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^[*]Alana Mailes (mailes@usc.edu) is a musicologist, cultural historian, and classical singer. At present, she is a postdoctoral scholar in the University of Southern California Thornton School of Music and Society of Fellows in the Humanities. Her current monograph project is entitled Diplomatic Notes: Musical Statecraft between Venice and Stuart England. She has also authored a short book entitled English Madrigals on the Jesuit Stage: Musical Theatre of Martyrdom at the Venerable English College Rome, forthcoming from Cambridge Elements, and her interdisciplinary volume co-edited with Eloise Davies, Stuart Serenissima: Venice and England in the Seventeenth Century, is forthcoming from Liverpool University Press. She received her PhD in Historical Musicology from Harvard University.

^[1] One notable exception is Amy Dunagin’s work on later Stuart musical culture. See Dunagin, “Performing Cultural Affinity: The Whiggish ‘Venetian Oligarchy’ and London Opera,” in Stuart Serenissima: Venice and England in the Seventeenth Century, ed. Eloise Davies and Alana Mailes (Liverpool University Press, forthcoming); Dunagin, “Opera, War, and the Politics of Effeminacy under Queen Anne,” Studies in Eighteenth-Century Culture 50 (2021): 127–39; Dunagin, “Secularization, National Identity, and the Baroque: Italian Music in England, 1660–1711” (PhD diss., Yale University, 2014); and Dunagin, “Tory Defenses of English Music: Thomas Tudway and Roger North,” Eighteenth-Century Life 40, no. 2 (2016): 36–65.

^[2] For studies on travel, politics, religion, and commerce between Italy and England, see, e.g., Edward Chaney and Timothy Wilks, The Jacobean Grand Tour: Early Stuart Travellers in Europe (London: I.B. Taurus, 2014); Maria Fusaro, Political Economies of Empire in the Early Modern Mediterranean: The Decline of Venice and the Rise of England, 1450–1700 (Cambridge: Cambridge University Press, 2015); Alison Games, The Web of Empire: English Cosmopolitans in an Age of Expansion, 1560–1660 (Oxford: Oxford University Press, 2008); Diego Pirillo, The Refugee-Diplomat: Venice, England, and the Reformation (Ithaca: Cornell University Press, 2018); and Stefano Villani, Making Italy Anglican: Why the Book of Common Prayer Was Translated into Italian (Oxford: Oxford University Press, 2022). For music and Northern European travelers to Italy, see Dinko Fabris and Margaret Murata, eds., Passaggio in Italia: Music on the Grand Tour in the Seventeenth Century (Turnhout: Brepols, 2015).

^[3] For mimetic inter-imperiality in this period, see Jeremy Adelman, “Mimesis and Rivalry: European Empires and Global Regimes,” Journal of Global History 10, no. 1 (2015): 77–98; Barbara Fuchs, Mimesis and Empire: The New World, Islam, and European Identities (Cambridge: Cambridge University Press, 2001); Barbara Fuchs and Emily Weissbourd, eds., Representing Imperial Rivalry in the Early Modern Mediterranean (Toronto: University of Toronto Press, 2015); Ricardo Roque, “Mimesis and Colonialism: Emerging Perspectives on a Shared History,” History Compass 13, no. 4 (2015): 201–11; and my own “Mobility, Diplomacy, and Musical Exchange between England and Venice, 1600–1660” (PhD diss., Harvard University 2021).

^[4] I use the term “British” as a geographical descriptor in order to be inclusive of Fraser’s perspectives, which have much in common with those of his English contemporaries. I do not seek to promote an erroneous notion of “Britishness” as a valid seventeenth-century political identity. It is nevertheless well worth investigating how the writings of Scottish travelers also figured into Anglo-Italian cultural interfaces and their wider inter-imperial dimensions. For Fraser, see David Worthington, in Oxford Dictionary of National Biography, s.v. “Fraser, James (1634–1709),” published 2015. (Oxford DNB may be accessed online by personal or institutional subscription. Earlier articles are available in 60-vol. hard copy: Oxford University Press, 2004.) For Fraser’s Italian travels, see Peter Davidson, Relics, Dreams, Voyages: World Baroque (Manchester: Manchester University Press, 2024), 29–48. Though early modern Englishwomen were rarely able to travel abroad, some scholarship has been published on women grand tourists in Italy. See, e.g., Patricia Akhimie, “Gender and Travel Discourse: Richard Lassels’s ‘The Voyage of the Lady Catherine Whetenall from Brussells into Italy’ (1650),” in Travel and Travail: Early Modern Women, English Drama, and the Wider World, ed. Akhimie and Bernadette Andrea (Lincoln: University of Nebraska Press, 2019), 121–38.

