the existing ways of telling the ‘story’ of music in the Renaissance. The history of Renaissance music has certainly moved on from almost exclusive attention to notated musical works and their composers: many hundreds of once- forgotten performers and the institutions in which they worked are now much better known to us. But in order to make a history of music that acknowledges it as something inextricably embedded in a society’s culture, we need to go on to consider the totality of those musicians’ lives. Music historians, of course, long had an interest in the ‘lives of the great composers’ as keys to establishing the ontology and meaning of the ‘great works’ of music. It is a methodology now viewed askance in modern music history, distrusted largely because of its Romanticist implications as well as its apparent denial of a music history to cultures that ‘lack’ canons of ‘great works’ or identifiable composers. The practice of musical biography and its part in music historiography remains beset by anxieties thrown up by epistemological upheavals in the humanities in recent years.4 But this by no means makes biographical study redundant in a different sort of historical investigation, based on the idea of music as something that happens

2 Benedetto Croce, ‘Un capitano italiano del Cinquecento: Giulio Cesare Brancaccio’, in Varietà di storia letteraria e civile: serie prima (Bari, 1949), pp. 57–78, and Umberto Coldagelli, ‘Brancaccio, Giulio Cesare’, Dizionario biografico degli italiani, vol. 13 (Rome, 1971), pp. 780–4 (much indebted to Croce’s work). 3 Nor has Brancaccio made it into the New Grove Dictionary of Music and Musicians. 4 For a recent survey of some of these issues, see Jolanta T. Pekacz, ‘Memory, History and Meaning: Musical Biography and its Discontents’, Journal of Musicological Research, 23 (2004): 39–80. Introduction 3 rather than as something that resides exclusively on paper. Indeed, biography, in its widest sense, has enjoyed a new lease of life in the past quarter of a century in other spheres of early modern cultural history, especially since the landmark publication of Stephen Greenblatt’s Renaissance Self-Fashioning, and in the subsequent, ever- spreading reach of ensuing new historicist ways of investigating ‘the complex interactions of meaning in a given culture’.5 Although the so-called ‘new historicism’ has been widely contested, there is no doubt that this extraordinarily fruitful current of thought and writing has spurred biographical writing and given it at least a respectable position among other historical narratives. This is particularly useful in a project such as mine, in which the possibility of writing a generalized and objective account of a style of singing (as if there could ever be such a thing) is constantly being stymied by the demanding interruptions of a very singular and often unruly protagonist. This book, then, is in the form of a biography, but one that has several versions or layers that in practice are inseparably interleaved, but can be roughly delineated as follows. First, it brings together just about all the currently known documentary sources relating to its central subject, Giulio Cesare Brancaccio, irrespective of their sometimes highly eclectic nature. These documents form the basis for a series of contextual studies which consist of oscillations between, on one hand, close-up textual analysis of the writing and the unravelling of the detail and rhetoric of certain moments or interactions between Brancaccio and others, and on the other hand, the widest possible panning shots which put the action into broad political or cultural context. This narrative procedure is not arbitrary, but reflects precisely the nature of the source material, which likewise ranges from the minute to the sweeping, generating a multi-dimensional or kaleidoscopic story, different from the more even focus of ‘single-issue’ or totalizing historical narratives. Secondly and especially in the second and third parts of the book, I engage with specific contemporary intellectual or institutional structures, setting Brancaccio’s story against them. In so doing, I also show how the apparently clear-cut distinction between ‘context’ and ‘contextualized’ is regularly blurred and that ‘foreground’ and ‘background’ often change places or interact. At times, for example, Brancaccio’s life seems to be a precise embodiment of one or other trope of noble identity and at others the plots of his ‘real life’ adventures read like those in an epic romance – at one point, he even turns up as a semi-fictional character in a book about the nature of nobility. Part I presents an account of Brancaccio’s life, drawing on all the material currently available to me. Many important sources were identified by Brancaccio’s first major biographer, Benedetto Croce, although many more documents have come to light in the process of this and other recent studies. Some of those not hitherto available in modern books are reproduced in Appendix 2; there is very likely plenty more documentary evidence waiting to be found. Brancaccio not only moved among the most powerful figures in European political history of the mid-sixteenth century, but was himself actually present and active at some of its decisive moments (a fact of which he himself was acutely aware). It is perhaps ironical that I am therefore

