was captured in 476 by the Visigoths and in 712 by the
Moors. Alfonso I of Aragon (reigned 1104–34) expelled
the Moors in 1118. Zaragoza remained the capital of
Aragon until the latter part of the 15th century when the
court transferred to Valladolid. Zaragoza’s stone bridge
over the Ebro, the Puente de Piedra, dates from 1447. The
older of its two cathedrals, “La Seo” (mainly 14th cen-
tury), is Gothic-Mudéjar in style with some plateresque
additions and an important retable by the German Renais-
sance sculptor Hans of Swabia. Its university was founded
in 1474.
Zaragoza, Treaty of (1529) The agreement between
Spain and Portugal dividing the Pacific between them, as
the Treaty of TORDESILLAShad done with the Atlantic. The
demarcation ran along a line cutting through the south-
west corner of Japan and the northwest corner of New
Guinea. This was intended to prevent conflict over colo-
nial rights in a situation in which the Spanish were sailing
west across the Pacific from their American possessions to
seek footholds in Asia and the Portuguese were sailing
east from India to set up trading posts in Southeast Asia
and the Spice Islands, but it did not deter the Spanish from
establishing themselves in the Philippines from the 1560s
on.
Zarlino, Gioseffo (c. 1517–1590) Italian composer and
music theorist
Born in Chioggia, Zarlino was educated by the Francis-
cans, whom he joined in 1521. In 1536 he was a singer at
Chioggia cathedral. From 1539 he was organist there be-
fore moving to Venice in 1541, where he became a pupil
of Adrian WILLAERT. In 1565 he was appointed maestro at
St. Mark’s and remained in this post until his death.
Zarlino wrote motets and madrigals, but is most signi-
ficant as a theorist. His major work, Le istitutioni
harmoniche (1558), caused Willaert’s methods of contra-
puntal writing to become models of the style. In it he also
discusses theories of modes and intervals, as well as look-
ing back to classical models.
See also: MUSIC THEORY
Zell, Katharina (c. 1497–1562) German Protestant and
writer
Katharina Schutz was born into a middle-class family and
became an early convert to Lutheran views. In 1527 she
caused scandal by marrying Matthias Zell (1477–1548), a
priest of Strasbourg cathedral. Although excommuni-
cated, Zell continued to minister in the cathedral and be-
came a recognized leader of the Reformation in
Strasbourg. Katharina took an active share in his ministry,
becoming well known for her charitable work with pris-
oners, plague victims, and refugees; she also published
hymns and religious polemics. The best known of her
writings is probably her lengthy Letter to the Entire Citi-
zenry of the Town of Strasbourg (1557), in which she pas-
sionately defends her right, as a woman, to engage in pub-
lic controversy. In literary terms, she is significant as one
of the first women to make a public impact by writing in
German.
Further reading: Elsie Anne McKee, Katharina Schutz
Zell (Leyden, Netherlands: Brill, 1998).Zenale, Bernard(in)o (c. 1450–1526) Italian painter
Zenale was born at Treviglio, for the cathedral of which,
in collaboration with his fellow-townsman Butinone
(c. 1450–c. 1507), he painted the splendid polyptych that
is his best-known work. They also worked on frescoes de-
picting the life of St. Ambrose (1490) in the church of San
Pietro in Gessate, Milan. Zenale also wrote a treatise on
perspective now apparently lost.zoological collections Animals for both hunting and
display had long been kept by kings and other rulers. One
such collection of wild animals was established in 1252 by
Henry III at the Tower of London. The animals in these
menageries were either viewed as curiosities or set to fight
against each other or against dogs to provide a gory spec-
tacle for their owners. James I of England, for instance,
kept a pack of bull mastiffs that were used to fight the
lions housed in the Tower of London. Live exotic animals
were acceptable gifts between princes for their
menageries. Roelant SAVERYhad the advantage of being
able to observe the creatures in Emperor Rudolf II’s
menagerie for his well-known depictions of animals living
in harmony in paradisical surroundings—which include
the first known portrait of the dodo (the bird had only
been discovered in 1598).
Early BOTANIC GARDENS, such as the one at Padua,
often made provision for displaying animals, live or dead,
alongside their plant collections, and Renaissance noble-
men included in their newly created musei natural history
specimens, along with their antiquities and their art col-
lections. One of the earliest such musei was founded by
Lorenzo de’ Medici (the Magnificent) in Florence in the
15th century. He was soon followed by the Este in Ferrara
and the Montefeltro in Urbino. Some 250 such collections
were established in 16th-century Italy, one of them by
Ulisse ALDROVANDIin Bologna. Scholars also began, on a
much smaller scale, to assemble their own more special-
ized collections. Known as CABINETS, they provided the
Renaissance scholar with his basic research material. Kon-
rad GESNER, for example, based his De omni rerum fossil-
ium genere (1565) on his own cabinet of fossils. Most
commonly, collections of natural history specimens were
assembled for their putative value as materia medica. Med-
ical education was the purpose underlying the famous col-
lection assembled in the first half of the 17th century by
Ole Worm, professor of medicine at Copenhagen, which is
illustrated in Museum Wormianum (Leyden, 1655) in an55110 0 ZZaarraaggoozzaa,, TTrreeaattyy ooff