^[5] For early modern audiences, the boundary between castrati and machines was porous. See Bonnie Gordon, “The Castrato Meets the Cyborg,” The Opera Quarterly 27, no. 1 (2011): 94–122, and Gordon, Voice Machines: The Castrato, the Cat Piano, and Other Strange Sounds (Chicago: University of Chicago Press, 2023). See also Gordon, “It’s Not About the Cut: The Castrato’s Instrumentalized Song,” New Literary History 46 (2015): 647–67.

^[6] Here I draw on Stephen J. Campbell’s labeling of Venice as a “world city,” underscoring its distinctiveness as a place that imported artistic producers, media, and materials. Campbell, “Artistic Geographies,” in The Cambridge Companion to the Italian Renaissance, ed. Michael Wyatt (Cambridge: Cambridge University Press, 2014), 17–39.

^[7] See Nandini Das, “Early Modern Travel Writing (2): English Travel Writing,” in The Cambridge History of Travel Writing, ed. Nandini Das and Tim Youngs (Cambridge: Cambridge University Press, 2019), 77–92; Das, “Richard Hakluyt,” in The Oxford Handbook of English Prose, 1500–1640, ed. Andrew Hadfield (Oxford: Oxford University Press, 2013), 292–309; Mary C. Fuller, Remembering the Early Modern Voyage: English Narratives in the Age of European Expansion (New York: Palgrave Macmillan, 2008); Hadfield, Literature, Travel, and Colonial Writing in the English Renaissance, 1545–1625 (Oxford: Clarendon Press, 2007); Games, The Web of Empire; Richard Helgerson, Forms of Nationhood: The Elizabethan Writing of England (University of Chicago Press, 1992), 149–92; Pramod K. Nayar, Colonial Voices: The Discourses of Empire (Chichester: Wiley-Blackwell, 2012); Peter Parolin, “ ‘Not So Fitte a Place’: English Identity and Italian Difference in Early Modern England” (PhD diss., University of Pennsylvania, 1997); William H. Sherman, “Stirrings and Searchings (1500–1720),” in The Cambridge Companion to Travel Writing, ed. Peter Hulme and Tim Youngs (Cambridge: Cambridge University Press, 2002), 17–36; Anna Suranyi, The Genius of the English Nation: Travel Writing and National Identity in Early Modern England (Newark: University of Delaware Press, 2008); and Jennifer Linhart Wood, Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive (Cham: Palgrave Macmillan, 2019).

^[9] Mark Netzloff, Agents Beyond the State: The Writings of English Travelers, Soldiers, and Diplomats in Early Modern Europe (Oxford: Oxford University Press, 2020), 40–93.

^[10] Hadfield, Literature, Travel, and Colonial Writing in the English Renaissance, 1–16; Suranyi, The Genius of the English Nation.

^[11] John Raymond, An Itinerary Contayning a Voyage, Made Through Italy, in the Yeare 1646, and 1647 (London: Printed for Humphrey Moseley, 1648), introductory chapter: “An Introduction to Italy,” sig. a2v (Itinerary is available at https://archive.org/details/bub_gb_yRBliCBdNNAC/; https://books.google.com/books?id=yRBliCBdNNAC&hl/; and by subscription to Early English Books Online); A. Lytton Sells, The Paradise of Travellers: The Italian Influence on Englishmen in the Seventeenth Century (London: George Allen & Unwin, 1964), 211–19; and Michael Tilmouth, “Music and British Travellers Abroad, 1600–1730,” in Source Materials and the Interpretation of Music: A Memorial Volume to Thurston Dart, ed. Ian Bent (London: Stainer & Bell, 1981), 360.

^[12] E.S. de Beer, ed., The Diary of John Evelyn [transcription of GB-Lbl Add. MS 78323] (Oxford: Oxford University Press, 1955), 2:433, 473, June and October 1645.

^[13] Evelyn quoted in Margaret Murata, “Musical Encounters Public and Private,” in Passaggio in Italia, ed. Fabris and Murata, 35.

^[14] See Douglas D.C. Chambers, in Oxford Dictionary of National Biography, s.v. “Evelyn, John (1620–1706),” last updated 2008; de Beer, ed., The Diary of John Evelyn, vol. 2; Michael Fleming, “John Evelyn on Musical Instrument Wood,” The Galpin Society Journal 66 (2013): 201–10; Frances Harris and Michael Hunter, eds., John Evelyn and His Milieu: Essays (London: The British Library, 2003); John Dixon Hunt, John Evelyn: A Life of Domesticity (London: Reaktion Books, 2017), 38–58; George B. Parks, “John Evelyn and the Art of Travel,” Huntington Library Quarterly 10, no. 3 (1947): 251–76; Sells, The Paradise of Travellers, 188–210; Tilmouth, “Music and British Travellers Abroad, 1600–1730,” 376; and Margaret Willes, The Curious World of Samuel Pepys and John Evelyn (New Haven: Yale University Press, 2017).

