Figures 1 Dordrecht (The Netherlands), ‘Groothoofds’ Gate, 1619, with the city’s coat of arms and the bust of a Roman emperor above (see also Fig. 189a on page 332). Image © author 2 2 Rome, remains of the Baths of Caracalla, 212–217 AD. Image © author 5 3 Detail of Rembrandt’s The Conspiracy of Claudius Civilis (1661). Oil on canvas, 309 cm × 196 cm. It depicts a Batavian oath to Gaius Julius Civilis, the head of the Batavian rebellion against the Romans in 69 AD. The Royal Academy of Fine Arts, Sweden. Image © Wikimedia Commons 8 4 Alfonso I, King of Naples (reg. 1442–48). Portrait in relief, ascribed to Mino da Fiesole. Image © Louvre, Paris 12 5 Portrait of Sigismondo Pandolfo Malatesta, Lord of Rimini (reg. 1432–68), portrayed as victor in the manner of a Roman emperor. Relief by Agostino di Duccio and his studio. Rimini, Church of the Fratres Minores (Tempio Malatestiano). Image © public domain 13 6 Scipio Africanus the Elder as victor with laurel wreath. Foligno, Palazzo Trinci, fresco by unknown master, painted before 1417. Image © public domain 15 7 Alfonso V’s entry into Naples in 1443. The inscription above the triumphal cortège reads: ALFONSVS REGUM PRINCEPS HANC CONDIDIT ARCEM; onder: ALFONSVS REX HISPANVS SICULVS ITALICUS PIVS CLEMENS INVICTUS. Naples, Castel Nuovo, detail of the entry gate from 1470, subject matter ascribed to Francesco Laurana et al. Image © authors 16 8 Julius Caesar, depicted as a medieval knight with the Habsburg coat of arms; the banderol proclaims: “Dit is die jeeste van Julius Cesar”. Wood carving, title page of Die jeeste van Julius Cesar, c. 1490. Image © Koninklijke Bibliotheek, The Hague 20 9 Gotha, Schloss Friedenstein, Grand Hall, 1685–97. Image © authors 21 10 Portrait of Widukind, the first duke of Saxonia (r. c. 800 AD), Wall painting of the Grand Hall of Schloss Friedenstein (Gotha), 1690s. Image © authors 22 11 Fergus I, King of Scotland, r. 330–305 BC, by Jacob de Wet II, 1684–86, Palace of Holyroodhouse. Oil on canvas, 218.3 × 145.6 cm. Image © Royal Collection Trust 23 12 Macbeth, King of Scotland 1043–60, by Jacob de Wet II, 1684–86, Palace of Holyroodhouse. Oil on canvas, 79 × 81 cm. Image © Royal Collection Trust 24 13 Count Dirk I, founder of the lineage of the Counts of Holland. Engraving by Cornelis Visscher from the series Principes Hollandiae, Zelandiae et Frisiae, ab anno Christi DCC–CLXIII & primo Comite Theodorico, Haarlem 1650. Image © Rijksmuseum, Amsterdam 26 © Koninklijke Brill NV, Leiden, 2019 | doi:10.1163/9789004410657_015Karl A.E. Enenkel and Konrad A. Ottenheym - 9789004410657 Downloaded from Brill.com09/25/2021 08:33:52AM via free access Figures 379 14 Portrait of Emperor Charlemagne with his arms and insignia, painted by Albrecht Dürer in 1513. Oil on wood panel, 188 × 87.6 cm. Image © Germanisches Nationalmuseum, Nuremberg 27 15 The ‘Togato Barberini’, life-size image of an unknown Roman patrician with two imagines: bust portraiture of two of his ancestors who held key office in the past (possibly two consuls). Marble, c. 100 BC (Rome, Museo Centrale Montemartini). Image © authors 28 16 Antwerp, the hero Brabon brandishing the hand of the vanquished giant, bronze sculpture crowning Quinten Metsijs’ well of 1490. Image © Dirk Van de Vijver 32 17 Portrait of Josephus Justus Scaliger with his motto “Fuimus Troes” (We were Trojans). Wood carving, Theodor de Bry. Image © Rijksmuseum, Amsterdam 34 18 Verona, 14th-century equestrian statue of Cangrande I della Scala (d. 1329), originally installed on the tomb on the gable wall of the Santa Maria Antica (now held at the Civico Museo d’Arte). Image © public domain 35 19 King Radboud. Etching by Simion Frisius, from Pieter Winsemius, Cronique ofte Historische geschiedenisse van Frieslandt, Franeker 1622. Image © Rijksmuseum, Amsterdam 36 20a The Colonna family coat of arms (Syracuse, Palazzo Bellomo, 1575) 37 20b The Van Zuylen van Nyevelt family coat of arms (from album with Rotterdam city map, 1694–1695). Image © Rijksmuseum, Amsterdam 37 21 Rome, San Prassede. The post on which Christ was scourged, taken back from the Holy Land by the Colonnas in 1222. Image © public domain 38 22 The Lupa Capitolina with Romulus and Remus; bronze, 75 × 114 cm. The she-wolf is from the eleventh- or twelfth-century. Romulus and Remus were added by Antonio Pollaiuolo subsequent to 1484 (Rome, Musei Capitolini). Image © public domain 43 23 Equestrian Statue of Marcus Aurelius. Engraving by Marco Dente, beginning of the 16th century, 34 × 22.9 cm. Image © Rijksmuseum, Amsterdam 45 24 Siena, statue of the Sienese she wolf with Senius and Aschius, on a column in front of the cathedral. Image © public domain 47 25 Naples, façade of the church San Paolo Maggiore before and after the collapse of 1688. Engraving from C. Celano, Notizie del bello, dell’antico e del curioso della città di Napoli, Naples 1692. Image © Wikimedia commons 48 26 Naples, façade of San Paolo Maggiore as