Karl A.E. Enenkel, Ph.D. (1990) is Professor of Medieval Latin and Neo-Latin at the University of Münster. Previously he was Professor of Neo-Latin at the University of Leiden. He has published widely on international humanism, early modern culture, paratexts, literary genres 1300–1600, Neo-Latin emblems, word and image relationships, and the history of scholarship and science.Marc Laureys, Ph.D. (1992) is Professor for Medieval Latin and Neo-Latin Philology at the University of Bonn. He has published extensively on early modern historiography and antiquarianism and the reception of classical authors in Neo-Latin literature.

• List of IllustrationsNotes on the EditorsNotes on the Contributors1 Some Introductory Thoughts on the Reception of Horace in the Early Modern AgeMarc LaureysPart 1: The Reception of the Ars Poetica as a Model for the Theory of Painting, Drama, Diplomacy, Cookery and Other Arts2 Rethinking Horace in Dutch Classicist Art Theory and in the Theory of Poetry and Drama: Gerard de Lairesse and Andries PelsTijana Žakula3 From Poetry to Cookery, Architecture, and Stock-Jobbing: Imitation and Parodia of Horace’s Ars Poetica in 18th-Century EnglandLukas ReddemannPart 2: The Reception of Horace in the Visual Arts4 The Reception of Horace in the Visual Arts, 15th Century until ca. 1840: A First ExplorationKarl A.E. Enenkel5 Vaenius’s Pluri-Medial Horace: Images for Contemplation, Primer of Philosophy, Iconological Templates for Artists, Latin Commonplace Book, and Vernacular Emblem BookKarl A.E. Enenkel and Paul J. SmithPart 3: Horace and Music6 Before Melopoiae: Conrad Celtis, Laurentius Corvinus, Arnold Wöstefeld and the Use of Music in the Teaching and Performance of Horace’s Metres around 1500Grantley McDonald7 Horace among Early Modern Teachers and Music Theorists: Poetics and SongsInga Mai Groote8 Singing Horace in Sixteenth-Century France: A Reappraisal of the Sources and Their InterpretationPhilippe CanguilhemPart 4: Other Materializations of Horace: School Book Production and Funeral Inscriptions9 Librum pulcherrimum et utilissimum edidit: Editions of Horace by Johannes Honorius Cubitensis (c.1465–1504)Marcela Slavíková10 Horace and Sepulchral Sapphics – Some English ExamplesLuke B.T. HoughtonPart 5: The Reception of the Odes in Early Modern Lyrical Poetry11 The Reception of the “Horatian Hymn” in Quattrocento Neo-Latin Poetry: Aurelius Laurentius Albrisius and Giovanni PontanoCarolin A. Giere12 Horace across Seventeenth-Century Italian Literature: Carlo de’ Dottori and his OdesGiacomo Comiati13 “As closely as possible after the model of Horace”? Degrees of Horatianism in James Alban Gibbes’ Lyric PoetryMarc Laureys14 On the Reception of Horace’s Carmen Saeculare in the Early Modern PeriodVeronika Brandis and Robert SeidelPart 6: Horatian Topics and Commonplaces15 John Cruso of Norwich and the Reception of Horatius Sententiosus in Early Modern Provincial EnglandChristopher Joby16 De laudibus vitae rusticae: Horace’s Second Epode and the Tradition of Georgic PoetryBernd RolingIndex Nominum

Karl A.E. Enenkel, Ph.D. (1990) is Professor of Medieval Latin and Neo-Latin at the University of Münster. Previously he was Professor of Neo-Latin at the University of Leiden. He has published widely on international humanism, early modern culture, paratexts, literary genres 1300–1600, Neo-Latin emblems, word and image relationships, and the history of scholarship and science.Marc Laureys, Ph.D. (1992) is Professor for Medieval Latin and Neo-Latin Philology at the University of Bonn. He has published extensively on early modern historiography and antiquarianism and the reception of classical authors in Neo-Latin literature.