^[15] Akhimie, “Gender and Travel Discourse”; Edmund Bishop, “Thomas Whetenhall of East Peckham, Kent,” Downside Review 15 (1896): 29–48; Edward Chaney, in Oxford Dictionary of National Biography, s.v. “Lassels [Lascelles], Richard (c. 1603–1668),” published 2004; Games, The Web of Empire, 35–38; Richard Lassels, “An Acc.t of the Journey of Lady Catherine Whetenall from Brussels to Italy in 1650,” GB-Lbl Add. MS 4217; Lassels, “Description of Italy” (1654), in The Grand Tour and the Great Rebellion: Richard Lassels and “the Voyage of Italy” in the Seventeenth Century [transcription of GB-En Adv. MS 15.2.15], ed. Edward Chaney (Geneva: Slatkine, 1985), 19–144; Sells, The Paradise of Travellers, 227–31; Lassels, The Voyage of Italy: or Compleat Journey Through Italy, 2 vols. (Paris: Printed by Vincent du Moutier, 1670), available at https://books.google.com/books?id=65FCAAAAcAAJ (vol. 1), https://books.google.com/books?id=8ZFCAAAAcAAJ (vol. 2), and by subscription to Early English Books Online.

^[16] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 151.

^[17] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 150.

^[19] Charles Hughes, ed., Shakespeare’s Europe: Unpublished Chapters of Fynes Moryson’s Itinerary (London: Sherratt & Hughes, 1903), i.e., transcription of GB-Occc MS 94 as “part 4” of the Itinerary; Graham David Kew, “Shakespeare’s Europe Revisited: The Unpublished Itinerary of Fynes Moryson (1566–1630)” (PhD diss., University of Birmingham, 1995); Sells, The Paradise of Travellers, 149–62; Edward H. Thompson, in Oxford Dictionary of National Biography, s.v. “Moryson, Fynes (1565/6–1630),” published 2004.

^[20] Fynes Moryson, An Itinerary … Containing His Ten Yeeres Travell through the Twelve Dominions of Germany, Bohmerland, Sweitzerland, Netherland, Denmarke, Poland, Italy, Turky, France, England, Scotland, and Ireland (London: Printed by John Beale for Moryson, 1617; reprint, Boston: Da Capo Press, 1971), part 3, 48. Available at https://books.google.com/books?id=Iy5E1D3vKgwC&printsec/; https://archive.org/details/b30323101/; and by subscription to Early English Books Online.

^[21] Athanasius Kircher, in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, vol. 4: The Baroque Era, ed. Margaret Murata (New York: W. W. Norton, 1998), 200–1; and in the single-volume edition, 709.

^[22] See Linda Phyllis Austern, Both from the Ears and Mind: Thinking about Music in Early Modern England (Chicago: University of Chicago Press, 2020), 217–68; Austern, “ ‘No pill’s gonna cure my ill’: Gender, Erotic Melancholy and Traditions of Musical Healing in the Modern West,” in Musical Healing in Cultural Contexts, ed. Penelope Gouk (Aldershot: Ashgate, 2000), 113–36; Katherine Butler, “Divine Harmony, Demonic Afflictions, and Bodily Humours: Two Tales of Musical Healing in Early Modern England,” in Perfect Harmony and Melting Strains: Transformations of Music in Early Modern Culture, ed. Cornelia Wilde and Wolfram R. Keller (Berlin: de Gruyter, 2021), 81–100; Gouk, “Music and Spirit in Early Modern Thought,” in Emotions and Health, 1200–1700, ed. Elena Carrera (Leiden: Brill, 2013), 221–39; Gouk, “Music, Melancholy, and Medical Spirits in Early Modern Thought,” in Music as Medicine: The History of Music Therapy Since Antiquity, ed. Peregrine Horden (London: Routledge, 2000), 173–94; and Bettina Varwig, Music in the Flesh: An Early Modern Musical Physiology (Chicago: University of Chicago Press, 2023), 181–88.

^[23] Mary Floyd-Wilson, English Ethnicity and Race in Early Modern Drama (Cambridge: Cambridge University Press, 2003), 67–88. For climate taxonomy and early modern Italian music, see Gordon, Voice Machines, 176–204.

^[24] Moryson, An Itinerary, part 3, 51, and An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 423.

^[25] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 422.

^[26] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 423–24. Moryson was contrasting this description with what he deemed the “hard striking” and loud, lively musical style of German instrumentalists. See also John M. Ward, Music for Elizabethan Lutes (Oxford: Clarendon Press, 1992), 1:59. For wind instruments in Venice, see Jeffrey Kurtzman and Linda Maria Koldau, “Trombe, Trombe d’argento, Trombe squarciate, Tromboni, and Pifferi in Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries,” Journal of Seventeenth-Century Music 8, no. 1 (2002), https://sscm-jscm.org/v8/no1/kurtzman.html.

