Plate 6. This plate illustrates a domestic interior and is an example of Stradanus placing a strong emphasis on the diadactic dimension of the Nova Reperta. A well-off European recieving a visit from his doctor is depicted on the left. On the wall next to his bed is a picture depicting a Pleasant Company: a clear reference to the origin of the patient's disease and a warning to others not to make the same mistake. The domestic details, such as the maid lighting the fire and the cat dozing under the table add interest giving the print a Brueghel-like quality.

Inscriptions in Latin. In margin: '6. HYACUM ET LUES VENERA.', 'Gravata morbo ab hocce membra mollia', 'Levabit ista sorpta coctio arboris'. On image: 'Ion.Stradanus Invent.' and 'Phls. Galle excu.'.

As the title indicates, Nova Reperta catalogues inventions and discoveries in the 'modern' world (as opposed to the classical world of antiquity). The print series dates to the 1590s and probably emerged in two distinct phases. During the late 16th century scientists were starting to break free from the constraints that had hitherto been imposed by the unchallenged authority of the classical writers. It commemorates both Italian and Northern achievements, comprised of a title page and nineteen figurative representations. As a set, it dates between 1580 and 1605. It seems to have been started as a set focusing on America, but soon expanded and can now be grouped into four themes (according to Alice Bonner McGinty's scholarship):

1. Discovery of America – Vespucci, magnet, venereal infection, longitude, astrolabe
2. Conquest of matter and motion – gunpowder, iron clocks, distillation, stirrups, watermill, windmill, polishing armour
3. Rationalisation of agriculture – silk, olive oil, sugar refining
4. Mechanisation of words and image – printing books, oil paint, spectacles, copper engraving.

The Nova Reperta was designed by Johannes Stradanus. Born in Bruges in 1523, Stradanus was a versatile, 16th-century mannerist artist who worked across a range of mediums and spent most of his artistic career in Florence. The set is dedicated to Italian humanist Luigi Alamanni, who belonged to an old aristocratic Florentine family. He was not only the dedicatee of the set, but was clearly intellectually involved in their production and likely assumed the role of artistic mentor, commenting on details as drawings were sent between Antwerp and Florence. Evidence of Almanni's influence on the series can be seen in his annotations on the backs of some of Stradanus's drawings. Furthermore much of the icongraphy relates to Florentine subjects. Alamanni had drawings in his possession suggesting he may also have been financially involved. Much information in Nova Reperta was probably gleaned from texts in his library. 

We know the names of two of the engravers who worked on this project in the workshop of Philips Galle. His son Theodoor Galle signed the engraving Vespucci rediscovers America. Jan Collaert's name appears on three of the plates: 15,17,18 and four other plates have also been attributed to him: 1,2,12,16.