Figure 1. Act I: Sant’Andrea Church. Floria Tosca (Leontyne Price) reacts to insinuations by Baron Scarpia (Josh Wheeler) that her lover, Mario Cavaradossi, has been unfaithful. Used by permission of NBCUniversal. More about this image found in Act I: Sant’Andrea Church. Floria Tosca (Leontyne Price) reacts to insinuat...

Figure 2. Act II: Farnese Palace. Tosca (Price) prepares to stab Scarpia (Wheeler). Used by permission of NBCUniversal. More about this image found in Act II: Farnese Palace. Tosca (Price) prepares to stab Scarpia (Wheeler). U...

Figure 3. Act I: Sant’Andrea Church. Tosca (Price) and Mario Cavaradossi (David Poleri) share a moment together during “Non la sospiri, la nostra casetta” (sung in English as “Deep in the Woods There is a House that will Hide Us”). Used by permission of NBCUniversal. More about this image found in Act I: Sant’Andrea Church. Tosca (Price) and Mario Cavaradossi (David Poler...

Figure 1. The machine’s components and the inscribed “Characters,” postulated in John Creed, “A Demonstration of the Possibility of Making a Machine,” Philosophical Transactions of the Royal Society of London 44 (1747): table 1. © The Royal Society. More about this image found in The machine’s components and the inscribed “Characters,” postulated in John...

Figure 2. The style, as illustrated in William Massey, The Origin and Progress of Letters (London, 1763), 64. Houghton Library, Harvard University, *93HR-2470. More about this image found in The style, as illustrated in William Massey, The Origin and Progress of Le...

Figure 3. “Graces” and articulations delineated in John Creed, “A Demonstration of the Possibility of Making a Machine,” Philosophical Transactions of the Royal Society of London 44 (1747): 449. © The Royal Society. More about this image found in “Graces” and articulations delineated in John Creed, “A Demonstration of th...

Figure 4. The workings of the fantasy machine, as illustrated in Johann Friedrich Unger, Entwurf einer Maschine (Braunschweig, 1774), fig. 3 . Houghton Library, Harvard University, GCy.Un345.774e. More about this image found in The workings of the fantasy machine, as illustrated in Johann Friedrich Ung...

Figure 5. The linear notation afforded by the fantasy machine, as illustrated in Johann Friedrich Unger, Entwurf einer Maschine (Braunschweig, 1774), fig. 7 . Houghton Library, Harvard University, GCy.Un345.774e. More about this image found in The linear notation afforded by the fantasy machine, as illustrated in Joha...

Figure 6. C. P. E. Bach, Fantasy in C Minor, Wq. 63/6/iii, Achtzehn Probestücke in sechs Sonaten (Berlin, 1753), 19. Tisch Library, Tufts University, Ritter Collection 2365. More about this image found in C. P. E. Bach, Fantasy in C Minor, Wq. 63/6/iii, Achtzehn Probestücke in s...

Figure 7. C. P. E. Bach, Fantasy in C Minor, Wq. 63/6/iii, Achtzehn Probestücke in sechs Sonaten (Berlin, 1753), 20. Tisch Library, Tufts University, Ritter Collection 2365. More about this image found in C. P. E. Bach, Fantasy in C Minor, Wq. 63/6/iii, Achtzehn Probestücke in s...

Figure 1a. Brussels, KBR 9850–52, fol. 2v. (1) Antiphon, Malos male perdit (CAO 3687). Copyright KBR. More about this image found in Brussels, KBR 9850–52, fol. 2v. (1) Antiphon, Malos male perdit (CAO 3687...

Figure 1b. Brussels, KBR 9850–52, fol. 3r. (1) Processional antiphon, Cum uenerimus ante (CAO 2042, Albiero 206); (2) Gramma-tical notes derived from antiphon Malos male perdit ; (3) Bene-dicamus Domino chants; (4) Processional antiphon, Cum uenerimus ante ; (5) Note, “Reddidi Aiodori.” Copyri... More about this image found in Brussels, KBR 9850–52, fol. 3r. (1) Processional antiphon, Cum uenerimus a...

Figure 1c. Brussels, KBR 9850–52, fol. 3v. (1) Virgil, Eclogues 3:54–57, “Sensibus imis”; (2) New hexameter, “Prima propago patris numen seruans deitatis”; (3) Virgil, Eclogues 2:19, “Dispectus tibi sum”; (4) Processional antiphon, Sedit angelus ad sepulcrum (CAO 4858, Albiero 585); (5) Mart... More about this image found in Brussels, KBR 9850–52, fol. 3v. (1) Virgil, Eclogues 3:54–57, “Sensibus i...

Figure 1d. Brussels, KBR 9850–52, fol. 4r. (1) Ex libris from Saint-Vaast in Arras, “Sicut misit me”; (2) Processional antiphons, In nomine domini (Albiero 359) and De iherusalem [ exeunt ] (CAO 2109, Albiero 215). Copyright KBR. More about this image found in Brussels, KBR 9850–52, fol. 4r. (1) Ex libris from Saint-Vaast in Arras, “S...

Example 1. Benedicamus Domino 3. (a) Benedicamus Domino 3 from Brussels, KBR 9850–52, fol. 3r; (b) Pretiosus Domini Dionysius (CAO 7431) from Paris, Bibliothèque nationale de France lat. 17296, fol. 231v; (c) Benedicamus Domino on the Pretiosus Domini Dionysius melody from Madrid, Biblioteca n... More about this image found in Benedicamus Domino 3. (a) Benedicamus Domino 3 from Brussels, KBR 9850–52, ...

Example 2. Benedicamus Domino 2. (a) Benedicamus Domino 2 from Brussels, KBR 9850–52, fol. 3r; (b) Cum uenerimus ante (CAO 2042, Albiero 206) from Brussels, KBR 9850–52, fol. 3r; (c) Cum uenerimus ante following Paris, Bibliothèque na-tionale de France lat. 2819, fol. 85r; (d) One possible rec... More about this image found in Benedicamus Domino 2. (a) Benedicamus Domino 2 from Brussels, KBR 9850–52, ...