^[27] Other British travelers to Venice also procured lutes and guitars during their time in the Republic. See my “Mobility, Diplomacy, and Musical Exchange between England and Venice, 1600–1660” and my “ ‘Much to deliver in your Honour’s ear’: Angelo Notari’s Work in Intelligence, 1616–1623,” Early Music History 39 (2020): 219–52. On Venetian-made lutes and Italian lutenists in England, see also Jeffrey Kurtzman, “Instruments, Instrument Makers, and Instrumentalists in the Second Half of the Sixteenth Century,” in A Companion to Music in Sixteenth-Century Venice, ed. Katelijne Schiltz (Boston: Brill, 2017), 292–320; and Matthew Spring, The Lute in Britain: A History of the Instrument and its Music (Oxford: Oxford University Press, 2001).

^[29] “… dans une boutique de un feteur de lhute ou je loué un lute …” Reymes wrote that he had seen “bewgels made” in Venice as well. Bullen Reymes, travel diary, November 12, 1633, and August 30, 1636, private collection of Edward Chaney. R.O. Bucholz, in Oxford Dictionary of National Biography, s.v. “Reymes, Bullen (1613–1672),” last updated 2009.

^[30] See my “Singing Nuns and Soft Power: British Diplomats as Music Tourists in Seicento Venice,” Religions 13, no. 4 (2022): 330–44, https://doi.org/10.3390/rel13040330.

^[32] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 423–24.

^[33] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 440, 466.

^[34] Anonymous, GB-Lbl Sloane MS 682, fol. 20r; John Stoye, English Travellers Abroad, 1604–1667: Their Influence in English Society and Politics, rev. ed. (1952; New Haven: Yale University Press, 1989), 99, 339.

^[35] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 445. For musical processions in sixteenth-century Venice, see Iain Fenlon, “Music, Ritual, and Festival: The Ceremonial Life of Venice,” in A Companion to Music in Sixteenth-Century Venice, ed. Schiltz, 133–41.

^[36] Moryson, An Itinerary, part 4, in Hughes, ed. Shakespeare’s Europe, 447.

^[37] Moryson, An Itinerary, part 3, 51, and part 4, in Hughes, ed. Shakespeare’s Europe, 440.

^[38] Michael Strachan, in Oxford Dictionary of National Biography, s.v. “Coryate, Thomas (1577?–1617),” last updated 2006; Sells, The Paradise of Travellers, 163–68.

^[40] Thomas Coryat, Coryats Crudities: Hastily Gobled Up in Five Moneth’s Travels (London: Printed by William Stansby for Coryat, 1611), 213. For a facsimile edition, see Coryat, Coryats Crudities, ed. William M. Schutte (London: Scolar Press, 1978). Also available online, at https://archive.org/details/coryatscrudities00cory.

^[41] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 448.

^[43] See David Bryant “Cori Spezzati in Composition and Sound,” 371–94, and Giulio M. Ongaro, “San Marco,” 19–44, both in A Companion to Music in Sixteenth-Century Venice, ed. Schiltz.

^[44] “… veu la cerimone ou le Doche estoyt: il ya voit force musitiane et de chandelles …” Reymes, travel diary, December 24–26, 1633. See Iain Fenlon, The Ceremonial City: History, Memory and Myth in Renaissance Venice (New Haven: Yale University Press, 2007), 35; Fenlon, “Music in Monteverdi’s Venice,” 167–8; and John Whenham, “The Venetian Sacred Music,” in The Cambridge Companion to Monteverdi, ed. Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007), 212–14.

^[45] Malcolm Letts, ed., Francis Mortoft: His Book, Being his Travels through France and Italy 1658–1659 [transcription of GB-Lbl Sloane MS 2142] (London: The Hakluyt Society, 1925), xiii–xxxiv, 182.

^[47] Reymes, travel diary: “une belle musique de Claude monteverde,” January 1, 1634; “ou Montaverde a batte,” January 8, 1634; see also December 8, 21–2, and 27, 1633, January 1, March 19, 1635, and October 4–5, and November 4, 1636.

^[49] Bargrave’s diary: GB-Ob Rawlinson MS C 799. For accounts of Bargrave’s musical activities in other locales, see Michael G. Brennan, ed., The Travel Diary of Robert Bargrave Levant Merchant (1647–1656) [transcription of Rawlinson C 799](London: The Hakluyt Society, 1999), 37–8, 229–30, and Michael Tilmouth, “Music on the Travels of an English Merchant: Robert Bargrave (1628–61),” Music & Letters 53, no. 2 (1972): 143–59. See also Denis Arnold, “The Solo Motet in Venice (1625–1775),” Proceedings of the Royal Musical Association 106, no. 1 (1979–80): 61.