5 Stephen Greenblatt, Renaissance Self-Fashioning from More to Shakespeare (Chicago, 1980), p. 3. 4 Warrior, Courtier, Singer compelled at times to engage the most dominant traditional narrative of history – that which focuses on wars, dates and the deeds of powerful men – as a critical strand of the thick weave in which his story is embedded. In the course of the narrative, I have also allowed space to subject Brancaccio’s treatises, letters and more personal writings to analysis as texts, with special attention to what they might divulge about him as an individual. Part II starts over again, telling a version of the same chronological story using different contextual materials and beginning at the place where my initial investigation had started: Brancaccio the bass singer. These chapters deal exclusively with the musical dimension of Brancaccio’s identity, bringing together a large array of different kinds of source material about bass singing in Italy in the sixteenth century. This is a necessary undertaking, given that nearly all the evidence for Brancaccio’s life in music is anecdotal, does not yield easily to any single approach, and certainly does not explain why he was so celebrated as a singer. I want to know better what he (and other singers like him) did that made him (and makes him still) famous as a musician. In the process, I hope to be able to develop a history of bass singing in the sixteenth and early seventeenth centuries that takes account of such disparate materials and different ways of analysing and synthesizing them. The too simple idea that the appearance in print of the so-called ‘new music’ for the ﬁrst time around 1600 was simultaneous with the ‘invention’ of a new kind of singing style has already been much revised by a number of scholars whose work has informed mine.6 An important strand of this work has continued to focus on written notation, and particularly the manuscript and other evidence for the ‘unﬁxed’ nature of composed sixteenth-century music when it was sounded in performances. The recognition of the importance of improvisation (the precise meaning of which in the Renaissance is still far from clear) and of a so-called ‘unwritten tradition’ (a distinctly value-laden negative) has helped in some ways to dismantle the positivist, composer-led model of musical process in the period. But it has not yet produced a commonly agreed language in which to talk about a very complex cultural phenomenon that includes music-creation, performing and listening. For the time being, talking and writing about vocal music and singing will continue to involve the appropriation of a variety of historical, musicological and literary approaches. The sometimes untidy conglomeration of information uncovered in close reading of the documents that told the story of Brancaccio’s life in Part I and the equally complicated questions raised in the exploration of what it might mean to call Brancaccio a ‘bass singer’, point up the interconnectedness of issues such as the construction of identity, the nature of social institutions and interactions

6 These include, for example, Howard Mayer Brown, ‘The Geography of Florentine Monody: Caccini at Home and Abroad’, Early Music, 9 (1981): 147–68; Tim Carter, ‘Printing the New Music’ and ‘On the Composition and Performance of Caccini’s Le nuove musiche (1602)’, Early Music, 12 (1984): 208–17; Jeanice Brooks, ‘“New Music” in Late Renaissance France’, Trossingen Jahrbuch für Renaissancemusik, 2 (2002): 161–78; Dinko Fabris, ‘The Role of Solo Singing to the Lute in the Origins of the Villanella alla napolitana, c. 1530–1570’, ibid., pp. 133–46; John Walter Hill, Roman Monody, Cantata and Opera from the Circles around Cardinal Montalto (2 vols, Oxford, 1997). Introduction 5 between members of courtly-military society of the mid-sixteenth century. For understandable reasons of intellectual rationale, these are usually studied in a certain degree of isolation one from another. In Part III I seek to bring some of these strands together, focusing on the self-articulation of Brancaccio the warrior-courtier in socially and culturally changing times. I explore the connections between aspects of Brancaccio’s personal discourses (his actions, his narratives and those of others, including his musical performances) and various themes such as contemporary notions of nobility and honour, virtù, masculinity, dissimulation and performance – all of which contribute to an investigation of his ‘self-fashioning’ within a society in which identity was a highly performative construct. But Brancaccio’s story is not simply a conveniently exemplary one, useful only as a way of elucidating apparent paradigms of sixteenth-century elite culture. As the story of his life will, I hope, make apparent, he was a remarkably singular individual who made dozens of lasting impressions in a world in which making an impression was an undertaking vital to the successful sustenance of noble identity. The study of courtly society in the Renaissance has been an extraordinarily active, innovative and fertile one for a long while now, not least in the ﬁeld of music history, and I have been able to draw on a broad range of historical scholarship offering a number of different possible critical approaches to the exploration of the themes thrown up by the subject of this book.7 I have adopted whichever useful elements of each one seemed appropriate to the particular job in hand and this seems to me to be entirely in keeping not only with the diversity of material, but also with progress towards new ways of researching and writing about musical practice in the early modern period. My decisions about how to subject the source material about Brancaccio to a set of narratives have certainly been inﬂuenced by my reading in contemporary historiography and critical theory, but I do not want to clutter an already messy narrative with yet further layers of meta-text showing which bits of theory might be being invoked and when (it would, in any case, be impossible to be precise at every point). My main endeavour has been to combine the best of constructionist, historicist and narrative ways of writing history by taking up the challenge made by Peter Burke in New Perspectives on Historical Writing with which he invited historians to try ‘making a narrative thick enough to deal not only with the sequence of events and the conscious intentions of the actors in these events, but also with the structures – institutions, modes of thought, and so on’; he asks ‘what would such a narrative be like?’8 What follows is one possible answer.

