stories to adapt into other media. Some use more contemporary armour, but attempts at authentic 11th-century decor are not seen. The scenes almost all take place outdoors, in an idealized pastoral landscape, which can occupy much of the composition, as in the 18th-century fresco cycles. Series of works in paint or tapestry decorated some palaces. A set of ten large canvases by Paolo Domenico Finoglia were painted from 1634 on for the Palazzo Acquaviva in Conversano in Apulia, home of the local ruler, where they remain. Scenes from the poem were also depicted in fresco cycles at the Palace of Fontainebleau, by the second School of Fontainebleau in France, by Giovanni Battista Tiepolo in the Villa Valmarana (Lisiera) in the Veneto (c. 1757), and in the bedroom of King Ludwig II of Bavaria at Schloss Hohenschwangau. Another set of four oil paintings by Tiepolo were painted c. 1742–45 as part of a decorative scheme, including a ceiling and other panels, for a room in a Venetian palace of the Cornaro family, but are now in the Art Institute of Chicago. They show the story of Rinaldo, with three covering his time with Armida. As in many paintings, Rinaldo's companions Carlo and Ubaldo are also shown. Among 18th-century rooms with sets of paintings of the poem that survive intact are two in Florence, at the Palazzo Temple Leader and Palazzo Panciatichi. The first illustrated edition was in 1590, in Italian, and others followed. A set of 35 etchings by Antonio Tempesta better reflect the actual balance of the poem, also showing the military parts of the story. The series of ten large paintings by Finoglio has the following scenes, which may be taken as typical: The Torture of Olindo and Sofronia The encounter of Clorinda and Tancredi The duel between Raimondo di Tolosa and Argante Baptism and death of Clorinda Rinaldo and Armida in the enchanted forest Carlo and Ubaldo urge Rinaldo to fulfill his duty Armida tries to restrain Rinaldo Rinaldo abandons the enchanted Island Erminia discovers the wounded Tancredi Rinaldo, victorious, puts the enemy into flight Influence in English literature The fame of Tasso's poem quickly spread throughout the European continent. In England, Sidney, Daniel and Drayton seem to have admired it, and, most importantly, Edmund Spenser described Tasso as an "excellente poete" and made use of elements from Gerusalemme liberata in The Faerie Queene. The description of Redcrosse's