^[50] Denis Arnold, “Music at the Scuola di San Rocco,” Music & Letters 40, no. 3 (1959): 236–38; Clifford Bartlett and Peter Holman, “Giovanni Gabrieli: A Guide to the Performance of his Instrumental Music,” Early Music 3, no. 1 (1975): 25–32; Coryat, Coryats Crudities, 250–3; Jonathan E. Glixon, Honoring God and the City: Music at the Venetian Confraternities, 1260–1807 (Oxford: Oxford University Press, 2003), 149–61; Ellen Rosand, “Music in the Myth of Venice,” Renaissance Quarterly 30, no. 4 (1977), 535–36; Tilmouth, “Music and British Travellers Abroad, 1600–1730,” 366.

^[52] Moryson also mentioned the warm musical welcome that Venice had given to King Henry III of France in 1574, featuring drums, trumpets, and the dancing of galliards at banquets in his honor. Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 441, 450. See Fenlon, “Music, Ritual, and Festival,” 144–47.

^[53] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 441.

^[55] For descriptions, see Bargrave in Brennan, ed., The Travel Diary of Robert Bargrave, 228; Coryat, Coryats Crudities, 219–20; Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 444.

^[57] GB-Ob Rawlinson D MS 120, fols. 27r–28r, and Rawlinson D MS 121, fol. 117r. For more on Symonds, see par. 6.14.

^[58] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 227.

^[61] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 227–28.

^[65] Lina Urban Padoan, Il Bucintoro: La festa e la fiera della Sensa dalle origini alla caduta della Repubblica (Venice: Centro internazionale della grafica di Venezia, 1988), 68–71; Padoan, “Il Bucintoro secentesco e gli scultori Marcantonio ed Agostinio Vanini,” Arte veneta 21 (1967): 231–36; Padoan, “La festa della Sensa nelle arti e nell’iconogragia,” Studi veneziani 10 (1968): 291–353; and Margherita Azzi Visentini, “Festivals of State: The Scenography of Power in Late Renaissance and Baroque Venice,” trans. Giovanna Fogli, in Festival Architecture, ed. Sarah Bonnemaison and Christine Macy (London: Routledge, 2008), 94–95. The full title of the engraving in Fig. 3 refers to Doge Antonio Priuli (r. 1618–23): Il Maraviglioso Bucintoro, nel quale il Ser.mo Principe di Venetia va solennemente il dì dell’Ascensa à sposar il mare et con esso parimente fù fatto il gloriosissimo incontro al Ser.mo Antonio Priuli il giorno della felicissima sua venuta al possesso del Principato.

^[66] Thanks to Betsy Griffith for providing a thorough explanation of this. See Luca lo Basso, “Il mestiere del remo nell’armata sottile veneziana: coscrizione, debito, pena e schiavitù (secc. XVI–XVIII),” Studi veneziani 48 (2004): 1–85; and Basso, Uomini da remo: galee e galeotti del Mediterraneo in età moderna (Milan: Selene Edizioni, 2003).

^[67] On slavery in early modern Italy, see Hannah Barker, That Most Precious Merchandise: The Mediterranean Trade in Black Sea Slaves, 1260–1500 (Philadelphia: University of Pennsylvania Press, 2019); Robin Blackburn, The Making of New World Slavery from the Baroque to the Modern 1492–1800 (Verso: London, 1997), 31-94; Giulia Bonazza, in Oxford Research Encyclopedia of African History, s.v. “Slavery in the Atlantic Slave Trade,” published online 2022 (open access), https://doi.org/10.1093/acrefore/9780190277734.013.971; Bonazza, “Slavery in the Mediterranean,” in The Palgrave Handbook of Global Slavery Throughout History, ed. Damian A. Pargas and Juliane Schiel (Cham: Palgrave Macmillan, 2023), 227–42, https://link.springer.com/book/10.1007/978-3-031-13260-5 (open access); Robert C. Davis, Christian Slaves, Muslim Masters: White Slavery in the Mediterranean, the Barbary Coast, and Italy, 1500–1800 (Basingstoke: Palgrave Macmillan, 2003); Steven A. Epstein, Speaking of Slavery: Color, Ethnicity, and Human Bondage in Italy (Ithaca: Cornell University Press, 2001); Kate Lowe, “Visible Lives: Black Gondoliers and Other Black Africans in Renaissance Venice,” Renaissance Quarterly 66, no. 2 (2013): 412–52; Sally McKee, “Domestic Slavery in Renaissance Italy,” Slavery and Abolition 29, no. 3 (2008): 305–26; E. Natalie Rothman, “Contested Subjecthood: Runaway Slaves in Early Modern Venice,” Quaderni storici 47, no. 140/2 (2012): 425–41; and Emily Wilbourne, Voice, Slavery, and Race in Seventeenth-Century Florence (Oxford: Oxford University Press, 2023).