7 A signiﬁcant recent publication that has particular resonances with the subject matter of this book, Kate van Orden’s excellent Music, Discipline, and Arms in Early Modern France (Chicago, 2005), focuses primarily on the later sixteenth and seventeenth centuries; it appeared too late for me to make direct use of in this study, but its conclusions have inﬂuenced my understanding of the relations between music and noble militarism. 8 Peter Burke (ed.), New Perspectives on Historical Writing (Cambridge, 1991), quoted in Alun Munslow, Deconstructing History (London and New York, 1997), p. 112. This page intentionally left blank Bibliography

Manuscript sources

Brussels, Bibliothèque Royale Albert Ier II, 275 Florence, Archivio di Stato Archivio Mediceo del Principato, 575, 2895, 2899, 2900, 2901, 4905 Carte strozziane, serie I, 32 Miscellanea medicea, 505 Florence, Biblioteca Nazionale Centrale Landau-Finaly, Mus. 2 Palatino 224 London, British Library Additional 34440 Lucca, Bibliotecca Statale 774 Madrid, Palacio Real II, 2321 Milan, Biblioteca Ambrosiana D. 191 inf.; Q. 115 sup.; R. 105 sup.; S. 99 sup. Modena, Archivio di Stato Ambasciatori di Francia, 34 Ambasciatori, Germania, 30 Archivio Gonzaga, 812 Archivio per materie, Letterati, 11 Archivio segreti, Particolari, 227 Camera ducale, Amministrazione principi, 1372 Camera ducale, Computisteria, Bolletta dei salariati, 9 Casa e stato, 411 Modena, Biblioteca Estense Ital. β. 2.2.21; F. 1358; C. 311 Montreal, Conservatoire de Musique, Montreal Lute Book Centre de Documentation Naples, Archivio di Stato Banchieri antichi, St. 109 Collaterale, Privilegi, 41 Quinternioni, 84 Paris, Bibliothèque nationale de France Fonds français, 3942, 7007, 20536, 20545 Fonds Depuy, 852 Parma, Archivio di Stato Carteggio farnesiane estero, Roma, 22, 82, 373 Simancas, Archivo General Legajo E1063; E1037; E1143; E 1230; E1329; E1331; E1448; E 1505 Papeles de estado, Veneçia, E1339 Turin, Biblioteca Reale 365 Vatican City, Biblioteca Apostolica Urb. Lat. 1045 Vaticana 304 Warrior, Courtier, Singer Venice, Biblioteca Correr Cicogna, 1293; 1439; 2349; 2987; 3053; 3723 Vienna, Haus- Hof- und Staatsarchiv England, 22

Printed primary sources

Ancina, Giovanile, Il tempio armonico (Naples, 1599). Andrea, Alessandro, Della guerra di campagna di Roma, et del regno di Napoli, nel pontificato di Paolo IV, l’anno 1556 et 1557: Tre ragionamenti nuovamente mandati in luce (Venice, 1560). Aristotle, The Art of Rhetoric, trans. John Henry Freese (New York, 1926). Aubigné, Théodore Agrippa d’, Histoire universelle (1616–18), ed. André Thierry (9 vols, Geneva, 1982). Bacco, Enrico, Cesare d’Eugenio Caracciolo et al., Descrittione del regno di Napoli (Naples, 1616–17), ed. and trans. Eileen Gardiner, as Naples, an Early Guide (New York, 1991). Banchieri, Adriano, Cartella musicale (rev. edn, Venice, 1614; repr. Bologna, 1968). Barbarino, Bartolomeo, Madrigali di diversi autori posti in musica (Venice, 1606). —— Il secondo libro de madrigali (Venice, 1607) —— Il terzo libro de madrigali (Venice, 1613). Barbetta, Giulio Cesare, Intavolatura di liuto delle canzonette a tre voci (Venice, 1603). 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Bottrigari, Ercole, Il desiderio overo de’ concerti di varij strumenti musicali: Dialogo di Allemano Benelli (Venice, 1594; facs. edn, Bologna, 1969), trans. Carol MacClintock, Musicological Studies and Documents, vol. 9 (Rome, 1962), pp. 9–62. Bovicelli, Giovanni Battista, Regole, passaggi di musica (Venice, 1594; facs. edn, Kassel, 1957). Bibliography 305 Brancaccio, Giulio Cesare. See Appendix 1: Works. Brantôme, Pierre de Bourdeille, Abbé de, Discours sur les colonels de l’infanterie de France, ed. Etienne Vaucheret (Paris, 1973). —— Grands capitaines étrangers, in Oeuvres complètes, vol. 2, ed. Ludovic Lalanne (Paris, 1866). Caccini, Giulio, Le nuove musiche (Florence, 1602) and Le nuove musiche e nuova maniera di scriverle (Florence, 1614), ed. Jean-Philippe Navarre (Paris, 1997). Camerata da Randazzo, Girolamo, Trattato dell’honor vero et del vero dishonore (Bologna, 1567). Campanile, Filiberto, L’armi overo insegne de’ nobili (Bologna, 1610). 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