Unless otherwise specified, all figures listed here are defined as public domain.
1.1 Athanasius Kircher, Musurgia Universalis, frontpiece
2.1a J.J. Fux: Fugue in Gradus ad Parnassum, Latin edition, p.
2.1b Same fugue in Mizler’s German edition of Gradus ad Parnassum, Tab. XXIII (2nd system, f. 2)
3.1 BWV 210, (D-B Mus. Ms. Bach St 76), title page
4.1 The Autograph P 200: the title page
4.2a–d Examples of pagination numbers in the Autograph
4.3 Numeration of the first four fugues in P 200, misinterpreted by Friedländer as page spread numbers
4.4 P 200, fifth spread, left: the fifth fugue’s original serial number appears where the fugue starts, at the middle of the page; Friedländer added a digit ‘5’, at the top of the same page
4.5a Erroneous ‘correction’: P 200, page 14. The fugue’s serial number ‘6’ is deleted, and the digit ‘7’ is marked instead
4.5b Page 16 of the Autograph: the original serial numbering of fugue
4.6 Four different numerations: P 200, 10th spread
4.7 P 200: inscription at the bottom of the title page
4.8 P 200: Canon in Hypodiapason
8.1 The first mirror fugue (P 200, pp. 33–5, marked XIII)
8.2 The second mirror fugue (P 200, pp. 36–8, marked XIV)
8.3a The opening of the canon (P 200, p. 32, marked XII)
8.3b The opening of the second canon (P 200, p. 38, marked XV)
8.4 Beginning of the canon (P 200, p. 33, marked XII)
8.5 Beginning of the canon, proposta (bars 3–4) and risposta (bars 7–8) encircled
8.6 P 200, canon XII, bar 21 and canon XV, bar 26
8.7 P 200, ornamental changes in canon XV, bars 1–9
8.8 P 200, canon XV, corrections in bar 11
8.9 P 200, canon XV, corrections in bars 34–38
8.10 P 200, canon XV, bars 11, 23–24, 49–50: corrections discontinued
9.1 P 200, canon XV, written over the spread of pages 38–9; crammed writing on the left page, clear and flowing on the right one
11.1 Subsidiary pagination of the Canon in Augmentation (P 200/1–1)
13.1 The titles of the two mirror fugues, Original Edition, DK–Kk mu 6406.2030
15.1 P 200: the title page of The Art of Fugue
15.2 P 200/1: the title page on the supplements folder
15.3 The title of the 1751 Original Edition, DK–Kk mu 6406.2030
15.4 Numerical alphabet and paragram in Harsdörfer’s Poetischer Trichter
15.5 ‘SigC’ from the title page of P 200, and ‘GrafC’ from J.C.F. Bach’s letter, courtesy of the Niedersächs Staatsarchiv, Bückeburg, shelfmark: F2 Nr. 2642
16.1 The page spread of fugue iv in P 200
16.2 P 200, fugue IV, bar 41/41 has 14 notes; the four notes in the treble spell B-A-C-H
16.3 P 200, fugue IV: the theme, presented in all parts, consists of 14 notes
16.4 The page spread of Contrapunctur 5, Original Edition, DK–Kk mu 6406.2030
17.1 P 200/1–1: the engraver copy of the Canon in Augmentation, first page
17.2 Canon per Augmentationem in Contrario Motu: page 48, Original Edition, DK–Kk mu 6406.2030
17.3 Canon in Augmentation, bars 23–25 and 31–33; comparison of the first page of P 200/1–1 and page 48, Original Edition, DK–Kk mu 6406.2030
17.4 P 200: first bars in canons XII and XV
18.1 C.P.E. Bach’s notice on the verso of the Original Edition’s title page (DK–Kk mu 6406.2030)
18.2 The paragraph in the obituary describing The Art of Fugue
18.3 Mirror fugue XIII, beginning, P 200
18.4 P 200/1–3: the last page of the ‘unfinished’ fugue (bars 227–239)
18.5 P 200/1–3: the first page of the ‘unfinished’ fugue (bars 1–68)
18.6 P 200/1–3, second page: bars 113–114 crossed out, correction inserted at the bottom of the page
18.7 P 200/1–3: bars 109–115 (top system) and their correction (bottom page margin, below the bottom system)
19.1 P 200/1–3: C.P.E. Bach’s inscription on the last page
20.1 The Astronomical Clock in Marienkirche, Lübeck
20.2 Adam Gumpelzhaimer, Canon Clama ne cesses from the Compendium musicae (Augsburg, 1611)