^[69] For scholarship on the Sensa, see Filippo de Vivo, “Historical Justifications of Venetian Power in the Adriatic,” Journal of the History of Ideas 64 no. 2 (2003): 159–76; Evelyn Korsch, “Renaissance Venice and the Sacred-Political Connotations of Waterborne Pageants,” in Waterborne Pageants and Festivities in the Renaissance: Essays in Honour of J.R. Mulryne, ed. Margaret Shewring and Linda Briggs (London: Routledge, 2013), 79–97; Edward Muir, Civic Ritual in Renaissance Venice (Princeton: Princeton University Press, 1981), 119–34; and Visentini, “Festivals of State,” 74–112.

^[70] See Nathan K. Reeves, “The Oar, the Trumpet, and the Drum: Music and Galley Servitude in Spanish Naples,” in Music, Place, and Identity in Italian Urban Soundscapes circa 1550–1860, ed. Simone Caputo et al.(Abingdon: Routledge, 2023).

^[71] Moryson An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 444, and Kew, “Shakespeare’s Europe Revisited,” 327.

^[72] Mundy must not have witnessed this himself. Richard Carnac Temple, ed., The Travels of Peter Mundy, in Europe and Asia, 1608–1667, vol. 1 (Cambridge: Hakluyt Society,1907), 93–96, July 27, 1620; volume available online at https://google.com/books/reader?id=Go8XAQAAMAAJ. Temple’s edition, transcribed from GB-Ob Rawlinson MS A 315 and GB-Lbl Harley MS 2296, was published in 5 vols., 1907–25; there have been various reprints and e-editions. See also R.E. Pritchard, Peter Mundy: Merchant Adventurer (Oxford: Bodleian Library, 2011); and Richard Raiswell, in Oxford Dictionary of National Biography, s.v. “Mundy, Peter (b. c. 1596, d. in or after 1667),” published 2004.

^[73] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 228.

^[75] Although the author wrote that this occurred “on Saint Marke daie,” they were probably referring to Ascension Day, as the doge would not have been on the water on St Mark’s Day. Anonymous, GB-Lbl Sloane MS 682, f. 21r.

^[77] Fraser, “Triennial Travels,” fol. 211r; Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 228.

^[78] For music, ceremonial, and the myth of Venice, see de Vivo, “Historical Justifications of Venetian Power in the Adriatic”; Iain Fenlon, Music and Culture in Late Renaissance Italy (Oxford: Oxford University Press, 2002), 1–23; Fenlon, “Music, Ritual, and Festival,” 125–48; Fenlon, “Venice: Theatre of the World,” in The Renaissance from the 1470s to the End of the 16th Century, ed. Fenlon (Basingstoke: Palgrave Macmillan, 1989), 102–32; Korsch, “Renaissance Venice and the Sacred-Political Connotations of Warerborne Pageants”; Muir, Civic Ritual in Renaissance Venice, 119–34; Rosand, “Music in the Myth of Venice”; and Visentini, “Festivals of State.”

^[79] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 225.

^[80] Walter Lewis Spiers, “The Note-Book and Account Book of Nicholas Stone [transcription of GB-Lbl Harley MS 4046],” The Volume of the Walpole Society 7 (1918–19): 20–30, 182. Adam White, in Oxford Dictionary of National Biography, s.v. “Stone, Nicholas (1585×8–1647),” published 2004.

^[81] Coryat, Coryats Crudities, 187. These figures later received the soubriquet “the Moors.” For explanation of this association and Renaissance depictions of the “Wild Man” figure, see Shaul Bassi, Shakespeare’s Italy and Italy’s Shakespeare: Place, “Race,” Politics (New York: Palgrave MacMillan, 2016), 159–80; and Michelangelo Muraro, “The Moors of the Clock Tower of Venice and their Sculptor,” The Art Bulletin 66, no. 4 (1984): 603–9.

^[84] Edward Jeffrey et al., eds., The Travels and Memoirs of Sir John Reresby, Bart [transcription of GB-Lbl Add. MSS 29440–1] (London: B. McMillan, 1813), 69. See Mary K. Geiter, in Oxford Dictionary of National Biography, s.v. “Reresby, Sir John, Second Baronet (1634–1689),” published 2004; David Ledbetter, in Grove Music Online, s.v. “Dubut Family,”published 2001; Christopher Page, The Guitar in Stuart England: A Social and Musical History (Cambridge: Cambridge University Press, 2017), 50.

