File:Vivaldi - Argippo - libretto, Prague 1730.pdf.File:Vivaldi - Argippo - italian title page of the libretto, Prague 1730.png.File:Vivaldi - Argippo - german title page of the libretto, Prague 1730.png.File:Micheli, Vivaldi, Romaldi - Il Tigrane - title page of the libretto, Rome 1724.png.File:Micheli, Vivaldi, Romaldi - Il Tigrane - libretto, Rome 1724.pdf.File:Cimento dell' Armonia e dell' Inventione.djvu.File:Cimento dell' Armonia e dell' Inventione-v2-title page.jpg.File:Cimento dell'Armonia e dell'Invenzione.jpg.File:Antonio Vivaldi - Rosmira - title page of the libretto - Venice 1738.png.File:Antonio Vivaldi - Rosmira - libretto - Venice 1738.pdf.File:Antonio Vivaldi - Ottone in villa - title page of the libretto - Vicenza 1713.png.File:Antonio Vivaldi - Orlando finto pazzo - title page of the libretto - Venice 1714.png.File:Antonio Vivaldi - Orlando - titlepage of the libretto, Venice 1727.png.File:Antonio Vivaldi - La verità in cimento - title page of the libretto - Venice 1720.png.File:Antonio Vivaldi - L'Atenaide - title page of the libretto - Florence 1729.png.File:Antonio Vivaldi - Farnace - title page of the libretto - Venice 1726.png.File:Antonio Vivaldi - Dorilla in Tempe - title page of the libretto, Venice 1734.png.File:Antonio Vivaldi - Dorilla in Tempe - title page of the libretto, Venice 1726.png.File:Antonio Vivaldi - Dorilla in Tempe - italian title page of the libretto, Prague 1732.png.File:Antonio Vivaldi - Dorilla in Tempe - german title page of the libretto, Prague 1732.png.The proposition that the painting actually depicts Antonio Vivaldi has been questioned by some sources (e.g. Whatever the case, it is not out of place to observe that, contrary to the belief of many modern illustrators, Vivaldi's wigs were never coloured red.' Michael Talbot, The Vivaldi Compendium (2011), p.

(Two years later, in the anno santo of 1725, Innocent XIII was to ban the wearing of wigs by priests.) There is disagreement over whether the hint of red showing in front of the centre of the composer's wig in the painting is a sly reference to his famous hair-colour or simply an unpainted part of the canvas. (The fashionable, though slightly informal, dress and self-confident attitude of the composer resemble very closely those of Telemann in the well-known engraving by Georg Lichtensteger.) Ghezzi's sketch likewise shows Vivaldi in a non-clerical black stock as opposed to the white clerical stock and still wearing a wig. It is striking how the engraving and the painting 'secularize' Vivaldi: they contain no hint of his identity as a priest. English: 'An anonymous portrait in oils in the Museo Internazionale e Biblioteca della Musica di Bologna is generally believed to be of Vivaldi and may be linked to the Morellon La Cave engraving, which appears to be a modified mirror reflection of it.