• List of IllustrationsNotes on the EditorsNotes on the Contributors1 Some Introductory Thoughts on the Reception of Horace in the Early Modern AgeMarc LaureysPart 1: The Reception of the Ars Poetica as a Model for the Theory of Painting, Drama, Diplomacy, Cookery and Other Arts2 Rethinking Horace in Dutch Classicist Art Theory and in the Theory of Poetry and Drama: Gerard de Lairesse and Andries PelsTijana Žakula3 From Poetry to Cookery, Architecture, and Stock-Jobbing: Imitation and Parodia of Horace’s Ars Poetica in 18th-Century EnglandLukas ReddemannPart 2: The Reception of Horace in the Visual Arts4 The Reception of Horace in the Visual Arts, 15th Century until ca. 1840: A First ExplorationKarl A.E. Enenkel5 Vaenius’s Pluri-Medial Horace: Images for Contemplation, Primer of Philosophy, Iconological Templates for Artists, Latin Commonplace Book, and Vernacular Emblem BookKarl A.E. Enenkel and Paul J. SmithPart 3: Horace and Music6 Before Melopoiae: Conrad Celtis, Laurentius Corvinus, Arnold Wöstefeld and the Use of Music in the Teaching and Performance of Horace’s Metres around 1500Grantley McDonald7 Horace among Early Modern Teachers and Music Theorists: Poetics and SongsInga Mai Groote8 Singing Horace in Sixteenth-Century France: A Reappraisal of the Sources and Their InterpretationPhilippe CanguilhemPart 4: Other Materializations of Horace: School Book Production and Funeral Inscriptions9 Librum pulcherrimum et utilissimum edidit: Editions of Horace by Johannes Honorius Cubitensis (c.1465–1504)Marcela Slavíková10 Horace and Sepulchral Sapphics – Some English ExamplesLuke B.T. HoughtonPart 5: The Reception of the Odes in Early Modern Lyrical Poetry11 The Reception of the “Horatian Hymn” in Quattrocento Neo-Latin Poetry: Aurelius Laurentius Albrisius and Giovanni PontanoCarolin A. Giere12 Horace across Seventeenth-Century Italian Literature: Carlo de’ Dottori and his OdesGiacomo Comiati13 “As closely as possible after the model of Horace”? Degrees of Horatianism in James Alban Gibbes’ Lyric PoetryMarc Laureys14 On the Reception of Horace’s Carmen Saeculare in the Early Modern PeriodVeronika Brandis and Robert SeidelPart 6: Horatian Topics and Commonplaces15 John Cruso of Norwich and the Reception of Horatius Sententiosus in Early Modern Provincial EnglandChristopher Joby16 De laudibus vitae rusticae: Horace’s Second Epode and the Tradition of Georgic PoetryBernd RolingIndex Nominum

Karl A.E. Enenkel, Ph.D. (1990) is Professor of Medieval Latin and Neo-Latin at the University of Münster. Previously he was Professor of Neo-Latin at the University of Leiden. He has published widely on international humanism, early modern culture, paratexts, literary genres 1300–1600, Neo-Latin emblems, word and image relationships, and the history of scholarship and science.Marc Laureys, Ph.D. (1992) is Professor for Medieval Latin and Neo-Latin Philology at the University of Bonn. He has published extensively on early modern historiography and antiquarianism and the reception of classical authors in Neo-Latin literature.

• List of IllustrationsNotes on the EditorsNotes on the Contributors1 Some Introductory Thoughts on the Reception of Horace in the Early Modern AgeMarc LaureysPart 1: The Reception of the Ars Poetica as a Model for the Theory of Painting, Drama, Diplomacy, Cookery and Other Arts2 Rethinking Horace in Dutch Classicist Art Theory and in the Theory of Poetry and Drama: Gerard de Lairesse and Andries PelsTijana Žakula3 From Poetry to Cookery, Architecture, and Stock-Jobbing: Imitation and Parodia of Horace’s Ars Poetica in 18th-Century EnglandLukas ReddemannPart 2: The Reception of Horace in the Visual Arts4 The Reception of Horace in the Visual Arts, 15th Century until ca. 1840: A First ExplorationKarl A.E. Enenkel5 Vaenius’s Pluri-Medial Horace: Images for Contemplation, Primer of Philosophy, Iconological Templates for Artists, Latin Commonplace Book, and Vernacular Emblem BookKarl A.E. Enenkel and Paul J. SmithPart 3: Horace and Music6 Before Melopoiae: Conrad Celtis, Laurentius Corvinus, Arnold Wöstefeld and the Use of Music in the Teaching and Performance of Horace’s Metres around 1500Grantley McDonald7 Horace among Early Modern Teachers and Music Theorists: Poetics and SongsInga Mai Groote8 Singing Horace in Sixteenth-Century France: A Reappraisal of the Sources and Their InterpretationPhilippe CanguilhemPart 4: Other Materializations of Horace: School Book Production and Funeral Inscriptions9 Librum pulcherrimum et utilissimum edidit: Editions of Horace by Johannes Honorius Cubitensis (c.1465–1504)Marcela Slavíková10 Horace and Sepulchral Sapphics – Some English ExamplesLuke B.T. HoughtonPart 5: The Reception of the Odes in Early Modern Lyrical Poetry11 The Reception of the “Horatian Hymn” in Quattrocento Neo-Latin Poetry: Aurelius Laurentius Albrisius and Giovanni PontanoCarolin A. Giere12 Horace across Seventeenth-Century Italian Literature: Carlo de’ Dottori and his OdesGiacomo Comiati13 “As closely as possible after the model of Horace”? Degrees of Horatianism in James Alban Gibbes’ Lyric PoetryMarc Laureys14 On the Reception of Horace’s Carmen Saeculare in the Early Modern PeriodVeronika Brandis and Robert SeidelPart 6: Horatian Topics and Commonplaces15 John Cruso of Norwich and the Reception of Horatius Sententiosus in Early Modern Provincial EnglandChristopher Joby16 De laudibus vitae rusticae: Horace’s Second Epode and the Tradition of Georgic PoetryBernd RolingIndex Nominum