rebuilt after 1688, including the last two columns of the former Temple of Castor and Pollux. Image © authors 48 Karl A.E. Enenkel and Konrad A. Ottenheym - 9789004410657 Downloaded from Brill.com09/25/2021 08:33:52AM via free access 380 Figures 27 Naples, Fontana della Spinacorona with the siren Parthenope, 1540. Bottom left: Don Pedro’s coat of arms; bottom right: the arms of the Kingdom of Naples. Image © public domain 49 28 Palermo, S. Maria dell’Ammiraglio, 1146–85. Image © author 52 29 Palermo, Santa Maria dei Miracoli, 1547–67. Image © author 52 30 Palermo, San Giorgio dei Genovesi, 1576–96. Image © author 53 31 Palermo, interior of the 12th-century cathedral before the late 18th-century reconstructions. Engraving from D. Schiavo, 1760. Image © Wikimedia commons 53 32 Padua, Piazza Antenore, tomb built for Antenor (thirteenth century), containing his supposed coffin in the sarcophagus (although the coffin is actually fourth-century AD). Image © Wikimedia commons 54 33 The ‘Chimaera of Arezzo’, Etruscan bronze, c. 400 BC, 78.5 × 129 cm (Florence, Museo Archeologico Nazionale). Image © Wikimedia commons 56 34 The ‘Chimaera of Arezzo’. Print by Theodoor Verkruys (1724) made before the tail was added in the late eighteenth century. Image © public domain 57 35 Alfonso Chacón (1540–1599), manuscript with sketch of the chimaera’s right claw, 28 × 41 cm. Image © Getty Research Institute, Los Angeles 58 36 Conrad Peutinger, edition of the Roman inscriptions of Augsburg, Inscriptiones vetustae Romanorum […], adapted by Johann Huttich, Mainz 1520. Image © 63 37 Johann Huttich, Imperatorum et Caesarum Vitae, cum imaginibus ad vivam effigiem expressis, Strasbourg 1534. Image © Getty Museum, Los Angeles 64 38 Cologne, Loggia with the entrance to the Town Hall, 1569–71. Image © author 66 39 Beatus Rhenanus, edition of Velleius Paterculus, Historiae, Basel 1520. Detail of the title page: Arminius and his Germans crushing the Romans in Teutoburg Forest. Image © public domain 69 40 Erasmus, In Novum Testamentum […] Annotationes, Basel 1519. Image © Bibliotheek Rotterdam 70 41 Page inspired by the death of Celtis. Wood carving by Hans Burckmaier, Nuremberg, 1507. The work lying at the top of the pile, on which Celtis’ hand is resting, is the ‘four volumes of the Germania illustrata’: GER[maniae] ILLUS[tratae] [libri] IV. Image © public domain 72 42 Trier, Porta Nigra, Roman city gate, c. 180 AD. Image © author 73 43 Stockholm, choir of the Ridderholmen church with posthumous tombs of two medieval kings of Sweden, Magnus Ladulås and Karl Knutsson Bonde, by Lucas de Werdt, 1574. Image © author 78 Karl A.E. Enenkel and Konrad A. Ottenheym - 9789004410657 Downloaded from Brill.com09/25/2021 08:33:52AM via free access Figures 381 44 King Carl XI of Sweden on horseback as King of the Goths (“Sacra Regia Majestas ipsa, Romano more ornata”). Etching from David Klöcker Ehrenstrahl, Certamen equestre, Nuremberg 1686. Image © public domain 79 45 Title page of Olaus Rudbeck, Atlantica, 1679: below modern Sweden is the ‘deorum insula’ (island of the gods). Image © public domain 80 46 Portrait of Johannes Carion (1499–1537), by Lukas Cranach the Elder, c. 1530. Oil on wood panel, 52 × 37 cm. Image © Staatliche Museen, Berlin 84 47 Title page of the Chronicon Carionis, Wittenberg 1572, with portrait of Melanchthon. Image © Utrecht University Library 85 48 Lüneburg Town Hall. Nebuchadnezzar’s dream of four world empires, with God handing the sword of temporal power. The Babylonian Empire is represented by Nebuchadnezzar and a winged lion (bottom left); the Medo-Persian Empire by Cyrus the Great and the bear (bottom right); the Kingdom of Macedonia by Alexander the Great and the four-headed leopard (top left); and, finally, the Roman Empire by Julius Caesar and a ten-horned beast with iron teeth (top right). There also the Last Judgement, the end of time, is depicted. Painting by Daniel Frese, oil on canvas, 1576. Image © Lüneburg Town Hall 86 49 The Roman Empire, embodied by Julius Caesar trampling on horseback the rulers of the antecedent world empires. Print no. 4 from the series The Four Empires of the World (c. 1600). Engraving by Adriaen Collaert after Maerten de Vos, 22.4 × 26.9 cm. Image © Rijksmuseum, Amsterdam 87 50 The 14th-century papal palace at Avignon, regarded by Petrarch as a latter-day Tower of Babel. Image © author 89 51 Joachim Vadianus (von Watt, 1484–1551), engraving. Image © Wellcome Library 92 52 The humanist Biondo Flavio. Engraving by Theodor de Bry, from Jean Jacques Boissard, Icones virorum illustrium doctrina & eruditione praestantium, Frankfurt am Main 1597–1599. Image © Rijksmuseum, Amsterdam 95 53 Rome, Basilica of Maxentius and Constantine at the Forum Romanum, 308–312. Image © author 96 54 The Pantheon at Rome, 114–125, with the building’s ‘original’ dedicatory inscription naming Marcus Agrippa as founder in the year 27 BC: M · AGRIPPA · L · F · COS · TERTIUM · FECIT.