^[88] Moryson, An Itinerary, part 1, 88; Flora Dennis, “When is a Room a Music Room? Sounds, Spaces, and Objects in Non-Courtly Italian Interiors,” Proceedings of the British Academy 176 (2012): 37–49.

^[91] Fusaro, Political Economies of Empire in the Early Modern Mediterranean, 291–98.

^[93] See Fusaro, Political Economies of Empire in the Early Modern Mediterranean.

^[96] For recent and general introductions to Eastern Orthodox chant and cheironomy, see David Drillock, in Grove Music Online, s.v. “Orthodox Church,” published 2013; Kenneth Levy, rev. Christian Troelsgård, in Grove Music Online, s.v. “Byzantine Chant,” updated 2016; and Alexander Lingas, “Music” in The Oxford Handbook of Byzantine Studies, ed. Robin Cormack et al. (Oxford: Oxford University Press, 2008), 915–35.

^[97] Coryat, Coryats Crudities, 228–30; de Beer, ed., The Diary of John Evelyn, 460, June 1645; Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 230.

^[98] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 230.

^[100] For recent studies on this, see Mark Aune, “An Englishman on an Elephant: Thomas Coryat, Travel Writing, and Literary Culture in Early Modern England” (PhD diss., Wayne State University, 2002), 38–45; Lynette Bowring et al., eds., Music and Jewish Culture in Early Modern Italy: New Perspectives (Bloomington: Indiana University Press, 2022), 1–2; Donatella Calabi, “The ‘City of the Jews’,” in The Jews of Early Modern Venice, ed. Robert C. Davis and Benjamin Ravid (Baltimore: Johns Hopkins University Press, 2001), 2–49; Elliott Horowitz, “A ‘Dangerous Encounter’: Thomas Coryate and the Swaggering Jews of Venice,” Journal of Jewish Studies 52, no. 2 (2001): 341–53; Carole Levin and John Watkins, Shakespeare’s Foreign Worlds: National and Transnational Identities in the Elizabethan Age (Ithaca: Cornell University Press, 2009), 111–44; Cecil Roth, “Leone da Modena and England,” Transactions (Jewish Historical Society of England) 11 (1924–27): 206–27; Daniel B. Schwartz, Ghetto: The History of a Word (Cambridge: Harvard University Press, 2019), 9–48; and Werner von Koppenfels, “Going South in Fact and Fiction: Two Early Anglo-Italian Travelogues,” in Travels and Translations: Anglo-Italian Cultural Transactions, ed. Alison Yarrington, et al. (Amsterdam: Rodopi, 2013), 49–66.

^[101] See Rebecca Cypess, “Introduction,” in Music and Jewish Culture in Early Modern Italy: New Perspectives, ed. Bowring et al., 1–2; and Ruth HaCohen, The Music Libel Against the Jews (New Haven: Yale University Press, 2011).

^[102] Ann Rosalind Jones, “Italians and Others: Venice and the Irish in Coryat’s Crudities and The White Devil,” Renaissance Drama 18 (1987): 101–19. See also Katharine A. Craik, “Reading ‘Coryat’s Crudities’ (1611),” Studies in English Literature 1500–1900 44, no. 1 (2004): 77–96; and Anthony Parr, “Thomas Coryat and the Discovery of Europe,” Huntington Library Quarterly 55, no. 4 (1992): 578–602.

^[103] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 466.

^[104] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 422.

^[105] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 452.

^[106] Patricia Fortini Brown, Private Lives in Renaissance Venice (New Haven: Yale University Press, 2004), 142.

^[107] See Jennifer C. Vaught, Carnival and Literature in Early Modern England (Farnham: Ashgate, 2012).

^[108] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 150.

^[110] Jeffrey et al., eds., The Travels and Memoirs of Sir John Reresby, Bart, 68.

^[111] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 465.

^[112] Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 457.

^[113] Moryson clarified that “for each danse the man payes twopence to the musicke and to the house.…” Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 458, 465.

^[116] Jeffrey et al., eds., The Travels and Memoirs of Sir John Reresby, Bart, 68.

^[117] Jeffrey et al., eds., The Travels and Memoirs of Sir John Reresby, Bart, 68.

^[119] Brennan, ed., The Travel Diary of Robert Bargrave, 28–31, 235; Tilmouth, “Music on the Travels of an English Merchant,” 156–57.

^[122] For Killigrew, Venice, and the English theatre, see Alfred Harbage, Thomas Killigrew: Cavalier Dramatist, 1612–83 (Philadelphia: University of Pennsylvania Press, 1930; reprint, New York: Benjamin Blom, 1967); Philip Major, ed., Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives (Farnham: Ashgate, 2013; London: Routledge, 2016); and J.P. Vander Motten, in Oxford Dictionary of National Biography, s.v. “Killigrew, Thomas (1612–1683),” last updated 2008.

