Chriscinda Henry is Associate Professor of Art History at McGill University in Montreal, Canada.Tim Shephard is Professor of Musicology at the University of Sheffield, UK, and simultaneously holds a status-only appointment as Associate Professor in History of Art at the University of Toronto, Canada.

• IntroductionChriscinda Henry and Tim ShephardPART IKnowledge and Practice Across Disciplines1. "A Body Composed of Many Parts": The Concept of Harmony in Leonardo da Vinci’s ParagoneDavid E. Cohen 2. Aporia and the Harmonious SubjectTim Shephard3. Singing Sibyls: Music, Inspiration, Labour, and Art on the Sistine Chapel CeilingBarnaby Nygren4. Musical Self-Portraits by Garofalo, Anguissola, and FontanaSamantha Chang5. Dangerous Music at the Accademia di San Luca and Federico Zuccaro’s "Art" of CensorshipLeslie Korrick6. Il Figino and the ParagoneAntonio Cascelli7. The Tuning Figure in Early Modern Art 1350-1700Francois Quiviger8. The Flow of Time and Feelings in Evaristo Baschenis’ Still Lifes with InstrumentsGioia FilocamoPART IICultures of Everyday Life9. The Iconography of Dancing on Renaissance Wedding ChestsJasmine Marie Chiu10. Visible and Invisible Musical Paths in Federico da Montefeltro's Gubbio StudioloNicoletta Guidobadi11. The Convergence of Sacred and Secular in Vittore Carpaccio’s British Museum ConcertChriscinda Henry12. The Artist and Artistry of the "Capirola Lutebook"Victor Coelho13. No Country for Old Men? Aging and Men’s Musicianship in Italian Renaissance ArtSanna Raninen14. Music, the Visual and the Material in an Italian Renaissance BasinFlora Dennis15. Fantastic Finials: Carved Scrolls and Headstocks of Renaissance Stringed InstrumentsEmanuela Vai16. The "Author’s Portrait" in Early Modern Italian Music BooksMassimo Privitera

Chriscinda Henry is Associate Professor of Art History at McGill University in Montreal, Canada.Tim Shephard is Professor of Musicology at the University of Sheffield, UK, and simultaneously holds a status-only appointment as Associate Professor in History of Art at the University of Toronto, Canada.

• IntroductionChriscinda Henry and Tim ShephardPART IKnowledge and Practice Across Disciplines1. "A Body Composed of Many Parts": The Concept of Harmony in Leonardo da Vinci’s ParagoneDavid E. Cohen 2. Aporia and the Harmonious SubjectTim Shephard3. Singing Sibyls: Music, Inspiration, Labour, and Art on the Sistine Chapel CeilingBarnaby Nygren4. Musical Self-Portraits by Garofalo, Anguissola, and FontanaSamantha Chang5. Dangerous Music at the Accademia di San Luca and Federico Zuccaro’s "Art" of CensorshipLeslie Korrick6. Il Figino and the ParagoneAntonio Cascelli7. The Tuning Figure in Early Modern Art 1350-1700Francois Quiviger8. The Flow of Time and Feelings in Evaristo Baschenis’ Still Lifes with InstrumentsGioia FilocamoPART IICultures of Everyday Life9. The Iconography of Dancing on Renaissance Wedding ChestsJasmine Marie Chiu10. Visible and Invisible Musical Paths in Federico da Montefeltro's Gubbio StudioloNicoletta Guidobadi11. The Convergence of Sacred and Secular in Vittore Carpaccio’s British Museum ConcertChriscinda Henry12. The Artist and Artistry of the "Capirola Lutebook"Victor Coelho13. No Country for Old Men? Aging and Men’s Musicianship in Italian Renaissance ArtSanna Raninen14. Music, the Visual and the Material in an Italian Renaissance BasinFlora Dennis15. Fantastic Finials: Carved Scrolls and Headstocks of Renaissance Stringed InstrumentsEmanuela Vai16. The "Author’s Portrait" in Early Modern Italian Music BooksMassimo Privitera

Chriscinda Henry is Associate Professor of Art History at McGill University in Montreal, Canada.Tim Shephard is Professor of Musicology at the University of Sheffield, UK, and simultaneously holds a status-only appointment as Associate Professor in History of Art at the University of Toronto, Canada.

• IntroductionChriscinda Henry and Tim ShephardPART IKnowledge and Practice Across Disciplines1. "A Body Composed of Many Parts": The Concept of Harmony in Leonardo da Vinci’s ParagoneDavid E. Cohen 2. Aporia and the Harmonious SubjectTim Shephard3. Singing Sibyls: Music, Inspiration, Labour, and Art on the Sistine Chapel CeilingBarnaby Nygren4. Musical Self-Portraits by Garofalo, Anguissola, and FontanaSamantha Chang5. Dangerous Music at the Accademia di San Luca and Federico Zuccaro’s "Art" of CensorshipLeslie Korrick6. Il Figino and the ParagoneAntonio Cascelli7. The Tuning Figure in Early Modern Art 1350-1700Francois Quiviger8. The Flow of Time and Feelings in Evaristo Baschenis’ Still Lifes with InstrumentsGioia FilocamoPART IICultures of Everyday Life9. The Iconography of Dancing on Renaissance Wedding ChestsJasmine Marie Chiu10. Visible and Invisible Musical Paths in Federico da Montefeltro's Gubbio StudioloNicoletta Guidobadi11. The Convergence of Sacred and Secular in Vittore Carpaccio’s British Museum ConcertChriscinda Henry12. The Artist and Artistry of the "Capirola Lutebook"Victor Coelho13. No Country for Old Men? Aging and Men’s Musicianship in Italian Renaissance ArtSanna Raninen14. Music, the Visual and the Material in an Italian Renaissance BasinFlora Dennis15. Fantastic Finials: Carved Scrolls and Headstocks of Renaissance Stringed InstrumentsEmanuela Vai16. The "Author’s Portrait" in Early Modern Italian Music BooksMassimo Privitera