^[123] “Also not only in Carnauall but all the yeare long, all the Markett places of great Cittyes are full of Mountebankes, or Cirarlatanes, who stand vpon tables like stages, and sell their oyles, waters, and salues, drawe the people about them by musicke and pleasant discourse like Comedies, hauing a woman and a masked foole to act these partes with them.” Moryson, An Itinerary, part 4, in Hughes, ed., Shakespeare’s Europe, 465.

^[130] For mountebanks see David Gentilcore, Medical Charlatanism in Early Modern Italy (Oxford: Oxford University Press, 2006); M.A. Katritzy, “Marketing Medicine: The Image of the Early Modern Mountebank,” Renaissance Studies 15, no. 2 (2001): 121–53; Katrizky, “Was Commedia dell’arte Performed by Mountebanks? Album amicorum Illustrations and Thomas Platter’s Description of 1598,” Theatre Research International 23, no. 2 (1998): 104–26; Sarah Knight, “ ‘He is Indeed a Kind of Scholler-Mountebank’: Academic Liars in Jacobean Satire,” in Shell Games: Studies in Scams, Frauds, and Deceits (1300–1650), ed. Mark Crane, et al. (Toronto: Centre for Reformation and Renaissance Studies, 2004), 59–80; and Paola Pugliatti, “The Hidden Face of Elizabethan-Jacobean Theatre,” Revue Internationale de Philosophie 64, no. 252/2 (2010): 177–98.

^[133] See Jones, “Italians and Others,” 104–9; Melanie Ord, Travel and Experience in Early Modern English Literature (New York: Palgrave Macmillan, 2008), 123–54; Parolin, “Not So Fitte a Place”; Michael J. Redmond, Shakespeare, Politics, and Italy: Intertextuality on the Jacobean Stage (Farnham: Ashgate, 2009); and von Koppenfels, “Going South in Fact and Fiction.”

^[134] See Amy Brosius, “Courtesan Singers as Courtiers: Power, Political Pans, and the Arrest of virtuosa Nina Barcarola,” Journal of the American Musicological Society 73, no. 2 (2020): 207–67; Martha Feldman and Bonnie Gordon, eds., The Courtesan’s Arts: Cross-Cultural Perspectives (Oxford: Oxford University Press, 2006); Games, The Web of Empire, 47–80; and Parolin, “Not So Fitte a Place.”

^[140] Jeffrey et al., eds. The Travels and Memoirs of Sir John Reresby, Bart, 67.

^[141] Raymond, Itinerary Contayning a Voyage, introductory chapter: “An Introduction to Italy,” sig. a2; Tilmouth, “Music and British Travellers Abroad, 1600–1730,” 360.

^[146] Brennan, ed., The Travel Diary of Robert Bargrave, 237. For an analysis of this English version, see Beth Glixon, “Introduction,” in Francesco Cavalli, L’Erismena: Dramma per musica by Aurelio Aureli, in Opere, vol. 4 (Kassel: Bärenreiter, 2018), xlvii–lxx.

^[148] According to one of his notebooks, in addition to purchasing music books, Symonds made payments for a theorbo’s mending and transport in December 1651: GB-Lbl Harley MS 943, fols. 112v and 117v; see Mary Beal, A Study of Richard Symonds: His Italian Notebooks and Their Relevance to Seventeenth-Century Painting Techniques (New York: Garland, 1984), 20. On Symonds’s Italian travels, see Ann Brookes, “Richard Symonds’s Account of his Visit to Rome in 1649–1651,” The Volume of the Walpole Society 69 (2007): 1–183; Ian Roy, in Oxford Dictionary of National Biography, s.v. “Symonds, Richard (bap. 1617, d. 1660),” last updated 2008; GB-Lbl Harley MS 942 and Egerton MSS 1635–36; and GB-Ob Rawlinson D MSS 120–1.

^[149] See my “Mobility, Diplomacy, and Musical Exchange between England and Venice, 1600–1660.”

^[150] See my “Mobility, Diplomacy, and Musical Exchange between England and Venice, 1600–1660” and my “Singing Nuns and Soft Power.”

^[151] For Seicento transformations of British church music, see, e.g., Ian Spink, ed., The Blackwell History of Music in Britain, vol. 3 (Oxford: Blackwell, 1992); and Spink, Restoration Cathedral Music, 1660–1714 (Oxford: Clarendon Press, 1995).

^[153] Lassels, “Description of Italy,” in The Grand Tour and the Great Rebellion, ed. Chaney, 207.

^[154] For British travel accounts of music in the Ottoman Empire, see, e.g., Wood, Sounding Otherness in Early Modern Drama and Travel.